Public art and its place in Iran

Dissertation for Master's degree (M.A)

Tension: Painting

Abstract: As the urban space becomes more compact and concrete, disorder and lack of visual identity occur more and the adverse consequences are caused by the face of the urban patient, lack of ease in sending and receiving visual messages from the environment, subsequent stimulation and mental exhaustion and deprivation of peace, lack of proper communication and sense of belonging with the environment and lack of motivation for activity and more feelings. they become Considering the tremendous impact of the living environment on the psyche and human activity and the importance of humanizing the appearance of the living space as much as possible, it is necessary to try to improve the face of cities along with trying to improve the performance of cities in order to humanize human life. Therefore, environmental sculpture should focus on solving these problems. The sudden change of the face of the city due to the fundamental transformation in architecture and urban planning on the one hand and the discovery of a new scope in the field of thinking and sculptural practice on the other hand, has completely transformed the relationship between architecture and sculpture. The concept of volume is an organized space, a continuous field between sculpture, architecture and environment design. From this point of view, the city is formed first of all from the movement and mixing of space and structures. Organizing the urban environment as an organized form and space, reducing visual pollution, creating more unity in the structure of space and urban volumes, giving identity to urban elements and spaces as wall elements and making it possible to easily send and receive visual effects are the general requirements of changing the face of the city, which can improve the impact of public spaces on the city. Adding volume randomly, like adding any other active visual element, can lead to confusion and disorganization. Environmental sculptures as an element of the urban environment should be selected and installed according to the general urban criteria and requirements and the visual requirements and characteristics of the urban face so as not to add to the crowding of the urban environment and not reduce the efficiency and impact of the sculpture. This research has been carried out in a library method. Chapter 1: General design: 1-1 - statement of the research problem: In traditional societies, the transition from tradition to modernity is formed not through the passage of time and the context of society, but through imported culture, and in the meantime, phenomena appear that lack Proper attention to them leads to irreparable results. Among the results of the change of attitude from tradition to modernity in the field of art is the break between the audience and the artist. This separation is manifested in all art disciplines, which are related to the western academy, and the distance between the artist and the audience - through the work of art - increases. Considering the history of sculpture in Iran and the long break in history and the process of its presence in the social context, the historical understanding of Iranian society about sculpture and sculpture is completely different from other nations of the same age. Therefore, the definition of sculpture for the general Iranian audience, with the new teaching of sculpture and its new approaches in academic teachings - which is sometimes difficult to understand even by the experts - is very different and makes it impossible for the general public to communicate with the work of art. Based on this, the separation of artists and people is increasing day by day and works of art are left abandoned in the corners of studios, exhibition halls and museums; And vulgar and superficial things are placed in the view of people. In the meantime, urban sculpture can play an effective role in improving the perception of the audience and, with the communication between the audience and the contemporary sculptor, provide an arena for the presentation of valuable works. In a way, it can be said that public art is with the people. It changes like people in different geographies at different times and in different cultures and does not have a certain format. And it tries to be a good neighbor to other citizens like a citizen. Examining, recognizing and defining public art and its place in different societies and its role in Iran is the issue of this research. 1-2- The importance of the research topic and the reasons for choosing it. :

Large-scale sculpture, often a far cry from the bronze horses of parks and public figures of the past, has recently become a permanent fixture of urban landscape culture. In fact, this contemporary renaissance of public art is the first major revival of urban art in the last fifty years.

Not since before the First World War, when the neoclassical school of art filled the landscape with public sculptures, has artistic activity been so impressive. Apart from a small experiment with social motifs in mural painting, led in the 1940s by the WPA State Art Program, the concept of public art remained largely dormant.

Today's popularity of public sculpture actually had its roots in the 1950s. When David Smith's impressive collection of large, welded sculptures hit the art scene (images pages 198 and 199), people became aware of the exciting power of large-scale, open-air artwork. Smith's habit of placing completed works in the wide open spaces surrounding his studio in Bulletin Landing, New York, convinced some museum directors and high-ranking staff that this type of art could work effectively outside museum walls. In fact, these large and shiny structures of stainless steel, equivalent to the dynamic and expressionist abstract painting of that era in sculpture, could only be imagined in the open air. By the mid-sixties, large-scale sculpture had begun, many artists were now making large pieces with many industrial materials, but the public reception of this art and their distribution system was still incomplete. People needed time to think and understand the extent and possible meaning of these mysterious works. (Hovardji, Smagola, 2013, 20, 21)

Among this uniformity and civil record, art and especially sculpture play a significant role in urban design and spatialization, which is something beyond mere decoration and external beauty. Sculpting will have a role beyond mere utility with internal capture and acknowledgment of aesthetic values.

Sculpture, by increasing the amount of visual pleasure in the environment, causes the mind not to surrender to the existing systems

. In order to understand the necessity of such a thing, it seems necessary to analyze the lower levels of phenomenology to discover the visual psychological value. Visual aspects that are known in their broad sense as "urban sculpture". Introducing good examples of such activities in the field of urban furniture will guide us in beautifying other cities.  (Biharlo, 1389, 10)

In this regard, various activities and huge investments are being implemented in different parts of the world, whose planners and practitioners have different expectations about the performance and reflection of these art projects in the eyes of their communities, especially the young generation. Common.

Functions of common art.

Examining it in different societies and Iran.

Examining the works done in this regard in Iran.

Research questions or hypotheses:

(expressing the relationships between the studied variables)

- Are the works in the squares and the city level able to Can the goals of public art be achieved? - Has public art been effective in raising the level of public awareness? - Has public art been able to partially fill the gap created between people and art? - The role of public art in improving the general audience's perception of art. Research:

Public art is not about the existence of the individual, it is about the existence of others. It's not about personal tastes, it's about other people's needs. It is not about the fear and hope of the artist, it is about the joy and happiness of others. It is not about the legendary personality of the artist, it is about socialization of art. It is not intended to give people a feeling of smallness and insignificance, it is intended to give people a sense of superiority and splendor.

It is not intended to create a distance between the sublime culture and the general public, it is intended to make art public and the artist is one of the public. be made Public art is that which is experienced by the public.

Public art is not public art. Just like, for example, the art of Hitler's Nazis and Stalin's communists was public art. Public art does not create myths and imaginations, nor does it solve all social problems. Public art does not replace social assistance and does not fill its place, except for the green space next to the towers.