Introduction Cameron Cartiere and Shelly Willis Part I: Out of Theory Coming in from the Cold: a Public Art History Cameron Cartiere. Time in Place: New Genre Public Art a Decade Later Suzanne Lacy. Space, Place and Site in Critical Spatial Arts Practice Jane Rendell. "Be a Crossroads": Public Art Practice and the Cultural Hybrid Margaret Adamek and Karl Lorenz. Critical Spaces - Monuments and Changes Malcolm Miles. Toward a Celebratory and Liberating System of Teaching Public Art Stephanie Johnson. A Fine Public Art and Design Education: Learning and Teaching Public Art Faye Carey. Pubic Art and Education: an Interview with Harrell Fletcher Shelly Willis Part 2: Into Practice The Millennium Park Effect: A Tale of Two Cities Regina Flanagan. Investigating the Public Art Commissioning System: The Challenges of Making Art in Public Shelly Willis. Here and Gone: Making it Happen Kristin Calhoun and Peggy Kendellen. As Rich as Getting Lost in Venice: Sustaining a Career as a Public Artist in the Public Realm Terri Cohn. From Margin to Mainstream: Dyke Action Machine! Public Art and a Recent History of Lesbian Representation Carrie Moyer. In the Storms of the World: Building Communities to Assist Social and Ecological Justice PLATFORM: James Marriott. The Art of the Question: Thinking Like a Public Artist Anonymous Part 3: Mapping the Lineage A Timeline for the History of Public Art. The United Kingdom and the United States of America, 1900 – 2005 Cameron Cartiere, Rosemary Shirley, and Shelly Willis. List of Contributors. Bibliography. Index
Cameron Cartiere is a lecturer at Birkbeck, University of London in the department of Arts Policy & Management. She has lectured extensively on public art issues and contemporary art practice and is the co-author of The Manifesto of Possibilities, a guide for the commissioning of public art in urban environments. Shelly Willis is the Director of the City of Sacramento Public Art Program. She has managed public art projects and programs for more than 20 years.
"For university collections and other institutions, this important work is indispensable." Joni M. Palmer, Public Art Review
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