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Sculptural Infrastructure, Cosmic Altar: Nathaniel Donnett installs “Sub-woofer” for the city of New Haven

From the sidewalk, you might see it from across the street. It looks like it’s supposed to be there, a bit of straightforward wooden fencing that might contain an electrical box or some other public utility. But if you look closely you’ll notice the solitary panel in deep blue, and if you cross the street you’ll see the wood is patterned and that together, the whole of this object stands as an...

Fixing the story we tell ourselves: Why all Confederate monuments must come down

The summer before I started eighth grade, my family moved from a suburb of Hollywood, Florida to Fairhope, Alabama — and on my school calendar, Martin Luther King Jr. Day suddenly become M.L.K. / Robert E. Lee Day. I was a little confused, because didn’t these two historical figures stand in direct opposition to one another? Also, wasn’t this new guy technically a traitor? I could sense, but...

Dreams come true when you refuse to give up

Almost a decade ago and across the country, I started a journey that in a lot of ways is really just beginning today. Today, the mapping platform I self-funded and the WordPress website I built to function in tandem with it are both finally ready for public consumption. It’s already been a long road and there’s so much more I want to do, but today I can celebrate because the digital...

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:...

Mapping art in Atlanta and beyond: An interview with Art Rudick

A retired engineer who splits his time between Atlanta, Georgia and Ormond Beach, Florida, Art Rudick started StreetArtMap.org in 2017 and started building an online field guide for finding murals and street art around Atlanta. We’ve been online friends since then, and Art was kind enough, both to be ArtAround’s first official art-mapper / Ambassador and to answer a few of my...

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...

About the Author

Lindsey

Lindsey

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.