Public Art Model: East and West

Author: Liu Yinyin, et al.
Publisher:
Publish Date: 2003-08-01
Features: The editor Liu Yinyin currently resides in Australia and is an experienced curator of contemporary Chinese art and public art. She is currently the Project Manager of the Queensland Government's Project Engineering Department, specializing in public art projects. In Public Art and Models: East and West, Liu Yinyin explores the new developments in contemporary public art practice, with a broad perspective encompassing viewpoints from Eastern and Western cultures as well as private and public institutions. It is the first book to provide practical insights for the public art community. Liu Yinyin has invited five renowned public art practitioners—Ann-Marie Rinaldi, Jacqueline Amistead, John Grady, Michael Renner, and Lincoln Seligman—to contribute chapters to this book. Their works span Asia, Europe, and Australia. Their expertise elevates the book's perspective beyond general public art. The readership of this book is extremely diverse, including architects, interior designers, government groups, visual and performing artists, musicians, art students, and the general public, all of whom will find the book fascinating to read. The book is divided into four parts. Part 1, titled "Public Art and Models in East and West," focuses on the major differences in the "models" of public art between Eastern and Western cultures. It reflects the author's personal experiences and observations since 1993 while working in Hong Kong, mainland China, and Brisbane, Queensland. The second part, "Public Art in Queensland," explores the public art policies and models in Queensland, Australia. The primary reason for choosing Queensland as the focus is, of course, the author's work there. However, the events in Queensland also represent the challenges faced by many public art professionals, as well as how local artists, administrators, and designers have pushed the development of public art in various ways to achieve national and international standards. The third part, "Public Art in Asia," examines the potential of public art in enhancing and redefining the image of "new" China, analyzing the commercial and cultural benefits of combining public art with architectural design. The fourth part, "Artists Working Abroad," introduces British artist Lincoln Seligman, who began his public art career in Hong Kong in 1980. In his article, he expresses the perspective of a public artist and shares his work experiences in Hong Kong and other countries in Asia with the readers.