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public art is important because its art in public that shows peoples creativity.“It’s free. There are no tickets. People don’t have to dress up. You can view it alone or in groups. It’s open to everyone.” public art is like landscape architecture for people to see and admire. there is many public art everywhere and some people don"t even notice at times.

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Susan Weiler, FASLA, OLIN, successfully made the case that "public art is important," at a session on art and landscape architecture at the 2012 ASLA Annual Meeting. In a review that ran from the early history of American public art, which began in Philadelphia, to evocative examples across the country, and then back to an exciting contemporary project in Philadelphia, Penny Balkin Bach, Fairmount Park Art Association; Marc Pally, a public arts consultant; Janet Echelman, one of the more exciting public artists working today; and Weiler walked the audience through where public art has been, where it may be headed, and why it will always be important.

For Bach, public art occupies a unique position within the art world. In comparison with big-name gallery shows, public art is often "under appreciated" much like landscape architecture is. But there's lots to applaud: "It's free. There are no tickets. People don't have to dress up. You can view it alone or in groups. It's open to everyone."

Community art can also create attachment to one's community. According to Bach, studies have looked at the economic development benefits of art, but only just recently have there been wider examinations of the effect of art on a community's sense of place. The Knight Foundation's Soul of the Community initiative surveyed some 43,000 people in 43 cities and found that "social offerings, openness and welcome-ness," and, importantly, the "aesthetics of a place - its art, parks, and green spaces," ranked higher than education, safety, and the local economy as a "driver of attachment." Indeed, the same story may be playing out locally in Philly: a survey of local residents found that viewing public art was the 2nd most popular activity in the city, ranking above hiking and biking.

The Fairmount Parks Art Assocation - which has been renamed the Association for Public Art given its new broader, national purview - was formed in 1872. Back then, along the Benjamin Franklin Parkway, sculptor William Rush, perhaps the original American public artist, was the first to be commissioned to do art in public spaces in the U.S. Then, as now, "public art was viewed as the nexus for gathering," while people promenaded. In this instance, that nexus was a decorative fountain designed for the public. And then, as now, Bach said, public art was controversial. The clinging clothes of the marble nymphs in the sculpture caused a bit of a "scandal."

Bach had lots of kind words for Rush, who is now known as the "father of public art, the first artist as planner, and the negotiator of public spaces." He understood that public spaces are the result of "collaborative effort between many design and artistic disciplines, anticipating the future direction of public art."

The Art Association was formed prior to the big Philadelphia Centennial and undertook many artistic initiatives to make the event a hit. Bartholdi's arm for the Statue of Liberty was featured, serving as one of the main draws. The group has always worked with some of the best artists of the era, making sure it's contemporary in its commissions. Bach said "we take a leap of faith with artists and commission the art of our time." In 1908, the group commissioned Remington's largest bronze sculpture. Today, that site has a site-specific poem written for the Schuykill River. Another project called Pennypack by artist Ed Levine along the Pennsylvania Park Trail helps bring that trail to life.

Bach also made a point of discussing the "afterlife of public art," what happens once it's out there. As an example, she pointed a work by Pepon Osorio, a pavilion at a Latino community center that features historical photos of people from the community. Today, kids from the neighborhood take photos of themselves with photos of their ancestors. Another project called Common Ground in a footprint of a church that burnt down was hosting weddings just a week after it opened. While these works became part of their communities, Bach said the group still has to work hard to ensure that all works remain relevant to their communities and aren't "orphaned." "We have to keep the stories about these art works alive." That involves conservation - making sure the work stays in good shape - and interpreting the art for a contemporary audience through signage, lighting, and public education programs, with volunteer public art ambassadors providing interpretive programs on the street. Works now have telephone numbers next to them people can call to hear "first person narratives" from people with some connection to the work. "We have both high tech and low tech ways to make connections."

A new piece that just launched promises to upend what cities can do with art at night. Mexican artist Rafael Lozano-Hemmer's Open Air just had its world premier (see image at top). Believing - like Marcel Duchamp - that art requires an audience to make it complete, Lozano-Zimmer has a set of 24 high-powered search lights coursing through the night. The lights are activated by the voice and GPS location of the crowd, who leave message via a Web site. Messages are converted into light arrays every night from 8-11.

Groups in cities beyond Philadelphia are also commissioning fascinating works. For Marc Pally, a public arts consultant, these new public art works can have "unanticipated" impacts on viewers. Public art can be "provocative, joyous, or annoying." The art can be a "rupture in pedestrian life." In fact, it's designed to do this: as you view the art, "your progress through the space is slowed down."

In Sony Studios in Culver City, a new four-year project on the 40-acre campus has transformed the day-to-day experience. A 94-foot rainbow by artist Tony Tasset now welcomes visitors. Where the art hits the ground plane, there's an interesting "conversation between art and landscape." Meanwhile, the actual rainbow is viewable from miles around. Pally said people were actually "giddy" during the rainbow's opening ceremony, believing it "can't be real," which actually fits right in with how people experience real rainbows.

Another project Pally highlighted, a work in a small pocket park in Pittsburgh, offers a new bronze tree, with thousands of hand-painted flowers and leaves. For a short window of time, the piece actually synchs up with the natural trees in bloom. The rest of the year it's a "layer of disruption, intellectually dissonant." Pally said for those working with public artists, the "sheer terror of not knowing how these pieces will work out" actually make the works exciting.

In Santa Monica, a major arts festival called , an all-night event on the beach, is a prime example of terror-inducing art. That's because the organizers were expecting a few thousand people and 250,000 showed up. The Santa Monica event, which was modeled after the global version, aimed to "remake the coordinates of time and space." The beach was "invaded with art." In contrast to gallery works, much of the work took advantage of the open space, "creating interactions the exact opposite of individual experiences in museums."

So what role do landscape architects play in helping public art work its wonders? According to Weiler, landscape architects help frame these creative experiences or even implement them. In the case of Sol LeWitt's Lines in Four Directions on Flowers, a landscape work the artist created many years ago for the space in Fairmount Park in front of Philadelphia Museum of Art, it was OLIN who made the work actually happen. OLIN translated the conceptual work into plants, creating "an appropriate palette" for the site-specific work. For OLIN, Weiler said, the job is to "honor gems of another nature, not distract or add to the experience." In fact, for their recent work updating the gorgeous Rodin museum in Philadelphia, they undertook a "subtraction of the landscape."

For a new project with Janet Echelman, whose giant jellyfish-like sculptures woven of high-performance fishing wire dot many cities, landscape architects can play a leadership role in creating space for art. She said Phillips Farevaag Smallenberg (PFS), who was in charge of the landscape architecture for the Vancouver convention center, which is capped with a 6-acre green roof, was central to creating the space for her work, and even integrated her ideas and concepts into the landscape. With PFS, Echelman redrew the plan for the water garden so that her art forms became "aerating, remediating."

Working with EDAW (now AECOM) and Christine Ten Eyck, FASLA, in Phoenix, she found the landscape architects were once again in her court. Her Name is Patience, which is set in a plaza next to the main light-rail transit center and the downtown Arizona State University campus, was initially cancelled due to the economy. The public "protested in favor of this art" to such an extent that it ended up being financed. It's now the highlight in the downtown walking experience, a destination in a downtown that doesn't have many. At night, the work really seems to come alive.

And now, returning to Philadelphia, Echelman has begun work with Weiler at OLIN on Pulse, a new $50 million project that will add a welcome contemporary element to Dilworth Plaza, at Philadelphia's historic City Hall, with its glowing yellow clock. Echelman and OLIN are adding to the "beloved work of historic architecture" by creating a "physical Rothko painting in the landscape." Layers of colored lighting, glowing in water mist that will amazingly leave no water trace on people who walk through it, will illuminate the path of the green, orange, and blue subway lines running under the city, tracing the path of the trains in real time. An exciting hybrid space will appear, with public art, transportation, and landscape combined.

Read more on the value of public art and see Echelman's TED talk.

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Susan Weiler, FASLA, OLIN, successfully made the case that "public art is important," at a session on art and landscape architecture at the 2012 ASLA Annual Meeting. In a review that ran from the early history of American public art, which began in Philadelphia, to evocative examples across the country, and then back to an...

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Some people hear graffiti and think of tags and vandalism.some may think of it as art but most of it is considered art."Graffiti artists started writing simple names or tags" once people learn to paint they want to learn how to draw and paint.people do graffiti to show there art on walls so people can see hat they can do. "legal Graffiti zones have been attempted in over 100 US cities" many cities did this so people can do what they love in a legal matter.

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In this article it shows how a hood can be changed into good areas.Libby Coleman said "her shows,which feature the work of black artist on the rise, already draw some of the most powerful collectors in the world." Michelle Papillion says that "Los Angeles looks a lot more like Brooklyn nowadays, with artists going at giant canvases in abandoned warehouses and an accompanying gentrification."

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Boy, can artist Derek Fordjour remember the first time he met Michelle Papillion. They were in a room full of big names and up-and-comers at the estate of a very important Black artist. Papillion stood up in her purple pants and great shoes and proclaimed: "I run a gallery in the hood."

Since then, Papillion's gallery has shifted quarters, but not too far, and today you can find it below a neon sign - PAPILLION, it spells, in flamingo-pink capitals - in Leimert Park, Los Angeles. Nearby, there's Jamaican food, African-style silhouette murals and a whole lot of dudes drumming in the parking lot for a Friday afternoon. Maybe it's an unlikely birthplace for the next great renaissance of African-American art. Or maybe it's the perfect one. Whatever the case, Papillion's ambitions recall nothing less than the Harlem of 90 years ago. Her shows, which feature the work of Black artists on the rise, already draw some of the most powerful collectors in the world. "We're in the beginning of it," she tells me when I visit.

She looks weirdly fashionable in her oversize gray hoodie, hoop earrings, black pants and all black sneakers - even the Reading Rainbow mug she's clutching seems somehow cool. Papillion isn't the only reason that New York and London bigwigs like Jeffrey Deitch and Jay Jopling have come calling on the L.A. art scene, of course. Los Angeles looks a lot more like Brooklyn nowadays, with artists going at giant canvases in abandoned warehouses and an accompanying gentrification. But art in the City of Angels has a different kind of aesthetic - bigger pieces, bolder colors, outdoor installations - and a more inclusive, less elitist vibe. "People need to feel comfortable in this environment," Papillion says.

To me, Papillion's gallery recalls W.E.B. DuBois' dream for Black drama: It would be by, for and near African-Americans - though it'd be inaccurate to suggest that Papillion is only for Black audiences. Visitors are greeted by one of Fordjour's canvases, featuring faceless Black men lined up as targets in a carnival game. Two panels of a Black man at an ATM cover an entire wall of Papillion's office; it's the work of Haitian-born, New York-raised, L.A.-based artist Andy Robert. A collage of magazine photos by Suné Woods (formerly a photographer), stressed and manipulated, hangs with a texture like overlapping tissue papers. "Curatorially she's doing all mediums," Shelley Holcomb, cofounder of Curate L.A., says, with "really young artists that are subsequently gaining attention internationally." Indeed, the day I visit, she's just met with a couple of collectors from Tokyo.

In some ways, Papillion's work runs parallel to that of Theaster Gates, the South Side Chicago revitalist, in whose property she made that declaration about the gallery in the hood. Making the space around her beautiful is Papillion's art project. "There are no galleries on this side of town owned by people of color. Period." To do good for a community is an art in and of itself, she says. And there's much good to be done in Leimert Park, a predominantly Black neighborhood with the second-highest property crime rate in the city, according to the Los Angeles Times.

Papillion is protective, even possessive, of the dozen Black artists she's shepherded to wider renown. Sometimes she is downright political. In Artforum, in the pages where owners typically advertise upcoming exhibitions, she took out an ad that said, "Dear Art World, Let's End Police Terrorism #blacklivesmatter." Last Martin Luther King Jr. Day, Papillion underwrote a colorful float, designed by one of her artists, to represent the Crenshaw neighborhood, near Leimert Park. One of the sayings plastered on it was "Black money matters." It's rare of a gallerist to be that explicit - and loud - about her politics.

But activism was in the water she drank, growing up in Oakland. Her mom was an educator, and her dad an architect. At Howard, she studied the classics at first, learning Latin, Greek and Egyptian (yes, she can read all three and waves off my impressed expression). She joined an Egyptian art class, and in terms of falling in love with visual arts, that was "the tip of an iceberg for me," she says.

It's not easygoing, of course. Finding emerging artists is like winning the lottery, and turning unknowns into collectors' darlings takes an eye, nurturing, skill, advocating, branding - as well as time and justice. Of the 10 people on the Most Powerful Art Dealers list that Forbes put out in 2012, none were women of color. But Papillion, has already come far, says Fordjour, who remembers coming up with her: "We were all at this scrappy space at the same time," he says. Things have changed: "Now people know her name when she comes into the room, and that's a different way to advocate."

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The Powerful Young Gallery Owner Shaping L.A.'s Art Scene

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Boy, can artist Derek Fordjour remember the first time he met Michelle Papillion. They were in a room full of big names and up-and-comers at the estate of a very important Black artist. Papillion stood up in her purple pants and great shoes and proclaimed: "I run a gallery in the hood."

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Art is very important because we use it and see it everyday. ", without being aware of it, we are surrounded by art and use it on a continual basis." Art can bring a joy to peoples life  "Art is not purely for looking at and admiring, a lot of it is functional too, especially when it comes to our homes."

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Original Article by David Norris, published December 12, 2011; theartcurator.com
The word 'Art' is most commonly associated with pieces of work in a gallery or museum, whether it's a painting from the Renaissance or a modern sculpture. However, there is so much more to art than what you see displayed in galleries. The truth is, without being aware of it, we are surrounded by art and use it on a continual basis. Most people don't realize how much of a role art plays in our lives and just how much we rely on art in all of its forms in our everyday lives.
Art in the Home
Chances are you will have some form of art in your home. Obviously the first things that might come to mind will be a painting, print or photograph on the wall. If you don't have any of these things adorning your walls, don't panic, you'd be surprised at how much art you actually have in your home if you look around! Art is not purely for looking at and admiring, a lot of it is functional too, especially when it comes to our homes. Everything from a delightfully patterned quilt on the bed, decorative tea towels or that cute pink heart covered teapot to the sleek computer case or angle-poised desk lamp can be considered a form of art.
The Joy of Art
You may be wondering why all of these things are so important to our daily lives and that you could probably survive just fine with essential items that were non-artistic. That is just the reason why art is so valuable! While art may not be vital to fulfill our basic needs, it does make life joyful. When you look at a painting or poster you've chosen to hang on your living room wall, you feel happy. The sculpture or figurines on the kitchen windowsill create a sense of joy. These varieties of art forms that we are surrounded by all come together to create the atmosphere that we want to live in, which is personable to us.
Art and Music
The importance of art in our daily lives is very similar to that of music. Just like art, music can make life extremely joyful and can have a huge effect on our mood. In the workplace in particular, music is something that can help people set the mood for what they are about to do. If you have something hard or difficult to work on or are feeling tired, an energetic song will likely wake you up and add some enthusiasm to the situation. Similarly, when stress is high, many people find that relaxing to calming music is something that eases the mind.
Inspirational Art
Inspirational art, such as posters are often found in work spaces to encourage employees to continue being productive. There is now an increasing amount of companies using art in their offices, as well as playing background music, as it is proven to actually work in making end results far better quality.

There may be a piece of art that you own that you personally find motivational. Perhaps a print with a positive affirmation or quote beautifully scrolled on it or a painting of a picturesque scene of where you aim to travel to one day. I've even heard of people who put up posters of their favorite singer or Hollywood actress to motivate them to go to the gym!

Art is everywhere, influencing us on a daily basis, whether we realize it or not. With the art that we are surrounded by, whether it's a painting, music or even videos can have a huge impact on our mood and emotions. Of course some art is very dark and can cause disturbing emotions, anger or even depression but we can choose what kind of art we want to be surrounded by in our own environment at home to make you feel good. All kinds of art can affect our mood in a positive way, making us feel happier, calmer, or even inspired to do something.

Everywhere you go art is evident. Parks often use sculptures to add interest and to inform people. Posters on walls give information and motivation. Music plays on the radio to keep your energy levels up. Without even realizing it we find ourselves immersed in the power of art most of the time!

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The Importance of Art in Daily Life - Fine Art Photography

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Original Article by David Norris, published December 12, 2011; theartcurator.com The word 'Art' is most commonly associated with pieces of work in a gallery or museum, whether it's a painting from the Renaissance or a modern sculpture. However, there is so much more to art than what you see displayed in galleries.

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The general idea in the article "Islamic and Arab  art institute opening in New York aims to challenge stereotypes" is to open up an art museum. According to
Al-thani art is misconception and that they will exhibit work with scared art.He thinks art can bring people together and stop stereotypes of other people.

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Sheikh Mohammed Rashid Al-Thani noticed something missing in New York City's cultural institutions - there is the Swiss Institute, the Asia Society and the Jewish Museum, but there isn't anything to represent Arab Muslim artists, until now.

Al-Thani, who is part of the ruling family of Qatar, is opening up New York City's first Institute of Arab and Islamic Art on 4 May.

The 2,500 sq ft space will host exhibitions with Muslim and Arab artists, foster interfaith dialogue with public discussions and will be home to a new bookstore. According to Al-Thani, who is the founding director, he wanted to set straight some Muslim stereotypes.

"If we dig into how Arabs and Muslims are stereotyped, they go way back," said Al-Thani. "It made sense to me there had to be an art and culture institute that represents the Arab and Islamic region, as there isn't really one here in New York."

Even with Islamophobia and Trump's recent Muslim ban, Al-Thani has been working towards the institute since 2014. One inspiration was Orientalism, a book about Middle Eastern stereotypes written by Palestinian American cultural critic Edward Said in 1978. "Whether it was the exotic woman with the grapes or the Ottoman empire; there were always were misconceptions and stereotypes that tagged along historically," said Al-Thani. "The way it has evolved historically up until now has become more politically oriented."

The first exhibition is a four-woman group show called Exhibition 1, which is themed around Islamic architecture and geometric design. "Sacred geometry," as it's often called, is an Islamic tradition that dates back thousands of years as a universal language that can bring together divided communities.

"Our main objective is to challenge stereotypes if people have them and engage them on Islamic civilization beyond the religious context," said Al-Thani. "We are hopeful and will do everything in our capacity to see our culture is represented and open up a cross-cultural dialogue with New York City."

The artists showing include Saudi Arabian artist Dana Awartani, who creates mandala-like paintings with ancient flower motifs alongside the works of Iranian artist Monir Shahroudy Farmanfarmaian, who combines traditional Iranian folk art with modern abstraction.

They're also showing works by New York-based Indian artist Zarina Hashmi, who uses the Islamic decorative arts to represents political borders, and Nasreen Mohamedi, a pioneering Indian artist who changed the face of minimalism. "Her work is considered minimalist, constructivist, futurist and doesn't resemble Islamic architecture but in her diaries she speaks about how it has been such a great influence in her work," said Al-Thani. "We are hoping people see it's beyond what the eye can see."

In New York City, there are Islamic and Arab-focused art galleries such as the Iranian art dealer Leila Heller's gallery and CRG Gallery, which gave Palestinian artist Mona Hatoum her first New York solo show. "There are galleries that represent artists from the region but do they have homes institutionally?" asks Al-Thani.

He cites Here and Elsewhere, an exhibition of 45 Arab artists shown at the New Museum in 2014. "These conversations are never continued consistently and we hope to change that," he said.

This isn't the first attempt. Brooklyn real estate developer Sharif El-Gamal planned to build a Muslim cultural center in 2010, but received death threats, as it was often referred to as the Ground Zero Mosque. "There are religious centers and community-based centers across America but they're not for art," said Al-Thani. "New York City is a very welcoming place, if I didn't have New York's support, I wouldn't be doing this."

The institute will be located at 3 Howard Street in Manhattan, a temporary space until the end of July. Then, the institute will either stay or move to another location, depending on funding.

The ruling Al-Thani family has collected Arab art for decades, but that doesn't mean they're footing the bill. "A lot of people have misconceptions when they hear my family name and think my family has funded this project," said Al-Thani, "which is not true and not accurate at all."

The non-profit institute is funded by a small group of donors through a fundraising gala Al-Thani hosted last year. However, bringing on more patrons hasn't been easy.

"When you just have an idea, it's hard to get people to support you," he said. "We're hoping patrons see the importance of what we're doing. I always say, 'Wherever we are, we will exist.' A space, as important as it is, shouldn't define us. We hope to engage beyond that."
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Islamic and Arab art institute opening in New York aims to challenge stereotypes

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Sheikh Mohammed Rashid Al-Thani noticed something missing in New York City's cultural institutions - there is the Swiss Institute, the Asia Society and the Jewish Museum, but there isn't anything to represent Arab Muslim artists, until now. Al-Thani, who is part of the ruling family of Qatar, is opening up New York City's first Institute of Arab and Islamic Art on 4 May.