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References Allen, Jerry. “How Art Becomes Public.” In Going Public: A Field Guide to Developments in Art in Public Places. Ed. Jerry L. Cruikshank. Amherst, MA: Arts Extension Service/Visual Arts Program of the National Endowment for the Arts, 1988. 244-251. Allport, Gordon Willard. The Nature of Prejudice. Cambridge, MA: Perseus Publishing, 1954. Apgar, Garry. “Redrawing the Boundaries of Public Art.” Sculpture 11.3 (1992): 24-29. Blair, Carole, Marsha S. Jeppeson, and Enrico Pucci Jr. “Public Memorializing in Post- modernity: The Vietnam Veterans Memorial as

”. In Art, Mind, and Narative. Themes from the Work of Peter Goldie, edited by Julian Dodd, 241-260. Oxford: Oxford University Press, 2016. Goldie, Peter and Schellekens, Elisabeth. Who’s Afraid of Conceptual Art? New York: Routledge, 2010. Hirschhorn, Thomas. “Bataille Monument”. In Contemporary Art. From Studio to Situation, edited by Claire Doherty, 134-147. London: Black Dog, 2004. Lacy, Suzanne. Mapping the Terrain. New Genre Public Art. Winnipeg: Bay Press, 1994. Simoniti, Vid. “Assessing Socially Engaged Art”. The Journal of Aesthetics and Art Criticism. 76


Not all public art is bad art, but when public art is bad, it tends to be bad in an identifiable way. In this paper, I develop a Waltonian theory of the category of public art, according to which public art standardly is both accessible to the public and minimally site-specific. When a work lacks the standard features of the category to which it belongs, appreciators tend to perceive the work as aesthetically flawed. I then compare and contrast cases of successful and unsuccessful public art to show that accessibility and site-specificity are features which tend to preclude the other. It is difficult, although hardly impossible, for a site-specific work to remain accessible, and difficult for an accessible work to engage adequately with the site on which it is situated. As a result, while not all public art is bad, the features peculiar to public work encourage a latent tendency toward badness.

References Altermodernists. “Dusk Rat Run – A Night of Back Alleys in Between the Industrial Buildings in Kwun Tong,” November 2017, accessed May 4, 2019, . Art Promotion Office. “Public Art Scheme”, accessed June 30, 2019, . Bishop, Claire. “Palace in Plunderland.” Artforum , 57:1 (2018), . Boltanski, Luc and Esquerre, Arnaud. “The Economic Life of Things

July 2017. <> Disability Wales. “Planning for Inclusive Access in Wales: Good Practice Guidance ToolKit.” (2010) Web 17 July 2017 <> Doherty, Claire. Public Art (Now): Out of Time, Out of Place. London: Art Books Publishing, 2015. Dourish, Paul. Where the Action Is-the Foundations of Embodied Interaction. Cambridge MA: MIT Press, 2004. Earnscliffe, Jayne. In Through the Front Door: Disabled People and The Visual

Critical Perspectives

180 STUDENT COMPETITION 0 75 m RADCLIFFE PUBLIC ART COMPETITION DESIGNER: Student competition LOCATION: Cambridge, MA, USA COMPLETION: Biennial, on-going SIZE: 19 × 15 metres CONTEXT: Within the Radcliªe University Common near Harvard University ADDITIONAL DESIGN INPUT: Stoss Landscape Urbanism as design phase consultant RECURRING OVERLAYS: Biennial public art installation designed by students from Harvard or Radcliªe Universities chosen by a panel of professionals and campus a°liates BUDGET: US$ 40,000 for design implementation and US$ 10,000 prize money

Architektur überschreiten, spielt eine we- sentliche Rolle für eine neue und andersartige Wahrneh- Public Art Lab MobileMuseen 2004 (Mobile Studios, 2006) Architekten: Hans J.Wiegner mit Gruber + Popp Architekten, Berlin, Deutschland Konzept und Idee: Public Art Lab:Susa Pop (Projektmanagement), Ela Kagel (Multimediakonzept), David Farine (IT-Infrastruktur) Bauherr: Public Art Lab Kunst und Bildung 1 Public Art Lab Mobile Museen 121i Kunstwerke den Besuchern nicht an einem zentralen Standort präsentiert, sondern zahlreiche Ausstellungs- stücke in kleinen Gebäuden ausstellt

An Essay in Political Aesthetics