Public artivism: queering geographies of migration and social inclusivity

Zebracki, Martin

doi:10.1080/13621025.2019.1706447

Cited by 18 publications

(17 citation statements)

References 38 publications

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“…This authors' copy can neither be cited in any publication nor reproduced without the express written permission of the authors. Sample literature: Hein (1996), Hocking (2015, Marschall (2010), Stevens and Franck (2015), Townshend and Madanipour (2008), Zebracki 2018, 2020aHein (1996 "What, then, remains to render an object a work of public art, if neither collective origin nor spiritual cohesiveness nor central placement nor even popularity serves to determine it?" (2)…”

Section: Leading Question Area: How Can Different Uses Of Public Art ...mentioning

confidence: 99%

“…Public art, in general, has come to stand for artwork (often sculptural objects or installations) that is typically supported by public funding, commissioned by public authorities (Cartiere and Zebracki 2016), and located in spaces that provide free, physical, and visual access (Zebracki and Palmer 2017). The medium ("what"), spatiality ("where"), and temporality ("when") of public art have been straddling, among other avenues, permanent material objects and performance-based work and urban centers, rural areas, and digitally mediated spaces of present-day networked societies (see Paul 2016; Zebracki and Luger 2019). Public art, in so doing, has come to encompass a wider array of spaces of everyday life-as Cartiere and Zebracki (2016) argued: "[it] has crept into every corner of our society and perhaps, in part, that is why it is one of the most controversial and misinterpreted art disciplines and subjects of study today" (3).…”

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confidence: 99%

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The Landscape of Public Art Research: A Knowledge Map Analysis

Zebracki

Xiao

2021

The Professional Geographer

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This is the first article to date that employs a knowledge map analysis to provide insights into the landscape of public art research, a multidisciplinary area that is concerned with issues around the geographies of art, space, and community. This study uses bibliometric analysis and knowledge visualization tools provided by CiteSpace mapping software to review scholarly journal output on "public art" since 1964-which is the first occurrence of this term in an article indexed in the Web of Science Core Collection database covering English-language journal publications. The analysis reveals the value of bibliometric analysis for engaging data on the growth and popularity of public art as a research landscape-which is perceived as both a research field and research discourse. Accordingly, this study constructs knowledge maps, and thereby trends, of popular topics and networks of authors and institutions that have emerged in the public art research landscape. Such knowledge maps exhibit a "metageography" of cross-disciplinary connections within public art research (where these knowledge maps in themselves can be rendered as artworks, too). This study, as such, provides new reference points for scholars to position themselves in, and further deepen bibliometric investigation into, the landscape of public art research.

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Section: Leading Question Area: How Can Different Uses Of Public Art ...mentioning

confidence: 99%

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confidence: 99%

The Landscape of Public Art Research: A Knowledge Map Analysis

Zebracki

Xiao

2021

The Professional Geographer

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“…These multisite examples can be regarded as artistically informed grassroots activism, or "artivism" (see Zebracki, 2020b). The latter draws attention to, and politicizes the presence of, LGBT+ people through the mode of art practice and the use of "visual code," i.e., the rainbow color scheme.…”

Section: Activating Queer Change: Solidarity Vis-à-vis Rejectionmentioning

confidence: 99%

“…We open up a particular niche by diving into some ingrained, and at times aggressive and violent, forms of cleavages and opposition around queer monuments-which are, by extension, targeted against LGBT+ rights. Activism, as we will discuss, seems to have a significant role to play in the empowerment of minority voices (see Zebracki, 2020b).…”

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confidence: 97%

Queer Monuments: Visibility, (Counter)actions, Legacy

Zebracki

Leitner²

2021

Journal of Homosexuality

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This article synthesizes original comparative perspectives of visibility, (counter)actions, and legacy regarding queer monuments: public artworks dedicated to, and questioning or queering normativities around, the lives of LGBT+ people. It pursues a dialogic, interdisciplinary, and multisite and intercultural argument, drawing from approaches and preliminary insights from a scholarly project (Queer Memorials) and artist's project (Strange Inheritance) with topical case studies covering North America and Europe. After abductive ethnography, the analysis oscillates between theory/ literature and scholarly and creative practice. It attends to the critical roles queer monuments have played in engaging with how sexual "others" have fallen in and out of place through social struggles, radical politics, and collective memory. The peer exchange provides a cross-case taxonomy of queer monuments' roles, navigating between sorrowful, celebratory, provocative, and informative types and values. It advocates both arts-based enquiry and practice as grounded pathways for narrating queer monuments' activist potential to memorialize, and visibilize, sexual and gender minorities and their overlapping rights in/to space.

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“…En un contexto mundial caracterizado por sucesivas crisis migratorias, el compromiso de distintos artistas contemporáneos puede ser un intento estético de mostrar un espejo a la sociedad, cuestionando aspectos relativos a la inclusión de las representaciones, a menudo excluyentes, de las personas migrantes (Zebracki, 2020). Hablamos, por tanto, de suscitar procesos sociales a través de metodologías basadas en la creación de relatos materializados en prácticas artísticas.…”

Section: Introductionunclassified

Construyendo relatos sobre procesos migratorios desde prácticas artísticas colaborativas: la experiencia de cuatro mujeres artistas

Oñate¹,

Salsidua²,

Goikoetxea³

2022

Papeles

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Son numerosas las investigaciones sobre el papel que desempeñan los y las artistas para suscitar el diálogo en torno a los problemas sociales contemporáneos y en la configuración de la forma en que vemos, pensamos y actuamos. En este artículo nos acercamos a las experiencias de cuatro mujeres artistas, todas residentes en Bizkaia —Saray Pérez Castilla, Mirian Isasi, Olga Ruiz y Argenis Mesa— cuya obra audiovisual ha reflejado el encuentro con la inmigración y el refugio. A través de una selección de sus proyectos basados en prácticas artísticas colaborativas, analizamos sus experiencias y los elementos más significativos. El análisis muestra que el proceso colaborativo se caracteriza por cinco elementos complementarios: el propio proceso, la flexibilidad y apertura, el ejercicio de la escucha, la reciprocidad o impacto mutuo y la ocupación y presencia del espacio público. Los registros gráficos de estos procesos constituyen un recurso privilegiado para reconocer relatos alternativos.

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Public artivism: queering geographies of migration and social inclusivity

Abstract: This is a repository copy of Public artivism: queering geographies of migration and social inclusivity.

Cited by 18 publications

References 38 publications

The Landscape of Public Art Research: A Knowledge Map Analysis

The Landscape of Public Art Research: A Knowledge Map Analysis

Queer Monuments: Visibility, (Counter)actions, Legacy

Construyendo relatos sobre procesos migratorios desde prácticas artísticas colaborativas: la experiencia de cuatro mujeres artistas

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