Nov 18th 2010

Known for his public art involving seating, benches, and chairs, Scott Burton turned to making sculpture from performance art in the 1970s. Based on new archival research, David Getsy, School of the Art Institute of Chicago, examines the origins of what Burton called his “democratic” mode of public sculpture in the artist’s engagement with cultural politics, feminism, gay liberation, and the art world in the 1970s. While Burton’s public seating may look innocuous, Getsy argues that its agenda is more complex and more political than it at first appears.

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