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
In 1993, artist Rick Lowe took over nearly two dozen derelict shotgun houses in Houston's Third Ward and, over the course of 20 years, turned them into a thriving cultural center that offers exhibitions, artist residencies and even a program for...
As a sculptor, my interest in the natural world rests both in art and science. I work within the two fields using art as a vehicle for translating the patterns and processes of the natural world into the language of human understanding. I try to design a project so that the site tells the ecological story of itself. I am interested in showing the invisible aspects microorganisms and their complicated relationships of eating and being eaten, the spiraling hydrological patterns of a stream, the mosaic of growth in a vacant lot, the prevailing winds and their effects on vegetation, the flow of water through a living system. Often people think that nature ends where the city begins. But natural processes are always occurring in the city. I like to explore the idea of nature in the city and make it visible to people. I look for sites which give me the opportunity to bring the patterns and processes of the natural world into the built environment.
Alfredo Barsuglia’s Social Pool is an eleven-by-five-feet wide pool in the Southern California desert, open for anybody to use. White, unadorned and geometric, it is formally reminiscent of a Minimalist sculpture. Its location, on the other hand, nods toward the related US-American phenomenon of large-scale Land Art installations in deserts around the American West, like, most notably, Walter de Maria’s The Lightning Field in New Mexico, Robert Smithson’s famed Spiral Jetty, or Nancy Holt’s Sun Tunnels in Utah. Conceived in the 1970s, these works bore a critical response to and refusal of both the increasing commodification and institutionalization of art and the rampant destruction of the ecological environment.
Streetsblog is a daily news source connecting people to information about sustainable transportation and livable communities. Since 2006, Streetsblog has covered the movement to transform our cities by reducing dependence on private automobiles and improving conditions for walking, biking, and transit. Our reporters have broken important stories about transit funding, pedestrian safety, and bicycle policy from day one. And our writing makes arcane topics like parking prices and induced traffic accessible to a broad audience.
The Tulane City Center (TCC) is nationally renowned for strategic partnerships with non-profit organizations in the Greater New Orleans community to advance high quality Public Interest Designs. The TCC's work is driven by citizen’s ideas and input and involves the faculty and students of the Tulane School of Architecture as well as many departments across Tulane University. The Tulane City Center’s mission has been to educate, advocate and provide design services to New Orleans neighborhoods and non-profit clients who are traditionally severely under-resourced and underserved by the design disciplines. We continue to believe in the public necessity of design and its broad and popular access to all citizens. As a result the work is characterized by deep citizen engagement in the planning and design decisions that will affect their lives.
Meet The 2014 Winners Of The MacArthur 'Genius Grants' Alabama Public Radio "Lowe has initiated similarly arts-driven redevelopment projects in other cities, including the Watts House Project in Los Angeles, a post-Katrina rebuilding effort in New...
Houston Chronicle Houston artist, Austin advocate win MacArthur 'genius grants' Chron.com What's remarkable is that Rick was on this track of socially engaged art and developing community long before anybody thought about it.
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.
New York Times In a Mattress, a Fulcrum of Art and Political Protest New York Times “Carry That Weight” is both singular and representative of a time of strongly held opinions and objections and righteous anger on all sides, a time when, not...
AxS Festival 2014 Mixes Art and Science in Pasadena, Beginning This Weekend Broadway World Across 17 days of events, AxS Festival 2014 | Curiosity will engage audiences in dynamic, multidisciplinary programming that explores the intersection of art...
Genspace is a nonprofit organization dedicated to promoting citizen science and access to biotechnology. Since 2009 we have served the greater New York area by providing educational outreach, cultural events, and a platform for science innovation at the grassroots level. In December 2010 we opened the first-ever community biotechnology laboratory, a Biosafety Level One facility in Brooklyn, New York, where we offer hands-on courses to the public, provide extracurricular experiences for students, and encourage scientific entrepreneurship, particularly in the fields of molecular and synthetic biology. As a community-based lab, we offer members the unique opportunity to work on their own projects and experience the joy and wonder of science firsthand.
A cheerleader of possibility, Public Workshop creates uniquely engaging opportunities for youth and their communities to shape the design of their cities. We are redefining the way that youth participate as citizens and leaders in the design of their communities, and addressing the most pressing challenges in the world around them. In the process, we are fundamentally re-imagining education by reshaping how and where learning occurs. Working with our partners and clients, we develop inspiring curricula, transformative youth design leadership programs, innovative participatory community design tools, engaging events and thoughtful strategies that help people rethink possibility. We accomplish this by relentlessly challenging and radically rethinking assumptions about how people learn and design occurs. Our students and clients are smiling (and in some cases leaping) because we believe that the very best learning and design occur when it’s challenging, empowering and fun. Over the past fourteen years we have worked with numerous public schools, organizations, museums, universities, architecture firms and city agencies including openhousenewyork, DreamYard, Charter High School For Architecture and Design in Philadelphia, Rural Studio, Hester Street Collaborative, Cooper Hewitt National Design Museum, University of Pennsylvania, University of Texas, Chicago Architecture Foundation, Landon Bone Baker Architects, National Building Museum and the City of Austin, Texas. We are nationally recognized experts on K-12 design education with an emphasis on service learning. Our work has been featured on NPR’s Studio 360 and in magazines such as Architect, Metropolis, ID and the Architect’s Newspaper as well as showcased on various company websites including Fast Company, GOOD, Next American City, Slate, Kaboom!, Core 77, Yahoo and NBC’s TODAY.
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