Book Review. Art in Urban Space: Reflections on City Culture in Europe and North-America , edited by

The concept of space as a social construction shaped by human actions has prompted the spatial turn in social sciences and humanities. Scholars now delve into spatial practices, place-making processes, and spatial representations within different cultural and historical contexts. This recognition has enriched our comprehension of various aspects of our life, including cultural practices, social processes, and historical sources. Centred around spatial perspectives, the anthology Art in Urban Space: Reflections on City Culture in Europe and North-America (2021) stands as a notable contribution to the Collection Károli series. Edited by Tamás Juhász and published by L’Harmattan, the collection of papers offers a broad view of the interaction between artistic endeavours and urban spaces. The volume encapsulates the recognition that space is far from being a passive backdrop, but rather an active and influential force that shapes and is shaped by human activities, artistic or otherwise. Through its eleven essays, it provides a lens into the complex relationship between art, the city, and the multifaceted nature of space. The contributors acknowledge that artistic expression and engagement with urban environments go beyond mere aesthetics. Instead, art becomes a vehicle for social commentary, cultural exploration, and an avenue to challenge existing norms and power dynamics within urban spaces. By exploring the manifold dimensions of space and the representations of space, the articles aptly acknowledge the agency of artists, artworks, and the audience in shaping the urban environment and exerting influence on our lived experience. The authors examine how artists actively engage with the city, responding to its unique characteristics, history, and socio-political factors. In doing so, the papers uncover the ways in which art can foster dialogue, challenge social inequalities, and contribute

to the formation of inclusive and vibrant urban communities.Moreover, the anthology emphasises that the relationship between art and the city extends beyond physical spaces.
It discusses the intangible aspects of space, such as the emotional, psychological, and symbolic dimensions that art can evoke and provoke through its depiction of urban environments.
The volume is structured into three main sections, each focusing on specific aspects of art and its impact on society and urban spaces.Following the editor's introduction, the first section, "Public Art Considerations", features a collection of papers that share several similarities in their examination of different dimensions of site-specific artistic endeavours.
The authors explore how art installations and projects are intricately crafted to interact with and respond to specific locations.This deliberate approach facilitates a connection between the artwork and its surrounding environment.Holly Lynn Baumgartner's analysis of Tyree Guyton's art installation project in Detroit, Gizela Horváth's exploration of street art, and Adrienne Gálosi's examination of public art all touch upon the significance of sitespecificity in creating meaningful and impactful artistic experiences.The examined artworks exemplify their contribution to fostering dialogue within communities and engaging the broader public.The anthology's second section, "War, Travel, and Resistance", studies the complex evolution of societal dynamics within urban spaces.Ágnes Zsófia Kovács and Michael Collins discuss the historical and cultural legacies embedded within urban environments and the impact of external factors such as architecture, history, and war.
Further contributing to the exploration of societal dynamics, Teodóra Dömötör and Jasamin Kashanipour scrutinise the power strutures and manipulations inherent in society.Their examinations traverse various dimensions, encompassing the perception of gender roles, the dominance of consumer culture, and the delicate balance between individual autonomy and external control.The anthology encompasses a wide range of urban phenomena from the 20 th and 21 st centuries, yet it also delves into the historical city cultures, particularly focusing on the city of London.In the closing section titled "London: Word, Action, and Image", the authors adopt a historical lens to scrutinise urban spaces throughout different time periods.Whether it is the examination of Queen Elizabeth's coronation entry into London during the 16 th century, the exploration of London's cultural landscape in the 18 th century, or the analysis of the industrial revolution's impact on the city during the Victorian era, these papers illuminate the socio-political and cultural forces that shaped urban environments in various historical contexts.Erzsébet Stróbl's analysis of a royal procession, Dóra Csikós Janczer's interpretation of William Hogarth's prints, and Éva Péteri's exploration of Ford Madox Brown's painting map out the visual elements and the connections between art and society.Krisztina Kitti TÓTH.Book Review.Art in Urban Space: Reflections on City Culture in Europe and North-America, edited by Tamás Juhász A significant aspect of these papers is their utilisation of visual analysis to unravel the symbolic and allegorical meanings that are embedded in artistic expressions found within urban environments, both in their physical manifestations and depictions.While distinct in its approach, Sarah Butler's paper similarly highlights the complexities of urban life and further expands upon it by scrutinising the notion of home and sense of belonging as presented in her own writings.
The initial analysis presented gives an examination of Tyree Guyton's site-specific art installation, The Heidelberg Project in Detroit.Holly Lynn Baumgartner's investigation uncovers the social, political, aesthetic, and narrative dimensions inherent in Guyton's community-led artwork.The study unveils Guyton's ability to metamorphose his childhood neighbourhood into a dynamically evolving, immersive art museum that seamlessly merges indoor and outdoor spaces.The analysis elucidates how The Heidelberg Project serves as a catalyst force, drawing attention to the pressing challenges faced by marginalised and forgotten neighbourhoods of Detroit.Furthermore, as Baumgarten argues, the project itself stimulates a much-needed discourse on the themes of public engagement, education, urban regeneration, and community building.Having blossomed into a community-led art village, the project functions now as a vital hub for arts education and fostering social dialogue.Baumgarten highlights the transformative power exhibited by this alternative historical narrative stands as a testament to its enduring impact on the fabric of society.
The project holds the potential to resonate most profoundly within the future generations, as it actively engages them.Through this influence the project will shape their perceptions, values, and aspirations, ultimately contributing to their cultural and critical development.
The site-specificity and ephemeral nature of art is also reflected in the following analysis.
In her exploration of street art, Gizela Horváth undertakes an investigation, aiming to discern whether this artistic form truly accomplishes the revival of art.By referencing Banksy, Horváth brings to light the concept of a "battle for visibility" (p.44), which paradoxically emerges within the domain of street artists in the new millennium, who adamantly advocate for anonymity.Furthermore, Horváth undertakes an examination of Dan Perjovschi's artistic projects and Gabriel Miloia's Muian project recognising their shared attributes of being timely, critical, and popular.Perjovschi's works, renowned for their social and political commentary, resonate deeply with contemporary issues and garner widespread recognition.
Similarly, Miloia's Muian project captivates audiences with its relevance and critical insights.
Both artists effectively utilise their platforms-the public walls of streets-to engage with societal concerns and to foster meaningful dialogue that resonates with a wide audience.Teodóra Dömötör presents an analysis of Ernest Hemingway's short story, A Very Short Story (1925), specifically examining its narrative depiction of New York as a personified city with a notable feminizing influence.By undertaking this examination, Dömötör unveils the interactions between urban spaces and gender, unravelling the ways in which the city-and its dwellers-shape the notion of masculinity.Going beyond the boundaries of Hemingway's literary work, Dömötör incorporates insights from the author's biographical background to provide a contextual analysis.This approach offers a nuanced perspective on the relationship between Hemingway's personal experiences and the narrative representation of urban spaces.Through the examination of these diverse examples, the author identifies recurring themes that involve controlling and dominating maternal figures, as well as the struggles surrounding male power within Hemingway's oeuvre.Dömötör scrutinises the profound impact of 1920s New York's social history on Hemingway's work, emphasising its role in the gradual erosion of masculine constructs after World War I.
The author sheds light on the relationship between urban spaces, social dynamics, and the ever-changing concept of masculinity, contributing to a deeper understanding of this complex evolution.Through his engaging approach and broad perspective, Collins provides valuable insights into the interconnections between urban spaces, the psychological conditions imposed by wartime circumstances, and the enduring and vital role of open-minded creative synergies.Jasamin Kashanipour's scholarly work appears as a natural progression of Collins's concluding thoughts, as in her opening thoughts she delves into an exploration of the diverse benefits that urban inhabitants derive from their urban surroundings.Central to her analysis is the concept of "ratification", which Kashanipour draws primarily from the works of Finnish scholars such as Levanto, Naukkarinen, and Vihma.These scholars posit that "ratification" manifests when non-artistic entities or phenomena are influenced by artistic processes, without necessarily undergoing a transformation into conventional art forms as traditionally understood.Adopting an anthropological perspective, Kashanipour employs an ethnographic approach inspired by the work of Clifford Geertz.Within this framework, she engages in an examination of two individuals referred to by the pseudonyms Toni and Doris.Her ethnographic approach captures the narratives of the two individuals who actively resist dominant cultural forces.She discusses the lived experiences of Toni and Doris who consciously reject to lead a life dictated by commodity culture and "faceless and unrecognizable" (183) neoliberal systems.By examining the repressive aspects of Metternich's regime alongside the contemporary consumer society, Kashanipour provides a reading of the continuities and transformations in power structures, revealing how mechanisms of control persist and evolve over time.Kashanipour's analysis of both Metternich's repressive regime of the nineteenth-century and contemporary consumer society denotes the enduring-and evolving-nature of power structures.Ultimately, the paper departs from its initial focus on "ratification", yet it continues to provide a thought-provoking exploration of the manipulations inherent in the capitalist system.However, in contrast to many critics of the capitalist system, the paper presents compelling alternatives through real-life examples and case studies.In this way, the study offers pathways for reclaiming our autonomous self and pursuing lives free from the confines imposed by unyielding economic growth.

Michael
The third section of this anthology is dedicated to the vibrant urban space of London, offering intriguing cultural and historical insights and perspectives.Erzsébet Stróbl's paper focuses on Queen Elizabeth's notable coronation entry into London in 1559.
In "Normal City with Normal Art", Adrienne Gálosi conducts an analysis of public art, encompassing its historical context, interpretive dimensions, and impact on both communities and urban development.By exploring the ramifications of the decline of traditional industries and the advent of globalization, Gálosi highlights the transformative effects that ultimately gave rise to the discourse surrounding creative cities.Within the context of gentrification, Gálosi's critical inquiry offers valuable insights into its multifaceted manifestations.With a keen focus on the interplay between commercialization, popular culture, and the art world, Gálosi exposes the underlying processes that contribute to the "aesthetisation" of cities.This phenomenon, characterised by the prioritization visual allure and the infusion of artistic elements, often comes at the expense of other vital urban considerations.To support her arguments, Gálosi presents compelling case studies, notably Richard Serra's Tilted Arc and John Ahearn's 44 th Police Precinct in Bronx.These site-specific public art installations faced removal due to their disruptive and disquieting nature, failing to align with the intended goal of normalising the urban environment.Like Baumgartner and Horváth, Gálosi underscores the capacity of street art and public art to engender significant dialogues, stimulate critical perspectives, and leave a lasting impact on urban environments.The research conducted on endeavours of this nature holds immense significance, as it has the potential to provide valuable insights into the transformative capacities of street art and public art.By exploring these artistic interventions, the papers in this section not only address significant societal issues but also have the ability to stimulate contemplation and active engagement among readers.They tackle the crucial role of public engagement in the creation and appreciation of art.Next, Ágnes Zsófia Kovács researches Edith Wharton's intriguing travel writings focusing on Italy and France.Kovács unravels Wharton's keen observations of visual culture, architectural spaces, and the historical and cultural legacy embedded within them.Within the analysis, the exploration extends to the influence of John Ruskin's architectural methodology on Wharton's travelogues, with particular emphasis on her deep connection to the emotional and ornamental Baroque forms.The interwoven threads of visual culture, architecture, and the artistic continuum are underscored throughout the article.Wharton's profound engagement with the interconnections within art history resonates strongly with Virginia Woolf's own contemplation of literary continuity expressed in her seminal work A Room of One's Own (1929) as well as with T. S. Eliot's insights in his essay Tradition and the Individual Talent (1919).As Kovács notes, "Wharton argues that artistic modes and styles evolve organically from one another and should not be solely judged in isolation" (p.88).This comprehension contributes to Wharton's investigation Krisztina Kitti TÓTH.Book Review.Art in Urban Space: Reflections on City Culture in Europe and North-America, edited by Tamás Juhász of the relationship between the Renaissance and Baroque stylistic elements within the realm of garden art, as well as the inherent interconnectedness of garden compositions with classical Italian garden art.By means of Kovács' comparative analysis, readers are invited to engage deeply in Wharton's and Ruskin's notions regarding the significance of perception, architectural observation, and the intrinsic relationship between architecture, its surroundings, and its inhabitants.
Collins's contribution presents a thought-provoking exploration of cities during wartime, highlighting the interconnections between seemingly disparate urban centres such as Berlin, Paris, London, La Havre, Port of Spain, and Saigon (known today as Ho Chi Minh City).With a focus on the historical, political, social and economic dimensions of these cities during World War II, Collins investigates their transformation into anti-cities that deviate from peacetime cities characterised by vibrant intellectual life.Collins takes a fascinating approach by centring his argumentation around the experiences and perspectives of influential intellectuals.By drawing upon the insights of prominent figures such as Walter Benjamin, Albert Einstein, Jean-Paul Sartre, V.S. Naipaul, Bernardine Evaristo, Yusef Komunyakaa, Eric Williams, and Derek Walcott, Collins uncovers the narratives woven into the fabric of the urban spaces.These intellectuals' personal encounters, life tragedies, and reflections contribute to a multi-dimensional understanding of the cities' metamorphosis into anti-cities.Collins's paper stands out as an associative and imaginative piece of Krisztina Kitti TÓTH.Book Review.Art in Urban Space: Reflections on City Culture in Europe and North-America, edited by Tamás Juhász writing, painting a picture of the creative freedom fostered by intellectual cross-fertilisation.
Stróbl analyses this unique public procession, shedding light on its symbolic and allegorical meanings.Through an examination of contemporary documents and written accounts, Stróbl demonstrates how London transformed into an open-air stage for performances, Krisztina Kitti TÓTH.Book Review.Art in Urban Space: Reflections on City Culture in Europe and North-America, edited by Tamás Juhász