Americans for the Arts

This article attempts to identify and examine the major legal (state and federal), political, sociological, and aesthetic issues involved in the commissioning of public art, and to suggest ways of accommodating the various interests so as to manage those controversies that may occur.

There is one public building decorated with state-supported artworks in the that the news media continuously highlights but that is not itself connected to political discourse: the U. S. Capitol building in Washington, D.C. Recently, however, some reporters focused more directly on this building and its embellishment, in part, because the monument atop the dome of the Capitol, Thomas Crawford's Statue of Freedom was placed in front of the east facade for restoration between 9 May and 23 October 1993. This statue, along with two others that once decorated the left and right of the central

There is growing concern that the federal No Child Left Behind Acts accountability provisions in mathematics, reading, and science are diverting significant time and resources from other academic subjects. To address this concern, the Council for Basic Education executed a study to collect data about American K-12 students access to a curriculum in the liberal arts.

The writer examines issues which are at the core of the activity of public art professionals, but the implications of which can be set aside in the day-to-day administration of public art.

The unavoidability of the public sphere as a general issue for the arts, an issue that goes well beyond public art in the narrow or traditional sense, is thus the unifying agenda of these essays. Within this agenda, however, a dialectic emerges between what I will call utopian and critical relations between art and its public: on the one hand, art that attempts to raise up an ideal public sphere, a nonsite, an imaginary landscape (we might imagine here the classical image of a temple entrance or plaza filled with wise women and men engaging in enlightened discourse); on the other hand, art

The subject, Art in Public Places in the , is too vast to be treated in its entirety. It is so enormous that any possible attempts to show it in outline might seem inadequate to some readers. However, this book in some respects is a miniature of national, state and local efforts in many areas of the country which are aimed at locating and identifying art in this country. This book indicates the places in which art is most likely to be found in communities throughout the nation.

The Public Art Directory is the most comprehensive guide to community-based public art programs currently available in the . It lists more than 160 programs nationwide, including information each program provided on its structure, funding sources, artist eligibility and much more. This directory is an extremely useful resource for both public art administrators seeking to network within the field, and artists requiring application information.

The Portland City Council established the Portland Public Art Program in the spring of 2000 in order to preserve, restore, enhance and expand the City's public art collection. The ordinance requires that the Portland Public Art Committee submit to Council an annual art plan which outlines recommendations for allocating the C.I.P. public art percentage, administration of the program, conservation of the collection, and initiation of new projects.

The Per Cent for Art Scheme (PCAS) was launched in 1986 by Ireland 's Department of the Environment. Since its inception, PCAS has provided an estimated 5 million plus pounds for more than 300 public art projects nationwide.

This book presents the results of the Art in Public Places project of the National Endowment for the Arts [NEA]. The book explores questions of how art can attain public significance and its relation to public space. The projects examined in this text are community-initiated and have received NEA support; the implications, however, are more wide ranging. The book explores examples of public art, the relationship of artists and cities, other options for these relationships, the process of public sponsorship, and new directions for art in public places. Throughout, the book includes color plates

This booklet lists speeches, panels and other activities of the Public Art Dialogue - Southeast conference sponsored by the Durham Arts Council and the North Carolina Arts Council, held in Durham, North Carolina, June 8-11, 1989.

This booklet lists biographies of speakers making a presentation at the Public Art Dialogue - Southeast conference sponsored by the Durham Arts Council and the North Carolina Arts Council, held in Durham, North Carolina, June 8-11, 1989.

This report provides statistical data and analysis of resources and challenges impacting the arts and cultural sector in Maricopa County, Arizona along with comparative data of nine other benchmark regions to aid in understanding characteristics that affect arts and culture.

This report presents the outcomes of two UNESCO-sponsored conferences: Asian Regional Symposia on Arts Education, Measuring the Impact of Arts in Education, Hong Kong SAR, China (9-11 January 2004) and Transmissions and Transformations: Learning Through the Arts in Asia New Delhi, India (21-24 March 2005). Artists, educators, policy makers and experts in art and culture from across Asia prepared the papers for this report. The report argues that there is increasing evidence that the benefits of art education are multiplied when the arts are used instrumentally in education. It recommends the

This report begins by redefining ﾓcultural diplomacyﾔ in light of current events, and then reviews the history and current state of cultural diplomacy efforts. Our report concludes by identifying key challenges, possible initiatives, and essential questions that, if engaged, can enable cultural institutions, government agencies, arts industries, policy makers, and private sector leaders to harness the global movement of our expressive life to advance our national goals.