Art as Social Action: An Introduction to the Principles and Practices of Teaching Social Practice Art
Brand: Allworth
Categories: Books, Arts & Photography, Other Media



Dimensions: 6 x 1 x 9 inches
Reading age: 18 years and up
ISBN-13: 978-1621535522
Language: English
ISBN-10: 1621535525
Publisher: Allworth
Print length: 336 pages
Publication date: May 22, 2018
subtitle: Paperback – May 22, 2018
author: Visit Amazon's Gregory Sholette Page search results Gregory Sholette Chloë Bass Social Practice Queens
review: Editorial Reviews Review " Art as Social Action presents a sharp set of pedagogical tools for teaching and learning about art as a vehicle for social engagement. Having evolved from an innovative collaboration between Queens College and Queens Museum, the book's offerings are embedded in the workings of both community and artists, breaking down the very idea of what participation means in art and non-art contexts. Key questions of authorship, which audiences are served, how does engagement happen, and whose needs are met and how are addressed with forthright vigor. The volume importantly provides rigorous interrogation of the process as well as the outcomes; it is an essential guide to deepening social art practices and teaching them to students." —Laura Raicovich, president and executive director, Queens Museum, NYC "It's no small thing to educate at the intersection of art and social justice. It's a scope of inquiry that has tripped up art historians, artists, and college deans for multiple decades. This contribution is valuable to educators in its insight, pragmatism, and breadth." —Nato Thompson, artistic director of Creative Time, author of Culture as a Weapon: The Art of Influence in Everyday Life "As a curriculum resource, this book is most useful for artist-educators who are already doing and teaching socially engaged art. . . . Art as Social Action also provides a snapshot of the many ways in which socially engaged art practices overlap with social justice approaches to art education, particularly those that attend to power relationships between teachers, students, schools, and communities, and to the social structures that shape art education pedagogy." — Studies in Art Education: A Journal of Issues and Research “I find Art as Social Action to be a workhorse of a book that is filled with a vast array of social practice projects, teaching strategies, and resources. . . . [T]his book opens up a much-needed conversation about issues that arise when teaching something that is, for the most part, always under development, in conflict with traditional ways of making art, and requires some serious shifts in thinking about the potential for art/pedagogy in contemporary contexts.” — Lynn Sanders-Bustle, Art/Research International: A Transdisciplinary Journal "This book is a great resource that connects the dots between the pedagogy for socially engaged art and the most pressing pressure points for social change. In doing so, it reinforces the urgency of this art practice, and signals clearly that social practice prioritizes societal change over academicism." —Paul Ramirez Jonas, artist and professor, Hunter College CUNY " Art as Social Action is a powerful testament to the resliience of artists and educators in keeping critical thinking and creative expression central to how we define ourselves as a people in the era of late capitalism. Chloë Bass and Gregory Sholette bookend this anthology of methodologies with their key wisdom on how, where, and why art and education blur into the social realm. Now more than ever there is a need to recognize the plurality of voices, approaches, and directions that socially engaged art practice offers. This book shows that the many-headed beast of social art practice cannot be defined singularly or sold in duplication. Any practitioner working with communities or any educator looking for strategies for engagement would benefit from the wealth of information in these pages." —R. M. Sánchez-Camus, PhD, Social Art Network, UK " Art as Social Action is not your typical book about socially engaged art. . . . It is a collection of texts by teachers who, together with their art students, look for creative ways to enter in a discussion with society outside the classroom about topics as different as labour conditions, immigrant rights or mining on sacred Native American sites. Texts by teachers who want to make works with rather than about local communities. And, hopefully, make this world a slightly fairer and kinder one." —we make money not art (blog) " Art as Social Action presents a sharp set of pedagogical tools for teaching and learning about art as a vehicle for social engagement. Having evolved from an innovative collaboration between Queens College and Queens Museum, the book's offerings are embedded in the workings of both community and artists, breaking down the very idea of what participation means in art and non-art contexts. Key questions of authorship, which audiences are served, how does engagement happen, and whose needs are met and how are addressed with forthright vigor. The volume importantly provides rigorous interrogation of the process as well as the outcomes; it is an essential guide to deepening social art practices and teaching them to students." —Laura Raicovich, president and executive director, Queens Museum, NYC "It's no small thing to educate at the intersection of art and social justice. It's a scope of inquiry that has tripped up art historians, artists, and college deans for multiple decades. This contribution is valuable to educators in its insight, pragmatism, and breadth." —Nato Thompson, artistic director of Creative Time, author of Culture as a Weapon: The Art of Influence in Everyday Life "This book is a great resource that connects the dots between the pedagogy for socially engaged art and the most pressing pressure points for social change. In doing so, it reinforces the urgency of this art practice, and signals clearly that social practice prioritizes societal change over academicism." —Paul Ramirez Jonas, artist and professor, Hunter College CUNY " Art as Social Action is a powerful testament to the resliience of artists and educators in keeping critical thinking and creative expression central to how we define ourselves as a people in the era of late capitalism. Chloë Bass and Gregory Sholette bookend this anthology of methodologies with their key wisdom on how, where, and why art and education blur into the social realm. Now more than ever there is a need to recognize the plurality of voices, approaches, and directions that socially engaged art practice offers. This book shows that the many-headed beast of social art practice cannot be defined singularly or sold in duplication. Any practitioner working with communities or any educator looking for strategies for engagement would benefit from the wealth of information in these pages." —R. M. Sánchez-Camus, PhD, Social Art Network, UK " Art as Social Action is not your typical book about socially engaged art. . . . It is a collection of texts by teachers who, together with their art students, look for creative ways to enter in a discussion with society outside the classroom about topics as different as labour conditions, immigrant rights or mining on sacred Native American sites. Texts by teachers who want to make works with rather than about local communities. And, hopefully, make this world a slightly fairer and kinder one." —we make money not art (blog) From the Author Additional Comments: ART AS SOCIAL ACTION: An Introduction to the Principles & Practices of Teaching Social Practice Art Gregory Sholette, Chloë Bass, and Social Practice Queens _________________ TABLE OF CONTENTS _________________ (preface): Art As Social Action Gregory Sholette and Chloë Bass, Social Practice Queens (SPQ), New York City. ________________ Introductory Essays ________________ Where who we are matters: Through Art to Our More Social Selves Chloë Bass, New York City. Pedagogy as Art Mary Jane Jacob, Chicago, Illinois. ________________________________________________ Lesson plans I. Art as Social Research / Listening / Self-care ________________________________________________ Transactions, Roles and Research Marilyn Lennon, Julie Griffiths, and Maeve Collins, Limerick, Ireland. Luxury to Low-End Link. An Economic Inequity Experiment for the age of Brand Temples Noah Fischer, New York City. Activating the Archive Ryan Lee Wong, New York City. What will your work organize? Ashley Hunt, Los Angeles, California. The listening workshop. A two-hour relational encounter that exposes the politics of voice and listening Fiona Whelan, Dublin, Ireland. Social Practice Studio Katie Bachler and Scott Berzofsky, Baltimore, Maryland. Ways of Being (Support) Susan Jahoda and Caroline Woolard, New York City. SexEd + PPNYC + Parsons Norene Leddy and Liz Slagus, New York City. Sounding Place - MA SPACE Acouscenic Listening Workshop Sean Taylor, Limerick, Ireland. Participatory Asset Mapping Susan Jahoda, The Pedagogy Group, New York City Calling in Sick Taraneh Fazeli, The Pedagogy Group, New York City. _____ Essay _____ Toward a Social Practice Pedagogy The Pedagogy Group, New York City. ____________________________________________ Lesson plans II: Teaching and Performing Direct Action _____________________________________________ The Arts For Social Change. Development of a Strategic Plan for Direct Action Christopher Robbins, Ghana ThinkTank, New York City. Assignment: Displace an Object or Everyday Action Pedro Lasch, Durham, North Carolina. Socratic Mapping Daniel Tucker, Philadelphia, Pennsylvania. "Graphic Responses to the NW Detention Center: Work by Art & Global Justice Students" Beverly Naidus, Tacoma, Washington. Interventionist Art: Strategy and Tactics. Graduate course for Art and Public Policy Todd Ayoung, Ithaca, New York. March of Solidarity: Cultural Workers of St. Petersburg, Russia School of Engaged Art, Rosa House of Culture, Chto Delat/What is to be Done?, St. Petersburg, Russia. A Training Ground for the Future: Taking On Campus Issues With Art Sheryl Oring, Greensboro, North Carolina. Misplaced Women? One day long intense Performance Art Workshop on migration, in the public spaces in Belgrade, Serbia, October 29, 2015 Tanja Ostojić, Belgrade, Serbia. Documents of Resistance: Artists of Color Protest (1960-Present) Collective Timelines Antonio Serna, New York City. _________ From the Inside Flap Interviews _________ What We Produce: Social Models that can be Re-purposed and Reapplied, an interview of Pablo Helguera Jeff Kasper and Alix Camacho Vargas, SPQ, New York City. Fail better: An interview with the Center for Artistic Activism Alix Camacho interviews Steve Duncombe and Steve Lambert, New York City. _________________________________ Lesson Plans III: Art and Social Injustice _________________________________ NYU Flash Collective: An Art Intervention in the Public Sphere Dipti Desai and Avram Finkelstein, New York City. Future IDs: reframing the narrative of re-entry Gregory Sale with Aaron Mercado, Dominique Bell, Dr. Luis García, JoséGonzález, Ryan Lo, and Kirn Kim, Phoenix, Los Angeles, California. Due Time Sarah Ross, Damon Locks and Fereshteh Toosi, Chicago, Illinois. Balloon Mapping the Calumet River Industrial Corridor in Chicago Laurie Palmer, Sarah Ross and Lindsey French, Chicago, Illinois. SPURSE Lesson Plan: Designing a Multi-Species Commons Matthew Friday and Iain Kerr, New Paltz, New York. CONTACT ZONES. Understanding art in processes of territorial research Alejandro Meitin, La Plata, Argentina. Sensing Social Space Bo Zheng, Hong Kong. Becoming Zoya Natalia Pershina-Yakimanskaya (Gluklya), Jon Platt and Sonya Akimova Chto Delat School of Engaged Art, St. Petersburg, Russia. Freedom. Safety. Now! Jaishri Abichandani, New York City. ______ Essay ______ Why Socially Engaged Art Can't Be Taught Jen Delos Reyes, Chicago, Illinois. ________________________________________________ Lesson Plans IV: Collective Learning and Urban Imaginaries ________________________________________________ Poetry Workshop. Joseph Cuillier, New York City. Ask the tarot. From personal belief to collective reflection Alpha Elena Escobedo, Ciudad Juárez, Mexico. Social Practice and Community Engagement Seminar - Trust Exercises Justin Langlois, Vancouver, Canada. Experience as Art: Fine Art Social Practice at Middlesex University Loraine Leeson and Alberto Duman, London UK. Writing the Social: a participatory workshop Gretchen Coombs, Brisbane, Australia. Up Against the Wall: Public Art, Precarity, and Witness Occupied Palestine 2003-2011 Susan R. Greene, Palestine and San Francisco, California. Framing Neighborhood Decisions Dillon de Give, New York City. Lesson Plan for Public Faculty No. 11: Imagining a Curriculum for Sunset Park Jeanne van Heeswijk and Gabriela Rendón, The Netherlands. Embracing Ambiguity: Re-appropriation and the Making of Public Spaces Brian Rosa, New York City. ______________________________________ SPQ seminars and Art As Social Action Projects ______________________________________ Transforming Corona Plaza/ Corona Studio A seminar developed by Queens Museum, Queens College Art/SPQ, and theUrban Studies Departments with instructors Professor Tarry Hum, MaureenConnor, Gregory Sholette, and Queens Museum staff members Prerana Reddy, and José Serrano-McClain, SPQ, New York City. Protecting Our Nature and Our Sacred Land Floor Grootenhuis and Erin Turner, SPQ, Oak Flat, Arizona and New York City. The Beacon of Pluralism Nancy Bruno and Gina Minielli, SPQ, New York City. Towards a Workers Pavilion: The Forming of the Workers Art Coalition Barrie Cline, SPQ, New York City. ______________ Concluding Essay ______________ Dewey, Beuys, Cage and the Vulnerable, yet Utterly Unremarkable Heresy of Teaching Socially Engaged Art (SEAE) Gregory Sholette, New York City. About the Author Gregory Sholette is an artist, writer, and activist focused on excavating the history and theory of socially engaged art. His books include Delirium and Resistance: Activist Art and the Crisis of Capitalism and Dark Matter: Art and Politics in an Age of Enterprise Culture . He is a graduate of the Whitney Independent Studies Program, holds a PhD from the University of Amsterdam, and teaches Social Practice Queens, Queens College, CUNY, which he cofounded with Maureen Connor and the Queens Museum in 2010. Chloë Bass is an artist and public practitioner focused on scales of interpersonal intimacy and daily life as a site of deep research. She is a regular contributor to Hyperallergic , where she writes about the urban environment, performance, social practice, and race. Her artistic work has been supported by many organizations, including the Laundromat Project, the Pulitzer Foundation, and Lower Manhattan Cultural Council. A graduate of Yale and Brooklyn College, she is an assistant professor of art, teaching in Social Practice Queens, Queens College, CUNY. Read more