The Violence of Public Art W.J.T. MITCHELL. Why is “Do the Right Thing” a work about Public Art?...

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The Violence of Public Art W.J.T. MITCHELL

Transcript of The Violence of Public Art W.J.T. MITCHELL. Why is “Do the Right Thing” a work about Public Art?...

Page 1: The Violence of Public Art W.J.T. MITCHELL. Why is “Do the Right Thing” a work about Public Art? Other examples: –Tiananmen Square (1989) –Tilted Arc.

The Violence of Public Art

W.J.T. MITCHELL

Page 2: The Violence of Public Art W.J.T. MITCHELL. Why is “Do the Right Thing” a work about Public Art? Other examples: –Tiananmen Square (1989) –Tilted Arc.

Why is “Do the Right Thing” a work about Public Art?

• Other examples:– Tiananmen Square (1989)– Tilted Arc (1989)– Vietnam Veterans Memorial (1982)

Page 3: The Violence of Public Art W.J.T. MITCHELL. Why is “Do the Right Thing” a work about Public Art? Other examples: –Tiananmen Square (1989) –Tilted Arc.

Tiananmen Square1989

Page 4: The Violence of Public Art W.J.T. MITCHELL. Why is “Do the Right Thing” a work about Public Art? Other examples: –Tiananmen Square (1989) –Tilted Arc.

“Tilted Arc” (Richard Serra) 1981

Page 5: The Violence of Public Art W.J.T. MITCHELL. Why is “Do the Right Thing” a work about Public Art? Other examples: –Tiananmen Square (1989) –Tilted Arc.

Vietnam Veterans Memorial(Maya Lin) 1982

Page 6: The Violence of Public Art W.J.T. MITCHELL. Why is “Do the Right Thing” a work about Public Art? Other examples: –Tiananmen Square (1989) –Tilted Arc.

“Do the Right Thing” (Spike Lee) 1989

Page 7: The Violence of Public Art W.J.T. MITCHELL. Why is “Do the Right Thing” a work about Public Art? Other examples: –Tiananmen Square (1989) –Tilted Arc.

Public/Private Art … Symbolic/Actual Violence

• Mitchell argues that these distinctions are eroding.

• Historic link between public art, violence and regime change.

Page 8: The Violence of Public Art W.J.T. MITCHELL. Why is “Do the Right Thing” a work about Public Art? Other examples: –Tiananmen Square (1989) –Tilted Arc.

Kinds of Violence in Public Art

• The image as an act or object of violence: either doing violence or suffering violence.

• The image as a weapon of violence: attack, coercion, incitement or other “dislocations”.

• The image as a representation of violence

• Can be mixed: Pornography is both a representation and a weapon of violence against women.

Page 9: The Violence of Public Art W.J.T. MITCHELL. Why is “Do the Right Thing” a work about Public Art? Other examples: –Tiananmen Square (1989) –Tilted Arc.

His argument for film as public art

• Film can be considered public art because of the blurring of the lines between public and private.– Private Arousal/Public Action in the example

of pornography.

– Differences: Public Art is stable/Film is mobile

– Pacified space vs Commercial private [isolated] space.

– Film uses violence as a climax.

Page 10: The Violence of Public Art W.J.T. MITCHELL. Why is “Do the Right Thing” a work about Public Art? Other examples: –Tiananmen Square (1989) –Tilted Arc.

“Do the Right Thing” as a work of public art

• Not only work of “public art”, but a work about public art.– The “public image” is the “Hall of Fame” in

Sal’s Pizzeria.• Sal’s response is “economic”• As is Buggin’ Out’s.

– A highly realistic representation of the public images of blacks. [Representations]

Page 11: The Violence of Public Art W.J.T. MITCHELL. Why is “Do the Right Thing” a work about Public Art? Other examples: –Tiananmen Square (1989) –Tilted Arc.

Mookie’s Act

• He breaks the window, which is an– Act of Violence that

• Attacks a public symbol• By breaking the boundary between public and

private property.

– Mitchell argues that the act is about more than Mookie’s rage.• Why is it an “ethical intervention”?

Page 12: The Violence of Public Art W.J.T. MITCHELL. Why is “Do the Right Thing” a work about Public Art? Other examples: –Tiananmen Square (1989) –Tilted Arc.

“Do the Right Thing” as a work of violent public art

• It is a– A REPRESENTATION of violence– An ACT of Violence– A WEAPON of Violence.

• Mitchell argues that it is “intelligent violence”, both ethically and aesthetically precise.

• “Daring to dream of a more humane and comprehensive sphere”