This blog is dedicated to a variety of social art practices including: urban interventions, utopian proposals, guerrilla architecture, new genre, public art, social sculpture, project-based community practice, interactive media, service dispersals, service design, activism and street performance. The primary material of social practice is person-to-person exchange, interaction, or participation. These situations, organizations and events can involve various media including photography, video, drawing, text, sound, sculpture,, political art, design, eco-art and performance art.
A day of discussions about the changing connections between art and its publics: Co-organised by Auckland Art Gallery and AUT University School of Art and Design
International keynote speaker: Jeanne van Heeswijk
How can the public play a greater role in art? How can public participants be generative in the creation of culture - in reality as well as in theory? How can a multitude of voices be heard or seen in 'public art' and in art institutions? Can art in public space support new or productive relationships with communities? Is it possible for art institutions to engage with expectations that art will assist in the development of a discursive public sphere while also having to prioritise cultural tourism or the economic contribution of the arts?
This symposium seeks discussion on the rise of connectivities between art in public space and publics. It addresses varied calls for art to play a role in the creation of a public sphere, evident, for example, in the recent Istanbul and Sydney biennales.
Run of events9-9.30amRegistration and Introduction 9.30-10.15amKeynote: Jeanne van Heeswijk 10.45am-12.30pmSESSION 1: Enterprise vs hospitality Grace McQuilten Amy Spiers Keely Macarow Suburban Floral Association - Tanya Eccleston / Monique Redmond 1.15-3pmSESSION 2: Exploring the localSESSION 3: Exploring the localAlex Monteith Andy Thomson and Paul Cullen Amanda Yates Gretchen CoombsJanita Craw and Victoria O'Sullivan Tracey Williams Martin Awa Clarke Langdon Olivia Labb3.30-5pmSESSION 4: Public or counter-publicSESSION 5: Non participation Social Practices Art Network (SPAN) Emil Dryburgh Mark Amery, Sophie Jerram, Helen Kirlew SmithLayne Waerea Tosh Arhkit Sarah Rodigari
Image: Jeanne van Heeswijk, The Resistance of Small Happiness 2010. Photo by Marcel van der Meijs
Rick Lowe is an artist whose unconventional approach to community revitalization has transformed a long-neglected neighborhood in Houston into a visionary public art project that continues to evolve, two decades since its inception. Originally trained as a painter, Lowe shifted the focus of his artistic practice in the early 1990s in order to address more directly the pressing social, economic, and cultural needs of his community. With a group of fellow artists, he organized the purchase and restoration of a block and a half of derelict properties—twenty-two shotgun houses from the 1930s—in Houston’s predominantly African American Third Ward and turned them into Project Row Houses (PRH), an unusual amalgam of arts venue and community support center. - See more at: http://www.macfound.org/fellows/920/#sthash.EuX2qBhZ.dpuf
A Better World by Design - 19th to the 21st of Sept.
Jules Rochielle's insight:
Way Finding in the Legal Services Gap
Jules Sievert Allison Wong
Our workshop will create deliverables that will be applied to the research conducted by NULAWLAB and Allison Wong. NuLawLab has been working with Allison Wong, through a partnership with the law firm of DeLuca & Weizenbaum and Roger Williams University School. The goal of this partnership is to create a center dedicated to expanding the availability of affordable legal services to underserved communities in Rhode Island. The NuLawLab is contributing to the project by, among other things, studying and mapping the barriers to accessible legal services in the State. The “Finding your Way in the Legal Services Gap” workshop will be focused on using systems thinking to “way-find” solutions to unmet legal needs of Rhode Island residents.
Workshop participants should be prepared to participate in a mind-mapping and brainstorming workshop that will focus on the following legal services issues:
How can lawyers, community organizers, and social workers work together differently as teams?When people don’t see their problems as legal issues, how can we reimagine how they access legal services?How can we reverse the held image of lawyers as people “for them” and not “for us” – and as people equated with law enforcement?How can we make it easier to understand whom to turn to when dealing with housing issues like poor conditions?What are ways for lawyers to be more visible within communities in a positive way?
The Digital Narrative of Genocide Survival (DNGS) has worked to capture on digital video the stories of individual survivors of the 1975-79 genocide event that took place in Cambodia. The DNGS project has developed as part of the rapid expansion in the interdisciplinary field of Genocide Studies throughout the curricula of higher education and the K-12 classrooms in this country. The now-completed, initial stages of the project began in 2006 when the DNGS team began capturing on digital video the stories of individual Cambodians who survived the Khmer Rouge genocide from 1975-1979 in Democratic Kampuchea. This genocide, often referred to as “The Killing Fields” from the biographical movie of the same name, continued for almost four years and resulted in as many as two million deaths. What became clear to the team during this initial work in-country was that contemporary Cambodians from the genocide survivor generation, for the first time in more than two decades, were prepared to talk about their experiences.
In 1978 contemporary New Zealand artist Barry Thomas undertook a public art project in inner city Wellington. Utilising a vacant lot on the corner of Willis and Manners Streets, the artist and his friends cut through a wire perimeter fence, delivered a truckload of top soil to the site and planted 180 cabbages. Barry Thomas, ‘Vacant lot of cabbages’ documentation, 1978. Purchased 2012, Te Papa. Photo: courtesy of Barry Thomas. The project Vacant lot of cabbages (also known as ‘The cabbage patch’) immediately caught the public attention and received extensive media coverage. Barry was interviewed in local newspaper The Evening Post where he challenged Wellingtonians to occupy the vacant lot and claim the site as their own. The lot was quickly filled with all sorts of objects—which the city council promptly cleared away—except for the cabbages. For several months the vacant-lot-turned-urban-garden became the site of informal gatherings, events and a one-week arts festival called ‘The Last Roxy Show’.
Brechtomania Al Jazeera America With inequality at a post-Depression high in the U.S., poverty inescapable for many, power concentrated in the hands of a few and the promise of social mobility all but lost, 2014 America bears many parallels to the...
Jonathan Watts: Conceived during the mass protests in Brazil last year, the premier art event in Latin America puts everything from the Amazon’s ethnic cleansing to the demonisation of mixed-race youth on the walls of Oscar Niemeyer’s famous pavilion...
September 15, 2014 — Writing about art and politics often falls into one of two camps. On the one hand, there are those who espouse “art for art’s sake,” arguing that art is a restricted and autonomous domain, concerned solely with aesthetic quality, the imagination, enjoyment, and so forth. On the other are the partisans of “political art,” for whom art is not only always political, but is to be judged according to how it meets certain political standards. Two new books, by the philosopher Gabriel Rockhill and the curator Nato Thompson, aim to oppose both camps. Neither of these, Rockhill and Thompson claim, offers a framework sufficiently attuned to the complexities of actual artistic and political practice. Rather than abstractly theorizing art’s role in society, they argue, we should follow and engage the artworks through their historical and social contexts—as they are produced, displayed, circulated, and interpreted.
A day of discussions about the changing connections between art and its publics Co-organised by Auckland Art Gallery and AUT University School of Art and Design International keynote speaker: Jeanne van Heeswijk
ABOG fellowships support individuals and artist collectives working on projects that promote art as a catalyst for social change in a specific community or communities.... (Community/Social Practice Artist?
SITE Santa Fe's biennial features art with a political bent, but the messages are seldom heavy-handed. (Documenting the Americas - SITE Santa Fe's biennial features art with a political bent, but the messages are seldo...
Courtesy Van Eyck. Call for applications Application deadline: 1 October 2014 Van Eyck Multiform institute for fine art design and reflection Academieplein 1 6211 KM Maastricht (NL) T +31 43 3503737 email@example.com www.janvaneyck.nl ...
We're co-developing a new learning project called Utopia School, with people who want to share information about both failed and successful Utopian projects and work towards new ones. For us, utopias are those spaces and initiatives that reimagine the world in some crucial way. The school will engage and connect local experts in urgent conversations while building something tangible together. The goal of these connections is to help accumulate collective knowledge from one locale to another throughout the duration of this multi-city project, into a comprehensive database and open curricula on utopian thought and practice. This will include physical places and relationship dynamics involved, as well as systems of organizing, political context, common roadblocks, and the methods used to create and sustain these projects.