Propositions on Public Art
Poster work for ‘It’s The Only Life I Know,’
A Hewitt+Jordan project
for [insert space]
2005
Text of poster
Propositions on art and the public

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The wall marks a boundary

The wall can keep people (or something else) in or keep people out.

The wall is a division made concrete. It is the negation of continuous space;
a de-totalising split in the public sphere.

Defining a boundary is a function of private property.

The wall is both symbolic and material.

The wall is an intervention in material space which is also material.

The wall can be a support.

It is possible to stick things on walls.

It is not unusual to stick art on walls.

In this respect, not all walls are the same. It is possible to entertain
the idea that the kind of wall to which a piece of art is stuck will effect
the said artwork.

“Art is not paintings and their meanings. It is the how of their production
and the critique of its mechanisms.” (Art & Language)

A wall can be part of the how of the production of an artwork.

A wall can be a mechanism in the reproduction of art.

The location of a bit of art is, amongst other things, the relationships
between people made concrete.

Art is produced in relation to other people.

Art does not enter into a relationship with the public; art is formed in the
relationships between people.

In art, generosity is not a function of meaning; it is the refusal to mystify
one’s own conditions of possibility.

Producing art ‘in public’ is not the same as producing art for a public.

The public does not exist.

The public are diverse, multiple, contradictory, fractured, fragmented,
inconsistent, changeable and perverse.

Each individual is diverse, multiple, contradictory, fractured, fragmented,
inconsistent, changeable and perverse.

Art must manage without a public.

What might follow if one thought of art as the search for collaborators rather
than as the search for a public?