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김윤경(Yun-Kyoung Kim),김현주(토론자) 현대미술사학회 2004 현대미술사연구 Vol.16 No.-
Since its resurgence in the 1960s, public art has extended its definition from 'art in public places', through 'art as public space' to 'art in public interest or new genre public art'. Where once public space was considered to be at the artists' disposal, artists concerns for art-making in the public realm have moved on with these paradigm shifts toward discussing the public's life and its interest in the public realm. A temporary citywide exhibition project 'Culture in Action: New Public Art in Chicago' (which officially ran from May 20 through September 30, 1993), sponsored by the nonprofit public art organization Sculpture Chicago and directed by the independent curator Mary Jane Jacob, emerged as one of the primary examples of such art practices, which mainly focus on community liaisons and collaborative works. Eight artists or artist teams - Mark Dion, Kate Ericson and Mel Ziegler, Simon Grennan and Christopher Sperandio, 'Haha (Richard House, Wendy Jacob, Laurie Palmer, John Ploof)' Suzanne Lacy, Inigo Manglano-Ovalle, Daniel J. Martinez and VinZula Kara, and Robert Peters-were selected to participate in this 'new' public art project. Over a year they created their projects in direct partnership with such specific target communities as high school students, public housing residents, union representatives, HIV/AIDS care volunteers, women's groups, community youths, and local ethnic communities, in addressing specific issues from each community group. This kind of public art practice has been suggested as the alternative to the extant object-based or site-specific public art conventions, and seems to turn the tide in the arena of public art. It is, however, still open to such questions as: why do communities matter?; does it matter where the art is?; what makes the projects effective or successful?, and so forth. Reviewing the 'culture in Action' project, especially Haha's 〈Flood〉 and Manglano-Ovalle's 〈Tele-Vecindario〉, which showed visible evidence for Heartney's long-term effect on the communities' will offer an opportunity to re-consider such questions, as well as the potential to re-discover the value of community and come closer to the long-lasting ideal of art as social intervention. Such processes also serve as the basis for re-framing and re-defining public art in the twenty-first century.