Week
|
Day
|
Topics
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Activities/Readings
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Due
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1
|
Mon Sept 25
|
Who are we to each other?
|
Activities: Syllabus, Assignment sign-up,
Group Agreements, Co-interviews
|
|
Wed Sept 27
|
Activities:
Discuss & Define Social
Practice
|
|
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2
|
Mon Oct 2
|
Everyday
life as ready-made
Since Marcel
Duchamp’s Urinal there has been an impulse running through art history to
conceptually frame or designate everyday life occurrences as art experiences.
This reframing of ordinary activities as art has helped to bring a wide range
social engagement into contemporary art.
|
Seminar: Art As Experience by John
Dewey, Art Which Can’t be Art by Allan Kaprow and Education for
Socially Engaged Art – Definitions by Pablo Helguera
Artists: Allison Knowles, Adrian Piper, Joseph
Beuys, Mierle Laderman Ukeles, Michael Rakowitz, Cildo Miereles
|
Sunday:
3 Questions & 3 Quotes from
readings
|
Wed Oct 4
|
Movements: Fluxus & Conceptual Art
Activity: Sharing Inventories
|
Personal Inventory of Ideas &
Values
Extra: OCT 7 Greg Sholette Talk at PNCA
|
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3
|
Mon Oct 9
|
Culture
From Counter-Culture
Populist
political movements have changed the world around us, brought participatory
and political practices into the arts, and moved artists to get out into the
streets. Tactics and ideas, especially from the global people’s uprisings of
the1960s continue to be at the core of many socially engaged artists work. In
particular, strains of Marxist political theory are either overtly or
implicitly animating most contemporary art, including especially, social
practice.
|
Seminar: What We Made by Tom FinkelPearl,
The Art of Activism by Steven Duncombe and Steve Lambert & These
are the Times that Grow our Soul by Grace Lee Boggs
Artists: Tania Bruguera, Bree Newsome,
Judith Baca, Gran Fury, Laurie Jo Reynolds, Suzanne Lacy, Guerrilla Art Action Group
|
Sunday:
Qs & Qs
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Wed Oct 11
|
Movements: Community Arts & New
Genre Public Art
Activity: Simultaneous Timelines
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Extra:
Brian Holmes Talk at PNCA
|
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4
|
Mon Oct16
|
Reimagining
Strategies & Organizations
There
has been a surge of artists incorporating or mimicking institutions as a
tactic to produce socially engaged art, and especially to accomplish specific
social change goals through fusing art and institutional power. This work
brings up questions about what happens when art is intentionally
instrumentalized to achieve set goals: Is art an effective way of making
tangible change? Is art still art when it sets out to accomplish predetermined
goals rather than pursue open-ended meaning?
|
Seminar: The Social Turn by Claire
Bishop and response by Grant Kester & Users guide to the
impossible by the Laboratory of Insurrectionary Imagination
Artists: Critical Art Ensemble, Project Row
Houses, The Yes Men, Rebuild Foundation, Wochenklasur, Conflict Kitchen, The Institute for Human Activities
|
Sunday:
Qs & Qs
|
Wed Oct 18
|
Movements: Institutional Critique &
Tactical Media
|
|
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5
|
Mon Oct 23
|
Activating
Audiences & Citizens
Social
Practice as a field of art is commonly considered to be part of the history
of visual art, but it has also grown out of theater and performance histories,
especially feminist performance art and liberatory political theater.
Important topics and questions have been brought into play from these
legacies, including the body as material and subject within artwork, and the
politics of spectatorship and participation.
|
Seminar:
Performance: The body Politics Interview with Shannon Jackson, New Museum Glossary:
Participation by Andrea Liu
& Theatre of the Oppressed by Augusto Boal
Artists: Helio
Oiticica, Mammalian Diving Reflex, Tino Sehgal, Jeremy Deller, Los Angeles
Poverty Department, Lygia Clark
|
Sunday:
Qs & Qs
|
Wed Oct 25
|
Movements:
Feminist Performance Art & Neo-Concretism
Activity: Share Family Trees
|
Family Tree
|
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6
|
Mon Oct 30
|
Presence
+ Context > Any Thing
Following
conceptual art’s shift away from object based work and towards ideas
themselves being understood and celebrated as the site of a work of art,
socially engaged art is often primarily sited in an interaction between
people. Even though most socially engaged work involves material elements the
primary focus of this kind of work is usually on immaterial/relational
experiences. These works are often made with specific people or places but
frequently the context of the work is less physical and incorporates a
political or cultural moment as a fundamental element of the piece.
|
Seminar: One Place After Another by
Miwon Kwon and Relational Aesthetics by Nicolas Bourriaud
Artists: Ben Kinmont, Francis Alys, Artist
Placement Group, Rirkrit Tiravanija
|
Sunday:
Qs & Qs
|
Wed Nov 1
|
Movements: Relational Aesthetics & Site
Specific Art
Activity: Share Research Proposals
|
Research Proposals
|
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7
|
Mon Nov 6
|
Collective
Consciousness
There
are and have been many artist groups who work collectively among themselves
and then also collaborate with other people outside that unit to make their
work. Artist groups are a particularly potent model for socially engaged art
practices because they fundamentally embody collaborative methods and
generate work through relational processes. By their very structure artist
groups call into question the mythic status of individual artistic
authorship. These artistic experiments with collective structure seem to have
become more prevalent since the collapse of the Soviet Union took with it any
official large scale collective political vision.
|
Seminar: Education for Socially Engaged
Art – Community & Collaboration by Pablo Helguera and Collaboration Interview
Artists: Ghana Think Tank, Group Material, Transformazium,
Temporary Services, Super Flex, Public Movement, HaHa
|
Sunday:
Qs & Qs
|
Wed Nov 8
|
Activities:
Discussion on collaborative models,
Group preparations for Public
Presentation event
|
|
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8
|
Mon Nov 13
|
We all
bring a piece of the truth
Socially
practice often follows an ethnographic model by embedding itself in contexts
outside of the arts and making work based on the experiences of those
communities. This type of ethnographic work is influenced by the shift
towards acknowledging that cultural bias is built into our view of what is
objective or true, leading to the need for a greater diversity of
perspectives to be represented in order to see beyond each of our blind spots. In contemporary documentary this manifests through revealing the
artist’s position within the work and allowing the art’s outcome to be
determined at least in part by the participants. Alongside this there is a
drive to question disciplinary divisions and for art to fully embed itself in
fields of lived knowledge.
|
Seminar: The Art of Ethnography by Larissa Hjorth and Kristen Sharp
Artists: Wendy Ewald, Harrell Fletcher,
Alyse Emdur, Sharita Towne, Mark Strandquist & Courtney Bowles
|
Sunday:
Qs & Qs
Grads:
Research Reading
|
Wed Nov 15
|
Activities:
Share Draft Research Presentations
Research Workday
|
Draft
Participatory
Research
Presentation
|
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9
|
Mon Nov 20
|
Social
Practice is a field we are making
|
Seminar: Grad Readings
Activity: Presentation Run-through
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Sunday:
Qs & Qs
|
Wed Nov 22
|
Activity: Presentation Run-through
|
|
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10
|
Mon Nov 27
|
Public
Presence
|
Activity: Public Presentation
|
Final
Participatory
Research
Presentation
|
Wed Nov 29
|
Activity: Reflection
|
|
Schedule
subject to change
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