The Art Opening: Proximity and Potentiality at Events

Fuller, Martin; Ren, Julie

doi:10.1177/0263276419834638

Cited by 9 publications

(8 citation statements)

References 41 publications

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“…Attending, or participating in, events (particularly multi-cultural festivals) can lead to greater recognition of different social groups, but this conviviality does not necessarily lead to communality (Fincher, 2003). Fuller and Ren (2019) see merit in activities that encourage social proximity and fleeting encounters, such as those associated with event settings. Where people gather to hear a favourite musician or watch their national sports team, there exists potential for people to set aside cultural differences like age and ethnicity and “realise instead the significance of things like taste, lifestyles and leisure preferences” (Gilroy, 2004, pp.…”

Section: The Effects Of Events On Public Spacesmentioning

confidence: 99%

Staging city events in public spaces: an urban design perspective

Smith

Vodicka

Colombo

et al. 2021

IJEFM

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PurposeThere are two main aims of this conceptual paper. The first is to explore the issues associated with staging events in public spaces, and to produce a typology of different event spaces. The second is to explore if and how events should be designed into parks, streets and squares and whether this might reduce some of the negative impacts and associated user conflicts.Design/methodology/approachThe paper analyses the history, drivers and effects of using public spaces as venues and examines the reciprocal relationships between events and the spaces that host them. To explain the range and dynamics of contemporary events, a typology of event spaces is developed. This typology highlights nine different types of event spaces which are differentiated by the level of public accessibility (free entry, sometimes free, paid entry), and the mobility of event audiences (static, limited mobility, mobile). Using this typology, the paper discusses ways that public spaces might be adapted to make them better suited to staging events. This discussion is illustrated by a range of examples.FindingsThe paper finds that it makes practical sense to adapt some urban public spaces to make them better equipped as venues, but designing in events presents new issues and does not necessarily resolve many of the problems associated with staging events. Disputes over events are inevitable and constituent features of public spaces.Originality/valueThis paper makes an original contribution by developing a new classification of event spaces and by synthesising ideas from urban design with ideas from the events literature.

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Section: The Effects Of Events On Public Spacesmentioning

confidence: 99%

Staging city events in public spaces: an urban design perspective

Smith

Vodicka

Colombo

et al. 2021

IJEFM

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“…Beyond the instrumentalization of art for urban economic development to drive tourism or capitalize on the art market, the art biennial poses a number of intriguing questions about representation and place (Sassatelli, 2017). Understanding what biennials represent and what is represented at these events might contribute to a more nuanced understanding of the unequal distribution of stakes at art events (Fuller and Ren, 2019).…”

Section: The Biennial In Context and In Relationmentioning

confidence: 99%

“…Their thinking is, "if we cannot move to the center, then let's move the center to us" (Fall, 2002). The key is to shift the proximity to the art world, which is attained by making these places destinations in order to reduce the perceived socio-spatial distance (Fuller and Ren, 2019).…”

Section: Decentering Placesmentioning

confidence: 99%

Obscuring representation: contemporary art biennials in Dakar and Taipei

Ren¹

2021

Geogr. Helv.

Self Cite

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Abstract. There has been a proliferation of contemporary art biennials in the past 20 years, especially in cities outside of North America and Europe. What biennials represent to their host cities and what is represented at these events reveal a great deal about the significance of this proliferation. The biennial platform entails formalistic notions of representation with regards to place branding or the selection of artists as emissaries of countries where they were been born, reside, or to which they have some kind of affinity. This notion of representation is obscured considering the instability of center and periphery, artists' biographies, practices, and references. In contradistinction to the colonial world fair, the biennial thwarts the notion or possibility of “authentic” representation. The analysis incorporates works shown at the 2018 biennials in Dakar and Taipei, interviews with artists, curators, and stakeholders, and materials collected during fieldwork in both cities.

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“…Surely, jazz venues continue to exist in Detroit to this day, with Baker's Keyboard Lounge operating continuously since 1934. Significantly, Baker's is the subject of a long running argument with New York's Village Vanguard and Chicago's Green Mill about which is the longest running jazz club (Bjorn & Gallert 2001a) A growing line of research on the role of creator-artists bolsters the claim that creators are both influenced by and supported by their proximity to available resources (Fuller & Ren 2019;Hearn et al 2007;Voss & Voss 2008). Following that logic, the closer a creator-artist is to the resources they need to create, the more able they are to develop their work.…”

Section: Seeing Jazz Venue Agglomeration In the Paradise Valley Neighborhoodmentioning

confidence: 99%

Cultural and Social Mecca: Entrepreneurial Action and Venue Agglomeration in Detroit's Paradise Valley and Black Bottom Neighborhoods

Peters¹

2020

Artivate

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Detroit's Black Bottom and Paradise Valley were African-American neighborhoods that housed a vibrant and active popular music scene between World War I and the 1960s. They were home to a dense network of music venues, many of which were owned or managed by African-Americans. Urban renewal projects during the late-1950s destroyed much of the heart of these places. Unfortunately, discussion of this activity is largely missing from the academic literature on placemaking, cultural entrepreneurship, and music scenes in Detroit. To address this gap, I propose a solution that marries discussion of these neighborhoods with a method to measure and compare entrepreneurial activity in a music scene using venue density as a construct.This article examines the nature of entrepreneurial action in the collection of music venues that supported jazz musicians in Detroit's Black Bottom and Paradise Valley neighborhoods during the period of strong African-American business ownership between World War I and the 1960s. Aspects of entrepreneurial agglomeration and placemaking as they relate to musicianship are discussed. This discussion leads toward a methodology of measuring the vibrancy of a scene. Specific attention is paid to the creation of musical venues in the Paradise Valley and Black Bottom neighborhoods in Detroit before destructive urban-renewal projects took place in the early 1960s. These two neighborhoods are viewed using the lens of a modern-day music scene, oft described as vibrant and active. The relative density of music venues as a proxy for their activity is used as a method to compare the historical vibrancy of Paradise Valley and Black Bottom with a well-known contemporary American popular music scene in Austin, Texas.

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The Art Opening: Proximity and Potentiality at Events

Cited by 9 publications

References 41 publications

Staging city events in public spaces: an urban design perspective

Staging city events in public spaces: an urban design perspective

Obscuring representation: contemporary art biennials in Dakar and Taipei

Cultural and Social Mecca: Entrepreneurial Action and Venue Agglomeration in Detroit's Paradise Valley and Black Bottom Neighborhoods

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