New Genre Public Art
In 1967, the National Endowment for the Art (NEA) in the USA launched “Art in Public Places,” a project that expanded the definition and fueled the development of public art. Through this project, NEA assisted communities to procure funding and connected them to art professionals for the purpose of purchasing or commissioning artworks for public places. This project, on the other hand, led to extensive discussions about the difference between “public art” and “art in public places” among art professionals. Afterwards, NEA began to place more emphasis on the harmony between works and sites while encouraging artists to conduct more exploration. It was during this period that the term “site-specific art” was used to described this type of works. In the 80s, artists started to participate in the selection of sites; and in the 90s, NEA also encouraged educational participation programs for communities.
In Taiwan, the “Culture and Arts Reward Act” enacted in 1992 specified that publicly-owned buildings shall be fitted with public artworks, and the value of the public artworks shall not be less than one percent of the total cost of the buildings’ construction. The act consequently benefited the development of public art. In 2008, the “Regulations Governing the Installation of Public Artwork” included public participation and educational program, propelling art creators to think about new genre public art.
“Art [is] not primarily as a product but as a process of value finding, a set of philosophies, an ethical action, and an aspect of a larger sociocultural agenda.” In Mapping the Terrain: New Genre Public Art, Suzanne LACY elucidated the idea of “public” as the core concept in new genre public art. In the 90s, the term “new genre public art” began to be used sporadically in Taiwan; and it was not until 2000, when the Chinese edition of Malcom MILES’s Art, Space and the City: Public Art and Urban Futures was published and when Lacy’s Mapping the Terrain was translated by artist WU Mali and others in 2004 that new genre public art became a prominent form of art practice.
For the 2004 “Taipei On the Move” Art Festival, curator Jo HSIAO invited Suzanne LACY to Taiwan and organized the project “i_d_entity” to discuss the internet’s impact on the young generation. The project included six weeks of online discussion sessions featuring how the young generation was influenced by the internet, with a face-to-face seminar taking place at a park in Xinyi District.
Other examples of the new genre public art in Taiwan included WU Mali’s The Empress’s New Clothes, created for the 2004 “Taipei On the Move” Art Festival and "Art as Environment - A Cultural Action on Tropic of Cancer in Chiayi County” in 2006. Other similar projects in recent years have further evolved towards a mixture of participatory art and community art, for instance, “Art as Environment: A Cultural Action at the Plum Tree Creek” (2009-2012) and “Adventure Time in Shezi: Explore Our Hometown” (2015-2018).
Reference
In Taiwan, the “Culture and Arts Reward Act” enacted in 1992 specified that publicly-owned buildings shall be fitted with public artworks, and the value of the public artworks shall not be less than one percent of the total cost of the buildings’ construction. The act consequently benefited the development of public art. In 2008, the “Regulations Governing the Installation of Public Artwork” included public participation and educational program, propelling art creators to think about new genre public art.
“Art [is] not primarily as a product but as a process of value finding, a set of philosophies, an ethical action, and an aspect of a larger sociocultural agenda.” In Mapping the Terrain: New Genre Public Art, Suzanne LACY elucidated the idea of “public” as the core concept in new genre public art. In the 90s, the term “new genre public art” began to be used sporadically in Taiwan; and it was not until 2000, when the Chinese edition of Malcom MILES’s Art, Space and the City: Public Art and Urban Futures was published and when Lacy’s Mapping the Terrain was translated by artist WU Mali and others in 2004 that new genre public art became a prominent form of art practice.
For the 2004 “Taipei On the Move” Art Festival, curator Jo HSIAO invited Suzanne LACY to Taiwan and organized the project “i_d_entity” to discuss the internet’s impact on the young generation. The project included six weeks of online discussion sessions featuring how the young generation was influenced by the internet, with a face-to-face seminar taking place at a park in Xinyi District.
Other examples of the new genre public art in Taiwan included WU Mali’s The Empress’s New Clothes, created for the 2004 “Taipei On the Move” Art Festival and "Art as Environment - A Cultural Action on Tropic of Cancer in Chiayi County” in 2006. Other similar projects in recent years have further evolved towards a mixture of participatory art and community art, for instance, “Art as Environment: A Cultural Action at the Plum Tree Creek” (2009-2012) and “Adventure Time in Shezi: Explore Our Hometown” (2015-2018).
Reference
- Lacy, Suzanne (ed.) Mapping the Terrain: New Genre Public Art. Trans. Wu Mali et al. Yuan-Liou Publishing, 2004.
- Lu, Pei-Yi. “Translation of New Genre Public Art in Taiwan and Its Local Transformation.” Art Critique of Taiwan (ACT), no. 47 (2011.07), pp. 76-86.
- Hsiao, Jo. Taipei On the Move: From Still Art to Participatory Art. Curatorial essay. Website of IT Park.
- Jacob, Mary Jane. “Outside the Loop.” Culture in Action：A Public Art Program of Sculpture Chicago. Seattle: Bay Press, 1005.
新類型公共藝術（New Genre Public Art）
1967年美國國家藝術基金會（National Endowment for the Art，以下簡稱NEA）所進行的「公共場所藝術計畫」（Art in Public Places），開拓了公共藝術更廣泛的定義與發展。在計畫中，NEA協助社區取得經費與連結藝術專業人士，為公共場域購得或委託製作藝術品。此計畫曾經引起藝術專業人士對於「公共藝術」（public art）與「公共場所裡的藝術」（art in public places）兩者之間差異性的討論，後來NEA開始注重作品與場所間的協調性，並鼓勵藝術家進行更多的探索，限地製作（site-specific art）一詞開始被用來稱呼這類型作品，80年代藝術家開始參與場所的選擇，NEA也在90年代初鼓勵具備教育目的的社區參與計畫。
臺灣在1992年頒布的「文化藝術獎助條例」規範了公有建物必須在藝術上投入至少百分之一的設置經費，為公共藝術的發展提供了良好的助力。在2008年的「公共藝術設置辦法」當中，則納入民眾參與與教育推廣等項目，誘發了藝術創作者在新類型公共藝術的思考。
「藝術不只是一個完成品，而是一個價值發現的過程，一組哲學，一個倫理行動，而且是對於一個更大社會文化議題的整體關照。」蘇珊．雷西在《量繪形貌：新類型公共藝術》中，闡述了新類型公共藝術以「公共／公眾」作為思考主軸的理念。而新類型公共藝術一詞在臺灣的使用則零散地出現在90年代，直到2000年麥肯．邁爾斯的《藝術、空間、城市：公共藝術與城市的遠景》中文版出版，與2004年蘇珊．雷西的《量繪形貌：新類型公共藝術》一書由藝術家吳瑪悧等人翻譯後，才成為一項顯著的藝術實踐類別。
2004年「台北城市行動」藝術節的策展人蕭淑文曾在展覽中邀請蘇珊．雷西來台進行了探討網路對於年輕世代影響的〈聚．絡i_d_entity〉計畫。該計畫由為期六週的線上討論組成，關注於網路對年輕世代的影響，並在信義區的公園舉辦了一場面對面的討論會。
新類型公共藝術在臺灣實踐的案例還有吳瑪悧在2004年參與「台北城市行動」所製作的〈皇后的新衣〉計畫以及2006年「嘉義縣北回歸線環境藝術行動」，近年來類似計畫更與參與式藝術、社群藝術的概念混融，如「樹梅坑溪環境藝術行動」（2009-2012）和「社子生活（校園）秘境計畫」（2015-2018）等。
參考文獻
臺灣在1992年頒布的「文化藝術獎助條例」規範了公有建物必須在藝術上投入至少百分之一的設置經費，為公共藝術的發展提供了良好的助力。在2008年的「公共藝術設置辦法」當中，則納入民眾參與與教育推廣等項目，誘發了藝術創作者在新類型公共藝術的思考。
「藝術不只是一個完成品，而是一個價值發現的過程，一組哲學，一個倫理行動，而且是對於一個更大社會文化議題的整體關照。」蘇珊．雷西在《量繪形貌：新類型公共藝術》中，闡述了新類型公共藝術以「公共／公眾」作為思考主軸的理念。而新類型公共藝術一詞在臺灣的使用則零散地出現在90年代，直到2000年麥肯．邁爾斯的《藝術、空間、城市：公共藝術與城市的遠景》中文版出版，與2004年蘇珊．雷西的《量繪形貌：新類型公共藝術》一書由藝術家吳瑪悧等人翻譯後，才成為一項顯著的藝術實踐類別。
2004年「台北城市行動」藝術節的策展人蕭淑文曾在展覽中邀請蘇珊．雷西來台進行了探討網路對於年輕世代影響的〈聚．絡i_d_entity〉計畫。該計畫由為期六週的線上討論組成，關注於網路對年輕世代的影響，並在信義區的公園舉辦了一場面對面的討論會。
新類型公共藝術在臺灣實踐的案例還有吳瑪悧在2004年參與「台北城市行動」所製作的〈皇后的新衣〉計畫以及2006年「嘉義縣北回歸線環境藝術行動」，近年來類似計畫更與參與式藝術、社群藝術的概念混融，如「樹梅坑溪環境藝術行動」（2009-2012）和「社子生活（校園）秘境計畫」（2015-2018）等。
參考文獻
- 蘇珊．雷西Suzanne Lacy編，吳瑪悧等譯，《量繪形貌：新類型公共藝術》， 遠流， 2004。
- 呂佩怡，〈「新類型公共藝術」的轉譯與在地變異〉，藝術觀點（ACT），47期，頁76-86，2011.07。
- 蕭淑文，〈台北城市行動：從靜默觀賞到參與的藝術〉策展專文，伊通公園網站。http://www.itpark.com.tw/people/essays_data/190/1124