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PUBLIC ART sponsoring environmental and social agency Emily Williamson // Urban Nature City Design: Case Studies for the Philadelphia Water Department “It is something to be able to paint a particular picture, or to carve a statue and so to make a few objects beautiful; but it is far more glorious to carve and paint the very atmosphere and medium through which we look…To affect the quality of the day, that is the highest of the arts.” – Thoreau in 1854, Walden p. 61 ABSTRACT This project investigates how public art has the ability to sponsor environmental awareness, build community participation, and empower citizens to enact change. By pairing the five issues of waste, climate change, human agency, water, and ecosystem with case studies that reveal their processes and challenge the participant to alter how one sees and engages with urban nature, the research aims to communicate to the PWD and the City of Philadelphia how creativity and imagination are valuable catalysts for social and environmental change in the city. Though supplementary artists and projects have been provided for each category, the following case studies will be examined in more detail: Neighborland, Candy Chang [community engagement], Flow City, Ukeles [waste], And While London Burns, James Marriott/ Platform [climate change], and Flow: Can You See the River?, Mary Miss [water] and Broadway 1,000 Steps, Mary Miss [ecosystem]. While these case studies will encompass the body of the work, each case study will be contextualized within the larger historic framework of public art.
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PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

Oct 04, 2020

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Page 1: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

PUBLIC ART sponsoring environmental and social agency Emily Williamson // Urban Nature City Design: Case Studies for the Philadelphia Water Department

“It is something to be able to paint a particular picture, or to carve a statue and so to make a few objects beautiful; but it is far more glorious to carve and paint the very atmosphere and medium through which we look…To affect the quality of the day, that is the highest of the arts.” – Thoreau in 1854, Walden p. 61

ABSTRACTThis project investigates how public art has the ability to sponsor environmental awareness, build community participation, and empower citizens to enact change. By pairing the five issues of waste, climate change, human agency, water, and ecosystem with case studies that reveal their processes and challenge the participant to alter how one sees and engages with urban nature, the research aims to communicate to the PWD and the City of Philadelphia how creativity and imagination are valuable catalysts for social and environmental change in the city. Though supplementary artists and projects have been provided for each category, the following case studies will be examined in more detail: Neighborland, Candy Chang [community engagement], Flow City, Ukeles [waste], And While London Burns, James Marriott/Platform [climate change], and Flow: Can You See the River?, Mary Miss [water] and Broadway 1,000 Steps, Mary Miss [ecosystem]. While these case studies will encompass the body of the work, each case study will be contextualized within the larger historic framework of public art.

Page 2: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

HUMAN AGENCY

WASTE

CLIMATE CHANGE

FLOW (CAN YOU SEE THE RIVER?)] Mary Missflowcanyouseetheriver.org

AND WHILE LONDON BURNS Platformandwhilelondonburns.com

FLOW Mierle Laderman Ukelesgreenmuseum.org/c/aen/Issues/ukeles

WATER

ECOSYSTEM

WATER RULES-LIFE Betsy Damenkeepersofthewaters.org

STILL WATERS Platformplatformlondon.org/2012/05/01/twenty-years-ago-today-still-waters-day-1/

TALKING TRASH, Jeanne van Heeswijkjeanneworks.net/#/projects/talking_trash

CULTURE BEYOND OIL Platformliberatetate.wordpress.com/2011/12/02

THE FARM Bonnie Sherk www.alivinglibrary.org

CONNECT THE DOTS Mary Missmarymiss.com/products_images/pdf/project107.pdf

WASTE LAND Vic Munizwastelandmovie.com

BROADWAY 1,000 STEPS Mary Missbroadway1000steps.com

NEIGHBORLAND Candy Changneighborland.com

C WORDS Platformwww.arnolfini.org.uk/whatson/exhibitions/details/416

INSIDE OUT PROJECT JRhttp://www.jr-art.net/projects/inside-out-project-group-actions

FREEHOUSE Jeanne van Heeswijkjeanneworks.net/#/projects/freehouse

Page 3: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

[1960s] performative

environmental art began appearing

[1969] Ian McHarg’s bookDesign With Nature; pioneered concept of ecological planning

[1970s]Artists,Christo and

Jeanne Claude, began creating temporary art

installations

[1962] Rachel Carson’s book

Silent Springreleased; challenged

use of DDT

[1967] NEA’s Art in public

places program began

[1974] NEA stressed the art

needed to relate to localized site

[1972]Clean Water Act

[1963] Clean Air Act as

Research Program began

[1968-78] Ant Farm, ‘underground’

collaborative art and architecture group formed

[1972]United Nations

Conference on the Human

Environment

[1983]community

participation became more

important to the artists

[1969] Land Art Movement began with Richard

Long, Robert Smithson, among others

[1970s]Environmental Art

Movement gains rapid speed in the United

States and Europe

[2004]Michael

Shellenberger and Ted Nordhaus wrote

influential book Death of Environmentalism

[1970s]Oil Crisis

[1968] Henri Lefebvre‘s book The

Right to the City

[1950s] The Situationists and Guy

DeBord’s ‘Naked City’

[1970s-Present]Feminist Art Movement

1960 1970 1980 1990 2000 2010

[1983-1996]FLOW Mierle Laderman Ukeles

[2006-present]AND WHILE LONDON BURNS Platform

[2011-2012]NEIGHBORLAND Candy Chang

[2012-2013]BROADWAY 1,000 STEPS Mary Miss/CaLL

[1982]NEA encouraged

collaborations among artists, designers, and other transdisciplinary

teams

[2006]Al Gore’s film Inconvenient

Truth released , education about global warming

[2011]FLOW [CAN YOU SEE THE RIVER?] Mary Miss/CaLL

[1980s]Ronald Reagan appointed

James Watt, an anti-environmentalist to office,

environmentalists portrayed as being out of touch with

mainstream values

1950

[1995]social activism, leftist politics,

collaborative methodology became more important to

citizens

Page 4: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

WASTE FLOW Mierle Laderman Ukeles

This content downloaded by the authorized user from 192.168.82.203 on Thu, 29 Nov 2012 10:32:44 AMAll use subject to JSTOR Terms and Conditions

View of Barge Slip, Tipping Floor and Glass Bridge [Ukeles, Flow City, 201]

ABOUT UKELESMierle Laderman Ukeles is an artist based out of New York City whose work is grounded in feminism, environmental awareness, and service-learning. Early in her career [1969], she wrote a Manifesto entitled, “Maintenance Art”, that encouraged women to apply the knowledge and skills they used in the home to artwork and the public realm. This proclamation manifested vividly in her earlier works such as “Touch Sanitation” and soon afterwards she became (and still is) an artist in residence at the New York Department of Sanitation. Working with James Corner’s Filed Operations, Ukeles most recent project investigates the transformations of Fresh Kills Landfill into a public Park (Stein, 209).

PROJECT SUMMARYUkele’s project, “Flow”, is the first “public art environment” that functions as part of an operating waste-management facility (Ukeles, 14). To enable the residents to experience what she called “the violent theatre of dumping”, new zoning regulations were passed so that visitors could move through the exhibit’s 3 main components: city-block long Passage Ramp running parallel to the ramp used by the garbage trucks, a Glass Bridge where one can look out over the city or watch the trash being dumped into the barges, and a Media Flow Wall linking the visitor to the workers, other waste disposal sites, and making visible the various processes for managing the waste (Stein, 209).

LOCATIONNew York City Department of Sanitation

TIME FRAME1983-1996

COLLABORATORSArtist in Residence - Mierle Laderman UkelesNew York Department of Sanitation

FUNDINGNational Endowment for the Arts

CRITIQUEPerhaps the least successful of the five case studies, this project is the most confined to the site itself. Even though Ukeles ended the experiential tour through the sanitation department with a ‘Media Wall’ that digitally connected the participant to the other realms of waste, it seems cosmetic and doesn’t provide the resident with the tools to re-enter the city and invoke change. In addition, there lies an opportunity to engage more stakeholders in the project itself and its future trajectories than just the sanitation department and residents. This being said, ‘Flow’ paved the way for many future environmental art projects that encouraged public participation and collaboration with the municipality.

Page 5: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

[1960s] performative environmental art began appearing

[1962] Rachel Carson’s book

Silent Springreleased; challenged

use of DDT

[1967] NEA’s Art in public

places program began

[1972]United Nations

Conference on the Human

Environment

[1970s-Present]Feminist Art Movement

[1969] Ukeles manifesto for maintenance art

MANIFESTO FOR MAINTENANCE ART Mierle Laderman Ukeles

A. Part One: Personal“I am an artist. I am a woman. I am a wife. I am a mother. (Random order).

I do a hell of a lot of washing, cleaning, cooking, re-newing, supporting, preserving, etc. Also, up to now separately I “do” Art.

Now I will simply do these maintenance everyday things, and flush them up to consciousness, exhibit them, as Art.....

1960 1970 1980 1990 2000 2010

[1983-1996]FLOW Mierle Laderman Ukeles

1950

http://www.arcgallery.org/exhibition_archives.aspx?-Year=2008&month=3, Accessed December 13, 2012.

http://www.feldmangallery.com/media/pdfs/Ukeles_MANIFESTO.pdf, Accessed December 13, 2012.http://planforthepublic.com/2012/10/08/si-lent-spring/, Accessed December 13, 2012.

Page 6: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

Artist Rendering Of “Flow City”[http://avant-guardians.com/ukeles/images/1uke.jpg]

Page 7: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

This content downloaded by the authorized user from 192.168.82.203 on Thu, 29 Nov 2012 10:32:44 AMAll use subject to JSTOR Terms and Conditions

248-Foot-Long Passage Ramp[courses.psu.edu/arch/arch316_clg15/lec22/36%20flow%20city.jpg]

View West From The Glass Bridge Toward 350-Foot-Long Tipping Floor[Ukeles, Flow City, 203]

View Of New York City[londonoa.com/2012/02/15/going-to-new-york-new-york-new-york]

GLASS BRIDGE

Page 8: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

This content downloaded by the authorized user from 192.168.82.203 on Thu, 29 Nov 2012 10:32:44 AMAll use subject to JSTOR Terms and Conditions

Trucks Off-Loading Garbage Into River Barges, Glass Bridge In Background[Ukeles, Flow City, 204]

“I call it FLOW city because it embodies a multiplicity of flows: from the endless flow of waste material through the common and heroic work of transferring it from land to water and back to land, to the flow of the Hudson River, to the physical flow of the visitors themselves.” -Mierle Laderman Ukeles

Page 9: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

This content downloaded by the authorized user from 192.168.82.203 on Thu, 29 Nov 2012 10:32:44 AMAll use subject to JSTOR Terms and Conditions

Computer Model of Slope Stability at the Fresh Kills Landfill[Ukeles, Flow City, 208]

This content downloaded by the authorized user from 192.168.82.203 on Thu, 29 Nov 2012 10:32:44 AMAll use subject to JSTOR Terms and Conditions

The Working Face of a Garbage Cell[Ukeles, Flow City, 207]

This content downloaded by the authorized user from 192.168.82.203 on Thu, 29 Nov 2012 10:32:44 AMAll use subject to JSTOR Terms and Conditions

This content downloaded by the authorized user from 192.168.82.203 on Thu, 29 Nov 2012 10:32:44 AMAll use subject to JSTOR Terms and Conditions

Media Wall[www.primamateria.org/seminars/public_art/flow_city]

Optional Communication Between Visitors and Sanitation Workers

Page 10: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

AND WHILE LONDON BURNS AN OPERATIC AUDIO TOUR ACROSS THE CITY

+1° +2° +3° +4° +5° +6° +7°

CLIMATE CHANGE AND WHILE LONDON BURNS Platform

Futuristic Image of London[andwhilelondonburns.com]

ABOUT PLATFORMPlatform is an “artistic-led” collective that combines art, activism, education and research into a single organization. While their current campaign focuses on the social, economic, and environmental impacts of the oil industry, since their founding in 1983, they have explored how to make visible a vast array of social and ecological issues including race in “Shake!”, water in “Still Waters”, and climate change in “And While London Burns” (platformlondon.org).

PROJECT SUMMARY“And While London Burns” is a downloadable futuristic “operatic audio tour” of the city. Using methods of psychogeography, the tour leads the participant through the financial district of the city. Instead of providing street names as markers however, the audio guide uses the “carbon” web”, a network of oil companies and supporting industries, to guide one through the seemingly disturbed urban landscape. In addition to the guide, the protagonist, an unsettled trader, speaks to you about the history of the oil industry in London, how its connected to the global market, and how it has detrimentally affected his own life. The audio contains 3 acts: Fire, Dust, and Water. Though the first act incorporates the Great Fire of London of 1666, the dialogue emphasizes the future and how the Thames will eventually flood the city as a result of climate change. The tour becomes more and more frantic as the narrator weaves through the city in the second Act but becomes more calming and hopeful in the final act as the participant climbs the stairs of the Great Fire of London’s monument to escape the flooding. The purpose of this tour is to provide the participant with a very personal, politicized and ecological view of the city it will alter his/her current relationship to the city, increase awareness about the detrimental effects of the oil industry, and to challenge the participant to modify his/her behavior (andwhilelondonburns.com).

LOCATIONLondon

TIME FRAME 2006-present

COLLABORATORSProduced by Platform, Written by John Jordan and James Mariott

FUNDINGGrants and Donations to Platform

CRITIQUE‘While London Burns’ is intriguing in its ability to enable the participant to very personally experience and interpret the ‘Carbon Web’ through a tour of the city. Instead forcing a single, objective view of the oil industries, the authors provide an open forum for the participant to come to his/her own conclusions that might change depending upon his/her mood, the time of day, or season. Although the original tour was supplemented with educational activities, lectures, and guided walks, it is now only sustained by those who unearth it online. To make this tour more accessible to the public, it would be interesting to provide headsets on the street so passersby could participate at a whim. And, to encourage one to participate more than once, it would be beneficial if the tour could be consistently updated to keep up with the current carbon rhythms of the city.

Page 11: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

[1963] Clean Air Act as

Research Program began

[1968-78] Ant Farm, ‘underground’

collaborative art and architecture group formed

[1970s]Oil Crisis

[1968] Henri Lefebvre‘s book The

Right to the City

[1950s] The Situationists and Guy

DeBord’s ‘Naked City’

[1982]NEA encouraged

collaborations among artists, designers, and other

transdisciplinary teams

[2006]Al Gore’s film Inconvenient

Truth released , education about global warming

[1995]social activism, leftist politics,

collaborative methodology became more important to

citizens

[2010]BP oil spill in

the Gulf of Mexico

1960 1970 1980 1990 2000 2010

[2006-present]AND WHILE LONDON BURNS Platform

1950

http://artofmapping.blogspot.com/2010/09/debord-psychogeography.html http://www.efimeras.com/wordpress/?tag=inflablefrom Inflatocookbook, Ant Farm, Accessed December 13, 2012

http://www.rampartsofcivilization.com/?p=3194, Accessed December 13, 2012

Page 12: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

Map From 1666 Great Fire of London[old.platformlondon.org/portfolio/images/gogmagog2-480.jpg]

ACT 2 DUST

ACT 3 WATER

Act I The first act introduces both the main character, a trader whose partner, Lucy, left him to live “off the grid” and the guide who tells you where to turn and when. Instead by guid-ing by street signs, she helps you navigate through London’s carbon web, a network of oil companies and supporting industries.

Act IIThe second act, dust, “fine toxic excrement”, oil as “black blood of our society” begins frantically as the narrator attempts to figure out how he fits in this web of carbon.

Act IIIThe last Act ends with hope as one climbs the great fire of London’s monument and above the rising sea level. The final chorus echoes, “we could build a new city, not on oil and gas but on the wind and the sun”.

ACT 1FIRE

Page 13: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

Bathed in fire, flood, love and turmoil And While London Burns is a compelling collision of thriller, opera and guided walk. Starring recent Olivier Award nominee Douglas Hodge, this soundtrack for the era of climate change is set amongst the skyscrapers of the most powerful financial district on Earth, London’s Square Mile. An opera for one, it takes the listener, equipped with an mp3 player on a walking audio adventure through the streets and alleyways of our city. Composer Isa Suarez’s stirring score evokes London’s fiery past, oil drenched present and a dark unknowable future through the eyes of a tormented financial worker obsessed by the collapse of civilisations. Produced by award winning arts organisation, PLATFORM and written by John Jordan and James Marriott And While London Burns is a requiem for a warming world.

AND WHILE LONDON BURNS AN OPERATIC AUDIO TOUR ACROSS

THE CITY, AVAILAIBLE FREE AT:

www.andwhilelondonburns.com

Phot

o an

d im

age

man

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n: C

at P

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n-Ph

illip

ps a

nd K

rist

ian

Buu

s. D

esig

n: S

tuar

t Tay

ler.

AND WHILE LONDON BURNS AN OPERATIC AUDIO TOUR ACROSS THE CITY

+1° +2° +3° +4° +5° +6° +7°

Futuristic Image of London[andwhilelondonburns.com]

Protagonist in Audio Tour of ‘And While London Burns’[andwhilelondonburns.com]

3 Acts of ‘And While London Burns’[andwhilelondonburns.com]

FIRE

DUST

WATER

Page 14: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

HUMAN AGENCY NEIGHBORLAND Candy ChangABOUT CHANGCandy Chang is a public art installation artist. She received her Bachelors of Fine Arts and Masters of Urban Planning from Colombia University. and is now a Tulane Urban Innovation Fellow at the City Center in New Orleans. In addition to this fellowship, Chang is a TED Senior Fellow, a World Economic Forum Young Global Leader, and was named “Live Your Best Life” Local Hero by Oprah Magazine. The aim of her artwork is to empower residents to contribute to positive change of the public spaces in which they live and to create a platform for exchange (candychang.com/about).

PROJECT SUMMARYThe Project Neighborland stemmed out of Chang’s, “I wish I was...” Project in which she designed fill-in-the-blank labels with the words, “I wish I was..” on them. These were distributed to community members and only a few days later, the filled-in labels began appearing on vacant lots and blighted buildings. To expand upon this notion of making ideas for change visible, Chang created ‘Neighborland’, an online platform for voicing community opinions, sharing local knowledge, and transforming the physical environment. In addition to the online platform, she also made sure community voices could be visible in the public spaces themselves and so developed educational tools, events, and methods of marking on a variety of surfaces throughout the city (www.tulane.edu > candy chang).

LOCATIONNew Orleans and Virtual

TIME FRAME 2011-present

COLLABORATORSCandy ChangResidents of New Orleans and Any Location

FUNDINGUrban Innovation Fellowship administered through TulaneSponsored by the Rockefeller Foundation Additional support from Tulane City Center

CRITIQUENeighborland provides a two-way platform in which residents may participate either in the public space itself or by expressing their opinions about other project ideas and sharing their own ideas online. Truly a bottom-up approach, these labels gives an anonymous voice to not only the user of the space, but also the spaces themselves. While this mode of working is positive on many levels, the concern is how one then compiles this vast array of comments, synthesizes the ideas, and decides which projects should move forward and how. Though the residents catalyze this process, it seems important to equally engage other actors such as the municipality, designers, and institutions.

Candy Chang[www.candychang.com]

Page 15: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

[1968-78] Ant Farm, ‘underground’ collaborative art and architecture group formed

[1983]community participation became more important to the artists

[1968] Henri Lefebvre‘s book The

Right to the City

[1950s] The Situationists and Guy

DeBord’s ‘Naked City’

1960 1970 1980 1990 2000 2010

[2011-2012]NEIGHBORLAND Candy Chang

[1982]NEA encouraged

collaborations among artists, designers, and other transdisciplinary

teams

1950

[1995]social activism, leftist politics,

collaborative methodology became more important to

citizens

[1990s]Graffiti artist, political activist and painter begins his career.

Stephen Goldsmith, director of Artspace, sculptor

image from City Creek Park, Salt Lake City

http://www.bookdepository.com/Writings-on-Cities-Henri-Lefeb-vre/9780631191889, Accessed December 13, 2012.

www.candychang.com, Accessed December 14, 2012. www.bansky.com, Accessed December 14, 2012.

Page 16: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

“I wish I was...” and “I want in my neighborhood” name tags[http://candychang.com/neighborland/]

Community Members with Name Tags[http://candychang.com/neighborland/]

Page 17: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

Welcome to NeighborlandIt’s free to connect with your neighbors and share ideas for your city...

1. Sign up with email 2. Choose your Neighborhood location 3. Share what you would like to see happen in your neighborhood, share an idea from another city and support your neighbors’ initiatives.

Screenshots from [http://candychang.com/neighborland/]

Page 18: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

“A robust public life includes accessible ways for residents to reach out and self-organize.”-Candy Chang

Image from candychang.com > neighborland

Page 19: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

WATER FLOW [Can You See The River?] Mary Miss/CaLLABOUT MISS and CaLLMary Miss is an artist that lives and works in New York City. She is most well known for her public works that engage the community and raise awareness about the environment. Working closely with the municipality, landscape architects, designers, engineers, and scientists, her projects are collaborative in execution and in vision. Though the project itself might be temporary, the goal is to generate long-term social, cultural, and environmental sustainability. Most recently, she helped create the transdisciplinary organization, City as Living Laboratory, whose 3-fold vision is “to make sustainability tangible and visible for citizens, communities, and institutions, to educate the public about environmental, social, and economic sustainability, and to address crises in our cities such as environmental degradation, neighborhood blight, crumbling infrastructure, and natural disasters. (http://cityaslivinglab.org).

PROJECT SUMMARYFlow [Can You See The River] is the first of 4 participatory public art projects called Living Laboratory that combine art and environmentalism to raise public awareness about sustainability. Sited along 6 miles of the White River from the IMA’s property to the downtown White River State Park, the project consists of a pavilion exhibition to introduce the project, 100 markers (1/2 mirrors and 1/2 red, oversized map pins) that situate the participant in the landscape, 6-3’ diameter dots on the IMA to exhibit the 6 water systems necessary to sustain the building, red bands along the trees to show the 100-year flood levels, and virtual tools for learning more about the city’s watershed.

LOCATIONIndianapolis Museum of Art

TIME FRAME 2008-present [opened to the public in 2011]

COLLABORATORSCommissioned By The Indianapolis Museum of ArtEcoArts ConnectionsAdditional 20 Leading Indianapolis Arts, Science, Environment, And Municipal Organizations And Agencies

FUNDINGIMA, National Endowment for the Arts, National Oceanographic and Atmospheric Administration, and others

CRITIQUEThis project contains engages the public on many levels - from the educational walk itself containing a variety of opportunities to engage with the landscape, to virtual tools that alter how residents understand the flow of water from their own doorstep. Where this project falls short however, is in its lack of visibility in downtown Indianapolis. Perhaps ‘Flow’ would be more successful if educational programming could be incorporated into the business and cultural districts in the urban center and if the river could be revealed through the urban infrastructural systems just as much as it is through the natural systems along the river’s edge.

“Track a Raindrop” Virtual Program[http://flowcanyouseetheriver.org]

Page 20: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

[1969] Ian McHarg’s bookDesign With Nature; pioneered concept of ecological planning

[1962] Rachel Carson’s book

Silent Springreleased; challenged

use of DDT

[1967] NEA’s Art in public

places program began

[1972]Clean Water Act

[1983]community

participation became more

important to the artists

[1969] Land Art Movement began with Richard

Long, Robert Smithson, among others

[1970s-Present]Feminist Art Movement

1960 1970 1980 1990 2000 2010

[1982]NEA encouraged

collaborations among artists, designers, and other transdisciplinary

teams

[2011]FLOW [CAN YOU SEE THE RIVER?] Mary Miss/CaLL

1950

[1995]social activism, leftist politics,

collaborative methodology became more important to

citizens

http://en.wikipedia.org/wiki/File:Spiral-jetty-from-rozel-point.png, Accessed December 13, 2012.

https://twitter.com/MyCleanWaterActAccessed December 13, 2012. http://stream.aljazeera.com/story/clicktivism-destroying-meaningful-social-activ-ism-0022095, December 13, 2012.

Page 21: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

PROJECT COMPONENTSPavilion, 100 markers, IMA exhibit, “Track a Raindrop”, Additional Apps, Educational Programming, and festivals

ZONE 1 Indianapolis Museum of ArtZONE 2 Butler UniversityZONE 3 Marian University and Riverside Golf CourseZONE 4 Taggart Riverside Park, Coffin Golf Course, South Grove Golf CourseZONE 5 IUPUIZONE 6 White River State Park, Indianapolis Zoo, and Downtown

Eagle Creek Park

Fort Harrison State Park

Indianapolis Metropolitan

Airport

IUPUI

Indianapolis International

Airport

Crown Hill Cemetery

The Children’s Museum 30th St

Pendleton Pike

Fall

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wy

Binf

ord

Blvd

Fall Creek Rd

Alli

sonv

ille

Rd

Massac

husetts

Ave

21st St

16th St16th St

10th St

Michigan St

10th St

Michigan St

Oliver Ave

South St

Rockville Rd

Hig

h Sc

hoo

l Rd

Har

din

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Tib

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Mer

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t R

iver

sid

e D

r

Har

din

g S

t

Co

ld S

pri

ngs

Rd

Mer

idia

n St

Cap

ito

l St

Cla

rend

on

Rd

Mer

idia

n St

Pen

nsyl

vani

a St

Del

ewar

e St

Eas

t St

Illin

ois

St

Cap

ito

l Ave

Wes

t St

Co

lleg

e A

ve

Mer

idia

n St

Spri

ng M

ill R

d

Kes

sler

Blv

d

Geo

rget

ow

n R

d

Mo

ller

Rd

Rac

eway

Rd

Dan

dy

Trai

l

Washington St

Washington St

Indiana Ave

Kentucky A

ve

Raymond St

New York St

Ohio St

Market St

Prospect St

Hanna Ave

Morris St

Plainfield Ave

Brookville Rd

Southeastern Ave

Madison A

ve

Washington St

30th St

Lafayette Rd

Lafayette Rd

Michig

an Rd

Michig

an Rd

38th St38th St

46th St

52nd St

49th St

42nd St

Hampton Dr

38th St

46th St

56th St56th St

62nd St62nd St

64th St

71st St71st St

Wilson Rd

82nd St

86th St86th St

96th St96th St

Kessler Blvd

Marian University

Eagle Creek Airport

White River State Park

South Grove Golf Course

Taggart Riverside

Park

Coffin Golf Course

Riverside Golf Course

Indianapolis Zoo

Lilly Recreation Park

465

Garfield Park

Indianapolis Museum of Art

Butler University

Indianapolis Motor

Speedway

Indiana State Fairgrounds

George Washington

Park

Key

sto

ne A

ve

We

stfi

eld

Blv

d

Can

al To

wpath

465

74

74

70

70

65

70

465

69

65

54th St

Rain Garden

Ruth Lilly Visitors Pavilion

Orchard

Allée

Amphitheater

Central Canal

Towpath

100 Acres:The Virginia B. Fairbanks Art &

Nature Park

Crown Hill Cemetary

Christian Theological Seminary

Crown Hill Cemetary

Woodstock Country Club

Lake Terrace

Border Garden

Four Seasons Garden

Garden for Everyone

Mall

Newfield

Garage

Lilly House

Indianapolis Museum of Art

Cen

tral

Can

al

Michig

an Road

Martin Luther King, Jr Ave

38th Street 38th Street

42nd Street

41st Street

Bernard Avenue

40th Street

Clarendon Street

Byram

Avenue

Rockw

ood Avenue

Cornelius Avenue

39th Street

39th Street

Harvard Place

39th Street

Northern Street

Waller Bridge

OVER 100 SITESThere are more than 100 markers scattered throughout the IMA’s grounds and over the course of a six-mile stretch from Butler University to the White River State Park. The markers can be found in the following zones labeled on the map.

Visit flowcanyouseetheriver.org for details about each FLOW site.

ZONE 1 Indianapolis Museum of Art and 100 Acres: The Virginia B. Fairbanks Art & Nature Park Sites 1– 46

ZONE 2 Butler University Sites 47–49

ZONE 3 Marian EcoLab Sites 50–68

ZONE 4 Riverside Park Sites 69–87

ZONE 5 IUPUI Arbor Sites 88–96

ZONE 6 White River State Park Sites 97–108

IMA MAP ZONE 1 Sites 1–46

FLOW INDIANAPOLIS MAP IMA MAP465

465

74

70

65

6570

465

74

69 FLOW SITES

1 site

2 sites

3+ sites

KEYINDIANAPOLIS AREA

17

18

19

20

15 14

13

46

34

56

7

91110

12

16

21

23

22

33

234

125

32

31

26

24

27

30

29

28

35

44

3637

3941 40

3845

43

42

HOW TO EXPERIENCE FLOW• Pick up a map here at the IMA or use the FLOW website to find the mirror markers and oversized red map pins that are located on the museum grounds, in 100 Acres, and along the White River and canal towpath from Butler University to the White River State Park downtown.

• Ateachsite,themirrormarkerswilldirectyourgazeto nearby red map pins that point out key aspects of the water system such as wetlands, floodplains, combined sewer outfalls and more. Standing in front of the mirror marker, shift your gaze until the red mark on the mirror lines up with the red pin in the landscape. You will see the water element, its name, and your own reflection in the scene.

• Dialuptheguide-by-cellphonenumberfoundonyour mirror marker to hear a detailed description for each of the water elements.

FLOW: CAN YOU SEE THE RIVER?

ZONE 1 Sites 1–46

ZON

E 5

Site

s 88–

96

ZONE 2 Sites 47–49

ZONE 3 Sites 50–68

ZONE 6 Sites 97–108

ZONE 4 Sites 69–87

Eagle Creek Park

Fort Harrison State Park

Indianapolis Metropolitan

Airport

IUPUI

Indianapolis International

Airport

Crown Hill Cemetery

The Children’s Museum 30th St

Pendleton Pike

Fall

Cre

ek P

kwy

Binford Blvd

Fall Creek Rd

Alli

sonvi

lle R

d

Massa

chus

etts A

ve

21st St

16th St16th St

10th St

Michigan St

10th St

Michigan St

Oliver Ave

South St

Rockville Rd

Hig

h S

cho

ol R

d

Hard

ing

St

Tib

bs

Ave

Me

rid

ian

St

East

St

Blu

ff R

d

Co

un

try C

lub

Rd

Em

ers

on

Ave

Rit

ter

Ave

Ke

yst

on

e A

ve

Ru

ral S

t

Sh

erm

an

Dr

Hag

ue

Ave

Co

lleg

e A

ve

Su

nse

t A

ve

Mo

no

n T

rail

Mo

no

n T

rail

East

Riv

ers

ide

Dr

Hard

ing

St

Co

ld S

pri

ng

s R

d

Me

rid

ian

St

Cap

ito

l S

t

Cla

ren

do

n R

d

Me

rid

ian

St

Pe

nn

sylv

an

ia S

t

De

lew

are

St

East

St

Illin

ois

St

Cap

ito

l A

veW

est

St

Co

lleg

e A

ve

Me

rid

ian

St

Sp

rin

g M

ill R

d

Ke

ssle

r B

lvd

Ge

org

eto

wn

Rd

Mo

ller

Rd

Race

way R

d

Dan

dy T

rail

Washington St

Washington St

Indiana Ave

Kentu

cky A

ve

Raymond St

New York St

Ohio St

Market St

Prospect St

Hanna Ave

Morris St

Plainfield Ave

Brookville Rd

Southeastern Ave

Mad

ison A

ve

Washington St

30th St

Lafayette Rd

Lafayette Rd

Mich

igan

Rd

Mich

igan

Rd

38th St38th St

46th St

52nd St

49th St

42nd St

Hampton Dr

38th St

46th St

56th St56th St

62nd St62nd St

64th St

71st St71st St

Wilson Rd

82nd St

86th St86th St

96th St96th St

Kessler Blvd

Marian University

Eagle Creek Airport

White River State Park

South Grove Golf Course

Taggart Riverside

Park

Coffin Golf Course

Riverside Golf Course

Indianapolis Zoo

Lilly Recreation Park

465

Garfield Park

Indianapolis Museum of Art

Butler University

Indianapolis Motor

Speedway

Indiana State Fairgrounds

George Washington

Park

Keyst

one

Ave

We

stfi

eld

Blv

d

Can

al T

owpath

465

74

74

70

70

65

70

465

69

65

54th St

Rain Garden

Ruth Lilly Visitors Pavilion

Orchard

Allée

Amphitheater

Central Canal

Towpath

100 Acres:The Virginia B. Fairbanks Art &

Nature Park

Crown Hill Cemetary

Christian Theological Seminary

Crown Hill Cemetary

Woodstock Country Club

Lake Terrace

Border Garden

Four Seasons Garden

Garden for Everyone

Mall

Newfield

Garage

Lilly House

Indianapolis Museum of Art

Centr

al C

an

al

Mich

igan R

oad

Ma

rtin Lu

ther K

ing

, Jr Ave

38th Street 38th Street

42nd Street

41st Street

Bernard Avenue

40th Street

Cla

ren

do

n S

tree

t

Byra

m A

ve

nu

e

Ro

ckw

oo

d A

ve

nu

e

Co

rne

lius A

ve

nu

e

39th Street

39th Street

Harvard Place

39th Street

Northern Street

Waller Bridge

OVER 100 SITESThere are more than 100 markers scattered throughout the IMA’s grounds and over the course of a six-mile stretch from Butler University to the White River State Park. The markers can be found in the following zones labeled on the map.

Visit flowcanyouseetheriver.org for details about each FLOW site.

ZONE 1 Indianapolis Museum of Art and 100 Acres: The Virginia B. Fairbanks Art & Nature Park Sites 1– 46

ZONE 2 Butler University Sites 47–49

ZONE 3 Marian EcoLab Sites 50–68

ZONE 4 Riverside Park Sites 69–87

ZONE 5 IUPUI Arbor Sites 88–96

ZONE 6 White River State Park Sites 97–108

IMA MAP ZONE 1 Sites 1–46

FLOW INDIANAPOLIS MAP IMA MAP465

465

74

70

65

6570

465

74

69 FLOW SITES

1 site

2 sites

3+ sites

KEYINDIANAPOLIS AREA

17

18

19

20

15 14

13

46

34

56

7

91110

12

16

21

23

22

33

234

125

32

31

26

24

27

30

29

28

35

44

3637

3941 40

3845

43

42

HOW TO EXPERIENCE FLOW• Pick up a map here at the IMA or use the FLOW website to find the mirror markers and oversized red map pins that are located on the museum grounds, in 100 Acres, and along the White River and canal towpath from Butler University to the White River State Park downtown.

• Ateachsite,themirrormarkerswilldirectyourgazeto nearby red map pins that point out key aspects of the water system such as wetlands, floodplains, combined sewer outfalls and more. Standing in front of the mirror marker, shift your gaze until the red mark on the mirror lines up with the red pin in the landscape. You will see the water element, its name, and your own reflection in the scene.

• Dialuptheguide-by-cellphonenumberfoundonyour mirror marker to hear a detailed description for each of the water elements.

FLOW: CAN YOU SEE THE RIVER?

ZONE 1 Sites 1–46

ZON

E 5

Sites

8

8–96

ZONE 2 Sites 47–49

ZONE 3 Sites 50–68

ZONE 6 Sites 97–108

ZONE 4 Sites 69–87

IMA MAPZONE 1 Sites 1-46

Map of 6 Zones and larger map of Zone 1[‘FLOW’ brochure]

Page 22: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

Entrance Pavilion Contains An Exhibition That Introduces The Project[http://www.imamuseum.org/100acres/artists/marymiss]

“All property is riverfront property. The river starts at your door.”-Mary Miss

Page 23: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

Mary Miss distributed 100 markers across the landscape. While half of these are oversized red map markers, the other half are mirrors attached to posts with information and a red dot that the participant aligns with the corresponding the red map marker. These markers might point out wetlands, floodplains, combined sewer outfalls, pollution, or zones of historical significance. In addition to these markers, one may also “dial-up” to receive additional commentary about the site such as the best place to watch river turtles (www.imamuseum.org).

Mirror/Red Dot Images[http://www.imamuseum.org/100acres/artists/marymiss]

Page 24: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

3’ diameter red dots on the building of the IMA that symbolize the 6 water systems necessary to sustain the building[http://www.imamuseum.org/100acres/artists/marymiss]

6 Water Systems Needed to Sustain the Building....

Page 25: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

“With this project, Indianapolis is setting a precedent for how city government, cultural institutions, and artists can work together to make issues like climate change and sustainability more tangible to its residents.”-Mary Miss

18 Red Bands Round Trees That Show The 100 Year Flood Levels[http://www.imamuseum.org/100acres/artists/marymiss]

100 Year Flood Levels

Page 26: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

Choose Your Location, pick the storm intensity and ‘Make it rain’!

Tap the cloud to increase the storm intensity and watch the rain move from your location to the river.

Click on the black question mark icon to see what pollutants your raindrop has picked up along the way.

TRACK A RAINDROP and share your own photos

Screen Captures from ‘Track a Raindrop’ Virtual Program[http://www.imamuseum.org/100acres/artists/marymiss]

Page 27: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

ECOSYSTEM BROADWAY, 1,000 STEPS Mary Miss/CaLLPROJECT SUMMARYThe project, Broadway, 1,000 Steps is an initiative to develop Broadway Street as a new green infrastructure corridor for the city that is made “tangible and actionable” to every citizen. 20 different hubs along Broadway, chosen based on their concentrations of infrastructural, cultural, ecological, and social features, will serve as a testing ground collaboration among research scientists, municipal policy makers, and local community groups. With the help of over 400 student participant groups, the areas are currently being systematically investigated, mapped, and evaluated with direct community engagement. Before arraying the project along the entire length of Broadway, Miss/CaLL chose 237th street to execute a “Test Pilot Project” to show the community how these systems would begin making visible the infrastructure of the city at eye level. Elements of this test site include the following: green vertical poles, convex mirrors with text and diagrams, pavement markings, visual quantifications, walkable maps, guides by cell phone, short text descriptions, smart phone applications, and events ([http://www.broadway1000steps]com).

LOCATIONBroadway Street, New York City

TIME FRAME Opens in 2013

COLLABORATORSNASA Goddard Institute for Space ScienceCenter for Research on Environmental decisions at the Earth Institute of Columbia UniversityInstitute for Sustainable Cities at CUNYWallerstein Collaborative for Environmental Education at NYUThe Wildlife Conservation SocietyAcademic Partnership of over 400 students [design, architecture, communications and ecology]Montefiore Park Neighborhood AssociationCommunity Board NineCity College Department of Urban Design

FUNDINGPrivate and Public Support; largely from National Science Foundation Grant for Exploratory Research (EAGER) award for Informal Science Education (ISE)

CRITIQUEWhile Broadway, 1,000 Steps hasn’t yet officially opened to the public, it appears to address much of the critique voiced in the other projects. It creates a highly visible, interactive green infrastructure along a highly traveled, historic corridor and simultaneously provides comprehensive educational and outreach programs to incite future interest from a range of actors. In this way, the project creates immediate, visible impact to the residents and slowly accrues long-term ecological, economic, and social sustainability.

Broadway, 1,OOO Steps - Ground Locator Marker[http://www.broadway1000steps]com

Page 28: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

[1969] Ian McHarg’s bookDesign With Nature; pioneered concept of ecological planning

[1962] Rachel Carson’s book

Silent Springreleased; challenged

use of DDT

[1967] NEA’s Art in public

places program began

[1972]Clean Water Act

[1983]community

participation became more

important to the artists

[1969] Land Art Movement began with Richard

Long, Robert Smithson, among others

Sol Lewitt, participatorywall art #260

1960 1970 1980 1990 2000 2010

[1982]NEA encouraged

collaborations among artists, designers, and other transdisciplinary

teams

[2011]FLOW [CAN YOU SEE THE RIVER?]

Mary Miss

1950

[1995]social activism, leftist politics,

collaborative methodology became more important to

citizens

[2012-2013]BROADWAY 1,000 STEPS Mary Miss/CaLL

www.docstoc.com/docs/34497215/The-Plain-English-Guide-to-the-Clean-Air-Act, Accessed December 13, 2012

http://containerlist.glaserarchives.org/index.php?pg=3&c=z-sva, Accessed December 13, 2012 www.marymiss.com, Accessed December 13, 2012

Page 29: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

ECOSYSTEM

WATER

AIR

WASTE

++

GF

GF

GF

GF

GF

Mapping hubs along Broadway:

The 275 block length of Broadway through Manhattan and the Bronx offers a highly visible, symbolic corridor in which to reveal the working ecosystem of New York City and the individual’s role within it. Concentrations of ecological, infrastructural, cultural, and social features have led to hub site selection. Detailed investigations are currently underway with the help of over 400 design, architecture, communications, and ecology student participants in the MM/CaLL Academic Partnership. Students are mapping, documenting, and conducting research through direct engagement with community constituents to discover what issues are most pressing.

8Proposed Green Infrastructure Map[http://www.broadway1000steps]

research scientistssociologists

local community groupsenvironmental artists

historians

Page 30: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

Element: Field of Green Verticals

Field of Green Verticals

Brightly colored lime-green posts and fences will call attention to the hub as pedestrians approach, defi ning a force fi eld within which curiosity will be aroused and awareness augmented.

13

Mary Miss / City as Living Laboratory: Sustainability Made Tangible Through the Arts (MM/CaLL) provides a framework for how the arts and sustainability can be linked in innovative ways to create cities that help us redefi ne how we live our lives, use our resources, how we communicate, educate, work, and collaborate.

MM/CaLL conceives of the city as a laboratory where artists and designers collaborate with scientists, policy makers and other experts to create immediate experiential impact derived from long term research and planning initiatives.

The goal is to make sustainability personal, visceral, and tangible so that city residents are empowered to take positive action.

5

Element: Convex Mirrors

This is an example of how a mirror can be used to focus on a particular piece of street hardware. By color-coding the street hardware, and catching its refl ection it in a convex mirror, explanatory text or diagrams can be provided in an attached color-coded disc. This strategy engages the viewer by refl ecting their image in the context of the decoded built environment.

Convex Mirrors with diagrams

12

Element: Pavement Markings

Broadway Mall Markings

Large scale graphics draw on the city at full scale -- this element is coordinated with the Convex Mirrors element. Pavement markings are used to highlight features such as street hardware or plantings with color-coded outlines or multi-lingual text.

Pavement markings highlight street features

14

“Nature is everywhere and in action at all times, that the city is an urban ecosystem, that an innumerable number of small decisions over time have shaped the environment to be the one we inhabit today, and that our decisions impact the future of all of nature.”-Advisory Board of Broadway, 1,000 steps

Images of Test-Pilot Project on 137th Street[http://www.broadway1000steps]

Page 31: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

The City of Philadelphia contains a rich history of public art and is the home of the nation’s first private non-profit organization dedicated to integrating public art and the urban realm (http://associationforpublicart.org, Accessed December 13, 2012). Though the artistic presence has been, and continues to be robust in its capacity to disseminate information, collaborate among a variety of stakeholders, and create a diverse set of education programs, the City and the PWD in particular would greatly benefit from public art projects addressing environmental issues and making visible its infrastructure (such as the case studies outlined above). To perform most effectively, these projects would need to include long-term educational and economic frameworks, even if their physical presence were to be temporary. Instead of ‘Art for Art’s sake’, these public propositions would begin with an Environmental Art agenda and end in Environmental Agency that involves not only the artists, municipality and residents, but also scientific researchers, students, economists, and community organizations.

PROGRAMS AND ORGANIZATIONSCity Of Philadelphia Mural Arts Program http://muralarts.org, Accessed December 13, 2012.

Philadelphia Art Center http://www.phillyartcenter.com, Accessed December 13, 2012.

Percent For Arts Program http://www.phila.gov/pra/percentForArt.html, Accessed December 13, 2012

City of Philadelphia Office of Arts, Culutre and Creative Economyhttp://creativephl.org/tagged/Public-Art/, Accessed December 13, 2012.

Association for Public Art [formerly the Fairmount Park Arts Association)http://associationforpublicart.org, Accessed December 13, 2012

ART SCHOOLSThe Art Institute of Philadelphia http://www.artinstitutes.edu

The University of the Artswww.uarts.edu

Pennsylvania Academy of Fine Artshttp://www.pafa.org

Moore College of Art and Designhttp://www.moore.edu

Tyler School of Arthttp://www.temple.edu

Fleisher Art Memorialwww.fleisher.org

CITY OF PHILADELPHIA a history of art in the city

Page 32: PUBLIC ART sponsoring environmental and social agencyweb.mit.edu/nature/projects_12/pdfs/artemily.pdf · Environmental Art Movement gains rapid . speed in the United States and Europe

REFERENCESAraeen, Rasheed. “EcoAesthetics, A Manifesto for the Twenty-First Century.” Third Text, 23, 5 (2009).

Baker, Alexander Julian, and Temple University. “The Schuylkill River Park Public Art Process: An Ethnographic Focus on a Philadelphia Urban Park’s Development.”, Dissertation Abstracts International, (2002).

Bach, Penny Balkin. “Public Art in Philadelphia.” Philadelphia: Temple University Press, (1992).

Bottoms, Stephen, Mel Evans and James Marriott. “We, the City: An Interview with Platform, London.” Performance Research: A Journal of the Performing Arts 17, 4 (2012).

Fortmeyer, Russell. “Toward a Cybernetic Site.” Architectural Record 195, 7 (2007).

Foster, Margaret. “Smell of Success: Can a New York City Artist Miss Bringing Great Beauty to a Suburban Sewage Site? [Mary Miss, Arlington, Virginia].” Landscape Architecture 94.2,22 (2004).

Freedman, Susan K., and Public Art Fund. Plop : Recent Projects of the Public Art Fund. (New York: Merrell Publishers in association with Public Art Fund, 2004).

Graham, M. A. “Art, Ecology, and Art Education: Locating Art Education in a Critical Place-Based Pedagogy.” Studies in Art Education 48, 4 (2007).

Haas, Richard, [1936-], et al. “Artists and Designers on Collaboration.” Arts Review / National Endowment for the Arts 3, 1 (1985).

David Harvey. “The Right to the City”. New Left Review. 53 (2008).

Karvonen, Andrew, and Ken Yocom. “The Civics of Urban Nature: Enacting Hybrid Landscapes”, Environment and Planning A 43.6 (2011).

Kastner, Jeffrey, and Brian Wallis. Land and Environmental Art. (London: Phaidon Press, 1998).

Lacy, Suzanne, ed. Mapping the Terrain: New Genre Public Art. (Seattle: Bay Press, 1995).

Marpillero, Sandro. “Four Projects by Mary Miss.” A + U: Architecture and Urbanism.12, 315 (1996).

Matilsky, Barbara. Fragile Ecologies : Contemporary Artists’ Interpretations and Solutions. (New York: Rizzoli International, 1992).

Miles, Malcolm. Art, Space and the City: Public Art and Urban Futures. (New York: Routledge, 1997).

Miss, Mary. “A Conversation with Mary Miss [Interview].” Log 9 (2007).

Oakes, B. Sculpting with the Environment: A Natural Dialogue. (New York: Van Nostrand Reinhold, 1995).

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Phillips, P. “Maintenance Activity: Creating a Climate for Change.” In Nina Felshin (Ed.). But Is It Art: The Spirit of Art as Activism. (Seattle, WA: Bay Press, 1995).

Reid, H. G., and B. Taylor. “John Dewey’s Aesthetic Ecology of Public Intelligence and the Grounding of Civic Environmentalism.” Ethics & the Environment 8, 1 (2003).

Sharpe, Joanne, Venda Pollack and Ronan Paddison. “Just Art for a Just City: Public Art and Social Inclusion in Urban Regeneration.” Urban Studies 5, 6 (2005).

Stein, Jean. “Flow City.” Grand Street, 57 (1996).

Thornes, John. “A Rough Guide to Environmental Art.” The Annual Review of Environment and Resources. 33 (2008).

Tompkins, Joanne. “Site-Specific Theatre and Political Engagement across Space and Time: The Psychogeographic Mapping of British Petroleum in Platform’s And While London Burns.” Theatre Journal, 63, 2. (2011).

Ukeles, Mierle Laderman. A Journey: Earth/City/Flow. Art Journal. 51/2 (1992).

Waste Land [Videorecording]. Dir. Walker, Lucy drt, João Jardim, Karen Harley, et al. by New Video, 2011.

WEBSITESwww.artdaily.org/index.asp?int_new=39304&int_modo=1#.ULdnq6WRrdk. Accessed December 5, 2012.

www.Flowcanyouseetheriver.org. Accessed November 20, 2012.

www.indianapolis recorder.com/aroundtown/article_6953f2dc-e551-11e0-a8cd-001cc4c002e0.html. Accessed November 20, 2012.

www.ibj.com/ima-plans-installation-along-white-river/PARAMS/artcile/21150. Accessed November 20, 2012.

www.tulane.edu/news/newwave/033111_candychang.cfm. Accessed November 27, 2012.

www.imamuseum.org/exhibition/flow-can-you-see-river. Accessed November 27, 2012.

www.broadway1000steps.com. Accessed December 6, 2012.

www.artinamericamagazine.com/news-opinion/news/2011-09-23/marymiss-fairbanks-art-and-nature-park/. Accessed December 5, 2012.

www.candychang.com/neighborland/, Accessed December 6, 2012.

www.candychang.com/about/. Accessed December 6, 2012.