Pubic Space is Public Canvas in San Francisco: An Analysis of 534 Artworks

The following text comes from the recent ArtAround publication, Analysis: San Francisco, a 25-page report based on manually compiled and indexed data on 534 artworks documented across the 7×7 square miles of the city, in a documentary endeavor I conducted (and previously wrote about here) between June 2013 and May 2015. The report offers charts and data on the Where, Who, What, How, and When...

Kaleidoscopic Wonder, Seen in Passing at Intersections

n February 2019, I was in Boston to see the band Dawes with my husband and brothers—but of course there was a lot of new public art to check out during the short 48 hours I’d be in the city. At the top of my list was Spanish artist Okuda San Miguel’s 2018 sculptural series, Air Sea Land, new to Boston since I’d last been there. The project was a perfect confluence of favorites:...

The Limits of Subversion-as-Artwork in Banksy’s “Love is in the Bin”

hat follows is a completely opinionated analysis of Banksy’s recently infamous Love is in the Bin, which took the form of both art as action and a resulting physical artwork. He blended media and message to create something new (a mix of performance and Marcel Duchamp’s Fountain) while following a predictable pattern of “sticking it to the man”; falling right in line with...

Untouchable: Diana Al-Hadid’s “Delirious Matter” & #MeToo

When I visited Diana Al-Hadid’s Delirious Matter in Madison Square Park, it was hot, lunchtime, and crowded. Made more crowded by the fact that most of the lawns were off-limits, declared as “resting” and forming protective barriers around four of the six sculptures in the exhibition. I was just glad at least one of the three works I was really here to see—collectively...

About the Author



Lindsey Mancini is an arts accessibility activist and digital strategist studying the essential connectedness—or disconnectedness—between art and community.

She currently works in communications at the Yale School of Art, and teaches as an adjunct professor of contemporary art at Eastern Connecticut State University. In 2017 she earned an MS with distinction in the history of art & design from Pratt Institute, where she wrote her 80-page thesis on street art theory. Lindsey is currently pursuing a PhD in Visual Arts, Philosophy, Aesthetics, and Art Theory from the Institute for Doctoral Studies in the Visual Arts.