Public Art Dialogue is accepting artists’ projects submissions for the Higher Ed: College Campuses and Public Art issue to be published in Spring 2017. Artists’ projects are unique artworks and/or art interventions designed specifically for the pages and cover of Public Art Dialogue. Projects should relate to the theme of the particular issue and treat the journal itself as a site/space for public art. Artists of all disciplines and at all points in their careers are encouraged to submit projects to the journal.
As more and more colleges and universities feature public art on their campuses and in their pedagogy, it is a good time to address questions of how public art works at these specialized sites–for students, staff, faculty and community members. A Google search of “public art on campus” yields 110,000 results. While the definition of such “public art” ranges from university museums to social practice exchanges to collaborative community/classroom projects, the missions of these institutions often claim that art on campus is foundational to their intellectual culture and central to their educational vision. In this issue, the guest editor seeks to highlight the range of public art presented at colleges and universities, its various uses and effects, and strategies for evaluating such. Essays, artists’ projects, dialogues and all other types of submissions on the subject are welcome.
Two cast concrete benches.
Located in Lorenzi Park.
The benches are located by the Sammy Davis Jr. Festival Plaza.
Nephele is an art in public places project by the City of Las Vegas Arts Commission, for the City of Las Vegas Development Services Center, Las Vegas, Nevada.
“I was imagining and inspired by old European courtyards, particularly in Paris and Barcelona. As an atrium is essentially an indoor courtyard, I was thinking of a courtyard with a glass ceiling and how they frame a view into a piece of sky.
Although I am somewhat new to this place, I was inspired by really bold Las Vegas
sunsets over Red Rock Canyon (particularly really cloudy ones), and thought of being
able to see inside a sunset from any direction. The atrium space intrigued me as the space
is accessible on so many levels.
Nephele means “cloudy” in Greek.
Νεφελη (Ancient Greek)
Pronunciation: nef EL lee
(There are several versions of how to pronounce Nephele, this is one that I found most
I am aware of Nephele in Greek Mythology, and although the artwork wasn’t necessarily
created or conceived with her story in mind I appreciate her mythos and some of the
references and relationships that can potentially be drawn on, particularly with regards to
liminality. Nephele is sometimes considered the mother of liminal beings.
If there were to be a subtitle to this artwork it would read something like:
Humanity treads upon the bottom of the sky.”
Photos courtesy of Cyd Bown : http://cydbown.org/nephele_04.html
Water and Light flow throughout our valley. This city exists because of our excess use of these elements. An excess of elements can also cause great damage to this oasis. We are at a pivotal point in our city’s history. The current housing crisis has caused numerous pools that populate those yards to have been left unattended. Many now live as ghosts and rememberances of a lighter time, a time when water and light signified refreshing coolness and icons of leisure. For Stop and Glow I have revisited the pools shapes of Las Vegas as a means of relief. Waiting for a bus in the brutal and painfully hot sun. I hope that the pools of light will serve as a reminder of the prosperity and life our pools once provided and something refreshingly cool for the patrons of CAT.
Stop and Glow: Todd VonBastiaans ACE Rapid Transit Art
In 2008 construction began on a new Stupak Community center and the building was dedicated on January 5, 2010. Bright Horizons was installed near the entrance of the Stupak Community Center April 1 & 2, 2010.
The Stupack Community center will be open weekdays, from 8 a.m. to 9 p.m.; Saturdays, from 8 a.m. to 5 p.m.; and will be closed Sundays and holidays.
The Stop and Glow project required looking at the urban space of downtown Las Vegas to generate an appropriately defined recognition of its continuing spectacle. The architectural structure of the massive digital screen at Fremont St is at one time protection from the daytime elements as well as a focal point for social activity at night. The images for the Casino Center stop within vicinity to the Fremont Street Experience utilize forms related to the presence of this object, seen and simultaneously ignored between it’s eruptions of light and sound.
Stop and Glow: Stephen Hendee art for ACE Rapid Transit Station
Stephen Hendee 2008
Bronze cast bas-relief honoring Las Vegas entertainer Sammy Davis Jr.
The dedication is located in Lorenzi Park.
Project only accessible during events.
Sammy Davis Jr. Bas Relief
Located over the entrance of the Reed Whipple Cultural Center, at 821 Las Vegas Boulevard North. Markus worked with the at-risk youth from the New Directions program to produce these two 8′ x 16′ high painted murals.
“The Paintbrush Gateway projects a stroke, 2000 feet long, going into darkness, thus echoing an artist’s excursion into the unknown.”
– Dennis Oppenheim
An Art in Public Places project by the city of Las Vegas Arts Commission and Nevada Department of Transportation in cooperation with the 18b Arts District.
The Paintbrush Gateway was dedicated on Thursday June 2, 2011.
Check out this link to hear an interview with Oppenheim’s wife Amy Plumb, on KNPR.
“Vegas Arabesque” by Denver based artist David Griggs neon bridge enhancement “was inspired by the legacy of Las Vegas, its unique setting in the Southwest, and the location of the bridge among Las Vegas’ cultural institutions. The illuminated artwork is just under 132’ long and 18’ 4” at the highest point.
“Las Vegas has a heritage that defines the City as a destination for relaxation, gaming, and entertainment. This heritage takes a variety of forms, from distinctive architecture to the extravagance of casinos and shows. “Vegas Arabesque” pays homage to these Las Vegas icons. In colors associated with the Southwest, this sculptural form alights across a bridge that is the gateway to the City’s cultural institutions. The shapes used in the design build a rhythm that suggests the visual splendor of a Vegas chorus line. In vaguely figurative forms, the design dances across the bridge in the playful spirit of Las Vegas’ own Americana. “Vegas Arabesque” also pays homage to vintage Vegas signs. Reminiscent of some of the grand spectacles of signage from historic Las Vegas, the sculpture will serve as a beacon for the City’s cultural institutions. One of the “culturals,” the Neon Boneyard and Museum, is mere yards away from the new Cultural Corridor Bridge, and serves as a resting place for the glorious signs of Las Vegas’ past.” –David Griggs
Las Vegas Sun Article
Vegas Arabesque, Cultural Corridor Bridge