Public art serves as a powerful medium for expressing cultural identity, fostering community connections and engaging with our environments.

That’s according to Dr. Andrew Wasserman, assistant professor in Missouri State University’s Department of Art and Design.

In his new book, “The World Atlas of Public Art,” Wasserman embarks on a global survey that highlights the diverse practices of public art over the past six decades.

The landscape of public art has become increasingly complex, Wasserman said. The book was thus inspired by a desire to document how artworks interact with public spaces, as well as the meanings public artworks hold within different contexts.

As a result, the book goes beyond documenting the visual appearance of works to explore what public art signifies for various communities.

Published by Yale University Press, “The World Atlas of Public Art” was recently mentioned in The New York Times.

Defining public art

Wasserman defines public art as projects that are “accessible, both economically and geographically.”

Public art is rarely the product of a single artist, he noted. Instead, it involves a collaborative effort that includes commissioners, fabricators and community voices.

“Publics or audiences are never monolithic,” he said, adding that the creation of public artworks often reflects the diversity of perspectives within a community.

Consequently, Wasserman explores this idea through a series of essays woven throughout the book’s six chapters. Themes include public bodies, public gatherings, public platforms, public services and the final essay — public debates. This essay focuses specifically on public debates and their impact on art.

Public art as public debate

“Occasionally, public artworks can inspire very strong responses, both positive and negative, from audiences,” Wassserman explained. “These negative responses can sometimes lead to the removal or revision of works. And these responses too are what contribute to the ‘public’ part of public art.”

“These responses tell us that communities have particular ideas about how they want their public spaces to appear, to feel and to be,” he continued. “When newly installed artworks brush up against those ideas, or when longer-term artworks no longer seem to accurately reflect those ideas, either because of the appearance of the works or the ideas that works contain, audiences respond.”

“The histories of these responses are as much part of the histories of public art as the biographies of artists or architects, the introduction and evolution of new materials or fabrication techniques, or the approval procedures of public or private agencies that contribute funding and ongoing maintenance to a work.”

Putting it all together

Wasserman considered the role and function of an atlas when determining how to organize the book.

“If an atlas is meant to be a guide to places, I wondered what it would mean to use the book’s structure to draw out essential features about those places in which artists, architects and designers make public art and in which audiences encounter and engage with public art,” he said.

Wasserman realized that answering that question would mean expanding the book’s subject matter beyond national and regional borders.

“What if other place-based divisions that got at how public artworks live in and generate meaning from locations were used?” Wasserman asked. “This informed the chapter structure I ultimately used.”

Organized around six public locations — grounds, walls, structures, waters, routes and skies — the book provides a unique lens to understand the relationship between art and its environment. The structure encourages readers to consider the different meanings and expectations that accompany public art, from temporary installations to more permanent projects.

Encouraging readers to engage with public artworks

Wasserman chose artworks that would encourage readers to engage deeply with the projects included in the book.

“One piece that caught my attention was a fantastic installation in Kolkata by Asim Waqif for a religious festival in 2019,” said Dr. Mitzi Kirkland-Ives, professor of art history at MSU. “Some of the work isn’t just beautiful or interesting to look at but really makes strong public messages.”

This sentiment underscores the book’s intent to showcase art that resonates with real-world issues and challenges. “For anyone involved in public art or civic space, this volume is sure to spark your imagination and encourage deeper reflection on the role of art in our communities,” Kirkland-Ives said.

The role of technology to transform public art

Wasserman also addressed how technology has transformed public art practices. He cited examples that incorporate advanced materials and interdisciplinary collaboration, such as Fujiko Nakaya’s Fog Bridge in San Francisco and Tatsuo Miyajima’s Counter Void in Tokyo. These works combine artistic vision with engineering expertise to create interactive experiences for viewers.

Fostering connections

The book also highlights the importance of inclusivity in public art.

Many projects serve as literal and metaphorical bridges within communities, fostering connections among diverse groups, Wasserman noted.

This approach encourages us to think critically about the spaces we inhabit and how art can enhance our experiences within them, he added.

Wasserman sees “The World Atlas of Public Art” as more than just a collection of images. It’s a call to recognize the significance of public art in shaping cultural identity and community engagement. Wasserman encourages readers to explore the stories behind these artworks to see how public art can inspire, challenge and connect.

 

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Photo provided by Department of Art and Design.

News written by Sam Barnette and edited by the Reynolds College Communications Team.

Sam Barnette is a writer for the Department of Art and Design. She earned an MFA in Dramatic Writing from Missouri State’s Department of Communication, Media, Journalism and Film. Barnette is currently working toward an MS in Data Science and Analytic Storytelling at Truman State University.