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.
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"They Thought They Could Bury Us...They Didn't Know We Were Seeds." The phrase has come to represent the viewpoint of those marginalized around the globe. In Ferguson, as the community works toward healing, it has come to have different meanings.
In the beginning there is the doing, the social flow of human interaction and creativity, and the doing is imprisoned by the deed, and the deed wants to dominate the doing and life, and the doing is turned into work, and people into things. Thus the world is crazy, and revolts are also practices of hope. This journal is about living in a world in which the doing is separated from the deed, in which this separation is extended in an increasing numbers of spheres of life, in which the revolt about this separation is ubiquitous.
Occupation Culture is the story of a journey through the world of recent political squatting in Europe, told by a veteran of the 1970s and ‘80s New York punk art scene. It is also a kind of scholar adventure story. Alan W. Moore sees with the trained eye of a cultural historian, pointing out pasts, connections and futures in the creative direct action of today’s social movements. Occupation Culture is based on five years of travel and engaged research. It explicates the aims, ideals and gritty realities of squatting. Despite its stature as a leading social movement of the late twentieth century, squatting has only recently received scholarly attention. The rich histories of creative work that this movement enabled are almost entirely unknown. “Reporting on close to 40 years of exploits Alan W. Moore’s Occupation Culture is no academic treatise but a Picaresque adventure story filled with both detailed observations and broader reflections on the political and cultural significance of art and squatting that stretches across the Atlantic from the United States to Europe.” – Gregory Sholette, author of Dark Matter: Art and Politics in the Age of Enterprise Culture
Marking the final week of More Than One Maker at IMMA, the members of the Household Curatorial Collective (Sighle Bhreathnach-Cashell, Eoin Dara, Ciara Hickey, Alissa Kleist and Kim McAleese) who are currently based between Belfast, Birmingham, and...
Investigating news creation through expanded acts of visual reportage. July 6, 2015 PRESS ROOM will be returning to Venice as a Special Project during the 7th Creative Time Summit, presenting three breakfast briefings on the mornings of 11, 12 and 13 August 2015 at the Cymru yn Fenis / Wales in Venice collateral exhibition venue.
Earlier this year, Routledge Press published a new edited collection titled Graphic Justice, the first book of its kind to examine comics and law. Included in the book is a chapter co-authored by Law professors Jeremie Gilbert and David Keane:"Graphic Reporting: Human Rights Violations Through the Lens of Graphic Novels." The chapter is summarized here. As defined by Gilbert and Keene, "[g]raphic reporting involves the overt and intentional depiction of human rights violations or conflict situations in graphic novel format."
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