City Portrait:How Cities Can Serve as Centers for Artistic Life, and How Buildings and Public Works of Art Can Visually Represent the People Who Inhabit Urban Spaces
Since the time of Industrial Revolution, cities used to give their inhabitants a sense of security and an opportunity of spatial orientation thanks to their small size and ordered grid layout within a limited area.
30Yet, even if this dimension is less tackled in this issue – surely because of the type of artworks analyzed, which focus preferentially on urban violence and discontinuities –, the ability of artworks through representation to make urban spaces in general, and public spaces in particular, not only private but also public at a smaller scale and for a wider audience might be considered. Could artistic representations be a symbolic way to give visibility and publicity to urban spaces to such an extent that they become desirable for those who do not use them on a daily basis but imagine them? What is at stake here is the capacity of arts to stimulate tourism.
Guyton has so much “earth” accumulation (there is nothing as unavailable as waste) that it runs the risk of becoming what it was again, a pile of junk, but he lacks technique instead. He lacks the trace of human work: there is no method; there is no order or arrangement in his procedure, and not only in the scarcely worked material texture, but in the spatial arrangement of the objects among them and in relation to their containers (the house, the backyard or the street). The dolls in the Babydoll House could have been placed in Your World as well; the wheels could have been hanged from the trees instead of the bicycles. Why not? I do not think Guyton would have an answer for this reproach.
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