Wednesday, January 9, 2013
Tuesday, January 8, 2013
Monday, January 7, 2013
Socially engaged art at UCSD provides food for thought in La Jolla | La Jolla Light
Socially engaged art at UCSD provides food for thought in La Jolla | La Jolla Light
By Will Bowen
“I went from being an artist who makes things to being an artist who makes things happen.” — Jeremy Deller
Broaden the spectrum of your art appreciation with a visit to the latest exhibit at the University Art Gallery (UAG) at UC San Diego. There, you will have the unparalleled opportunity to view and contemplate some of the best and most significant examples of “socially-engaged” art that has been produced throughout the world since 1991, in a show called, “Living as Form (The Nomadic Version).”
The show was curated by Art History Ph.D. students Sascha Crasnow, Elizabeth Miller, Ph.D. candidate Lara Bullock and curatorial fellow Michelle Hyun. Hyun defines socially engaged art as, “Art that is made from the social mediation of social relations. It’s closer to real-life experience than regular art and often has a protest or politic aspect to it.” Continue Reading Here | La Jolla Light
By Will Bowen
“I went from being an artist who makes things to being an artist who makes things happen.” — Jeremy Deller
Broaden the spectrum of your art appreciation with a visit to the latest exhibit at the University Art Gallery (UAG) at UC San Diego. There, you will have the unparalleled opportunity to view and contemplate some of the best and most significant examples of “socially-engaged” art that has been produced throughout the world since 1991, in a show called, “Living as Form (The Nomadic Version).”
‘The City’ by Chemi Rosado Sijo
The Shifting Aura of Contemporary Art | Art21 Blog
The Shifting Aura of Contemporary Art | Art21 Blog
As a research artist and digital media Ph.D student, I am constantly challenged to reflect critically upon the nature of the various forms which are emerging in contemporary artistic practices. Is there a thread that connects the work of William Kentridge and Mel Chin or Tim Hawkinson and Ann Hamilton, for example? We were given two final texts to read and discuss in my seminar class this week: curator Nicholas Bourriaud’s Relational Aesthetics and art critic Claire Bishop’s Antagonism and Relational Aesthetics (pdf). It was also announced that electronics artist Rafael Lozano-Hemmer, who was scheduled to lecture at the High Museum of Art, and his gallerist would be visiting our class prior to his museum lecture. Excited by this prospect, I delved into the assigned texts hoping to find an idea that resonated with my own interests. I think I might have found a connection but not in the way I had initially hoped for in the readings. Continue Reading Here | Art21 Blog
As a research artist and digital media Ph.D student, I am constantly challenged to reflect critically upon the nature of the various forms which are emerging in contemporary artistic practices. Is there a thread that connects the work of William Kentridge and Mel Chin or Tim Hawkinson and Ann Hamilton, for example? We were given two final texts to read and discuss in my seminar class this week: curator Nicholas Bourriaud’s Relational Aesthetics and art critic Claire Bishop’s Antagonism and Relational Aesthetics (pdf). It was also announced that electronics artist Rafael Lozano-Hemmer, who was scheduled to lecture at the High Museum of Art, and his gallerist would be visiting our class prior to his museum lecture. Excited by this prospect, I delved into the assigned texts hoping to find an idea that resonated with my own interests. I think I might have found a connection but not in the way I had initially hoped for in the readings. Continue Reading Here | Art21 Blog
Living as Form | The MIT Press
Living as Form | The MIT Press
For Buying Options, Start Here
Hardcover | $39.95 Trade | £27.95 | ISBN: 9780262017343 | 280 pp. | 8 x 11 in | 250 color illus., 50 b&w illus.| February 2012
Overview
Over the past twenty years, an abundance of art forms have emerged that use aesthetics to affect social dynamics. These works are often produced by collectives or come out of a community context; they emphasize participation, dialogue, and action, and appear in situations ranging from theater to activism to urban planning to visual art to health care. Engaged with the texture of living, these art works often blur the line between art and life. This book offers the first global portrait of a complex and exciting mode of cultural production—one that has virtually redefined contemporary art practice.
Socially Engaged Art is a Mess Worth Making | SpontaneousInterventions
Socially Engaged Art is a Mess Worth Making
"This is the kind of artwork that makes cynics roll their eyes, because they feel that it limits what is often described as “the autonomy of art.” Referencing the pioneering beliefs of skeptics such as Theodor Adorno, they often voice a concern that this kind of work is neither good politics nor good art. Such critiques should be expected, for socially engaged artwork certainly does defy one of art’s most longstanding principles: uselessness." Read Full Article Here | SpontaneousIntervention
"This is the kind of artwork that makes cynics roll their eyes, because they feel that it limits what is often described as “the autonomy of art.” Referencing the pioneering beliefs of skeptics such as Theodor Adorno, they often voice a concern that this kind of work is neither good politics nor good art. Such critiques should be expected, for socially engaged artwork certainly does defy one of art’s most longstanding principles: uselessness." Read Full Article Here | SpontaneousIntervention
MoMA | Meta-Monumental Garage Sale
MoMA | Meta-Monumental Garage Sale
"For her first solo exhibition at The Museum of Modern Art, New York–based artist Martha Rosler presents her work Meta-Monumental Garage Sale, a large-scale version of the classic American garage sale, in which Museum visitors can browse and buy second-hand goods organized, displayed, and sold by the artist. The installation fills MoMA’s Marron Atrium with strange and everyday objects donated by the artist, MoMA staff, and the general public, creating a lively space for exchange between Rosler and her customers as they haggle over prices. If customers agree, they may be photographed with their purchases. The project also includes a newspaper and an active website.
Martha Rosler is widely regarded as one of the most influential artists of her generation, one whose artistic practice, teaching, and writing continue to influence succeeding generations. Rosler makes “art about the commonplace, art that illuminates social life,” examining the everyday by means of photography, performance, video, and installation."
Sunday, January 6, 2013
Alison Knowles, Salad as Performance Art : The New Yorker
Knowles premiered “Make a Salad” in 1962, as a leading member of the Fluxus artist group, founded in downtown New York. The idea was to connect high art with daily life. (In another project, 1969’s “Identical Lunch,” she recreated the circumstances of her habitual midday meal: “a tunafish sandwich on wheat toast, with lettuce and butter, no mayo, and a cup of soup or a glass of buttermilk.”) But the giant salad performance may be her best loved. “Everybody can enter into it by eating it,” explained Knowles, who has presented the piece at least a dozen times. Now it was being revived to celebrate Earth Day.
Friday, December 21, 2012
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Friday, June 1, 2012
CONFLICT AS A JUMPING-OFF POINT FOR CREATIVITY | Bill Peduto for Pittsburgh
CONFLICT AS A JUMPING-OFF POINT FOR CREATIVITY | Bill Peduto for Pittsburgh
When artist Jon Rubin moved to Pittsburgh in 2006 to teach at Carnegie Mellon University, he decided to experiment with some of the local materials: cheap real estate and good people. “Midwestern culture values openness and community engagement,” he observes. Three years ago, he rented a storefront in the city’s emerging East Liberty district for $500 a month and opened Waffle Shop, a place where hip locals can enjoy breakfast fare at all hours while participating in Web-streamed talk shows covering topics from “Michael Jackson and Teabaggers” to “Dolphin Breeding in Appalachia.” The following year Rubin and artist Dawn Weleski turned the space next door into Conflict Kitchen, whose rotating menu draws from countries that the U.S. government has a political beef with—like Iran or Venezuela—helping expand the community’s culinary and cultural consciousness. As Rubin says: “We’re creating the place where we want to live now.”
Bolani at Conflict Kitchen, a Creative Commons Attribution (2.0) image from claramichelle’s photostream
The Los Angeles Times has also recently come out with an in depth piece on Conflict Kitchen. The restaurant not only serves food from countries with which the U.S. is in conflict, it is designed to be a jumping-off point for conversation:
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