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Christian Moeller, Hands (2010); Mineta San Jose International Airport, CA; Selected for 2011 Year in Review. Photographer: Nick Merrick © Hedrich Blessing; Fentress Architects

Americans for the Arts' Public Art Network (PAN) is the only professional network in the United States dedicated to the field of public art. As a program of Americans for the Arts, PAN strengthens efforts to advocate for policies and best practices that serve communities creating public art. More than 350 public art programs exist in the United States at the federal, state, and local level. The PAN network brings together artists, community members, and art and design professionals through online resources, professional development and education opportunities, knowledge-sharing practices, and strategic partnerships.


Sep 13, 2011

The remains of that day


By Simon Schama, Financial Times, 9/2/11

What are public memorials for? Are they meant to perpetuate the sorrow of loss; pay a debt of respect, or set a boundary about grief by turning it to public reverence? Must their primary obligation always be to the immediately bereaved? Should such places be no more than a site where those victimised by slaughter can find consolation in a community of mourning? Or is a public memorial, by definition, created to make something more universally redeeming from atrocious ruin? Does remembrance invite instruction or forbid it? Should it make mourners of us all; bow the heads and stop the mouths of all who stand before it? Is it greatly to their credit that Presidents George W Bush and Barack Obama will stand at that haunted site on the 10th anniversary and not utter a word? Or is that silence a missed opportunity for reflection?


For some of us these will never be purely academic questions. I was in New York on 9/11 and in London on 7/7. I am a citizen of both of these unapologetically secular, mostly tolerant, rowdily cosmopolitan cities that the exterminating apostles of destruction chose as their target. I am at home in both places: I think of them as “the mansion house of liberty” – in John Milton’s fine phrase from Areopagitica, the poet’s passionate 1644 defence of freedom of publication – and the temerity of that liberty was, in the mind of the murderers, cause enough for immolation.

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