In regards to “artistry,” this installation process broadened the engagement of the art world, let public space no longer belongs to bronze statues or occupied by donations of particular artists or civil organizations; in regards to “publicity,” since the process of deciding artworks incorporated the mechanism of public discussion, in some sense it created a “public forum,” which aesthetic and environmental awareness somewhat elevated through this kind of discussion and deepened the cultural nutrients needed for promoting public art.
The another level of problem in public art policy: How to reach a consensus in aesthetic cognition? How to establish an aesthetic community? In fact, the evolution of the trend of thoughts about public art exactly reflected the evolutional process of the thoughts on art. The 1998 Regulations on the Installation of Public Art, which moved art from the institutional convention of museums to public spaces, created a profound and lasting effect on public art’s “artistry” and “publicity” these two faces.

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