In consideration of the function of public art, here's a quick look at performance art in the form of Flash Mobs, which are groups of people who gather in a usually predetermined location, perform some brief action, and then quickly disperse.
Flash Mobs would be an example of "relational aesthetics" that envelopes the viewer as part of the installation either in opposition or some other invitation for engagement explored in Claire Bishop's essay: "Antagonism and Relational Aesthetics."
They often include singers who step out from the crowd to join a chorus
This event at the Reading Terminal Market in downtown Philadelphia was featured in the New York Times recently. It was sponsored by the Knight Foundation arts initiative.
A reporter for the newspaper was ready for the organized performance and watched the gradual effect of the flash mob on the oblivious crowd. No one at the emporium seemed to pay much mind when the sound of recorded music floated through the air. This man standing in line at a cheese steak stand raised his arm and turned to the crowd and sang “votre toast, je peux vous le rendre” in baritone. Another man leaped onto a table across the court and took up the second verse. He was joined by a third man, who had seemingly wandered in from the crowd.
And soon more than 30 members of the Opera Company of Philadelphia chorus were singing, dancing and toasting one another with coffee and soda cups.
Social media has greatly aided the organization of such events, such as Flashmob Detroit! on Facebook. Organizers will record the events and post the videos on YouTube, which sends them viral. However, once grassroots, Flash Mobs have been quickly appropriated by commercial interests and are now disseminated as viral marketing campaigns.
The Philadelphia Opera Company organized this Flash Mob at Macy's which was organized by the Knight Arts Program, begun last March by the John S. and James L. Knight Foundation.
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