Public Art, Representation, and Questions of Revising the Past

Jenny Roesel Ustick
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Abstract

Operating from the position of an artist with a mature practice in creating public art, this essay chronicles and contextualises the development of a series of works that consider the history, symbolism, interpretation, and evolving understanding of specific historic public artworks. There is a paradox in my development as a muralist: my significant experience while being affiliated with and working on behalf of a prominent community-based non-profit arts organization, where I repeatedly faced constraints upon the content and attitude of the work being created, earned me the notoriety and reputation that facilitates for-profit work that critiques design-by-committee at best, and malignant censorship at worst. Works in the series deal with the intersections of gender and race in the content of public artworks in tones that range from reverent to harshly critical and – in some cases – suggestive of reparative action.
公共艺术、再现与修正过去的问题
从一个在创造公共艺术方面具有成熟实践的艺术家的立场出发,本文编年史和背景化了一系列作品的发展,这些作品考虑了历史,象征主义,解释和对特定历史公共艺术作品的不断发展的理解。在我作为一个壁画家的发展过程中有一个悖论:我在一个著名的以社区为基础的非营利艺术组织工作的重要经历,在那里我一再面临作品的内容和态度的限制,为我赢得了恶名和声誉,促进了营利性作品的发展,最好的情况是批评委员会设计,最坏的情况是恶性审查。该系列作品在公共艺术作品的内容中处理性别和种族的交叉点,色调从虔诚到严厉的批评,在某些情况下,暗示着修复行动。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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