Nicolas whybrow art and the city

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Item added to basket. Checkout Continue Shopping. Art and the City Nicolas Whybrow Author. Add to basket. Add to wishlist. Ebook help. You must sign in to add this item to your wishlist. Please sign in or create an account. Description To Henri Lefebvre, the space and 'lived everydayness' of the inter-dependent, multi-faceted city produces manifold possibilities of identifiction and realisation through often imperceptible interactions and practices.

Close Preview. Tauris Illustrations 27 integrated bw Publisher Bloomsbury Publishing. About the contributors. Related Titles. In and Out of View. Catha Paquette. Art Nouveau. Charlotte Ashby. Daniel Neofetou.

John-Paul Stonard. Laura Knight. Anthony Spira. Popular Pleasures. Paul Duncum. Frans Hals. Lelia Packer. Concentrationary Memories. Griselda Pollock. Culture and Art: An Anthology. Lars Aagaard-Mogensen ed. On the Traditional Doctrine of Art. Ananda Kentish Coomaraswamy - - Golgonooza Press. Art History and Class Struggle. Nicos Hadjinicolaou - - Pluto Press.

Louwrien Wijers ed. Street Art: The Transfiguration of the Commonplaces. Thomas Eddington - - Gloucester Art Press. The Philosophy of Art History. Arnold Hauser - - New York: Knopf. Trying to Define Art as the Sum of the Arts. Stephen Davies - unknown. The Artist as Public Intellectual? Lectures on Art. The Making and Meaning of Art. Having pleaded thus for infrastructure to be seen as integral to culture, a conceptual elaboration of that would be to take into account the following: one of the perceived shortcomings of urban planning is the failure to put the sensitized human body first ahead of the concerns of design, developers, architecture, commerce and vehicular traffic.

In other words, an approach that is preoccupied with the rhythmical and arrhythmical movements, desires and behaviours of people and, for that matter, with the air of the unbuilt environment that we all breathe.

As Henri Lefebvre showed a long time ago, urban space is not merely a container or backdrop for human activity but is produced and shaped in the first place by the actions and movements of people and other non-human phenomena. In other words, the manner in which human bodies are permitted to move in urban space is essential in determining the quality of the life that goes on in the city: its standards and its particular character.

Similarly, the absence of fossil-fuel-based polluting factors has revealed how clean and wholesome the air that we are bound to breathe can become, while the reduction of noise allows us to hear unforeseen things.

As Matthew Beaumont recently put it in a Guardian newspaper article:. During the national lockdown, as we took to the streets on our feet, we, too, thrilled to the presence of nature in our cities. When we went for a walk, we actually looked at the city, processing its fascinating kaleidoscopic forms. Beaumont More significantly perhaps, that cities are for the people that live in them , not the privileged tourists — so often seen as the point of departure of City of Culture-type planning — that may or may not visit.

And that consideration would include the integration of arts and culture, whose purpose should be to generate a sense of local ownership and participation. One of its main strategies is to create city centres in which people are moved to linger paradoxical as that may sound. And that means centres where a wide range of constituencies naturally intersect. Thus, impromptu, variegated communities are created over and over amid a general urban paradigm of feeling safe and sensing opportunities to walk, sit, chat, witness, listen, play and relax.

It is a matter of image enhancement. Medium-size cities in the UK struggle to reinvent themselves since citizens no longer see any reason to make use of city centres particularly for retail purposes. Arguably, the planning of city centres around the needs of car traffic has had its day in so many ways, but not least in terms of pollution and the health and wellbeing of citizens. And, by the way, introducing electric cars is all very well but still implies retaining an urban infrastructure predominantly designed around the needs of vehicles, to say nothing of pollutions that are caused by factors other than fossil-fuel exhausts braking, for instance, is known to release its own toxicities into the urban air.

It consciously stands the current state of mid-twentieth century modernist designs and utopian thinking in relation to the way they have played out in time some seventy-five years later and at a point where the scope for rethinking and innovation is timely with a global climate emergency being declared and the city being in a position via its status as UK City of Culture to address questions of cultural infrastructure.

Photos : Rob Batterbee. Beaumont, M. Guardian , 17 October. Chatterton, P.