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The Complex Logic of Public Art: The Aesthetic Space in the Global City and Anish Kapoor’s Cloud Gate

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2024, 71(), pp.50-77
  • DOI : 10.17527/JASA.71.0.03
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : December 14, 2023
  • Accepted : January 13, 2024
  • Published : February 28, 2024

Su-Mi Kang 1

1동덕여자대학교

Accredited

ABSTRACT

This research analyzes contemporary public art and proposes a new concept of site-specificity, focusing on public art theory, sociological space theory, and representative public artworks in the global city. After the emergence of Suzanne Lacy’s New Genre Public Art, the discourse and practice in the contemporary public art scene developed around site-specificity based on physical sites and communities. The social relationships, however, changed by digital mobility and social networks, and artistic capitalism has followed through mutual imitation of industry and art. There is a need to understand the site-specificity of public art as complex logic. I explain it by referring to Kwon Mi-won’s site-specific art theory and Henri Lefebvre’s spatial theory. Then I analyze the complex logic that connects cultural policy, artistic intention, and the community and site, focusing on Kapoor’s Cloud Gate as the representative public art of Chicago. It can be evaluated as having an open specificity of a site and a potentiality for producing an aesthetic space not tied to the physical site. However, it is also important to note that Kapoor’s sense of community and public contribution through his works are not high, and it is difficult to separate people’s reception of them from the circuit of artistic capitalism.

Citation status

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