Public Art and Patterns (Eastern and Western)

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 Engineer Manager of the Queensland Government Project Engineering Department, focusing on public art projects. In the book Public Art and Models: East and West, Liu Yinyin explores the latest developments in contemporary public art practice, with a broad perspective encompassing views 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 field. Liu Yinyin has invited five renowned public art practitioners—Ann-Marie Rinehart, Jacqueline Amistad, 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 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 it fascinating to read. The book is divided into four parts. Part One, titled "Public Art and Models in East and West," focuses on the key 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. Part Two, "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 and demonstrate how local artists, administrators, and designers have pushed public art forward to achieve national and international standards. Part Three, "Public Art in Asia," examines the potential of public art in elevating and redefining the image of "New" China and analyzes the commercial and cultural benefits of combining public art with architectural design. Part Four, "Artists Working Abroad," introduces British artist Lincoln Seligman, who began his public art career in Hong Kong in 1980. In his article, he shares the perspective of a public artist and also recounts his work experiences in Hong Kong and other countries in Asia.