ONE PLACE AFTER ANOTHER - Monoskop

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Panza Collection, 39
Percent for Art, 57, 64, 83, 103
Peters, Robert, 102, 190 (n. 4), 207 (n. 53)
Picasso, Pablo, 104
Place-bound identity, 8, 52–55, 157–159, 165–166
Placelessness, 8–9, 156–159. See also Nomadism
of modernist art, 11, 30, 63, 65
“Places with a Past: New Site-Specific Art at Charleston’s Spoleto Festival,” 52–53, 55
Ploof, John. See Haha
Production of space, 158–159
Public art. See also Community-based art; New genre public art
as design of public spaces, 5, 60, 64–69, 72, 108
functionalism and utility of, 5, 66, 69, 72, 74, 96
in public places, 60–67, 108
in relation to architecture and urbanism, 5, 63–67, 181 (n. 11)
and site specificity, 57, 65–68, 108–109, 115
as social/political activism, 60, 105–108, 110–111, 142–143
Raven, Arlene, 60, 105–106, 142
Reichek, Elaine, 124–126
Robins, Kevin, 54
Rollins, Tim (and K.O.S.), 60
Sandrow, Hope, 60, 142
Saret, Alan, 33
Schwartz, Martha, 56–57
Federal Plaza, New York, 58
Sculpture
differential relation to architecture, 75, 78
integrated with architecture, 63–67
in relation to community-based art, 110
Sculpture Chicago, 100, 102–103, 117, 121–125, 140–141, 150, 189–190 (n. 1)
“Sculpture. Projects in Münster 1997,” 54
Seattle Arts Commission (SAC), 103
Serra, Richard, 1, 5, 12–13, 24, 29, 33, 51, 72–75, 78, 82–84, 159
Gutter Corner Splash: Night Shift, 37
Splashing, 34
Splash Piece: Casting, 33, 35, 36
Tilted Arc, 5, 12, 29, 57, 71, 72–83, 76–77, 84, 94, 98, 110