Happy Friday, and welcome to another edition of the public art news roundup.
Over the past week and a half, I’ve been slowly unpacking all my worldly possessions from the taped-up liquor boxes I had used to move them out of Queens. I’m very allergic to reminiscing but also somehow kind of a hoarder, so it’s been a harrowing experience coming face to face with old boarding passes, movie tickets, receipts, filled up journals, bent museum pins, photos and other artifacts one after the other.
I weathered it by taking frequent reading breaks to distract myself, so you get a lot of links this week:
From Las Vegas Weekly, one of the most refreshing ledes I’ve read in a long time despite the mixed metaphor, seriously someone get this engraved for me please.
Four new artworks will go on view at the San Francisco airport on Nov. 18.
Undocumented kids in Michigan channel their frustrations with immigration policy into murals.
The Guardian has cool renderings of proposed public art structures that also generate renewable power, my favorite being the “Solar Hourglass,” which looks like it might have been originally commissioned by a Bond villain before the designer had a crisis of conscience.
Rolling Stone called #ALLMYMOVIES “genius,” the Atlantic was unimpressed, Vanity Fair called it “art” with the quote marks, the New York Times gave their usual pop culture layman’s explainer, and Gothamist just reported the heck out of it.
The Albany Democrat Herald analyzes a tied-vote over the city’s percent for art program.
My colleague at the Astoria Post wrote about two elected officials’ attempt to stave off illegal graffiti with commissioned murals.
I have a feeling Charles from Indianapolis wouldn’t think much of their efforts.
Featured Image: Rendering of the proposed Solar Hourglass project, Santiago Muros Cortés. Source: theguardian.com.