An essay that provides an overview and the deb0ates within the methodologies for that have been used to assess the importance of socially engaged art OR a critical analysis, based on research, of three socially engaged art projects of your own choosing.In both projects, you will be graded on:
You must refer to at least three peer-reviewed sources.
You must include at least three examples of socially engaged art to highlight your thesis.
Essays should be 3pages. no longer than 4 pages for undergraduate students.
File as research material
ARTHI 4223-001 Spring 2021
Rhoda Rosen ([email protected]) Tuesdays 6:30pm
Socially Engaged Art Practice Syllabus Course Zoom Link:
https://saic-edu.zoom.us/j/88610551286 Meeting ID:
886 1055 1286 This is the link for all classes. Consultation by appointment.
All Zoom meetings start at 6:30pm Central Time. We will likely meet for no
longer than 1 hour and 45 minutes, after which it is expected you take a break and then use remaining class time to read course materials and to do
the research for assignments,
Course Description This course is for students who are interested in or practice art that takes place outside of the studio, an art that bumps up against real life, an art that engages robustly with the world in order to build a socially just future. It is also for those students who are thinking about how to write about such art within the art historical field, and for those students who want to think carefully about how to curate socially engaged art (or social practice) in traditional as well as experimental contexts. This course will contextualize contemporary social practice, by looking at writings that define this emerging art historical field and will survey a range of socially engaged projects. For spring, the course will take place mostly live online, although there will be a few asynchronous days. BUT for those students who are willing and who wish to meet in-person, the course will include the option of joining me for my social practice programs and the opportunity to meet community members with whom I work, BUT this will not be required and participation in these events will not impact grades. Expectations
• Students must complete all written assignments, and attend all full group and individual video conferences.
• Students are expected to participate in class discussions and in-class writing projects in an informed way.
• You will be assessed on your engagement in discussions, the level of engagement with homework, your independent project, and the quality of your contribution to collaborative projects in the field.
Learning Outcomes
• Students will develop familiarity with a range of artists, projects, and the literature that has been written about them, all of which operate under the umbrella of socially engaged art practice.
• Students will define, research, and present an independent project that can be enacted in the world.
Grading • Class participation (incl. discussions & online quizzes): 30% • Assignment 1 (hands on project): 35% • Assignment 2 (final written project): 35% Assignments There are two assignments for this course and a number of in-class quizzes. One assignment is hands-on. It is a project that could be operationalized in the real world. The second assignment is a more traditional essay. The details of these assignments may be found in the week in which they are due, below, as well as in the Assignments section of Canvas. Schedule Tuesday, February 2 , 2021 – Social Practice: What is it? What is it not?
• Introductions • Overview of syllabus and projects • Class Discussion of what might and might not constitute ethical, socially
engaged art • Wodiczko, Rakowitz, Serrano, Baronet, and others
Homework for Tuesday, February 9, 2021 Read Nato Thompson, Living as Form: Socially Engaged Art from 1991-2011, Living as Form http://cp.art.cmu.edu/wp-content/uploads/2014/12/living-as- form.pdf Come to Zoom class prepared for discussion. Tuesday, February 9, 2021 – How do we do social practice ethically? Discussion of homework reading: Nato Thompson, Living as Form: Socially Engaged Art from 1991-2011, Living as Form http://cp.art.cmu.edu/wp-content/uploads/2014/12/living-as-form.pdf
Homework for Tuesday, February 16, 2021 Read Pablo Helguera, Education for Socially Engaged Art: A Materials and Techniques Handbook (NYC: Jorge Pinto Books, 2011), Chapter 1. PDF can be found in the module section or on “files” on Canvas. Claire Bishop, “The Social Turn: Collaboration and Its Discontents,” Chapter 1 in Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso, 2012). READ ONLY Pages 11-40. On Canvas. Come to Zoom class prepared for discussion. Tuesday, February 16, 2021 – What does it mean to yield authorship? Discussion of homework reading: Pablo Helguera, Education for Socially Engaged Art: A Materials and Techniques Handbook (NYC: Jorge Pinto Books, 2011), Chapter 1. PDF can be found in the module section or on “files” on Canvas. Claire Bishop, “The Social Turn: Collaboration and Its Discontents,” Chapter 1 in Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso, 2012). READ ONLY Pages 11-40. I have placed the full book on Canvas, but you need only read Chapter 1. Homework for Tuesday, February 23, 2021 Nato Thompson, Socially Engaged Contemporary Art: Tactical and Strategic Manifestations (Americans for the Arts, 2011) https://animatingdemocracy.org/sites/default/files/NThompson%20Trend%20Pap er.pdf Thomas Keenan in conversation with Carin Kuoni in Entry Points: The Vera List Center Field Guide on Art and Social Justice No. 1 (New York: Vera List Center for Art and Politics, 2015). PDF can be found in related module or in “files” on Canvas. Come to Zoom class prepared for discussion. Tuesday, February 23, 2021 – What are tactics, strategies, and what is the individual artist’s role in relation to the state? Discussion of homework readings:
Nato Thompson, Socially Engaged Contemporary Art: Tactical and Strategic Manifestations (Americans for the Arts, 2011) https://animatingdemocracy.org/sites/default/files/NThompson%20Trend%20Pap er.pdf Thomas Keenan in conversation with Carin Kuoni in Entry Points: The Vera List Center Field Guide on Art and Social Justice No. 1 (New York: Vera List Center for Art and Politics, 2015). PDF can be found in related module or in “files” on Canvas. Tuesday, March 2, 2021 – No online live class. Class is asynchronous tonight. View YouTube lecture and answer three questions. Submit on Canvas by Tuesday, March 2 at 11:59pm. View the full Stephen Wright Lecture (1 hour and 33 minutes) and answer quiz questions: https://www.youtube.com/watch?v=OQllhu7B0ng&t=3453s Quiz 1: Answer this question in a few paragraphs and submit on Canvas by March 2 at 11:59pm. You will submit your answer in Quiz 1 in the Assignment Section of Canvas. What possibilities do art projects open up when they are in stealth mode, when they may not present as art but rather as life? You will be graded on how well you demonstrate that:
• You viewed the full presentation • Understood the presentation • Were able to integrate the ideas in the presentation with the question • You understand how ideas from previous readings connect with or
differ from Stephen Wright’s ideas Tuesday, March 9, 2021 – Discussion of hands-on project expectations Presentation on the socially engaged art project with which I work and presentation on fundraising for art projects. Tuesday, March 16, 2021 – No live online online class. Asynchronous class. Group or independent work independently (3 hours minimum of work expected).
Tuesday, March 23, 2021 – Live online class. Review and peer discussion of projects. Tuesday, March 30, 2021 – Assignment 1: By 11:59pm Tuesday, April 6, 2020, submit group or independent hands-on project. There are TWO choices for this assignment:
1. Work collaboratively and hands-on with me (online or in-person) in a socially engaged art not-for-profit with which I work (the finished product you submit will be a grant proposal that can be submitted to a foundation for funding for artists with a lived experience of homelessness)
OR
2. Work collaboratively (or independently) on writing a funding
proposal (real or hypothetical) for a project of your own design For both projects, in class:
3. I will introduce you to the world of not-for-profit funding and give you an overview and resources on how to write a grant proposal
4. I will provide you with a number of funding options 5. In groups or independently, you will review those funding sources 6. Determine the mission and values of these funding sources 7. Design a program that meets the funders expectations 8. Write the proposal, including a budget if requested.
You will be assessed on how well you understood the mission and values of the funder, how well you synthesized their values with your program idea, how well you communicated the rationale of the program, how achievable and measurable your program is, and how realistic your proposed budget is. Length of assignment determined by word count allowed in funding proposal.
AND Homework for Tuesday, April 6, 2021
Read Gregory Sholette Kim Charney, eds., Delirium and Resistance Activist Art and the Crisis of Capitalism. I have placed full book on Canvas, but you must only read CHAPTER 11 Come to class prepared for discussion. Tuesday, April 6, 2021 – Socially engaged art activism and capitalism Discussion of homework reading: Gregory Sholette Kim Charney, eds., Delirium and Resistance Activist Art and the Crisis of Capitalism. I have placed full book on Canvas, but you must only read CHAPTER 11 Homework for April 13, 2021 – Read “An Interview with Grant Kester”, Circa, No. 117 (Autumn 2006), pp 44-47. On Canvas in Files and Grant Kester, The Noisy Optimism of Immediate Action: Theory, Practice, and Pedagogy in Contemporary Art”, Art Journal, vol. 71, no. 2 (Summer 2012) pages 86-99 Come to class prepared for discussion. Tuesday, April 13, 2021 – Theory and Practice Discussion of homework reading: Read “An Interview with Grant Kester”, Circa, No. 117 (Autumn 2006), pp 44-47. On Canvas in Files and Grant Kester, The Noisy Optimism of Immediate Action: Theory, Practice, and Pedagogy in Contemporary Art”, Art Journal, vol. 71, no. 2 (Summer 2012) pages 86-99 Tuesday, April 20, 2021 – No live online class. Class is asynchronous today. All students to do reading and complete quiz. Some students also to come for individual consultation.
Consultation sign-up link: https://docs.google.com/spreadsheets/d/1QkwPYYqQRrdL_50P9b3g_Jn2u1_AK XZeGoIqUvQCNeM/edit?usp=sharing Quiz 2: Read Nicholas Mirzoeff, “Afterword: Visual Activism” in How to See the World, pp283 and answer this question: What would you say the new and alternative vocabulary of visual activism is? Use both Mirzoeff’s ideas and others you have been reading about.
• You can list these or write them in no more than 1 paragraphs.
• Then, in one paragraph, say why you think these are useful for contemporary visual activism now.
Due by 11:59pm on Tuesday, April 20. Submit on the quiz on Canvas. Tuesday, April 27, 2021 – Individual Consultations. Students can also work on final essay. https://docs.google.com/spreadsheets/d/1QkwPYYqQRrdL_50P9b3g_Jn2u1_AK XZeGoIqUvQCNeM/edit?usp=sharing Tuesday, May 4, 2021 – What role does self-care play in the racialization of health? We will watch and discuss some artistic projects together and conclude our course with some final thoughts on a framework for socially engaged art. Assignment 2 – You must submit your assignment on Canvas by 11:59pm on May 4, 2021. An essay that provides an overview and the debates within the methodologies for that have been used to assess the importance of socially engaged art OR a critical analysis, based on research, of three socially engaged art projects of your own choosing. In both projects, you will be graded on:
• How well you understand and present the research material you review.
• How well you understand the problems and debates within socially engaged art practice.
• How well you present your ideas
You must refer to at least three peer-reviewed sources. You must include at least three examples of socially engaged art to highlight your thesis. Essays should be no longer than 4 pages for undergraduate students. Essays should be no longer than 6 pages for graduate students. Tuesday, May 11, 2021 – Troubling white care Presentation ________________________________________________________________ Further Bibliography Beshty, W. Ethics. MIT & Whitechapel Gallery: Cambridge, 2015. Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. Verso: London, 2012. Finkelpearl, Tom. What We Made: Conversations on Art and Social Cooperation. Duke University Press: Durham, 2013. Foster, Hal. Bad New Days: Art, Criticism, Emergency. Verso: London, 2017. Gradywith, Elizabeth. Future Imperfect. A Blade of Grass: New York, 2016. Hlavajova, Maria, and Ranjit Hoskote, eds., Future Publics (The Rest Can and Should be Done by the People): A Critical Reader in Contemporary Art. Valiz/BAK: Utrecht, 2015. Léger, Marc. Vanguardia: Socially Engaged Art and Theory. Manchester University Press, Manchester, 2019. McKee, Yates. Strike Art: Contemporary Art and the Post-Occupy Condition. Verso: London, 2017. Wexler, Alice, and Vida Sabbaghi. Bridging Communities through Socially Engaged Art. Routledge: New York, 2019. See the series Field| A Journal of Socially Engaged Art Criticism. Issues are available online at: http://field-journal.com
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• Read “Plagiarism: How to Recognize It and Avoid It: a short guide prepared by the Faculty Senate Student Life Subcommittee in 2004.
• Read the Flaxman Library’s quick guide titled “AVOID PLAGIARISM.” 4. Digital Device Policy: DIGITAL DEVICES in class (LAPTOPS, PHONES, TABLETS, etc.): The student use of various digital devices in class such as laptops, phones, tablets, etc. should be limited only to appropriate use given the lecture and discussion format of the class. Use of digital devices in class to do non-class related work will not be allowed or tolerated. Similarly, use of digital devices in class during screenings will not be allowed or tolerated. If a student has a software or hardware related problem please visit the CRIT Helpdesk on the 9th floor of the 112 S. Michigan (Maclean) Building for assistance addressing these issues. Writing Center: Lakeview Building, 116 S. Michigan Ave., 10th Floor [email protected] 312.499.4138 http://www.saic.edu/academics/academicresources/writingcenter/ Appointments Schedule in advance: https://www.supersaas.com/schedule/saic/WritingCenter Short-notice: Call 312.499.4138 to see if there are any openings Hours Monday – Thursday: 9:00 AM – 7:15 PM Friday: 9:00 AM – 5:15 PM Walk-in hours: Monday – Thursday: 4:15–7:15 PM
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Visual Activism
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So what then is visual culture now? It has evolved into a form of practice that might be called visual thinking. Visual thinking is something we do not simply study; we have to engage with it ourselves. What we might call visual culture practice has gone through several versions in the past twenty- five years and has now converged around visual activism. For many artists, academics and others who see themselves as visual activists, visual culture is a way to cre- ate forms of change. If we review the interpretations of visual culture outlined in this book, we can see how this concept has emerged.
When visual culture became a keyword and focus of study in and around 1990, as we saw in the Introduction, it centred on the question of visual and media representa- tion, especially in mass and popular culture. The short- hand for understanding the issues concerning visual culture at that time was to say it was about the Barbie doll, the Star Trek series and everything concerning Madonna. By which we should understand that people were central- ly concerned with how identity, especially gender and sex- ual identity, was represented in popular culture, and the ways in which artists and filmmakers responded to those
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representations. I do not mean to say that these issues no longer matter but that the ways in which we engage with them have changed.
The South African photographer Zanele Muholi (b. 1972) is one key example. She calls herself a ‘black les- bian’ and a ‘visual activist’. Her self-portrait resonates with Samuel Fosso’s, which we looked at in Chapter 1 (with Figure 19). Both use leopard-print as a sign for ‘Africa’. Although both are wearing glasses, Muholi’s heavy frames suggest she is an intellectual, while Fosso’s sunglasses were part of his parody. Muholi’s hat places her in modern, urban South Africa. Above all, her direct look at the cam- era claims the right to see and be seen.
Her work makes visible the tension between the free- doms offered by the South African constitution and the realities of homophobic violence encountered by LGBTQI (lesbian, gay, bisexual, transgender, queer or questioning and intersex) people every day. Legal protection for people of all sexual orientations exists in theory but it is ineffect- ive day- to- day in the townships. Muholi’s work shows how she and other queer South Africans are engaged with their lives and loves in the face of this violence (Lloyd 2014). She wishes to be seen as a black lesbian and to be accept- ed as such by her peers. In 2014, Muholi gave the keynote speech at the International Association of Visual Culture conference in San Francisco, itself titled ‘Visual Activism’. For the hundreds in attendance, the questions implied by her work were global: What does it mean to be seen to be a citizen in a global era? Who represents us at local and national levels in a globalized society? If the state cannot
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back up its own declarations with actions, how do we repre- sent ourselves, visually and politically?
These questions resonate with the shift in thinking through representation that began around 2001 with the participatory movement slogan ‘They do not represent us’,
Figure 87 —Muholi, Self-Portrait
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which we discussed in Chapter 7. The notion that ‘they do not represent us’ now appears more like a recurrent theme in modern history, from the Chartist claim to represent England to the Arab Spring.
The financial crash of 2007 and onwards in Ireland led to unemployment, emigration and a widespread sense of crisis in government. Art and museums have become a place to try and think through how to respond to this crisis. Artists Megs Morley and Tom Flanagan came across some notes made in 1867 by Karl Marx for a speech on Ireland which seemed un- cannily familiar:
The situation of the mass of the people has deteriorated, and their state is verging to a crisis [similar to that of the 1846 Famine]. (Marx 1867)
Morley and Flanagan asked three writers to imagine their own speeches on ‘The Question of Ireland’. They then had actors perform the speeches, which they filmed in Ireland’s National Theatre of Irish language, the Taibhearc.
The result was a three-screen, hour-long film that com- bined the visual language of avant-garde cinema with the classic political rhetoric of the popular speech. It is a real perform ance but now it seeks to find a national rather than
Figure 88 — Still from Morley and Flanagan, The Question of Ireland
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a personal identity. Morley and Flanagan go back to the rev- olutionary past to look for possible futures. The second segment (in the still above) meditates on how Ireland was created as a new nation less than a century ago, with great hopes, but it has not been able to realize them. The speak- er concludes that what is needed is a revolution, but not in the classical Marxist sense: ‘Revolutions are about vision . . . a revolution of vision, of purpose, maybe hope’. This revolu- tion is not imagined as violent or confrontational but begins with the simple act of ‘loving ourselves’ in a country known for the self-deprecatory wise-crack. Although this was a film shown in art galleries and museums, its hope and intent was to create change in Ireland, above all a change of vision.
For what has become clear is that the implication of ‘they do not represent us’ (in all the senses of that term) is that we must find ways to represent ourselves. Visual activism, from the selfie to the projection of a new concept of the ‘people’, and the necessity of seeing the Anthropocene, is now engaged in trying to make that change. That effort takes place against the backdrop of ongoing war, from Afghanistan to Ukraine, and especially across the Middle East. It is not a short-term project but one that involves considering how we live our lives as a whole.
In Detroit, the 99-year-old activist and philosopher Grace Lee Boggs begins every meeting with a question: ‘What time is it on the clock of the world?’ In the opening shot of the film American Revolutionary (2014, director Grace Lee), Boggs muses: ‘I feel so sorry for people not living in Detroit.’ As you watch the (then) ninety -five-year-old carefully wheel her walker among one of the many urban ruins of the city,
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you may wonder if she can be serious. Boggs has devoted her life to Detroit. She moved there in 1955 when it was the glo- bal hub of the automotive industry. Detroit gave the world the assembly line, affordable transport, personal consumer credit to buy cars – and, as Boggs likes to point out, glo bal warming via the automobile. In her view, we have now to engage in what she calls ‘visionary organizing’ to think about how life after industrial, fossil-fuel-based culture might be possible. She sees this as exciting and liberating, a chance to move ‘beyond making a living to make a life’. Despite the poverty in the city – now officially affecting 42 percent of the 81 percent African-American population – Grace Lee Boggs sees the future as beginning again in Detroit.
In Grace’s view, we all live in some form of ‘Detroit’. What is called ‘globalization’ is a transition from the indus- trial economy to something else. What was created at the Ford factories in Detroit was the assembly-line system of
Figure 89 — Still from Grace Lee, American Revolutionary
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production. A worker carried out the same task over and over again because this division of labour enabled the fac- tory as a whole to produce more cars. Most of the work in a modern Ford factory is done by robots, welding and painting in showers of sparks that might be dangerous to people. One of the tasks of the remaining human labour force is to think of ways to make the process still more efficient. A group of Toyota workers realized that their paintshop could reduce its staff from eight people to three if some changes were in- troduced. Toyota rewarded these individuals but dismissed five out of eight employees in their paintshops worldwide. Not without reason, the Italian philosopher Paolo Virno has called the new way of working ‘Toyota-ism’, just as the as- sembly line was known as ‘Fordism’ (2004).
Visionary organizing is a way of thinking about how we might use our creative energies to better ends than cutting jobs and increasing profits. It is another form of visual activ- ism. People around the world are coming to similar conclu- sions and finding new ways to engage with how to imagine change. In Germany, an opinion poll found that 24 percent of young people expressed the desire to become an artist. I don’t think that suddenly a quarter of all Germans want to be painters or sculptors. Rather, art might seem to be the only way to live a life for yourself in the global economy, as opposed to the dominant so-called ‘service economy’ in which we work, not for each other but for someone else’s profit. This desire to live otherwise lies behind the world- wide surge in participatory media, from YouTube channels to Snapchatting, and performance. Teen bloggers and video- channels on YouTube are finding audiences in the tens of
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millions, while 32 million watched the 2014 League of Leg- ends videogame championships in South Korea. Even museums are becoming involved. The proposed M+ muse- um is described as a ‘new museum for visual culture in Hong Kong’. Scheduled to open in 2018, it has already provoked a lively debate in the city as to what visual culture means: is it a way of thinking about contemporary art in the global city? Or is it a set of everyday practices such as graffiti, calligra- phy, martial arts films and other aspects of Hong Kong’s dy- namic city life? Even the most traditional of museums are changing. In 2014, London’s Victoria and Albert Museum held an exhibition called Disobedient Objects that set out to show ‘how political activism drives a wealth of design inge- nuity and collective creativity that defy standard definitions of art and design’ (vam.ac.uk). One example was a giant in- flatable cobblestone, created by the Eclectic Electric Collec- tive for use in street demonstrations. The balloons were a pun on the cobblestones formerly used to build barricades. They make fun of the militarized way that governments try to control their citizens when police in riot gear have to run around trying to pop them. The two moments suddenly in- teracted with the appearance of Occupy Central. Hong Kong activists downloaded instructions on how to make a gas mask from the Victoria and Albert Museum website, while an Occupy Umbrella – the symbol of the Hong Kong move- ment – quickly found its way into the London exhibition.
Another side of the same situation was seen in Ferguson, Missouri, after the police shooting of Michael Brown on 9 August 2014. Acting on the understanding that Brown had raised his hands, activists created the meme ‘Hands Up,
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