Louise Bourgeois, Eyes, 1995. Photo by NML in Battery Park, 2014.

FALL 2015
The Cooper Union

This course explored both the history and the current function of public sculpture in New York City, including commemorations of historical events, monuments to the cult of great men and women, war memorials, modern monumental public art and contemporary sculptural installations. Site visits included the sculptural programs at the Highline, Battery City Park, and Central Park, which we juxtaposed with the installation of artwork at Storm King sculpture park in the Hudson valley. We also compared public sculpture from the ancient period through the 19th Century from the Metropolitan Museum of Art to what we had visited in situ throughout the city of New York. At the close of the semester, we visited to Roosevelt's memorial Four Freedoms Park on Roosevelt Island in NYC as an example of public-art-as-environment.

Our work was structured around active discussion and formal analysis in situ, which alternated with class discussion at Cooper of the readings. Class discussions provided some historical context for the places and objects we looked at together, but their main purpose was to give us some theoretical framework for the "publicness" of these objects/situations.

If you find this list useful, get in touch and tell me what you would edit or found lacking: natashallorens [at] gmail

Robert A. Caro, The Power Broker: Robert Moses and the Fall of New York. New York: Knopf, 1974
David Carrier, “The Aesthete in Pittsburgh: Public Sculpture in an Ordinary American City,” Leonardo, vol. 36, no. 1, (2003), pp. 35-39
Elizabeth Grosz, “Bodies-Cities,” in Sexuality and Space, ed. Beatriz Colomina (Princeton, NJ: Princeton Architectural Press, 1992), pp. 241 – 253.
Rem Koolhaas, “Introduction,” in Delirious New York: A Retroactive Manifesto for Manhattan (New York: Monacelli Press, 1994), pp. 9 - 12
Rosalind E. Krauss, “Sculpture in the Expanded Field,” October, Vol. 8 (Spring, 1979), pp. 30-44
Mary Miss, “On a Redefinition of Public Sculpture,” Perspecta, vol. 21, (1984), pp. 53-69.
Robert Smithson, “A Thing is a Hole in a Thing it is Not” and “Entropy Made Visible,” in Robert Smithson: The Collected Writings, ed. Jack Flan (Berkeley: University of California Press, 1996), 95 – 96, 301 – 310
Joshua David and Robert Hammond, High Line: The Inside Story of New York City's Park in the Sky (New York: Farrar, Straus and Giroux, 2011), EXCERPTS
Rem Koolhaas, “Pehistory,” in Delirious New York: A Retroactive Manifesto for Manhattan (New York: Monacelli Press, 1994), pp. 13 - 28
Michel de Certeau and Steven Rendell, “Walking in the City,” in The Practice of Everyday Life (Berkeley: University of California Press, 1984 (pp. 91 – 110)
Henri Lefebvre, “Spectral Analysis” and “The Right to the City,” in Writings on Cities, Eleonore Kofman and Elizabeth Lebas, eds., Oxford, Blackwell Publishers, 1996, 139-159
Rem Koolhaas, “Postmortem,” in Delirious New York: A Retroactive Manifesto for Manhattan (New York: Monacelli Press, 1994), pp. 283 - 291
Vito Acconci, “Public Space in a Private Time,” Critical Inquiry, Vol. 16, No. 4 (Summer, 1990), pp. 900-918
Michael North, “The Public as Sculpture: From Heavenly City to Mass Ornament,” Critical Inquiry, Vol. 16, No. 4 (Summer, 1990), pp. 860-879
John S. Crawford, “The Classical Tradition in American Sculpture: Structure and Surface,” American Art Journal Vol. 11, No. 3 (Jul., 1979), pp. 38-52
James K. McNutt, “Plaster Casts After Antique Sculpture: Their Role in the Elevation of Public Taste in American Art Institutions.” Studies in Art Education, vol. 31, no. 3, (Spring 1990), pp. 158-167
Robert. Smithson, “Fredrick Law Olmsted and the Dialectical Landscape,” in The Writings of Robert Smithson, ed. Nancy Holt (New York, 1979, pp. 117-128
Edward K. Spann, “The Greatest Grid,” in Daniel Schaffer, Two Centuries of American Planning (Baltimore: Johns Hopkins University Press, 1988), pp. 11- 39
Morrison H. Heckscher, "Creating Central" in The Metropolitan Museum of Art Bulletin, vol. LXV, no. 3, (Winter 2008)
Michael Warner, “Zoning Out Sex,” in The Trouble with Normal (Cambridge, Mass: Harvard University Press, 1999), pp. 149 – 193
Samuel R. Delany, “...Three, Two, One, Contact: Times Square Red, 1998,” in Times Square Red, Times Square Blue (New York: New York University Press, 1999), pp. 111 – 199
Rosalyn Deutsche, “Reasonable Urbanism,” in Joan Copjec and Michael Sorkin, eds., Giving Ground: The Politics of Propinquity (London: Verso, 1999), pp. 175 – 206
W. J. T. Mitchell, “The Violence of Public Art: ‘Do the Right Thing,’" Critical Inquiry, Vol. 16, No. 4 (Summer, 1990), pp. 880-899
Richard Serra, “Art and Censorship,” Critical Inquiry Vol. 17, No. 3 (Spring, 1991), pp. 574-581
James E. Young, Memory, Countermemory, and the End of the Monument,” in At Memory’s Edge (New Haven: Yale University Press, 2000)
Kurt W. Forster, “Monument/Memory and the Mortality of Architecture,” Oppositions 25, Fall 1982, 2 – 19
Rosalyn Deutsche, "The Whole Truth," Artforum international. 09 2014: 139,140,142,12
Kenneth Gross, “Talking with Statues,” in The Dream of the Moving Statue (Ithaca: Cornell University Press, 1995), pp. 249 – 260