Wages Against Artwork: Decommodified Labor and the Claims of Socially Engaged Art, by Leigh Claire La Berge

2021 ◽  
pp. 1-2
Author(s):  
Lee Painter-Kim
Keyword(s):  
Socially Engaged Art

scholarly journals Digitizing artist periodicals: new methodologies from the Digital Humanities for Analysing Artist Networks

2014 ◽  
Vol 39 (4) ◽  
pp. 6-11
Author(s):  
Thomas Crombez
Keyword(s):  
Visual Arts ◽  
Small Groups ◽  
Digital Humanities ◽  
First Generation ◽  
Digital Archive ◽  
Avant Garde ◽  
Socially Engaged Art ◽  
The Sixties ◽  
New Methodologies ◽  
Post War

The research project Digital Archive of Belgian Neo-Avant-garde Periodicals (DABNAP) aims to digitize and analyse a large number of artists’ periodicals from the period 1950–1990. The artistic renewal in Belgium since the 1950s, sustained by small groups of artists (such as G58 or De Nevelvlek), led to a first generation of post-war artist periodicals. Such titles proved decisive for the formation of the Belgian neo-avant-garde in literature and the visual arts. During the sixties and the seventies, happening and socially-engaged art took over and gave a new orientation to artist periodicals. In this article, I wish to highlight the challenges and difficulties of this project, for example, in dealing with non-standard formats, types of paper, typography, and non-paper inserts. A fully searchable archive of neo-avant-garde periodicals allows researchers to analyse in much more detail than before how influences from foreign literature and arts took root in the Belgian context.

Urban space and the politics of socially engaged art

2018 ◽  
Vol 43 (6) ◽  
pp. 985-1000 ◽  
Author(s):  
Cecilie Sachs Olsen
Keyword(s):  
Urban Space ◽  
Urban Setting ◽  
The Political ◽  
Urban Theory ◽  
Socially Engaged Art ◽  
Material Environment ◽  
Ways Of Thinking ◽  
Critical Urban Theory ◽  
Definition Of

This paper interrogates the political potential of socially engaged art within an urban setting. Grounded in Lefebvrian and neo-Marxist critical urban theory, this political potential is examined according to three analytics that mark the definition of ‘politics’ in this context: the (re)configuration of urban space, the (re)framing of a particular sphere of experience and the (re)thinking of what is taken-for-granted. By bringing together literatures from a range of academic domains, these analytics are used to examine 1) how socially engaged art may expand our understanding of the link between the material environment and the production of urban imaginaries and meanings, and 2) how socially engaged art can open up productive ways of thinking about and engaging with urban space.

scholarly journals Humanistic Education to Foster Altruistic Communities through Arts & Culture

2020 ◽  
Author(s):  
Harian Cho
Keyword(s):  
Social Practice ◽  
Social Issues ◽  
Community Building ◽  
Outdoor Activity ◽  
Moral Value ◽  
Community Art ◽  
Humanistic Education ◽  
Socially Engaged Art ◽  
Track Record ◽  
Practice Community

Twentieth-century education was focused on knowledge transmission, skills and integration into society. This tradition often neglected the teaching of morals and altruism, which derive from collectivism, individualism, and social issues. However, community-building through shared experienced, empathy and responsibility are supremely important values that help to overcome many challenges in today’s world. Socially engaged art has already a good practical track record: it has been playing a significant role in fostering altruistic communities for the last twenty years. Socially engaged art is a practical outdoor activity that has proactive, educational and moral value. It is carried out by activists, community builders and some of teachers in the field. In this article I review several projects in socially engaged art in modern Republic of Korea that focus on creativity, empathy, recycling and social responsibility. These projects highlight the value of socially engaged art and its potential for taking education outdoors and bringing communities together. Keywords: socially engaged art, social welfare, social practice, community art

Food Landscapes: A Socially Engaged Art Project

Art Education ◽  
2015 ◽  
Vol 68 (5) ◽  
pp. 40-45 ◽  
Author(s):  
Melanie L. Buffington ◽  
Elizabeth P. Cramer ◽  
Kate Agnelli ◽  
Jessica Norris
Keyword(s):  
Socially Engaged Art

Common Purpose

TURBA ◽  
2022 ◽  
Vol 1 (1) ◽  
pp. 60-70
Keyword(s):  
Collective Memory ◽  
Cultural Adaptation ◽  
Social Engagement ◽  
Local Community ◽  
Socially Engaged Art ◽  
Wide Range ◽  
Environmental Transformation ◽  
Inclusive Approach ◽  
Common Purpose ◽  
The Relationship

The relationship between performance and curation has shift ed. A new attitude of fluid and pragmatic alliance has evolved as the sense of an essential antagonism between performance and curation recedes and the two fields discover a shared focus on aspects of social engagement and agency. This article considers an Australian socially engaged art project, the Kandos School of Cultural Adaptation (KSCA), which meshes curatorial and artistic practices in its efforts to reimagine and reanimate the future of a small country town. Employing a wide range of strategies, KSCA works closely with the local community to facilitate collective memory, reflection and social and environmental transformation. Deliberately avoiding traditional lines of artistic and institutional tension, KSCA employs an impure and inclusive approach that is emblematic of emerging forms of activist contemporary art.

Sociosonic Interventions: Distributed Authorship in Socially Engaged Sound Practices

2020 ◽  
Vol 30 ◽  
pp. 109-113
Author(s):  
Tullis Rennie
Keyword(s):  
Art Practice ◽  
Community Settings ◽  
Art Making ◽  
Creative Processes ◽  
Socially Engaged Art ◽  
Collaborative Art ◽  
Ethics And Politics

How do creative sound practices function in the context of socially engaged art? Toward developing a practical methodology, this paper focuses on sound-led projects that stage socially engaged art practice in community settings, including some involving the author. Aesthetics, ethics and politics are employed as interrogative lenses for distributed creative processes. Methods for collaborative art-making that facilitate a balance between these lenses are discussed, with the author further arguing the necessity of artistic “disruption.” Such sociosonic interventions are demonstrated to occur most effectively when sound practices challenge the paradigm of unidirectional audial reproduction: rupturing traditional hierarchies of creator and listener.

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