Wednesday, May 7, 2014
Thursday, May 1, 2014
Wednesday, April 30, 2014
Tuesday, April 8, 2014
Mapping the Terrain: New Genre Public Art: Suzanne Lacy: 9780941920308: Amazon.com: Books
Mapping the Terrain: New Genre Public Art: Suzanne Lacy: 9780941920308: Amazon.com: Books
Literary Nonfiction. Art History, Theory & Criticism. "In this wonderfully bold and speculative anthology of writings, artists and critics offer a highly persuasive set of argument and pleas for imaginative, socially responsible, and socially responsive public art.... This book will prove as valuable to art and cultural historians and critics as it will be to public policy makers, students and a diverse public audience"—Moira Roth, Mills College. "Energized by ideas and experiences in performance art, community art, installation, social history, and urban planning, artists are creating and invigorating new public art that imbues daily life with meaning and significance"—Richard Andrews, University of Washington.
Literary Nonfiction. Art History, Theory & Criticism. "In this wonderfully bold and speculative anthology of writings, artists and critics offer a highly persuasive set of argument and pleas for imaginative, socially responsible, and socially responsive public art.... This book will prove as valuable to art and cultural historians and critics as it will be to public policy makers, students and a diverse public audience"—Moira Roth, Mills College. "Energized by ideas and experiences in performance art, community art, installation, social history, and urban planning, artists are creating and invigorating new public art that imbues daily life with meaning and significance"—Richard Andrews, University of Washington.
Between the Door and the Street - Suzanne Lacy - Creative Time
Between the Door and the Street - Suzanne Lacy - Creative Time
ABOUT THE PROJECT
On Saturday, October 19, 2013, Creative Time and the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum presented Between the Door and the Street, a major work by the internationally celebrated artist Suzanne Lacy, perhaps the most important socially-engaged artist working today. Some 400 women and a few men–all selected to represent a cross-section of ages, backgrounds, and perspectives–gathered on the stoops along Park Place, a residential block in Brooklyn, where they engaged in unscripted conversations about a variety of issues related to gender politics today. Thousands of members of the public came out to wander among the groups, listen to what they were saying, and form their own opinions.
Between the Door and the Street grew out of a series of deep and wide-ranging conversations between Lacy and a group of activist women, held over the course of five months. Lacy considers this preparatory work to be a key part of the project as a whole, and their ideas, expertise, and principles informed the project.
This project built upon Lacy’s rich body of work devoted to issues of feminism, including Silver Action, presented at Tate Modern, London, earlier this year; The Tattooed Skeleton, at the Reina Sofia Museum, Madrid, in 2010; andCleaning Conditions, part of the Do It exhibition at the Manchester Art Gallery, in summer 2013. Between the Door and the Street was her first major public project in New York City.
Lead project support for Between the Door and the Street was provided by Elizabeth A. Sackler Foundation, Stephanie Ingrassia, Katie Michel, Barbara Nessim, Mary Jo and Ted Shen, Ellen Taubman, Ippolita Rostagno, Carol Goldberg, Diana Wege Sherogan, Annette Blum, Judy Cox, Louise Eastman, Jeanne Greenberg Rohatyn, Toby Devan Lewis, Brooke Garber Neidich, Pamella Roland, Martine Trink Rubenstein, Victoria E. Schonfeld, Elizabeth Smith, Frederieke Taylor, Barbara Tober, Donna Harkavy, Joyce Pomeroy Schwartz, Claudia Baez, Riva Blumenfeld, and Margaret Sullivan.
Creative Time and the Brooklyn Museum are grateful to The Park Place/Underhill Avenue Block Association, whose collaboration and enthusiasm have made this project possible.
Artificial Hells: Participatory Art and the Politics of Spectatorship: Claire Bishop: 9781844676903: Amazon.com: Books
Artificial Hells: Participatory Art and the Politics of Spectatorship: Claire Bishop: 9781844676903: Amazon.com: Books
"Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson.
Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan.
Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. InArtificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism."
"Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson.
Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan.
Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. InArtificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism."
Artificial Hells: Participatory Art and the Politics of Spectatorship: Claire Bishop: 9781844676903: Amazon.com: Books
Artificial Hells: Participatory Art and the Politics of Spectatorship: Claire Bishop: 9781844676903: Amazon.com: Books
"Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson.
Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan.
Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. InArtificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism."
"Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson.
Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan.
Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. InArtificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism."
Education for Socially Engaged Art: Pablo Helguera: 9781934978597: Amazon.com: Books
Education for Socially Engaged Art: Pablo Helguera: 9781934978597: Amazon.com: Books
""For too long Social Practice has been the notoriously flimsy flipside of market-based contemporary art: a world of hand-wringing practitioners easily satisfied with the feeling of 'doing good' in a community, and unaware that their quasi-activist, anti-formalist positions in fact have a long artistic heritage and can be critically dissected using the tools of art and theatre history. Helguera's spunky primer promises to offer a much-needed critical compass for those adrift in the expanded social field." -Claire Bishop, Professor of Contemporary Art and Exhibition History, CUNY, and author of Artificial Hells: Participatory Art and the Politics of Spectatorship "This is an extremely timely and thoughtful reference book. Drawn from empirical and extensive experience and research, it provides a curriculum and framework for thinking about the complexity of socially engaged practices. Locating the methodologies of this work in between disciplines, Helguera draws on histories of performance, pedagogy, sociology, ethnography, linguistics, community and public practices. Rather than propose a system he exposes the temporalities necessary to make these situations possible and resonant. This is a tool that will allow us to consider the difficulties of making socially engaged art and move closer to finding a language through which we can represent and discuss its impact." -Sally Tallant, Artistic Director, Liverpool Biennial "Helguera has produced a highly readable book that absolutely needs to be in the back pocket of anyone interested in teaching or learning about socially engaged art" -Tom Finkelpearl, Director of the Queens Museum, New York, and author of Dialogues in Public Art"
""For too long Social Practice has been the notoriously flimsy flipside of market-based contemporary art: a world of hand-wringing practitioners easily satisfied with the feeling of 'doing good' in a community, and unaware that their quasi-activist, anti-formalist positions in fact have a long artistic heritage and can be critically dissected using the tools of art and theatre history. Helguera's spunky primer promises to offer a much-needed critical compass for those adrift in the expanded social field." -Claire Bishop, Professor of Contemporary Art and Exhibition History, CUNY, and author of Artificial Hells: Participatory Art and the Politics of Spectatorship "This is an extremely timely and thoughtful reference book. Drawn from empirical and extensive experience and research, it provides a curriculum and framework for thinking about the complexity of socially engaged practices. Locating the methodologies of this work in between disciplines, Helguera draws on histories of performance, pedagogy, sociology, ethnography, linguistics, community and public practices. Rather than propose a system he exposes the temporalities necessary to make these situations possible and resonant. This is a tool that will allow us to consider the difficulties of making socially engaged art and move closer to finding a language through which we can represent and discuss its impact." -Sally Tallant, Artistic Director, Liverpool Biennial "Helguera has produced a highly readable book that absolutely needs to be in the back pocket of anyone interested in teaching or learning about socially engaged art" -Tom Finkelpearl, Director of the Queens Museum, New York, and author of Dialogues in Public Art"
Monday, April 7, 2014
Saturday, April 5, 2014
Thursday, March 27, 2014
School of Art Symposium Draws Artists - Carnegie Mellon University | CMU
School of Art Symposium Draws Artists - Carnegie Mellon University | CMU
Visiting artists, CMU faculty and alumni hosted workshops spanning silverpoint, comics and animation, generative drawing with code, botanical illustration, post-Google drawing, drawing as political action, drawing as performance and much more. An arcade provided an opportunity to meet local artists, illustrators, bookmakers and more showing and selling work, conducting demos, providing information and provoking conversation.
DRAWING ATTENTION
Visiting artists, CMU faculty and alumni hosted workshops spanning silverpoint, comics and animation, generative drawing with code, botanical illustration, post-Google drawing, drawing as political action, drawing as performance and much more. An arcade provided an opportunity to meet local artists, illustrators, bookmakers and more showing and selling work, conducting demos, providing information and provoking conversation.
DRAWING ATTENTION
Tuesday, March 25, 2014
Monday, March 24, 2014
Saturday, March 22, 2014
Cultural Offering.com: The satisfying conversation
Cultural Offering.com: The satisfying conversation
Finally a satisfying conversation involves flow. This is the hardest component to develop and it may be the most important. How did we get from Tom Petty's Damn the Torpedoes album to safety as a dangerous societal goal? Flow. Flow is what guides us from one topic to another. Flow is momentum. Flow is what makes the evening fly by in the best possible way. And flow is hard to cultivate. But you will know it when you find it.
The combination of the four make for the most satisfying of conversations you will experience.
Read more: http://culturaloffering.com/2013/12/15/the-satisfying-conversation.aspx#ixzz2wl3wAMhs
Finally a satisfying conversation involves flow. This is the hardest component to develop and it may be the most important. How did we get from Tom Petty's Damn the Torpedoes album to safety as a dangerous societal goal? Flow. Flow is what guides us from one topic to another. Flow is momentum. Flow is what makes the evening fly by in the best possible way. And flow is hard to cultivate. But you will know it when you find it.
The combination of the four make for the most satisfying of conversations you will experience.
Read more: http://culturaloffering.com/2013/12/15/the-satisfying-conversation.aspx#ixzz2wl3wAMhs
Friday, March 21, 2014
The Flight From Conversation - NYTimes.com
The Flight From Conversation - NYTimes.com
So, in order to feel more, and to feel more like ourselves, we connect. But in our rush to connect, we flee from solitude, our ability to be separate and gather ourselves. Lacking the capacity for solitude, we turn to other people but don’t experience them as they are. It is as though we use them, need them as spare parts to support our increasingly fragile selves.
We think constant connection will make us feel less lonely. The opposite is true. If we are unable to be alone, we are far more likely to be lonely. If we don’t teach our children to be alone, they will know only how to be lonely.
I am a partisan for conversation. To make room for it, I see some first, deliberate steps. At home, we can create sacred spaces: the kitchen, the dining room. We can make our cars “device-free zones.” We can demonstrate the value of conversation to our children. And we can do the same thing at work. There we are so busy communicating that we often don’t have time to talk to one another about what really matters. Employees asked for casual Fridays; perhaps managers should introduce conversational Thursdays. Most of all, we need to remember — in between texts and e-mails and Facebook posts — to listen to one another, even to the boring bits, because it is often in unedited moments, moments in which we hesitate and stutter and go silent, that we reveal ourselves to one another.
I spend the summers at a cottage on Cape Cod, and for decades I walked the same dunes that Thoreau once walked. Not too long ago, people walked with their heads up, looking at the water, the sky, the sand and at one another, talking. Now they often walk with their heads down, typing. Even when they are with friends, partners, children, everyone is on their own devices.
So I say, look up, look at one another, and let’s start the conversation.
Thursday, March 20, 2014
Wednesday, March 19, 2014
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