What We Made Conversations on Art and Social Cooperation
What Nosotros Made
Conversations on Art and Social Cooperation
Book
Pages: 416
Illustrations: 91 illustrations Published: January 2013
Subjects
Theater and Performance, Art and Visual Civilisation > Art Criticism and Theory
In What Nosotros Made, Tom Finkelpearl examines the activist, participatory, coauthored aesthetic experiences being created in gimmicky art. He suggests social cooperation equally a meaningful fashion to remember about this work and provides a framework for understanding its emergence and acceptance. In a series of fifteen conversations, artists comment on their experiences working cooperatively, joined at times by colleagues from related fields, including social policy, architecture, art history, urban planning, and new media. Issues discussed include the experiences of working in public and of working with museums and libraries, opportunities for social change, the lines between education and art, spirituality, collaborative opportunities made bachelor by new media, and the elusive criteria for evaluating cooperative art. Finkelpearl engages the art historians Grant Kester and Claire Bishop in conversation on the challenges of writing critically about this work and the aesthetic condition of the dialogical see. He also interviews the frequently disregarded co-creators of cooperative art, "expert participants" who have worked with artists. In his conclusion, Finkelpearl argues that pragmatism offers a useful disquisitional platform for understanding the experiential nature of social cooperation, and he brings pragmatism to deport in a discussion of Houston'south Project Row Houses.
Interviewees. Naomi Beckwith, Claire Bishop, Tania Bruguera, Brett Cook, Teddy Cruz, Jay Dykeman, Wendy Ewald, Sondra Farganis, Harrell Fletcher, David Henry, Gregg Horowitz, Grant Kester, Mierle Laderman Ukeles, Pedro Lasch, Rick Lowe, Daniel Martinez, Lee Mingwei, Jonah Peretti, Ernesto Pujol, Evan Roth, Ethan Seltzer, and Mark Stern
Praise
"These conversations by cardinal practitioners and thinkers are a snapshot of thinking around the emergence of social and collaborative art, which seeks to improve social club and address social issues. Finkelpearl ably situates collaborative and participatory art within the chronology of American art history." — Toro Castaño, Library Periodical
"What What We Made does, peradventure better than annihilation I've read so far well-nigh this particular kind of fine art, is utterly refrain from arriving at singular summaries or judgments. Instead, the conversations foreground the nuanced and circuitous social relations tied up in any artwork, only peculiarly collaborative artwork that draws on communities operating largely exterior of the arts marketplace. And the projects Finkelpearl has chosen to discuss and feature by and large demonstrate real possibilities for genuine exchange across networks and communities." — Alexis Clements, Hyperallergic
"What We Made is a good sourcebook of art that tackles politics through participation and collaboration. The author'south introduction provides a useful overview of the situation in contemporary America. . . ." — Sally O'Reilly, Art Monthly
"This book gracefully dives headfirst into a seriously murky topic, using accessible language that, thankfully, doesn't read like a textbook." — Kirstin Wiegmann, Public Art Review
"In that location's much to admire in [Finkelpearl's] approach and his commitment—whether it's authoring a book whose structure abides by the ethics information technology sets forth or that he puts his ideas into activity." — Anne K. Yoder, Public Journal
"What We Made brings together the stars of the social practice world Rick Lowe, Tania Bruguera, Mierle Laderman Ukeles, Harrell Fletcher, and more in conversations with urban planners, educators, and each other, to create a fluid and interdisciplinary dialogue about social practice and its complicated, beautiful and necessary implications in the world." — Katie Bachler, The Art Book Review
"An insightful examination of creative projects that strive to involve people in participatory practices. . . . What We Made perceptively documents work that often is misunderstood within traditional arts structures." — Maureen Mullinax, Visual Studies
"Finkelpearl has provided his readers with a rich description of a particular, influential move in the art museum globe. This volume illustrates his ain commitment to social collaboration. Past presenting the conversations that make upwards the core of this volume, he brings this aspect of the art museum world to a larger public." — George E. Hein, Curator
"What We Made's forcefulness is derived from its vibrant conversations, balancing the voices of such well-known artists as Tania Bruguera, Rick Lowe, Mierle Laderman Ukeles, along with urban planners, educators, philosophers, political scientists, and participants. . . . Finkelpearl's dialogue-based approach represents the dynamic and generative character of cooperative art." — Sierra Rooney, Public Fine art Dialogue
"... [T]hose willing to situate themselves as imagined critical participants in Finkelpearl'due south case studies––to envisage the creative possibility of 'I' giving fashion to 'nosotros'––are rewarded with an expanded appreciation of social do fine art. Concluding with a rumination on the theory of progressive pragmatist John Dewey, What Nosotros Fabricated makes a powerful bid for readers to 'go out' of themselves." — Nicola Isle of man, Invisible Civilization
"This book is extremely rich and thought provoking. It successfully challenges the reader to remember differently and creatively about the means in which art can and should be fabricated, who might be involved, and to what purposes. Information technology challenges us to consider possible ways in which cooperative fine art might influence and collaborate with our communities and daily lives." — Tui Nicola Clery, Consciousness, Literature and the Arts
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Open Access
Tom Finkelpearl is Executive Manager of the Queens Museum of Art. He is the author of Dialogues in Public Art.
Preface nine
1. Introduction
The Fine art of Social Cooperation: An American Framework 1
two. Cooperation Goes Public
Consequences of a Gesture and 100 Victoria/10,000 Tears 51
Interview: Daniel Joseph Martinez, artist, and Gregg M. Horowitz, philosophy professor
Chicago Urban Ecology Action group 76
Follow-Up Interview: Naomi Beckwith, participant
3. Museum, Instruction, Cooperation
Memory of Surfaces ninety
Interview: Ernesto Pujol, creative person, and David Henry, museum educator
4. Overview
Temporary Coaltions, Mobilized Communities, and Dialogue as Art 114
Interview: Grant Kester, art historian
5. Social Vision and a Cooperative Community
Project Row Houses 132
Interview: Rick Lowe, artist, and Mark Stern, professor of social history and urban studies
six. Participation, Planning, and a Cooperative Flick
Blot Out the Sun 152
Interview: Harrell Fletcher, artist, and Ethan Seltzer, professor of urban studies and planning
Ride Out the Sunday 174
Follow-upwardly Interview: Jay Dykeman, collaborator
7. Education Art
Catedra Arte del Conducta 179
Interview: Tania Bruguera, artist
Catedra de Conducta
Follow-upwards Interview: Claire Bishop, art historian
viii. A Political Alphabet 219
Interview: Wendy Ewald, artist, and Sondra Farganis, political scientist
9. Crossing Borders
Transnational Community-Based Production, Cooperative Art, and Informal Merchandise Networks 240
Interview: Pedro Lasch, artist, and Teddy Cruz, architect
ten. Spirituality and Cooperation
Unburning Freedom Hall and The Packer School Project 269
Interview: Brett Cook, artist, and Mierle Laderman Ukeles, artist
The Seer Project 301
Interview: Lee Mingwei, creative person
xi. Interactive Net Advice
White Glove Tracking 313
Interview: Evan Roth, artist
White Glove Tracking 335
Follow-upwardly Interview: Jonah Peretti, contagious media pioneer
Determination: Pragmatism and Social Cooperation 343
Notes 363
Bibliography 373
Index 381
Sales/Territorial Rights: Globe
Rights and licensing
Paper ISBN: 978-0-8223-5289-one
/ Material ISBN: 978-0-8223-5284-vi
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Source: https://www.dukeupress.edu/what-we-made
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