Public art in cities: what makes it engaging and interactive?

ABSTRACT

In public art, the paradigm is shifting from ‘look but don’t touch’ towards interactive displays and creations that involve visitors. Accordingly, this study examined some of the factors that lead audiences to interact and engage with public art. Systematic observations of the ‘users’ of 11 public sculptures were conducted in Brisbane, Australia. The investigation revealed that the design features of public art are key to encouraging or deterring visitors. Interaction levels are higher on weekends than on weekdays whereas factors such as the time of day and the location of artworks (parkland, CBD, or neighbourhood) are less influential.

KEYWORDS:

• Public art
• interactive art
• Brisbane
• Australia

Disclosure statement

No potential conflict of interest was reported by the author(s).

Notes

1. An exception may be public artworks that draw public opposition or are rejected (and even vandalized) by the public for political, functional, or aesthetic reasons; these do attract the attention of scholars (Stevens and Lossau 2014).

2. The largest sculpture in this genre may be Christ the Redeemer in Rio de Janeiro.

3. An exception may be cities with a prevalence of Islam or other faiths that condemn idolatry (e.g., the depiction of human figures).

4. Large, abstract pieces on display in front of corporate headquarters, bearing little connection to the urban surroundings but serving as business emblems.

5. Similar ‘Percent for Art’ schemes have existed in the U.K. for decades (Hamilton, Forsyth, and De Iongh 2001).

6. The ranking is similar when the mean score is considered instead of the total.