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
DETROIT CITY September 12, 2014–December 2017 People’s Biennial 2014 September 12, 2014–January 4, 2015 Opening: Friday, September 12 Museum of Contemporary Art Detroit 4454 Woodward Avenue Detroit MI, 48201 T +1 313 832 6622 ...
The California Arts Council received quite the Valentine's Day surprise from one of its fellow state agencies last February. The head of rehabilitation programs for the California Department of Corrections and Rehabilitation (CDCR) called with a proposal: help coordinate an 18-month, $2.5 million Arts-in-Corrections pilot program in California state prisons. CDCR would provide the funding, and the Arts Council would provide the know-how and coordination. Like most Valentine’s Day proposals, CDCR’s was happily accepted. By June the first phase of the program was launched. The Arts Council contracted seven arts organizations with dozens of artists scheduled to provide more than 10,000 hours of arts programming in 14 state prisons in the first year, and even more planned for the following year. The current Arts-in-Corrections pilot isn't exactly new, but rather is a revival of a previously successful program. Arts programs in California prisons started in the late 1970s, and became world-renowned through the 1980s and early 1990s. But due to various budgetary and policy decisions, the program dwindled to next to nothing during the first decade of the 21st century and was officially closed by CDCR in 2010. - See more at: http://arts.gov/art-works/2014/arts-prison-transforming-lives-behind-bars-through-arts#sthash.xil90PMz.dpuf
Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism eBook: Nato Thompson, Trevor Paglen, Jeffrey Kastner: Amazon.co.uk: Kindle Store (New Releases in Art #7: Experimental Geography: Radical Approach...
(SPAN) member Jacqueline Bell interviewed Cayetano Juarez and Christina Sanchez Juarez as a part of the 2014 (SPAN) Listening Tour. Click here for the bilingual transcript: Towards an ethics of labor...
Floating Studio for Dark Ecologies (FSDE) is an art/science residency program and public artwork focused on the present and future health of the Willamette/Columbia Rivers in North Portland, Oregon. FSDE plans to establish a laboratory sited on a houseboat or barge in the rivers; the lead-up work consists of experimental field trips, workshops, and the production of a site-specific field guide. These are working, experimental models; they could exist on any river, in any community/ecosystem, and are responsive to the environmental/social complexities specific to a given locale. FSDE synthesizes social practice, craft, and citizen science in the form of novel, creative engagements with public participants. These aim to address the confluence of social, biological and economic systems, connecting climate change and river health.
Cayetano Juarez and Christina Sanchez Juarez are a politically engaged duo working in the public sphere on projects that fuse art, food, and community. Since 2011 they have been actively invested in advocating for restaurant workers rights through a series of projects that focus on archiving and disseminating the histories of immigrant kitchen workers. These projects manifest themselves as participatory performances, installations, dining experiences, and cooking demonstrations/classes. In 2014 the duo began forming the Cocina Abierta Collective, a nomadic experimental “test kitchen” that facilitates the fluid exchange of immigrant histories, culinary skills, and base building strategies towards the development of a worker-centered philosophy to eating ethically.
96 Acres is a series of community-engaged, site-responsive projects that involve community stakeholders’ ideas about social and restorative justice issues, and that examine the impact of incarceration...
EVANSTON, Ill. --- With a widely-acclaimed exhibit recently concluded, "The Left Front: Radical Art in the 'Red Decade,' 1929-1940," and an eagerly-anticipated new exhibition coming this fall, "Wangechi Mutu: A Fantastic Journey," the Mary and Leigh Block Museum of Art is on a roll. In its five-month run, “The Left Front” showcased the Block’s new approach to audience engagement, with the Northwestern University museum bringing in practitioners from across campus and the world for lectures, performances and conversations about issues of the past that matter today. “The exhibit and its related programs set the tone for the museum's expanded vision,” said Lisa Corrin, the Block Museum’s Ellen Philips Katz Director. “Emphasizing interdisciplinary connections between art, history and ideas, the Block is growing partnerships on and off campus and expanding its vision for what engagement can look like.” The Mutu exhibition, opening Sept. 19 and running through Dec. 7, will advance a global perspective with the internationally renowned Kenyan-born artist's work and mark the first stage of a continuing focus on Africa and the Africa diaspora in Block programming.
96 Acres is a series of community-engaged, site-responsive art projects that address the impact of the Cook County Jail on Chicago’s West Side. (Want experience learning and working in community engaged art projects?
This exhibition highlights realities of being homeless in contemporary society. Featuring twenty artists from the United States and United Kingdom. The artwork calls attention to the struggles homeless individuals face on a daily basis while striving to maintain their dignity and respect as they navigate their difficult and challenging circumstances.
We were just invited to present! Exciting - we will just present by skype though!!! 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 biennials.
Over this past week, I have been obsessively following the developments in Ferguson, Mo., where the events following the shooting of an unarmed black teen have brought startling images of protest and even more startling images of the heavily...
Stanford art historian explores the shocking yet affirmative power of gay imagery Stanford University News As such, Meyer argues that pictures of same-sex kissing and other homoerotic imagery demonstrate in a uniquely clear manner the...