Abstract
In this chapter, Ross Rudesch Harley charts the course of Kaldor Public Art Projects’ novel forms of public engagement, with a focus on the establishment of the KPAP online archive. The project gave digital form to the many ways education and public engagement have coincided, particularly since 2010.
The cassette will diversify the video culture. Now there is only one television structure in the United States, one-way communication from three major networks. You get their kind of television, or you must cut it off. But in the future world, you will have cable TV, video cassettes, and picture phones… Why move, why drive somewhere in your car, if you can do everything right at home?
—Nam June Paik, 1973 (Nam June Paik, quoted in David Joselit, Feedback: Television Against Democracy, p. 46.)
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Notes
- 1.
Joan Rothfuss, Topless Cellist: The Improbable Life of Charlotte Moorman, p. 314.
- 2.
Stephen Jones, ‘Charlotte Moorman and Nam June Paik in Australia’.
- 3.
Kate Horsfield, ‘Busting the Tube: A Brief History of Video Art’, p. 9.
- 4.
Jack Burnham, ‘Notes on Art and Information Processing’, p. 154.
- 5.
Sophie Forbat (ed.), 40 Years: Kaldor Public Art Projects, p. 64.
- 6.
Hans Ulrich Obrist, ‘Interviews’, p. 214.
- 7.
Vittorio Gallese, ‘Bodily Framing’, p. 242.
- 8.
Former Kaldor projects curator Adam Free developed the MOVE program; see Adam Free, “Move: Video Art in Schools”, in Sophie Forbat (ed.), 40 Years: Kaldor Public Art Projects, pp. 273–279.
- 9.
Former Kaldor Public Art Projects education manager Sue Saxon was instrumental in shaping the earlier strands of education programming into a coherent and sustainable strategy from 2011.
- 10.
Nick Serota, transcript from unpublished keynote address, “All Schools Should Be Art Schools” symposium, UNSW Art & Design, Paddington, Sydney, Australia, 2018.
- 11.
Richard Rinehart and Jon Ippolito, Re-collection: Art, New Media, and Social Memory, p. 46.
References
Forbat, Sophie (ed), 40 Years: Kaldor Public Art Projects, Sydney: Kaldor Public Art Projects, 2009.
Hilderbrand, Lucas and Horsfield, Kate (eds), Feedback: The Video Data Bank Catalogue of Video Art an Artist Interviews, Philadelphia: Temple University Press, 2006.
Jones, Stephen, “Charlotte Moorman and Nam June Paik in Australia”, Scanlines: Media Art in Australia Since the 1960s, http://scanlines.net/node/816, viewed 12 September 2019.
Jones, Caroline, Mather, David and Uchill, Rebecca (eds), Experience: Culture Cognition and the Common Sense, Cambridge: MIT Press, 2016.
Joselit, David, Feedback: Television Against Democracy, Cambridge: MIT Press, 2007.
O’Callaghan, G and Gowing, M (eds), Making Public Art: Kaldor Public Art Projects 1969–2019, Sydney: Kaldor Public Art Projects, 2020.
Ragain, Melissa (ed), Dissolve into Comprehension: Writings and Interviews, 1964–2004, Cambridge: MIT Press, 2015.
Rinehart, Richard and Ippolito, Jon, Re-collection: Art, New Media, and Social Memory, Cambridge: MIT Press, 2014.
Rothfuss, Joan, Topless Cellist: The Improbable Life of Charlotte Moorman, Cambridge: MIT Press, 2014.
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Harley, R.R. (2021). Public Art and Education in the Age of Digital Archives. In: Potts, J. (eds) Use and Reuse of the Digital Archive. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-79523-8_4
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