By Elizabeth Grierson, Kristen Sharp
Re-Imagining town: paintings, Globalization, and concrete areas examines how modern approaches of globalization are remodeling cultural event and construction in city areas. It maps how cultural productions in artwork, structure, and communications media are contributing to the reimagining of position and identification via occasions, artifacts, and attitudes. This e-book recasts how we comprehend cities—how wisdom will be shaped, framed, and transferred via cultural creation and the way that wisdom is mediated in the course of the development of aesthetic which means and cost.
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Additional info for Re-imagining the City: Art, Globalization and Urban Spaces
Leaving that case aside, while the justification for public investment in new museums is that they create employment and lever private-sector investment in the environs, most of the new jobs in the museum are low-paid, in areas such as cleaning, catering and security. The curators come from elsewhere. Similarly, employment in spin-off small-scale 30 Art and Culture enterprises in the vicinity tends to be low-skilled and temporary – in bar and shop work. This was the case in Birmingham, Britain’s second city, when major public investment in the 1980s and 1990s produced a city-centre cultural zone at the cost, in part, of reductions in services for outlying districts (Loftman and Nevin 1998).
A collective design and planning process ensued, leading to the park that occupies the site today. But it almost failed. A developer sought to annex the site, and the city started to go back on its commitments. But, at this point and quite coincidentally, Park Fiction was invited to exhibit documentation of their work at Documenta XI, in Kassel in 2002. Representation for the city’s radical artists, regardless of political positions, provided cultural capital for a city seeking cultural tourism.
In New York, graffiti was regarded as the sign of an underclass about to destroy the city; on the Wall, as on the section transported to New York, it stood for freedom of expression against a supposed absence of such freedom on the other side (where, indeed, the Wall’s surface remained blank, in a free-fire zone where those attempting to cross were regularly shot). In Berlin, and throughout the ex-East, a brisk trade developed in communist memorabilia, feeding a nostalgia for the old times (Ostalgie in German).
Re-imagining the City: Art, Globalization and Urban Spaces by Elizabeth Grierson, Kristen Sharp