Debates surrounding ‘public art’ or ‘urban art’ can be endless. Most often they focus on form rather than function. Is graffiti art? What about monuments? What kind of art is allowed to be erected, removed, or sold? These debates become even more detailed when we introduce what mediums of art we value over others: painting, music, dance, poetry.
Though several disciplines discuss the value of public art and engage in the above debates, urban geographers are interested in how art forms can at once elide, reproduce, or challenge their urban political contexts. Like everything else in our city, urban art informs our experience. The question then becomes not what ‘counts as art’, but what is art’s purpose. What is urban art supposed to do?
This Olio will focus on the many conflicting intents of urban art, from its use as state propaganda to its many forms of resistance to oppression. We will discuss the politics of aesthetics, memory, and representation and how such politics attempt to create (with varying success), what urban geographer Karen Till defines as “selective and coherent histories”.
Teacher: Lauren Hudson
Lauren Hudson is a peer educator with the Cooperative Economics Alliance of New York, an organization that she and other collective members of SolidarityNYC, a solidarity economy advocacy collective, co-founded. In addition to her organizing work, she is a recent PhD in Earth and Environmental Sciences at the CUNY Graduate Center and an adjunct in Africana Studies at CUNY’s John Jay College.
Venue: Strand Bookstore
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Aug. 31, 20187 p.m.
Aug. 31, 2018
Think Olio | Selective Histories: Memory, Aesthetics, & Urban Art
This Olio will focus on the many conflicting intents of urban art, from its use as state propaganda to its many forms of resistance to oppression.