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.
HK artist Katherine Hodgson brings issues of land ownership in Hong Kong to light with her new exhibition, Topography: A Land to Call Home (Get some political perspective with your #art at this unique exhibition
Citizens for Justice is a non-profit making organization advocating for environmental and social justice which seeks to respond to a number of emergent and recurring challenges threatening communities in Malawi. These areas emanate firstly from the drive to industrialize Malawi through the extractive industry which has posed environmental challenges, labor issues, corporate abuse and marginalization of vulnerable groups.
Artist Maya Lin and Natural Resources Defense Council President Frances Beinecke discuss how culture can help visualize the impact of climate change for a Marfa Dialogues/NY panel moderated by Creative Time President and Artistic Director Anne...
One point of art is that it's forming something we don't have the language for yet,” observes Jake Yuzna, Director of Public Programs at the Museum of Arts and Design (MAD), in discussing the FUN Conference on Nightlife as ...
I recently taught an interactive workshop on activist printmaking and political art at the Interference Archive, where I currently volunteer on the cataloging team and work on my political art research as the Resident Scholar.
Explore the waves of change that community art can bring with Ugandan visual artist and entrepreneur, Collin Sekajugo. Learn how his art foundations in Kigali, Rwanda and Kampala, Uganda are creating social change for local people through art.
As a digital platform, Art of the Rural elevates the rural arts field by facilitating rural-urban dialogue and cross-sector exchange. On the ground, we cultivate an organic manifestation of the digital mapping process by engaging the field in conversation, encouraging partnerships, while also activating participation in rural cultural policy and programming.
Art of the Rural is a collaborative organization with a mission to help build the field of the rural arts, create new narratives on rural culture and community, and contribute to the emerging rural arts and culture movement.
We work online and on the ground through interdisciplinary and cross-sector partnerships to advocate for engaged conversation and policy that transcends imposed boundaries and articulates the shared reality of rural and urban America.
Art of the Rural considers the aesthetic, cultural, and historical foundations within the field as a necessary prologue to the current conversation. We believe rural America stands at a unique intersection between the traditional and contemporary, and we are committed to documenting this complicated inheritance.
A two-fold mission guides Art of the Rural. While our digital projects offer multiple outlets and platforms for engaging with the dynamics of rural arts and culture, we are also committed to connecting those resources to the lives and the experiences of a range of communities. We believe digital media can collapse the geographical distance that has long separated rural people from themselves and their urban partners, but that such technology must work to bridge human relationships through events, programs, publications, and the creation of collaborative communities.
This exchange between Rick Lowe, the founder and director of Project Row Houses in Houston and brand-new appointee to the National Council on the Arts (see Third Ward TX, my friend Andrew Garrison’s wonderful 2007 film on this work if you can) and Nato Thompson, Chief Curator of Creative Time, was part of the Creative Time Summit, a much-livestreamed late October 2013 New York conference on “Art, Place & Dislocation in The 21st Century City.” Before and since, I’ve had a bunch of conversations with fellow artists about “social practice.” I consider them part of a larger decentralized conversation now taking place about the naming, values, social position, and impact of socially engaged art-making. The question that’s being called is cooptation: is yet another insurgent, critical movement being watered-down into something palatable to the establishment artworld—something that may reify existing power relations rather than undermining them?
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