Why Is This a Good Thing for Us? Challenging Public Sculpture and Contesting Territory in 1970s New York
Bibliographic Data
| ID | 11108145 |
|---|---|
| Authors | Andrew Wasserman (independent scholar, corresponding author) |
| Year | 2018 |
| Volume | 44 |
| Issue | 6 |
| Pages | 1227-1257 |
| Publication date | 2018-11-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Journal of Urban History (JOURNAL) |
| Journal identifiers | ISSN: 0096-1442 • E-ISSN: 1552-6771 |
| Publisher | SAGE Publications (PUBLISHER • US) |
| DOI | 10.1177/0096144216683158 |
| OpenAlex | W2584704334 |
| Language | EN |
| Citations received | 1 |
The Neighborhood Environmental Sculpture Program (NESP) oversaw the installation of five monumental public sculptures between 1972 and 1974 in the Manhattan neighborhoods of Washington Heights and Inwood. Sponsored by New York City’s Public Arts Council, the NESP joined recent experiments in neighborhood self-determination with a new approach to contemporary public sculpture. However, interagency disputes, budgetary restrictions, and compromised community involvement threatened to derail the NESP entirely. The NESP serves instructive to thinking about the values governing contemporary public sculpture when territory—on the ground, in institutional halls of power, and across disciplines—is contested
Art · Political science · Power (physics · Public art · Sculpture · Sociology · The arts · Visual arts · Art, Politics, and Modernism · Law · Photography and Visual Culture · Public Administration · Public Spaces through Art
| Citations per year | 0.25 |
|---|---|
| Citation span | 2022 - 2022 (1) |
| Highly cited | No |