Public Engagement
A Guide to Democracy in America by Call Number: N72.S6 G85 2008ISBN: 1928570089Publication Date: 2008-11-01This cultural reader, edited by Creative Time curator Nato Thompson, gathers more than 100 artists, thinkers and activists to reflect on the historical roots and current manifestations of democracy in the United States. Taking as a springboard the exhibition Democracy in America: The National Campaign, presented by Creative Time in association with the Park Avenue Armory in September of 2008, this compendium includes writing and artwork by Laurie Anderson, Critical Art Ensemble, Liam Gillick, Jenny Holzer, Matt Keegan, Jon Kessler, Mark Tribe and many others; essays by Yates McKee, Doug Ashford of Group Material and curators Sofia Hernandez Chong Cuy and Nato Thompson; and interviews with Critical Art Ensemble's Steve Kurtz, Rene Gabri & Ayreen Anastas and Trevor Plagen--as well as a series of town hall-style conversations with artists and activists from five cities across the country.
Actions: What You Can Do With the City by Call Number: HT166 .A27 2008ISBN: 9085067243Publication Date: 2008Timely investigation of the relations of the city, both with its own built environment and with a more complex range of social economic and environmental issues. In particular the four key human actions of gardening, recycling, playing and walking are examined in the context of how they can inform the design of the city. Themes include recent planning proposals connected with the production of food and the presence of urban agriculture; contemporary strategies for recycling garbage; the urban fabric as the perfect playground for skateboarding, biking and parkour. Contributors include: Ocean Howell, David Thomson, Vikram Bath, and Hans Ibelings.
Art as Experience by Call Number: N66 .D4 1934ISBN: 0399531971Publication Date: 1934Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.
Art Workers: Radical Practice in the Vietnam War Era by Call Number: N72.P6 B79 2009ISBN: 0520269756Publication Date: 2011During the late 1960s and early 1970s, in response to the political turbulence generated by the Vietnam War, an important group of American artists and critics sought to expand the definition of creative labor by identifying themselves as "art workers." In the first book to examine this movement, Julia Bryan-Wilson shows how a polemical redefinition of artistic labor played a central role in minimalism, process art, feminist criticism, and conceptualism. In her close examination of four seminal figures of the period--American artists Carl Andre, Robert Morris, and Hans Haacke, and art critic Lucy Lippard--Bryan-Wilson frames an engrossing new argument around the double entendre that "art works." She traces the divergent ways in which these four artists and writers rallied around the "art worker" identity, including participating in the Art Workers' Coalition--a short-lived organization founded in 1969 to protest the war and agitate for artists' rights--and the New York Art Strike. By connecting social art history and theories of labor, this book illuminates the artworks and protest actions that were central to this pivotal era in both American art and politics.
Art, Space and the City by Call Number: N8825 .M565 1997ISBN: 0415139422Publication Date: 1997-10-02Because public art suffers from falling between the realms of art and urban planning, it has been neglected in debates both on contemporary art and the future of cities.Art, Space and the Cityfocuses on two roles for art: as decoration within revisioned urban design and as a social process of criticism. Malcolm Miles applies a range of critical perspectives which have emerged from art criticism, urban design, urban sociology, geography and critical theory--to examine the practice of art for urban public spaces, and asks the artworld how it might contribute to the urban future. Drawing on a wealth of images and examples, including New York, Seattle, London and Tokyo, the author questions the effectiveness of public art in achieving more convivial urban environments, while retaining the idea that imagining the urban future is as much part of a democratic society as using public space. Exploring the diversity of the roles of professionals and users in the construction of the city, thegendering of space and the ways in which space and citizen are represented, Miles explains how these issues are as relevant to architecture, urban design and planning as they are to public art. After three decades of public art as an often marginalized area within the practice of art, this is the only book to take stock of what it has become and what the future holds for it in the urban setting.
ArtShow: Youth and Community Development by Call Number: HN90.C6 A78 1999ISBN: 0941182525Publication Date: November 11, 1999Based on ten years of research on high-quality after school activities, ArtShow demonstrates how community based youth programs can provide meaningful experiences for young people during the high risk time when they are neither at school or at home. Arts activities in particular provide an environment that forms identity, provides a safe place for young people to be vulnerable and express emotion, requires discipline and exposes youth to risk and criticism. Four in-depth case studies reveal how arts activities can also develop entrepreneurism. With principles that can be used in creating and developing programming, this book will provoke and inspire.
Beginner's Guide to Community-Based Arts by Call Number: NX180.A77 B44 2005ISBN: 0976605430Publication Date: 2005-10-01Ten transformative local arts projects come alive in this illustrated training manual for youth leaders and teachers. This energetic guidebook demonstrates the enormous power of art in grass-roots social change. It presents proven models of community-based arts programs, plus techniques, discussion questions, and plentiful resources. Writer Mat Schwarzman directs the Crossroads Center at Xavier University, which trains youth leaders nationwide in community-based arts activism. He holds a PhD in transformative learning. Graphic storyteller Keith Knightis an award-winning cartoonist, rapper, and hip-hop musician with two nationally syndicated comic strips.
Black Mountain by Call Number: LD451.B5682 D82 1974ISBN: 0810125943Publication Date: 2009-03-13Established in 1933, Black Mountain College came to be regarded as one of the most important artistic and intellectual communities of 20th century America. In this history, the author documents the college's 23 year history, from its most brilliant moments of self-reinvention to its lowest moments of petty infighting.
Christian Philipp Muller by Call Number: N7153.M8 A4 2001ISBN: 3933807425Publication Date: 2002-04-02Description: In his most recent art project, Branding the Campus, Christian Philipp Muller considers the representation of the university in the public sphere. Taking the University of Luneberg as its main site of inquiry, Muller's investigations reveal that "branding" is not simply the creation of identificatory signs. Branding the Campusproblematizes the commercial pressures put on universities of late, pressures which affect the content and social criteria of academic culture. Textual and photographic documentation of Muller's two-part permanent installation is accompanied by essays examining the methodological and content-oriented relationship between this work and the artist's previous projects.
City art : New York's Percent for Art Program by Call Number: N8845.N47 H43 2005ISBN: 185894290XPublication Date: 2005A complete record of the public art installations sponsored by New York City's Percent for Art Program since 1983 Features two hundred works by nearly as many artists, many of whom are internationally well known, including Vito Acconci, Dennis Adams, Siah Armajani, Alice Aycock, Dawoud Bey, Scott Burton, Jackie Ferrara, Komar & Melamid, Matt Mullican, Pat Steir, Fred Tomaselli, Ursula von Rydingsvard, Carrie Mae Weems, Fred Wilson and Krzysztof Wodiczko Includes interior and exterior permanent art installations at schools, parks, playgrounds, courthouses and other sites throughout New York City's five boroughs Foreword by Michael Bloomberg, Mayor of New York City, and specially commissioned photography by celebrated New York-based architectural photographer David S. Allee A stunning book that will appeal to anyone interested in contemporary art, architecture, urban issues and culture.
Community art : the politics of trespassing by Call Number: N72.A76 C65 2011ISBN: 9078088508Publication Date: 2011Italian philosopher Antonio Negri has declared that "Every kind of change belongs to a form of community art," inverting the convention that community art can be an integral component of social change and extending the rubric of art to propose a commons of all those striving to effect change in social, economic, technological and ecological arenas. So how do these endeavors influence and act upon one another? In Community Art, artists and theorists Tilde Björfors, Bertus Borgers, Paul De Bruyne, Changchengh, Luigi Coppola, An De bisschop, Miguel Escobar Varela, Jan Fabre, Alison M. Friedman, Pascal Gielen, Sonja Lavaert, Carol Martin, Antonio Negri, Alida Neslo, Tessa Overbeek, Lionel Popkin, Richard Schechner, Hein Schoer, Ricky Seabra, Jonas Staal, Klaas Tindemans, Luk van den Dries, Quirijn Lennert van den Hoogen, Hans van Maanen, Bart Van Nuffelen and Karel Vanhaesebrouck explore the practices of artistic and social movements in western and non-western societies.
Contemporary public space : un-volumetric architecture by Call Number: NA9053.S6 C668 2006ISBN: 8876242732Publication Date: 2006Critic James Wines notes, "The topic of this book, 'un-volumetric architecture' is the search for creative alternatives to the overly volumetric 'shape making' obsessions of international architecture today . . ." Here are over 50 important experimental contemporary designs for public spaces sited throughout the world-earthworks and surface design, canopies and shelters, and other forms of "micro-architecture." As a theory un-volumetric architecture attracted designers including the Acconci studio, Shigeru Ban, Eduard Bru, Manuel de Sola Morales, Isamo Nougichi, Toyo Ito, Wes Jones, Kengo Kuma, Torres & La Pena, Mary Miss, N! Studio, NL architects, Oma, Site, Italo Rota, Sauerbruch & Hutton, and Venturi Scott Brown.
Conversation Pieces: Community and Communication in Modern Art by Call Number: N6494.I57 K47 2004ISBN: 0520238397Publication Date: 2004Some of the most innovative art of the past decade has been created far outside conventional galleries and museums. In a parking garage in Oakland, California; on a pleasure boat on the Lake of Zurich in Switzerland; at a public market in Chiang Mai, Thailand--artists operating at the intersection of art and cultural activism have been developing new forms of collaboration with diverse audiences and communities. Their projects have addressed such issues as political conflict in Northern Ireland, gang violence on Chicago's West Side, and the problems of sex workers in Switzerland. Provocative, accessible, and engaging, this book, one of the first full-length studies on the topic, situates these socially conscious projects historically, relates them to key issues in contemporary art and art theory, and offers a unique critical framework for understanding them. Grant Kester discusses a disparate network of artists and collectives--including The Art of Change, Helen and Newton Harrison, Littoral, Suzanne Lacy, Stephen Willats, and WochenKlausur--united by a desire to create new forms of understanding through creative dialogue that crosses boundaries of race, religion, and culture. Kester traces the origins of these works in the conceptual art and feminist performance art of the 1960s and 1970s and draws from the writings of Mikhail Bakhtin, Jürgen Habermas, and others as he explores the ways in which these artists corroborate and challenge many of the key principles of avant-garde art and art theory.
Critical Issues in Public Art by Call Number: N8835 .C75 1992ISBN: 1560987693Publication Date: 1993-08-01"This anthology is an important compilation of writings on critical issues in public art and an analysis of significant historical developments in public art in America. There are twenty-two selections and a general introduction by the editors covering a wide range of topics including monuments and memorials; patronage issues; the public's response to public art; and new directions in public art. The book should interest art and cultural historians, artists and architects, landscape and urban designers, urban planners, arts administrators, and students of American studies and public history and policy."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
CTRL (Space) by Call Number: QUARTO 702.8 C89ISBN: 0262621657Publication Date: 2002-05-15This book investigates the state of panoptic art at a time when issues of security and civil liberties are on many people's minds. Traditional imaging and tracking systems have given way to infinitely more powerful &"dataveillance&" technologies, as an evolving arsenal of surrogate eyes and ears in our society shifts its focus from military to domestic space. Taking as its point of departure an architectural drawing by Jeremy Bentham that became the model for an entire social regime, CTRL [SPACE] looks at the shifting relationships between design and power, imaging and oppression, from the eighteenth to the twenty-first centuries.
From the photographs taken with hidden cameras by Walker Evans and Paul Strand in the early twentieth century to the appropriation of military satellite technology by Marko Peljhan a hundred years later, the works of a wide range of artists have explored the dynamics of watching and being watched. The artists whose panoptical preoccupations are featured include, among others, Sophie Calle, Diller + Scofidio, Dan Graham, Pierre Huyghe, Michael Klier, Rem Koolhaas, Bruce Nauman, Yoko Ono, Thomas Ruff, Julia Scher, Andy Warhol, and Peter Weibel. This book, along with the exhibition it accompanies, is the first state-of-the-art survey of panopticism&—in digital culture, architecture, television, video, cinema, painting, photography, conceptual art, installation work, robotics, and satellite imaging.
Democracy by Call Number: N72.S6 D57 no. 5ISBN: 1565844998Publication Date: 1990-12-01A Village Voice Best Book of the Year, this collection of essays by contributors such as Noam Chomsky, Barbara Ehrenreich, and Henry Lewis Gates, Jr., "challenges accepted notions about the relationships between art, culture, politics, and 'the public'" (Art in America). Discussions in Contemporary Culture is an award-winning series copublished with the Dia Center for the Arts in New York City. These volumes offer rich and timely discourses on a broad range of cultural issues and critical theory. The collection covers topics from urban planning to popular culture and literature, and continually attracts a wide and dedicated readership.
Design For The Real World: Human Ecology and Social Change by Call Number: TS171.4 .P37 1985ISBN: 0897331532Publication Date: 1984This is a completely revised second edition of Design for the Real World, which has since its first appearance twenty years ago, become a classic. Translated into twenty-three languages, it is one of the world's most widely read books on design. In this revised edition, Victor Papanek examines the attempts by designers to combat the tawdry, the unsafe, the frivolous, the useless product, once again providing a blueprint for sensible, responsible design in this world, which is deficient in resources and energy.
Design like you give a damn : architectural responses to humanitarian crisis by Call Number: NA2543.S6 D397 2006ISBN: 1933045256Publication Date: 2006The greatest humanitarian challenge we face today is that of providing shelter. Currently, one in seven people lives in a slum or refugee camp, and more than 3,000,000,000 people--nearly half the world's population--do not have access to clean water or adequate sanitation. The physical design of our homes, neighborhoods and communities shapes every aspect of our lives. Yet too often architects are desperately needed in the places where they can least be afforded. Edited by Architecture for Humanity and now on its fifth printing, Design Like You Give a Damn is a compendium of innovative projects from around the world that demonstrate the power of design to improve lives. The first book to bring the best of humanitarian architecture and design to the printed page, Design Like You Give a Damn offers a history of the movement toward socially conscious design, and showcases more than 80 contemporary solutions to such urgent needs as basic shelter, healthcare, education and access to clean water, energy and sanitation.
Design revolution : 100 products that empower people by Call Number: TS171.4 .P55 2009ISBN: 1933045957Publication Date: 2009In January of 2008, with a thousand dollars, a laptop and an outsized conviction that design can change the world, rising San Francisco-based product designer and activist Emily Pilloton launched Project H Design, a radical non-profit that supports, inspires and delivers life-improving humanitarian product design. "We need to go beyond 'going green' and to enlist a new generation of design activists," she wrote in an influential manifesto. "We need big hearts, bigger business sense and the bravery to take action now." Featuring more than 100 contemporary design products and systems--safer baby bottles, a high-tech waterless washing machine, low-cost prosthetics for landmine victims, Braille-based Lego-style building blocks for blind children, wheelchairs for rugged conditions, sugarcane charcoal, universal composting systems, DIY soccer balls--that are as fascinating as they are revolutionary, this exceptionally smart, friendly and well-designed volume makes the case for design as a tool to solve some of the world's biggest social problems in beautiful, sustainable and engaging ways--for global citizens in the developing world and in more developed economies alike. Particularly at a time when the weight of climate change, global poverty and population growth are impossible to ignore, Pilloton challenges designers to be changemakers instead of "stuff creators."
Dialogues in Public Art by Call Number: N8835 .F56 2000ISBN: 0262561484Publication Date: 2001By the 1990s, public art had evolved far beyond the lonely monument on an open plaza. Now public artists might design the entire plaza, create an event to alter the social dynamics of an urban environment, or help to reconstruct a neighborhood. Dialogues in Public Art presents a rich blend of interviews with the people who create and experience public art -- from an artist who mounted three bronze sculptures in the South Bronx to the bureaucrat who led the fight to have them removed; from an artist who describes his work as a "cancer" on architecture to a pair of architects who might agree with him; from an artist who formed a coalition to convert twenty-two derelict row houses into an art center/community revitalization project to a young woman who got her life back on track while living in one of the converted houses.The twenty interviews are divided into four parts: Controversies in Public Art, Experiments in Public Art as Architecture and Urban Planning, Dialogues on Dialogue-Based Public Art Projects, and Public Art for Public Health. Tom Finkelpearl's introductory essay provides a concise overview of changing attitudes toward the city as the site of public art.Interviewees : Vito Acconci, John Ahearn, David Avalos, Rufus L. Chaney, Mel Chin, Douglas Crimp, Paulo Freire, Andrew Ginzel, Linnea Glatt, Louis Hock, Ron Jensen, Kristin Jones, Maya Lin, Rick Lowe, Jackie McLean, Frank Moore, Jagoda Przybylak, Denise Scott Brown, Assata Shakur, Michael Singer, Elizabeth Sisco, Arthur Symes, Mierle Laderman Ukeles, Robert Venturi, Krzysztof Wodiczko
Edible estates : attack on the front lawn by Call Number: SB475.9.E35 E35 2010ISBN: 193520212XPublication Date: 2010Since the first edition of Edible Estates: Attack on the Front Lawn was published in 2008, interest in edible gardening has exploded across the United States and abroad. Even First Lady Michelle Obama is doing it! This greatly expanded second edition of the book documents the eight Edible Estates regional prototype gardens that author Fritz Haeg has planted in California, Kansas, Texas, Maryland, New Jersey, New York and England, and includes personal accounts from the homeowner-gardeners about the pleasures and challenges of publicly growing food where they live. Ten "Reports from Coast to Coast" tell the stories of others who have planted their own edible front yards in towns and cities across the country. In addition to essays by renowned landscape architect and scholar Diana Balmori, edible-landscaping pioneer Rosalind Creasy, bestselling author and sustainable-food advocate Michael Pollan and artist and writer Lesley Stern, this edition features updated text by Haeg (including his observations on the Obama White House vegetable garden); a contribution from Mannahatta author Eric W. Sanderson; and Growing Power founder, MacArthur Fellow and urban farmer Will Allen's never-before-published Declaration of the Good Food Revolution. This is not a comprehensive how-to book, nor a showcase of impossibly perfect gardens. The stories presented here are intended to reveal something about how we are living today and to inspire readers to plant their own versions of an Edible Estate. If we see that our neighbor's typical grassy lawn instead can be a beautiful food garden, perhaps we will begin to look at the city around us with new eyes. Our private land can be a public model for the world in which we would like to live.
Education for socially engaged art : a materials and techniques handbook by Call Number: N72.S6 H454 2011ISBN: 1934978590Publication Date: 2011"For too long Social Practice has been the notoriously flimsy flipside of market-based contemporary art: a world of hand-wringing practitioners easily satisfied with the feeling of 'doing good' in a community, and unaware that their quasi-activist, anti-formalist positions in fact have a long artistic heritage and can be critically dissected using the tools of art and theatre history. Helguera's spunky primer promises to offer a much-needed critical compass for those adrift in the expanded social field." -Claire Bishop, Professor of Contemporary Art and Exhibition History, CUNY, and author of Artificial Hells: Participatory Art and the Politics of Spectatorship "This is an extremely timely and thoughtful reference book. Drawn from empirical and extensive experience and research, it provides a curriculum and framework for thinking about the complexity of socially engaged practices. Locating the methodologies of this work in between disciplines, Helguera draws on histories of performance, pedagogy, sociology, ethnography, linguistics, community and public practices. Rather than propose a system he exposes the temporalities necessary to make these situations possible and resonant. This is a tool that will allow us to consider the difficulties of making socially engaged art and move closer to finding a language through which we can represent and discuss its impact." -Sally Tallant, Artistic Director, Liverpool Biennial "Helguera has produced a highly readable book that absolutely needs to be in the back pocket of anyone interested in teaching or learning about socially engaged art" -Tom Finkelpearl, Director of the Queens Museum, New York, and author of Dialogues in Public Art
Essays on the Blurring of Art and Life by Call Number: NX504 .K36 1993ISBN: 0520070666Publication Date: 1993-10-04As the creator of "Happenings" and "Environments," Allan Kaprow is the prince and prophet of all we call performance art today. He is also known for having written some of the most thoughtful, provocative, and influential essays of his generation. From "The Legacy of Jackson Pollock" in 1958 to "The Meaning of Life" in 1990, Kaprow has conducted a sustained philosophical inquiry into the paradoxical relationship of art to life, and thus into the nature of meaning itself. With the publication of this book, twenty-three of Kaprow's most significant essays are brought together in one volume for the first time. Kaprow charts his own evolution as an artist and also comments on contemporaneous developments in the arts. From the modernist avant-garde of the fifties to the current postmodernfin de siegrave;cle, Kaprow has written about--and from within--the shifting, blurring boundaries of genre, media, culture, and experience. Edited and introduced by critic Jeff Kelley, these essays bring into crisp focus the thinking of one of the most influential figures in the varied landscape of American art since the late 1950s.
Evictions : art and spatial politics by Call Number: NA9053.S6 D48 1996ISBN: 0262540975Publication Date: 1996Since the 1980s a great deal has been written on the relationship between art, architecture, and urban planning and design, on the one hand, and the politics of space, on the other. In Evictions Rosalyn Deutsche investigates—and protests against—the dominant uses of this interdisciplinary discourse. Deutsche argues that critics on both the left and the right invoke harmonious images of space that conceal and justify exclusions—whether the space in question is a city, park, institution, exhibition, identity, or work of art. By contrast, she calls for a democratic spatial critique that takes account of the conflicts that produce and maintain all spaces, including the space of politics itself. Opposing the nostalgic belief that democracys survival demands the recovery of a once unified public sphere, Deutsche contends that conflict, far from undermining public space, is a prerequisite for its existence and growth.
Free exchange by Call Number: NX180.S6 B68 1995ISBN: 074561521XAn excellent discussion on the impact of the conservative shift on artistic commerce and production. Incisive dialogue between two of this generations most erudite (and honest) intellectuals.
From Agit-prop to Free Space: The Architecture of Cedric Price by Call Number: NA997.P75 M38 2007ISBN: 1904772528Publication Date: 2007"Cedric Price was one of the most visionary architects of the late twentieth century, taking a playful, interactive approach to his projects that was wholly lateral and completely unconventional. From Agit-Prop to Free Space is the first and only authoritative text on the early work of this visionary architect and thinker. Born in 1934 in Staffordshire, Price studied architecture at Cambridge University and then at the Architectural Association, graduating with a diploma in 1957. After working with Maxwell Fry and Denys Lasdun, he founded Cedric Price Architects in 1961 and worked with Lord Snowdon and Frank Newby on the design of the Aviary at London Zoo. It was one of the few buildings designed by Price that was realised in his lifetime; it is the revolutionary nature of his un-built ideas and his ground-breaking, uncompromising thinking that have ensured his iconic status."
Good : an introduction to ethics in graphic design by Call Number: NC997 .R62 2006ISBN: 2940373140Publication Date: 2006In a world where awareness of ethics is increasing--but actual ethics themselves may be decreasing--where does graphic design fit in? What is the responsibility of the graphic designer? Is it right to use good design to further evil in the world, merely for the sake of being a good designer? Without dictating a moral stance, Good: Ethics and Graphic Design explores the idea of "being good" and uses what-if scenarios to explore the ramifications of different business decisions. Author Lucienne Roberts draws readers into a debate about professional "goodness" versus personal "goodness" and the relationship between ethics and design practice.
Good Deeds, Good Design: Community Service Through Architecture by Call Number: NA7540 .G66 2004ISBN: 1568983913Publication Date: 2003It may come as no surprise that only two percent of new homebuyers work directly with an architect to design the space in which they will live indeed, architects are usually seen as a luxury most of us, the other ninety-eight percent, cant afford. Yet, why shouldnt more people call on the services of architects? With fierce competition for few commissions, why do architects not seek out other sources of work and income? Now, acting within larger institutions or on their own, many architects are taking local initiatives to address the underserved, particularly the poor. Good Deeds, Good Design presents the best new thoughts and practices in this emerging movement toward an architecture that serves a broader population.In this book, architecture firms, community design centers, design/build programs, and service-based organizations offer their plans for buildings for the other ninety-eight percent. Twenty-eight essays and case studies illustrate successes and failures and raise both design and social issues. The success of Rural Studio suggests that there is a large and growing number of people who would like to see good design for all. With its clear, direct, and inspiring message, and numerous illustrated examples, Good Deeds, Good Design follows this important story.
Interventions and provocations : conversations on art, culture, and resistance by Call Number: NX504 .I58 1998ISBN: 0791437256Publication Date: 1998This book presents interviews with some of the most provocative artists of the postmodern era. These sculptors, writers, filmmakers, activists, and performance artists have forged a new vision of art that is confrontational, political, and concerned with interrupting the domination of our lives by mass culture.
Inventory by Call Number: N6537.H532 A4 2003ISBN: 377571278XPublication Date: 2004-02-02The aim of this book is to properly lend focus and a visual base to the series of Volksboutique projects Christine Hill has made over the past 10 years, including "Piolte, Products, Vendible, Tourguide, The Reference Library and the "Handbag. She has come to refer to these as 'Organizational Ventures', a term which gives shape to the real art making tools in use: coordination, organization, presentation. The book displays the cumulative nature of Hill's projects and collects a number of texts and reference images that are vital to the work. The structure of the book traces Christine Hill's offices in Binghamton, Baltimore, Berlin and New York. The design reflects properties that have been present in many Volksboutique projects. The book serves as an archive of projects, and a visual hope chest that contains them.
Learning Through Serving by Call Number: LC220.5 .C72 2005ISBN: 157922119XPublication Date: 2005This book is intended as a self-directed guide for college-level students who are engaged in service-learning. Though addressed principally to students participating in service-learning as a class, it is also suitable for students working individually. The authors’ goals are to enable the reader to derive the greatest benefit from the experience – in terms of providing meaningful service to the community partner, developing his or her skills and knowledge, and connecting back what she or he learns to course objectives and the framework of their discipline.
Learning to love you more by Call Number: NX175 .F53 2007ISBN: 3791337335Publication Date: 2007In a world obsessed with 'reality' programming, the collaborative public art project known as "Learning To Love You More" offers a refreshing take on how people think, act and love. Created by Miranda July and Harrell Fletcher, the web-based project, begun in 2002, offers more than sixty 'assignments' that can be completed by anyone: 'Write the phone conversation you wish you could have'; 'Draw a constellation from someone's freckles'; 'Take a flash photo under your bed.' Completed assignments are posted on the web site; to date, more than 5,000 people have participated - artists and non-artists of all ages, from Tokyo to Tel Aviv. July and Fletcher have curated a selection of the most memorable submissions - some moving, others hilarious and oddly brilliant, to create a pop culture collage that tells a larger story about life today. The result is an engaging, heartwarming, idea sparking book sure to inspire, teach, and entertain. Her film "Me And You And Everyone We Know" (Film Four) was a cult hit in 2005 - it won 15 Awards including the Golden Camera at Cannes and the Special Jury Prize for Originality of Vision at the Sundance film festival.
Mapping the Terrain by Call Number: NX650.P6 M36 1995ISBN: 0941920305Publication Date: 1995-01-01In this anthology of twelve essays, editor Suzanne Lacy and eleven eminent artists, curators, and critics forge a critical framework for understanding and interpreting the new public art that has emerged over the last two decades. Mapping the Terrain departs from traditional definitions of public art and explores how the new public art reaches diverse audiences to address issues of race, gender, homelessness, ecology, and urbanization. Also included in this publication is a useful illustrated compendium that chronicles the work of over ninety pioneering new genre public artists. Mapping the Terrain makes an invaluable contribution to the continuing debate about public art and how it can be meaningfully woven into our social fabric.
Mark Tribe: the Port Huron Project by Call Number: NX600.P47 T75 2010ISBN: 8881587629Publication Date: 2010-06-30The Port Huron Project, was a series of six reenactments of protest speeches from the New Left movements of the 1960s and '70s which took place on the original locations and was organized by Mark Tribe, an artist and professor at Brown University. This volume contains archival photographs and transcripts of speeches from the anti-Vietnam war movement of the 1960s and '70s by Angel Davis, Cesar Chavez, Stokely Carmichael, Paul Potter, Howard Zinn and Coretta Scott King.
My work is not my work : Pierre Bernard : design for the public domain by Call Number: NC999.6.F8 B474 2008ISBN: 3037780878Publication Date: 2008The French designer Pierre Bernard focuses in his work – a comprehensive survey of which is offered here for the first time – on the public domain, on communication between governments and citizens, on notification and orientation in the public realm. As a designer, Pierre Bernard is a thinker who incorporates not only form but also content and context into his works. "Visual design won’t turn the world into a paradise, but it can help to bring about a more humane world.” A striking example is his concept for the Louvre’s corporate identity in Paris. Bernard is omnipresent in France with his design for the distinctive seal of the French National Parks. The Erasmus Prize 2006 is being awarded to Pierre Bernard in recognition of his contributions to "design in the public domain.” The award is given annually for special achievements in European culture and society.
One Place after Another by Call Number: N6490 .K93 2002ISBN: 026261202xPublication Date: 2004-02-27Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of site specificity and changes in institutional and market forces.One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.
Participation by Call Number: NX456.5.I57 P37 2006ISBN: 0262524643Publication Date: 2006The desire to move viewers out of the role of passive observers and into the role of producers is one of the hallmarks of twentieth-century art. This tendency can be found in practices and projects ranging from El Lissitzky's exhibition designs to Allan Kaprow's happenings, from minimalist objects to installation art. More recently, this kind of participatory art has gone so far as to encourage and produce new social relationships. Guy Debord's celebrated argument that capitalism fragments the social bond has become the premise for much relational art seeking to challenge and provide alternatives to the discontents of contemporary life. This publication collects texts that place this artistic development in historical and theoretical context. Participation begins with writings that provide a theoretical framework for relational art, with essays by Umberto Eco, Bertolt Brecht, Roland Barthes, Peter Bürger, Jen-Luc Nancy, Edoaurd Glissant, and Félix Guattari, as well as the first translation into English of Jacques Rancière's influential "Problems and Transformations in Critical Art." The book also includes central writings by such artists as Lygia Clark and Hélio Oiticica, Joseph Beuys, Augusto Boal, Felix Gonzalez-Torres, Thomas Hirschhorn, and Rirkrit Tiravanija. And it features recent critical and curatorial debates, with discussions by Lars Bang Larsen, Nicolas Bourriaud, Hal Foster, and Hans-Ulrich Obrist. Copublished with Whitechapel Art Gallery, London
Pedagogy of the oppressed by Call Number: LB880.F73 P4313 1970ISBN: 0826412769Publication Date: 1970First published in Portuguese in 1968, Pedagogy of the Oppressed was translated and published in English in 1970. The methodology of the late Paulo Freire has helped to empower countless impoverished and illiterate people throughout the world. Freire's work has taken on especial urgency in the United States and Western Europe, where the creation of a permanent underclass among the underprivileged and minorities in cities and urban centers is increasingly accepted as the norm. With a substantive new introduction on Freire's life and the remarkable impact of this book by writer and Freire confidant and authority Donaldo Macedo, this anniversary edition of Pedagogy of the Oppressed will inspire a new generation of educators, students, and general readers for years to come.
For more information, visit www.pedagogyoftheoppressed.com.
Plop : recent projects of the Public Art Fund by Call Number: N8845.N48 P45 2004ISBN: 1858942470Publication Date: 2004Features projects by forty-five internationally acclaimed artists whose installations in New York City were made possible by the Public Art Fund. It examines the diverse ways in which artists have created a participatory experience of contemporary art in public spaces.
Public works : unsolicited small projects for the Big Dig by Call Number: HT168.B6 Y66 2008ISBN: 9881771218Publication Date: 2008Boston's Big Dig was the most expensive urban public work in U.S. history. The city's elevated six-lane highway, called the Central Artery, and the two tunnels under Boston Harbor, were some of the most congested, accident-prone motorways in the United States. The city's solution, nicknamed The Big Dig, was to replace the elevated highway with a series of eight-to-ten-lane underground expressways. Public Works presents a series of 14 disarmingly modest, speculative interventions by the Boston-based MY Studio, a multidisciplinary design firm operating in the space between architecture, art and landscape. Collectively, these interventions expose, connect and reconfigure the relationship between the underground expressways and the new parks that emerged in the Big Dig's wake, demonstrating the effect design can have on our conception of public space.
Releasing the Imagination by Call Number: LA217.2 .G74 1995ISBN: 0787900818Publication Date: 1995-07-13"This remarkable set of essays defines the role of imagination in general education, arts education, aesthetics, literature, and the social and multicultural context.... The author argues for schools to be restructured as places where students reach out for meanings and where the previously silenced or unheard may have a voice. She invites readers to develop processes to enhance and cultivate their own visions through the application of imagination and the arts. Releasing the Imagination should be required reading for all educators, particularly those in teacher education, and for general and academic readers."
--Choice
Rural Studio : Samuel Mockbee and an architecture of decency by Call Number: NA2300.A9 D43 2002ISBN: 1568982925Publication Date: 2002For almost ten years, Samuel Mockbee, a recent MacArthur Grant recipient, and his architecture students at Auburn University have been designing and building striking houses and community buildings for impoverished residents of Alabama's Hale County. Using salvaged lumber and bricks, discarded tires, hay and waste cardboard bales, concrete rubble, colored bottles, and old license plates, they create inexpensive buildings that bear the trademark of Mockbee's work, which he describes as "contemporary modernism grounded in Southern culture."In a time of unexampled prosperity, when architectural attention focuses on big, glossy urban projects, the Rural Studio provides an alternative of substance. In addition to being a social welfare venture, the Rural Studio--"Taliesin South" as Mockbee calls it--is also an educational experiment and a prod to the architectural profession to act on its best instincts. In giving students hands-on experience in designing and building something real, it extends their education beyond paper architecture. And in scavenging and reusing a variety of unusual materials, it is a model of sustainable architecture. The work of Rural Studio has struck such a chord-both architecturally and socially--that it has been featured on Oprah, Nightline, and CBS News, as well as in Time and People magazines.The Studio has completed more than a dozen projects, including the Bryant "Hay Bale" House, Harris "Butterfly" House, Yancey Chapel, Akron Chapel, Children's Center, H.E.R.O. Playground, Lewis House, Super Sheds and Pods, Spencer House addition, Farmer's Market, Mason's Bend Community Center, Goat House, and Shannon-Dutley House. These buildings, along with the incredible story of the Rural Studio, the people who live there, and Mockbee and his student architects, are detailed in this colorful book, the first on the subject."I tell my students, it's got to be warm, dry, and noble"--Samuel Mockbee
Secret games : collaborative works with children 1969-1999 by Call Number: TR647.E935 A4 2000ISBN: 3908247284Publication Date: 2000Our perceptions of children are only too often distorted by our inclination to project grown-up fantasies of innocence and naivete onto them. Working with children, American photographer Wendy Ewald reveals the lucidity and precision of their powers of observation, gently but assuredly overturning cherished notions of childhood as a paradise lost. In Secret Games Ewald leads you into a world that is as eerie, haunting and threatening as it is joyous and mischievous-life as children really experience it. In 1969, when Wendy Ewald taught photography to children for the first time on a Native American reservation in Nova Scotia, she was stunned by how astute and beautiful their photographs of the environment they were growing up in were. Moving on to the Kentucky Appalachians, she continued working with children, combining her own photographs with the children's photographs and writings. For the past thirty years she has worked with children and women all over the world. Secret Games offers a comprehensive overview of Ewald's collaborative works, with in-depth texts by Ewald tracing the evolution of her work and the ideas guiding it.
Social Works: Performing Art, Supporting Publics by Call Number: NX180.S6 J325 2011ISBN: 0415486017Publication Date: 2011At a time when art world critics and curators heavily debate the social, and when community organizers and civic activists are reconsidering the role of aesthetics in social reform, this book makes explicit some of the contradictions and competing stakes of contemporary experimental art-making. Social Works is an interdisciplinary approach to the forms, goals and histories of innovative social practice in both contemporary performance and visual art. Shannon Jackson uses a range of case studies and contemporary methodologies to mediate between the fields of visual and performance studies. The result is a brilliant analysis that not only incorporates current political and aesthetic discourses but also provides a practical understanding of social practice.
Surface Tension: Problematics of Site by Call Number: NX456.5.S57 S87 2003ISBN: 0965557049Publication Date: 2003From Gordon Matta-Clark to Lawrence Weiner, Bruce Nauman to Alison Knowles, the question of site locates itself in issues of public space, at the intersection of the imagined and the real, at the juncture of performance and architectural production. By anthologizing essays, documents, and interviews by leading critics, historians, and artists on issues of site-specificity, conceptualism, feminism, and architecture practice, Surface Tension reveals the connections between cultural production and the very spaces in which such work functions. These textual explorations are complemented by extensive documentation of related projects, both historical and contemporary, by artists, architects, and performance artists, including Coughing Piece, a never-before released 1961 audio work by Yoko Ono; an obscure audio work by Nauman from 1969; projects by Suzanne Lacy, a leading figure in the development of conceptual practice and public art; and an experimental text by Jane Rendell on psychic architectures. Conversations occur between the pages of Surface Tension, between theoretical analysis and modes of practice, that activate the publication as a site itself, one participating in a broad field of knowledge. Includes an audio CD of the sound art pieces.
The 'Do-it-Yourself' Artwork: Participation from Fluxus to New Media by Call Number: N7433.915 .D6 2010ISBN: 0719081440Publication Date: 2010Viewers of contemporary art are often invited to involve themselves actively in artworks, by entering installations, touching objects, performing instructions or clicking on interactive websites. Why have artists sought to engage spectators in these new forms of participation? In what ways does active participation affect the viewer’s experience and the status of the artwork? Spanning a range of practices including kinetic art, happenings, environments, performance, installations, relational and new media art from the 1950s to the present, this critical anthology sheds light on the history and specificity of artworks that only come to life when you -- the viewer -- are invited to "do it yourself."
The Doctor Stories by Call Number: 813 W6763WISBN: 0811209253Publication Date: 1984These writings, together with Dr. Robert Coles's enthusiastic appraisal of teaching Williams and Dr. William Eric Williams's personal and touching filial account, "My Father, the Doctor," make up an intriguing and timely study of the poet as a physician of rare humanity and self-knowledge. As Coles suggests, Dr. Williams's writing can help many others take a knowing look at the medical profession.
The Everyday by Call Number: N72.S6 E94 2008ISBN: 0262600749Publication Date: 2008-03-14Numerous international exhibitions and biennials have borne witness to the range of contemporary art engaged with the everyday and its antecedents in the work of Surrealists, Situationists, the Fluxus group, and conceptual and feminist artists of the 1960s and 1970s. This art shows a recognition of ordinary dignity or the accidentally miraculous, an engagement with a new kind of anthropology, an immersion in the pleasures of popular culture, or a meditation on what happens when nothing happens. The celebration of the everyday has oppositional and dissident overtones, offering a voice to the silenced and proposing possibilities for change. This collection of writings by artists, theorists, and critics assembles for the first time a comprehensive anthology on the everyday in the world of contemporary art.Stephen Johnstone is a London-based artist and filmmaker and a Senior Lecturer in the Department of Art at Goldsmiths College, London. Since 1993, he has worked collaboratively with Graham Ellard, and their film and video work has been exhibited in museums and galleries including the Centre Pompidou, the Tate Liverpool, the Museum of Modern Art, Sydney, and the National Film Theatre, London.
The gift : imagination and the erotic life of property by Call Number: GN449.6 .H93 1983bISBN: 0394715195Publication Date: 1983Starting with the premise that the work of art is a gift and not a commodity, this revolutionary book ranges across anthropology, literature, economics, and psychology to show how the 'commerce of the creative spirit' functions in the lives of artists and in culture as a whole.
The Ignorant Schoolmaster by Call Number: LB675.J242 R3613 1991ISBN: 0804719691Publication Date: 1991-07-01“An extremely provocative, original, and engaging book, it raises questions of great relevance and urgency about the process of cultural selection and canonization.”–Denis Hollier, Yale University
The Model: A Model for a Qualitative Society by Call Number: N7023.N53 M62 2010ISBN: 8492505346Publication Date: 1968In 1968 Palle Nielsen approached the Moderna Museet in Stockholm with a proposal for turning the museum into an adventure playground. From 30 September to 20 October 1968 Modellen. En modell for ett kvalitativt samhalle (The Model - A Model for a Qualitative Society) was installed and children under eighteen were offered free access. The event attracted more than 35,000 visitors. Nielsen's insistence on using institutional space for advancing artistic critique was precocious, prefiguring activist uses of the white cube. This book presents a selection of the material donated to the Museu d'Art Contemporani de Barcelona (MACBA) by Palle Nielsen in 2009, and shown the same year as part of the exhibition Time as Matter. MACBA Collection. New Acquisitions. It includes an essay by Lars Bang Larsen, various texts by Palle Nielsen as well as the artist's documentary photos from The Model.
The Modern Procession by Call Number: N6973.A45 A4 2004cISBN: 0960848827Publication Date: 2003On the morning of Sunday, June 23, 2002, 100 participants gathered at The Museum of Modern Art in midtown Manhattan, along with a 12-person Peruvian brass band, and a horse, dogs, and numerous palanquins, atop which sat replicas of three masterpieces from the museum's collection--Picasso's Les Demoiselles d'Avignon, Duchamp's ready-made Bicycle Wheel, and a Giacometti--and a living representative of contemporary art, Kiki Smith. Three hours later they ended their procession at the museum's new temporary home, in Queens. Along the way, which ran from 11 West 53 Street, over the Queensboro Bridge, and up Queens Boulevard, the procession absorbed 100 additional participants, and enacted a very public spectacle--part saint's day procession and part secular celebration--of the museum's historic move to MoMA QNS.
The Nightmare of Participation by Call Number: HT166 .M54 2010ISBN: 1934105074Publication Date: 2011-02-15Welcome to Harmonistan! Berlin-based architect/writer Markus Miessen tackles the pervasive contemporary overuse of the concept of "participation" in the final part of his paradigm-changing trilogy. Supported by a nostalgic veneer of worthiness, phony solidarity and political correctness, participation has become the default of politicians withdrawing from responsibility. Miessen argues for an urgent inversion of participation, reflecting cogently on the limits and traps of its real motivations. He dreads breeding the next generation of facilitators and mediators, insisting on conflict as an enabling, instead of disabling, force. With refreshing candor, this internationally known architect and professor outlines a format for acting as uninvited irritant, forcing entry into fields of knowledge that arguably benefit from exterior thinking. Sometimes, Miessen writes, democracy has to be avoided at all costs!
The One and the Many by Call Number: BH301.C84 K478 2011ISBN: 0822349876Publication Date: 2011-09-12Collaborative and collective art practices have proliferated around the world over the past fifteen years. InThe One and the Many, Grant H. Kester provides an overview of the broader continuum of collaborative art, ranging from the work of artists and groups widely celebrated in the mainstream art world, such as Thomas Hirschhorn, Superflex, Francis Alÿs, and Santiago Sierra, to the less-publicized projects of groups, such as Park Fiction in Hamburg, Networking and Initiatives for Culture and the Arts in Myanmar, Ala Plastica in Argentina, Huit Facettes in Senegal, and Dialogue in central India. The work of these groups often overlaps with the activities of NGOs, activists, and urban planners. Kester argues that these parallels are symptomatic of an important transition in contemporary art practice, as conventional notions of aesthetic autonomy are being redefined and renegotiated. He describes a shift from a concept of art as something envisioned beforehand by the artist and placed before the viewer, to the concept of art as a process of reciprocal creative labor.The One and the Manypresents a critical framework that addresses the new forms of agency and identity mobilized by the process of collaborative production.
The power of place : urban landscapes as public history by Call Number: F869.L857 H39 1995ISBN: 0262082373Publication Date: 1995Based on her extensive experience in the urban communities of Los Angeles, historian and architect Dolores Hayden proposes new perspectives on gender, race, and ethnicity to broaden the practice of public history and public art, enlarge urban preservation, and reorient the writing of urban history to spatial struggles.In the first part of The Power of Place, Hayden outlines the elements of a social history of urban space to connect people's lives and livelihoods to the urban landscape as it changes over time. She then explores how communities and professionals can tap the power of historic urban landscapes to nurture public memory.The second part documents a decade of research and practice by The Power of Place, a nonprofit organization Hayden founded in downtown Los Angeles. Through public meetings, walking tours, artists's books, and permanent public sculpture, as well as architectural preservation, teams of historians, designers, planners, and artists worked together to understand, preserve, and commemorate urban landscape history as African American, Latina, and Asian American families have experienced it.One project celebrates the urban homestead of Biddy Mason, an African American ex-slave and midwife active betwen 1856 and 1891. Another reinterprets the Embassy Theater where Rose Pesotta, Luisa Moreno, and Josefina Fierro de Bright organized Latina dressmakers and cannery workers in the 1930s and 1940s. A third chapter tells the story of a historic district where Japanese American family businesses flourished from the 1890s to the 1940s. Each project deals with bitter memories -- slavery, repatriation, internment -- but shows how citizens survived and persevered to build an urban life for themselves, their families, and their communities.Drawing on many similar efforts around the United States, from New York to Charleston, Seattle to Cincinnati, Hayden finds a broad new movement across urban preservation, public history, and public art to accept American diversity at the heart of the vernacular urban landscape. She provides dozens of models for creative urban history projects in cities and towns across the country.
The Quiet in the Land: Luang Prabang, Laos by Call Number: N72.A76 Q54 2009ISBN: 098416670XPublication Date: 2010-02-28This book documents a series of community-based projects by Marina Abramovi? Janine Antoni, Cai Guo-Qiang, Ann Hamilton, Dinh Q. L', Shirin Neshat, Jun Nguyen-Hatsushiba, Allan Sekula, Shahzia Sikander and Rirkrit Tiravanija among others, realized in Luang Prabang, Laos, from 2004 to 2008.
The Subversive imagination : artists, society, and responsibility by Call Number: NX180.A77 S83 1994ISBN: 0415905923Publication Date: 1994In The Subversive Imagination , professional writers, artists and cultural critics from around the world offer their views on the issue of the artist's responsibility to society. The contributors look beyond censorship and free speech issues and instead emphasize the subject of freedom. More specifically, the contributors question the ethical, mutual responsibilities between artists and the societies in which they live. The original essays address an eclectic range of subjects: censorship, multiculturalism, the transition from communism to capitalism in Eastern Europe, postmodernism, Salman Rushdie, and young black filmmakers' responsibility to the black community.
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Thinking in Place: Art, Action, and Cultural Production by Call Number: NX650.P52 B43 2009ISBN: 1594515972Publication Date: 2009Thinking in Place is a meditation on place as a physical as well as a conceptual construct that encompasses both history and memory. The book begins with Defining Place, a piece about the memory of childhood as located in two unique locations Crown Heights, in Brooklyn, New York, and Hastings, a coal-mining town in Western Pennsylvania. These were the two locations of Becker's childhood and of her multiple dual-identities as Russian Jewish/Polish Catholic, urban/rural and working class/peasant. This essay sets up the underlying premise of the book, which is that writing is the ultimate place of safety and sanity in the midst of the complexity of identity. The second essay is about growing up near the Brooklyn Museum in New York, a place that established for Becker the value of public institutions and thus made possible a long career of working in an art school connected to a great historical museum. This is one of three pieces that takes its location from the pedagogical site of educating artists. The last four essays in the book are specific to site and history. One is located at the site of the My Lai massacre. Another is focused on the production of an archive by indigenous women who survived apartheid South Africa. Another essay begins at Birla House, the place where Gandhi was shot, and focuses on the public image of Gandhi's Body, exploring the idea that the more naked he becomes in appearance, the more powerful he becomes in the world. The final essay is a meditation on the high waters of Venice, a city that is losing ground, literally, each year, but that houses some of the greatest paintings ever painted a site of dreams, memories, obsessions about the past, filled with premonitions of the future. There are ten essays, and each is unique in style and approach. Each is also passionate in its attempt to translate the experiential into the analytic, and to use each experience to contemplate the evolution of the thought as a potential agent for social change.
Urban Futures by Call Number: HT119 .U73 2003ISBN: 0415266947Publication Date: 2002-12-23This collection brings together commentaries from a wide range of contemporary disciplines relevant to urban culture, form and society. The book concerns cities in the broadest sense, not just as buildings and spaces, but also as processes and events or sites of occupation, in which meanings are constructed in many ways. The contributors draw on their specialist areas of research to inform current debate, but they also speculate as to how cities will be shaped in the 21st century. Specific areas of research include homeless people's organizations, restoration ecology, post-industrial urban landscapes, cyberspace as a site (or not) of community, post-industrial economics, tourism, cultural planning and the relation of urbanization and bio-physics.
What We Want Is Free by Call Number: N8217.G43 W48 2005ISBN: 0791462900Publication Date: 2004-12-01Through a variety of lenses, this book examine contemporary artists' use of the "gift"--the distribution of goods and services--as a medium for artistic production. Featuring a detailed survey of over fifty artists' projects from fifteen countries, What We Want is Free explores how these artists use their projects to connect participants to tangible goods and services that they might need, enjoy, and benefit from. Samples of these various projects include the creation of free commuter bus lines and medicinal plant gardens; the distribution of such services as free housework, winter warming centers, or computer programming; and the production of community media projects such as free commuter newspapers and democratic low-wattage radio stations.
Who Cares by Call Number: N72.S6 W546 2006ISBN: 192857002XPublication Date: 2006In 2005, the great New York cultural arts organization Creative Time brought together 39 artists, educators and thinkers over a series of intimate dinner parties. Critical conversations were initiated, ideas were discussed and challenged, and all of it was recorded for posterity in Who Cares. The topics included how art functions as public practice, the globalization of creative economies, the dominance of restrictive notions of beauty, and the war culture in which we live today. The countercultural motivation of the project was best explained in the words of Doug Ashford: "I have always wanted to see how the ideas of artists can affect everyday life in this city and how they can ignite dialogue and participation." Participants include Ashford, Julie Ault, Hans Haacke, Emily Jacir, Lucy Lippard, Daniel Martinez, Marlene McCarty, Helen Molesworth, Anne Pasternak, Paul Pfeiffer, Michael Rakowitz, Martha Rosler, Ralph Rugoff, Amy Sillman, Allison Smith, Kiki Smith and David Levi Strauss.
Work Ethic by Call Number: N6512 .W65 2003ISBN: 0271023341Publication Date: 2003During the 1960s, artists from Alan Kaprow and Yoko Ono to Andy Warhol and Richard Serra stopped making 'art' as it has been thought of since the Renaissance. They staged performances that mixed everyday life with theater and in yet other, often ironic ways challenged the system of marketing, display, and aesthetic discourse that ascribes exceptional monetary as well as cultural value to paintings and sculpture. Work Ethic, published in conjunction with an exhibition of the same name organized by The Baltimore Museum of Art, brings together a cross-section of such radical endeavors and opens a fresh perspective on their genesis and meaning. Most of the avant-garde interventions considered in Work Ethic entailed performances and other procedures generally interpreted as linking a 'dematerialization' of the object with the free play of concepts. By contrast, Helen Molesworth and her collaborators in Work Ethic set such activities in the context of the workplace and contend that they engage issues of management, production, and skill that accompanied the emergence of the information age. The result is a major breakthrough in understanding the structures and ambitions of a wide range of art making. Work Ethic reproduces all the diverse material Bruce Nauman videotapes to Roxy Paine s painting machine--in the Baltimore exhibition and provides insightful discussion of each piece s history, structure, and significance. Four essays introduce topics, like utopian fantasies of pleasurable work, that are of general relevance to setting the material into a postindustrial context. Throughout this catalogue, there is as well a lively dialogue on the museum s relationship to art that questions the rules of both the workplace and the art world. The exhibition, 'Work Ethic,' will be at The Baltimore Museum of Art from October 12, 2003, to January 11, 2004, and at the Des Moines Center for the Arts from May 15 to August 1, 2004.
