Intellect

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Authors:  Martin Patrick 
DOI: 10.1386/aps.1.1.65_1

Keywords
public art,site-specificity,live art political art,performative,art interventions

Abstract
Recently a multitude of artists’ endeavours to creatively engage with the public space have become more aligned with the temporal than the spatial. This shift away from traditional notions of public space has allowed for an increasingly elusive, radically dispersed number of events and intervals to occur. Projects incorporating sitespecificity have also shown a greater preoccupation with so-called non-spaces and non-sites. Many such artworks can be characterized by their movement from the grandiose to the more intimate in scale. Practices rooted in institutional critique now foreground playfulness rather than pontificate, although nonetheless maintaining a concertedly premeditated approach incorporating multiple angles, vantage points, and media. Much recent art has been involved with a choreographic turn as artists stage, configure, and orchestrate their creative actions. This article discusses a variety of these projects including artworks by Mark Boulos, Harrell Fletcher, Sharon Hayes, Toby Huddlestone, Tino Sehgal, Jane Tsong, and The Yes Men.