By Malcolm Miles

ISBN-10: 0203973119

ISBN-13: 9780203973110

ISBN-10: 0415139422

ISBN-13: 9780415139427

ISBN-10: 0415139430

ISBN-13: 9780415139434

This ebook examines public artwork outdoors the conventional confines of paintings feedback and areas it inside of broader contexts of public house and gender through exploring either the classy and political elements of the medium.

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Extra info for Art, space and the city : public art and urban futures

Sample text

As early 33 FIGURE 17 The Guerrilla Girls, poster commissioned by Public Art Fund, New York (Photo: Timothy Karr, Public Art Fund) SPACE, REPRESENTATION AND GENDER as 1971 Linda Nochlin warned us against getting into a no-win game by trying to name female Michelangelos’ (Pollock, 1985: 1) and Gablik: Fitting into this myth of the patriarchal hero became the precondition for success under modernism for both men and women… Art as a closed and isolated system requiring nothing but itself to be itself derives from the objectifying metaphysics of science—the same dualistic model of subject—object cognition that became the prototype for Cartesian thinking in all other disciplines as well.

To claim that the city is defined as a network of circulation and communication, as a centre of information and decision-making, is an absolute ideology; this ideology proceeding from 26 ART, SPACE AND THE CITY FIGURE 15 A corporate atrium in Manhattan is called ‘public space’, but remains corporate space a particularly arbitrary and dangerous reduction-extrapolation and using terrorist means, sees itself as total truth and dogma. 5 The conventional city plan adopts a viewpoint as if in the sky above the city, looking down from god’s eye, the position of power from which alone such an all-knowing representation can be conceived—de Certeau’s voyeurism,6 a matter of repression and desire—‘this lust to be a viewpoint and nothing more’ (de Certeau, [1984] 1988:92), and perhaps it is a form of representation which makes the city (as if) unreal to those who see it this way professionally, whether modern planners of freeways or Haussmann’s urban geometers looking down from their towers on a closely knit (but to them worthless or SPACE, REPRESENTATION AND GENDER 27 subversive) pattern of alleys; it is also a language which leads to the perplexity of those unfamiliar with it when confronted with architectural plans and asked for their ‘views’.

22 REASON AND INTERIORITY Where does this masculine abstraction which de-values exteriority arise? In the space of a Bavarian stove23 in the seventeenth century, a method of argument was formulated which excised the body as the unreliable if seductive site of sense impressions: Now I will close my eyes, I will shut my ears, I will turn away from all my senses, I will even efface from my thought all images of bodily things. … Or at least because of the difficulty of doing this I will deem them to be empty and false.

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Art, space and the city : public art and urban futures by Malcolm Miles


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