OHRDRONE Presents Drone Chamber 2 at Civic Space

OHRDRONE - Drone Chamber 2

OHRDRONE (Oliver Blank & Toby Heys) – Drone Chamber 2

February 1st, 2014 – CIVIC Space (411 Pelissier Street, Windsor, Ontario) – Exhibition Runs until February 28th (Schedule Below)

A drone in sonic terms is the least memorable type of music produced and yet in terms of duration, it manifests gently over time through subtle variations. The drone in military terms is a technology which surveils, exposes, and punishes the actions of those in a public space. OHRDRONE is a research group founded to examine the proliferation of drones, and our potential for love and compassion for these drones as a disempowering force.

OHRDRONE is coming to Civic Space for the month of February. Beginning on February 1st the space will be converted into a DRONE CHAMBER for use by the community of Windsor, Ontario throughout the month.

On Saturday, February 1st one of the founding members of OHRDRONE will teach attendees how to listen to the DRONE with complete compassion before leading a morning DRONE HEARING. From 2–4pm, he will lead a Sound Walk as a way of establishing a sustainable DRONE practice in your daily life. In the evening a final DRONE HEARING, with instruction and guidance, will be in the DRONE CHAMBER.


Schedule of Events | Saturday, February 1st, 2014

  • MORNING DRONE HEARING | 10.00am – 12.00pm

10.00–10.30am DRONE FORMS
10.30–11.00am DRONE HEARING
11.00–11.30am DRONE READING
11.30–12.00pm TEA & DISCUSSION

  • AFTERNOON WALK | 2.00pm – 04.00pm

“Building the tools with our own hand”

Join OHRDRONE and learn how to establish your own Drone practice in daily life by learning to Sound Walk. No prior experience necessary.

  • EVENING DRONE HEARING | 08.00pm – 10.00pm

08.00–08.30pm DRONE FORMS
08.30–09.00pm DRONE HEARING
09.00–09.30pm DRONE READING
09.30–10.00pm TEA & DISCUSSION

HOMEWORK II: LONG FORMS / SHORT UTOPIAS (Nov 8-10, 2013) + Livestream Archive

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We’re very pleased to announce Homework II: Long Forms / Short Utopias, a three-day conference and collaboratively-written publication that will aim to unfold the ways in which we construct, articulate, and practice ideas of micro-utopias, pop-up ideals, collaboration, and long-term social engagement in Ontario, across Canada, and abroad.

The conference will build on our previous conference, Homework: Infrastructures & Collaboration in Social Practices, in bringing together multidisciplinary artists and creative practitioners enacting and articulating the complexities of working in practices driven by curiosities about utopian collaboration, community, infrastructures, locality, and long-form social practice. With support from the Ontario Arts Council and Ontario Trillium Foundation, we’re looking to build an event that can frame a discussion on socially-engaged practices that span disciplines, with a particular focus on emerging practitioners.

Homework II will run November 8-10, 2013 in Windsor, Ontario at Art Gallery of Windsor and CIVIC Space.

Our featured keynote speakers this year will be Jeanne van Heeswijk (Rotterdam), Darren O’Donnell (Toronto), and Steve Lambert (New York). In addition to our keynotes, we’ve also invited a series of curatorial partners to develop panels that tackle the conference themes. And, to top it all off, everyone who attends will be co-authors of a book that captures the ideas and conversations from this year’s conference through a series of interviews with presenters, attendees, and organizers alongside collected materials from our 2011 conference.

For more information, please email homework@brokencitylab.org



Homework II – Tentative Conference Schedule

1. FRIDAY, NOVEMBER 8TH

Keynote Panel Discussion | Art Gallery of Windsor | 7:00pm-9:45pm

Featuring presentations from:

Jeanne van Heeswijk (Rotterdam)

Since 1993, Jeanne van Heeswijk has been working on socially committed art projects that take place in public spaces. She sees herself as a mediator, an intermediary between a situation, a space, a neighborhood and the people connected to these. Acting, meeting, and communicating are key concepts in her method of working. She has coined the term “urban curating” for her interventions. In the sedate Dutch art world in which all taboos appear to have been broken, her work – uniquely – arouses fierce controversy.

Darren O’Donnell (Toronto)

Darren O’Donnell is a novelist, essayist, playwright, director, designer, performer, Artistic Director of Mammalian Diving Reflex and Research Director of The Tendency Group, an emerging think tank and social policy laboratory. His books include: Social Acupuncture, which argues for an aesthetics of civic engagement and Your Secrets Sleep with Me, a novel about difference, love and the miraculous. In addition to his artistic practice, he is currently an Msci candidate in Urban Planning at the University of Toronto.

Steve Lambert (New York)

Steve Lambert is an artist who works with issues of advertising and the use of public space. He is a founder of the Anti-Advertising Agency, an artist-run initiative which critiques advertising through artistic interventions, and of the Budget Gallery (with Cynthia Burgess) which creates exhibitions by painting over outdoor advertisements and hanging submitted art in its place. He has also worked with the Graffiti Research Lab and as a senior fellow with Eyebeam Open Lab.


 2. SATURDAY, NOVEMBER 9TH

A. Registration and Opening Remarks | Art Gallery of Windsor | 8:30am-9:15am

Remarks by:

Justin Langlois, Hiba Abdallah, and Josh Babcock (Project Coordinators, Broken City Lab)

Srimoyee Mitra (Curator of Contemporary Art, Art Gallery of Windsor)


 

B. Thematic Panel Discussions | Art Gallery of Windsor | 9:00am-6:30pm

Thomas Provost | 9:30am-10:40am

Ad Hoc, a panel organized by Thomas Provost, will feature panelists Kaija WuolletElaine Carr, and Marcin Kedzior.

An archaeology of the human world reveals there are infinite systemic exchanges constructing our environment: weathering, investments, labour, political forums, contracts, negotiations, among other occurrences and phenomena. Essential to this discussion on spatial-collaboration are the various exchanges a creative practice must navigate in order to create micro-utopias, pop-up-ideals, or projections of time & place. Within architecture and landscape, experimental operations have emerged despite an uncertain economic trajectory and forbearing ecological instability, under which our panelists curiously work, at least in part, ad hoc.


Reena Katz | 10:50am-12:00pm

Organized by Reena Katz/Radiodress, artist and Acting Director, Galerie SAW Gallery, Ottawa-Gatineau, Engaged to be Wary: De-authorizing Social Practice will feature panelists, Srimoyee Mitra, curator, Art Gallery of Windsor and Alana Bartol, artist and Project Manager for Neighbourhood Spaces, Windsor.

At a time when community engaged art practices are becoming ubiquitous throughout gallery, museum and institutional education systems, there is a strong need for conversations around what works and what doesn’t in this growing and chaotic field. The goal of this panel will be to discuss diverse perspectives on Social Practice, ask critical questions, and formulate some useful guidelines for its successful pedagogy and praxis. We will use the opportunity of the publication to publish the beginnings of a malleable, living manifesta on the subject, based on the presentations, discussion and ideas generated at the panel.


Maggie Flynn | 1:00pm-2:10pm

A discussion between Tities Wîcinímintôwak Arts Collective and Chris Rabideau will address themes such as intergenerational organizing, learning in the context of Two-Spirit, trans, and queer communities, and personal approaches to long-term, community-based work. This panel is organized by Maggie Flynn.


IN/TERMINUS | 2:20pm-3:30pm

The Shape of a Question: Art, Politics, Pedagogy, a panel organized by Michael Darroch and Jennifer Willet for IN/TERMINUS, will discuss historical and contemporary models and contexts at the intersection of art, politics and pedagogy.


Michael Davidge | 3:40pm-4:50pm

For a panel presentation on Saturday November 9, Michael Davidge has brought together a group of creative practitioners whose work addresses the themes of the Homework II conference through their engagement with electronic dance music. Davidge is an independent curator, artist and art critic who lives in Ottawa, Ontario. The panelists include Bambitchell (Sharlene Bamboat and Alexis Mitchell) (Toronto) who will present on their project, Border Sounds; Michael Caffrey and Kerry Campbell (Gatineau) who will discuss their “GhettoBlast Sound System;” and Chris McNamara (Windsor) will discuss his experience with the Windsor/Detroit techno music scene and describe his involvement with the audio collective “Nospectacle.” The panelists’ projects employ electronic dance music in various ways that construct, articulate, and practice ideas of micro-utopias, pop-up ideals, and long-term social engagement.


Department of Unusual Certainties | 5:00pm-6:10pm

“Support Someone Else’s Revolution” – The world is small, interconnected and formed from extensive systems that intersect with our lives. Knowingly and unknowingly our actions reinforce and resist the transformation of these systems, which do shift under the weight and energy of people and things. The Information Age is more a statement of societal arrogance than a reflection of a broader cultural understanding of the world. Gaps in knowledge exist and will not be rectified through the consumption of media nor exchanges within our personal networks.

Department of Unusual Certainties has invited four individuals to speak to the ways that we support other people and things in transition (eg. corporations, neighbours and democracy etc.). Each of these four individual’s were selected because their practices empower citizens within stable States to reflect and then to act. The panel will feature: Michèle Champagne (Founder/Creative Director, That New Design Smell), Jordan Tanahill (Artistic Director, Suburban Beast), Satsuko Van Antwerp (Manager, Social Innovation Generation), and Justin Langlois (Director, Broken City Lab) moderated by Department of Unusual Certainties. 


3. SUNDAY, NOVEMBER 10TH

Workshops and General Assembly | Art Gallery of Windsor & CIVIC SPACE | 11:00am-5:00pm

A day of conversation, interviews, and workshops to inform the forthcoming publication.

Open Community Breakfast at Civic Space | 10:00am-11:00am

Join us and fellow conference panelists, attendees, and anyone else walking around the neighbourhood for some light breakfast. We’ll open our doors to serve cereal, fruit, coffee, and tea, along with some great conversations to kick off the final day of the conference.

Workshops for Publication, Part 1 at the AGW | 11:00am-2:00pm

We’ll be back at the AGW for a series of workshops, discussion groups, and interviews that will help shape the forthcoming publication. We’re asking you to consider participating in the creation of this publication by conducting at least one interview with someone else attending the conference. Meanwhile, back at CIVIC Space, Hiba will be working to compile the content she receives from the participants — interviews, photographs, sketchbook notes, manifestos, endless questions, and more.

General Assembly at the AGW | 2:00pm-3:30pm

An open community discussion on issues surrounding socially-engaged practices, the infrastructures required to support them, precarious labour, educational possibilities, the professionalization of artists, and the conference itself.

Workshops for Publication, Part 2 at the AGW | 3:30pm-4:30pm

The work continues at the AGW and at CIVIC Space towards compiling the contents for the publication, with follow up discussions driven by the General Assembly.

Closing Remarks at the AGW | 4:30pm-4:45pm


Homework II: Long Forms / Short Utopias runs November 8 – 10, 2013 at Art Gallery of Windsor, located at 401 Riverside Drive West, Windsor, Ontario and CIVIC Space, located at 411 Pelissier Street, Windsor, Ontario.


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HomeworkIISponsors

1W3KND: On Social Practice and Collaboration, 48 Hours at a Time – New Book Available Now!

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Late last year, we started hosting a series of weekend residencies at CIVIC Space. They were designed to bring together two people (and sometimes more) to write about socially-engaged practices. We wanted to provide a platform, or an excuse, or at least a quiet space to spend a bit of focused time writing. We wanted to do this because we were curious about the gap in writing from emerging practitioners, and that curiosity was driven as much out of our desire to read more from our peers as our realization that we have done very little writing on our own.

So, we posted a call for submissions on our website under the title of 1W3KND.

1W3KND stood for One Weekend, Three Thousand Words, No Distractions. It would be a brief, yet focused two days, just long enough to pull away from everyday life, but not so long that the itch to overly-polish any of the writing would arise. It would ideally put people into a dialogue, maybe even with a stranger, to try to tease out new entry-points into likely familiar conversations and capture an urgency around itself. It would concentrate this activity in a specific place without necessarily insisting on a response to it.

Between November 2012 and February 2013, we were happy to host the following artists, writers, curators, designers, thinkers, and scholars:

Penelope Smart & Erin MacMillan, Irene Chin & Megan Marin, Jason Deary & Mary Tremonte, Zoe Chan & Sarah Febbraro, Mike DiRisio & Nathan Stevens, Amber Ginsburg & Siobhan Rigg, VSVSVS & Julian Majewski, Jacqui Arntfield & Emily DiCarlo, Nathan Swartzendruber & Mike Fleisch, and Allison Rowe & Rhiannon Vogl

We compiled what they wrote into a book. It’s available now on Blurb for just $10.

The residency as an experiment, as a site of production, or as simply a retreat, spurred writing that reflects a diversity of approaches towards articulating the concerns, ethics, aims, and ideals of socially-engaged practices. Largely written by emerging practitioners and minimally edited, this is not necessarily a cogent collection of essays — in fact, such an expectation would arguably be missing the point. This book captures an energy and urgency around a complicated set of ideas still unfolding in relation to a world rapidly shifting around them. To have the opportunity to collect the texts, at the early stages of so many of the contributors’ practices is a gift and hopefully a tool for further reflection and dialogue across geographies, politics, and practices.

If we had more time at Civic Space, we’d probably do this again. Maybe someone else can pick up where we left off.

New Publication Out Now: Invented Emergency (For Small Cities & Big Towns)

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We just received a few boxes of our newest publication, INVENTED EMERGENCY (For Small Cities & Big Towns), published through White Water Gallery. They look so good, we can’t wait to give them out!

INVENTED EMERGENCY is built on the research developed for Surviving North Bay, a residency and exhibition by Broken City Lab, hosted by White Water Gallery in the summer and fall of 2012. Surviving North Bay developed as a series of exploratory public interventions, micro-gestures, and tactical responses to North Bay. Each of these exploratory initiatives called on public participation to engage with North Bay, its infrastructures, and its communities. Throughout the residency, we collected research on the city in support of an exhibition that aimed to not only examine the practice and production of a northern locality, but also present a range of resistive tactics that can help the community survive, or help one survive the community. Emergencies became shorthand for this series of resistive tactics and gestures and INVENTED EMERGENCY extends these ideas towards developing a series of starting points and positions for new (and revisited) radical practices.

Pick up your copy at CIVIC SPACE, or let us know if you want one, and I’m sure we can arrange getting one in the mail to you!

Huge thanks to Clayton and Robyn and everyone at White Water Gallery for making this possible!

This project was generously supported by the Ontario Arts Council.

A Proposal for Making It Easier to Stay Here: On Economic Development, Tax Policy, and Youth Retention

I sat down with a couple of different people over the last few weeks to discuss the possibility to rethink how we collectively address youth retention in Windsor. It’s an incredibly pressing (and yet somehow invisible) emergency. As a faculty member and collaborator with many recent graduates, it’s a professional and personal challenge to see people move away from Windsor. And yet, it’s so rare that recent grads do stick it out that it’s impossible to imagine how huge of an impact they could have on the city.

And, of course, it also begs the question — why do people move?

The draw of a bigger city, their experiences here in Windsor, and job prospects are all often cited for packing up at the end of an undergraduate degree, and for good reason. These things can weigh heavily on a decision of staying in Windsor after graduation, as the city itself cannot offer much in lieu of them. However, I have to wonder what ‘the thing’ is that might help recent graduates decide not to move away. What about this city might be able to draw people to stay and even bring people back?

It started with cheerleaders. Or more specifically, an idea for a guerrilla cheerleading squad. that went something like this: What if we paid unemployed recent graduates to show up to political events — city council, funding announcements, town hall meetings — to advocate for more resources being put towards youth retention? The guerrilla cheerleading squad would show up, make some noise, and hopefully draw attention to the lack of ambition and absence of real work being put towards keeping young and creative talent in this city.

But, that conversation led to an honest assessment of potential impact. A cheerleading squad might make the paper once, it might draw some attention to the issue, but ultimately, we wouldn’t be arming ourselves to have a conversation about what should be done, or what could be done with some imagination, to address the issue. The long-term impact would evaporate.

So, that led to another conversation. How could we enact a kind of long-term impact towards addressing the lack of initiative put towards youth retention at the regional level? It’s a conversation that I’ve been having for two years (and probably even longer), and yet it feels like the exact same conversation over that entire time.

There’s a reality here in Windsor that always seems to surprise people from away when we tell them about it. First, commercial property taxes are really, really high. But that’s not the surprising part. Second, there’s a lot of vacant commercial spaces and a lot of need for affordable space. But, that’s not surprising either. The third and surprising part is that if you own a commercial property, and it’s vacant, you can fill out a two-page form and get a property tax rebate. So, naturally, there’s little incentive to reduce the rent to reflect the realities of the market and economy here. And in turn, there are few opportunities for a young start-up of any kind to get into a space and get to work doing whatever great thing they might want to do.

Long-term impact will be driven by some radical short-term changes here in the city. These changes need to be developed specifically for Windsor, they should try to solve a couple of parallel problems (but not attempt to solve every problem), and they should be something that might be able to make national headlines. With that in mind, there’s a preliminary plan. It’s early, it’s naive, but it’s going to be further developed and researched. And, it goes something like this:

Instead of a tax rebate just for vacant space, that same rebate should be extended to allow (actually, to encourage) landlords to make their space available free of charge for new businesses, artists, and non-profits operating in their first year and still access the rebate. Businesses, sole proprietors (artists), and non-profits would all register to verify that they were indeed a new startup and they would find the appropriate vacant space and interested landlord — perhaps in collaboration with the area’s BIA. The landlord would fill out a very similar to what already exists two-page form, while noting their request for exemption of the necessity for 100% vacancy for supplying space to one of these startups, and ultimately receive the same tax rebate while supplying vital and incredibly necessary space for young creative people. In the second year of such an arrangement, the startup renting the space could pay a graduated fee (perhaps 50% market value in year 2, 75% market value in year three, and full market value in year four if they could stick it out), or perhaps they would just enter into a normal lease agreement. The bottom line is that the vacant space is filled, there is wealth and job creation, and most importantly, a young creative person sticks it out in the city. And, hopefully, we can tell the world that the city is doing this.

As I noted, research on this is really, really preliminary. There might be a huge number of hurdles or there might already be plans underway to do this, there could be a thousand examples of similar programs elsewhere or it might be a truly unique take on municipal action on youth retention and economic development. We’ll find out as time goes on.

In the meantime, if you have any links, resources, or research to share, please post it in the comments. More soon.

50 TITLES / 50 PERSPECTIVES: A Reader’s Guide to Art & Social Practice

50TITLES/50PERSPECTIVES: A READER'S GUIDE TO ART & SOCIAL PRACTICE

If you think about how grand the concept/movement/idea of Art & Social Practice really is, it can be quite overwhelming. What started out as a grass-roots movement has also begun to infiltrate academia, creating even more ways in which people are thinking, researching and writing about the topic. With that in mind, I decided to create a reading list of 50 hand-selected titles that form a cohesive and well-rounded collection designed to reach a wide audience and aimed to define and understand the multifaceted field Broken City Lab’s engaged with.

During the selection process of this bibliography, I tracked down and read several published reviews and customer reviews from a variety of sources, and ensured that each title provided the collection with a different perspective or filled a necessary gap. For academic texts, I also tracked citations in order to determine their relevancy within the field. Therefore, whether you’re an artist, an academic, an educator, or just someone who is generally interested in learning what the heck Art & Social Practice is, you’ll be able to find a title or two to get your thinking started.

50 TITLES / 50 PERSPECTIVES: A Reader’s Guide to Art & Social Practice

Failure!: Experiments in Aesthetic and Social Practices

 

 

Antebi, Nicole, Colin Dickey, and Robby Herbst. Failure!: Experiments in Aesthetic and Social Practices. Los Angeles: Journal of Aesthetics & Protest, 2007. Print.

A book of essays, interviews and artwork that traces the idea of failure through contemporary art, art protest and social practice.

 

 

 

 

 

Atkinson, Dennis, and Paul Dash. Social and Critical Practice in Art Education . Sterling, VA: Trentham Books, 2005. Print.

Emphasizes “the practical and critical” in art making, while using examples of art as social practice in times of social unrest to facilitate education.

 

 

 

Public Space: Cultural/Political Theory; Street Photography : An Interpretation

 

 

Baird, George. Public Space: Cultural/Political Theory; Street Photography : An Interpretation. Amsterdam: SUN, 2011. Print.

Provides insights into the use, identity and representation of public space from a variety of disciplines, particularly political and cultural theory.

 

 

 

Wildfire: Art as Activism

 

Barndt, Deborah. Wild Fire: Art as Activism. Toronto, ON: Sumach Press, 2006. Print.

Looks at ways in which academics blur the lines of art, activism and academia.  The book also looks at multiple art forms that address social change from different perspectives.  Also provides a Canadian and local context, as the author is visual arts professor at York University.

 

 

Collaboration in the Arts from the Middle Ages to the Present

 

 

Bigliazzi, Silvia, and Sharon Wood. Collaboration in the Arts from the Middle Ages to the Present. 35 Vol. Burlington, VT: Ashgate, 2006. Print.

Providing context outside of North America, this collection of essays is from British and Italian scholars discussing the concept and practice of social collaboration in the arts.

 

 

Taking the Matter into Common Hands: On Contemporary Art and Collaborative Practices

 

 

Billing, Johanna, Maria Lind, and Lars Nilsson. Taking the Matter into Common Hands: On Contemporary Art and Collaborative Practices. London, UK: Black Dog, 2007. Print.

Looks at art and social practice, and collaborative art from the practitioner’s perspective, rather than the theorists.

 

 

Participation

 

 

Bishop, Claire. Participation. Cambridge, Mass: Whitechapel, 2006. Print.

The book is a collection of articles looking at ways in which art can engage with life on a social and political level, with an emphasis on participation and community engagement.

 

 

Relational Aesthetics

 

 

Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du réel, 2002. Print.

A defining and seminal text introducing the concept of relational aesthetics which takes art outside of private space and explores it in terms of human relations and social context.

 

 

Art and Social Change: A Critical Reader

 

 

Bradley, Will, and Charles Esche. Art and Social Change: A Critical Reader. London: Tate Pub., 2007. Print.

A reader which a collection of artists’ texts and critical writings that concentrates on providing a clear overview on the subject.

 

 

 

Street Art, Street Life: From the 1950s to Now

 

Bussard, Katherine A., Frazer Ward, Lydia Yee, and Whitney Rugg. Street Art, Street Life: From the 1950s to Now. New York: Aperture Foundation, 2008. Print.

Examines the street as subject matter, venue and source of inspiration for contemporary, socially-engaged art.

 

 

 

The Practice of Public Art

 

 

Cartiere, Cameron, and Shelly Willis. The Practice of Public Art. Hoboken: Routledge, 2008. Print.

Juxtaposes publicly-funded art to grass-roots socially engaged art practices.

 

 

 

Art and Activism in the Age of Globalization

 

 

Cauter, Lieven De, Ruben De Roo, and Karel Vanhaesebrouck. Art and Activism in the Age of Globalization. 08 Vol. Rotterdam: NAi Publishers, 2011. Print.

Questions whether artists should be activists and what that means in terms of social responsibility.

 

 

The Practice of Everyday Life

 

 

Certeau, Michel de. The Practice of Everyday Life. Berkeley: University of California Press, 1984. Print.

Another defining text that examines how we interact with everyday life on an active level.

 

 

 

Imagining Resistance: Visual Culture and Activism in Canada

 

 

Cronin, J. Keri, and Kirsty Robertson. Imagining Resistance: Visual Culture and Activism in Canada. Waterloo, Ont.: Wilfrid Laurier University Press, 2011. Print.

Collection of papers that theorize connections between visual arts and oppositional politics predominantly from Canadian examples.

 

 

Tactical Biopolitics: Art, Activism, and Technoscience

 

 

Da, Costa Beatriz., and Kavita Philip. Tactical Biopolitics: Art, Activism, and Technoscience. Cambridge, MA: MIT, 2008. Print.

Looks at how new technologies are beginning to influence socially-enagaged art, from the use of open-source software, to hactivism.

 

 

 

Evictions: Art and Spatial Politics

 

Deutsche, Rosalyn. Evictions: Art and Spatial Politics. Cambridge, Mass: Graham Foundation for Advanced Studies in the Fine Arts, 1996. Print.

The collection of essays focus on contemporary art, space, and political struggle, with an entire section dedicated to urban theory and the role of art within processes of urban change.

 

 

Cultural Planning: An Urban Renaissance?

 

 

Evans, Graeme, and MyiLibrary. Cultural Planning, an Urban Renaissance?. New York: Routledge, 2001. Print.

Discusses how cultural planning can be a form of creative intervention and thinks about it ways in which terms of civic engagement.

 

 

 

But Is It Art? the Spirit of Art As Activism

 

 

Felshin, Nina. But is it Art?: The Spirit of Art as Activism. Seattle, [Wash.]: Bay Press, 1995. Print.

Affirms that whether art is “art” is not important, rather, creative minds engaged with social justice is what is important.  It samples both activists and artists, to give a comparison and overview.

 

 

Dialogues in Public Art

 

Finkelpearl, Tom, and Vito Acconci. Dialogues in Public Art. Cambridge, Mass. [u.a.: MIT, 2001. Print.

Presents a collection of interviews with individuals-artists, administrators, architects, a critic, a philosopher, a resident in a public housing project-who were involved in different ways with public art during the 1970’s, 1980’s, and 1990’s.

 

 

 

Recodings: Art, Spectacle, Cultural Politics

 

 

Foster, Hal. Recodings: Art, Spectacle, Cultural Politics. Port Townsend, Wash: Bay Press, 1985. Print.

Looks at ways in which art and politics emerge in postmodernism.

 

 

 

Conversations Before the End of Time

 

 

Gablik, Suzi. Conversations before the End of Time. New York: Thames and Hudson, 1995. Print.

Uses an apocalyptic tone while addressing art as social 
practice.

 

 

 

Exercises for Rebel Artists: Radical Performance Pedagogy

 

 

Gómez-Peña, Guillermo, and Roberto Sifuentes. Exercises for Rebel Artists: Radical Performance Pedagogy. London: Routledge, 2011. Print.

Guillermo Gómez-Peña and Roberto Sifuentes use their teaching and performance experience to create workshops that teach about radical performance in a social practice context.

 

 

Value, Art, Politics: Criticism, Meaning, and Interpretation after the End of Postmodernism

 

 

Harris, Jonathan.  Value, Art, Politics: Criticism, Meaning and Interpretation After PostmodernismLiverpool: Liverpool University Press, 2007.  Print.

Provides a historical and postmodern overview, as well as through a post-colonial lens.

 

 

Education for Socially Engaged Art

 

 

Helguera, Pablo. Education for Socially Engaged Art: A Materials and Techniques Handbook. New York: Jorge Pinto, 2011. Print.

Acts a critical view of socially-engaged art by looking at its long heritage.  It is meant to be critical history for those who are engaged in the practice.

 

 

 

Communities of Sense: Rethinking Aesthetics and Politics

 

 

Hinderliter, Beth. Communities of Sense: Rethinking Aesthetics and Politics. Durham: Duke University Press, 2009. Print.

An assemblage of essays about art historians, art theorists and cultural critics working at the intersections of art, aesthetics and politics.

 

 

 

Escape the Overcode: Activist Art in the Control Society

 

 

Holmes, Brian. Escape the Overcode: Activist Art in the Control Society. Eindhoven [u.a.: Van Abbemuseum, 2009. Print.

Looks at activist art from a geopolitical stand point, and cites examples from across the globe, which is overlooked in other titles.

 

 

 

Byproduct: On the Excess of Embedded Art Practices

 

 

Jahn, Marisa. Byproduct: On the Excess of Embedded Art Practices. Toronto: YYZ Books, 2010. Print.

Presents texts from a variety of artists, activists, curators, and interdisciplinary thinkers that interrogate projects by cultural practitioners ‘embedded’ in industries, the government, and other non-art sectors.

 

 

Cultural Capitals: Revaluing the Arts, Remaking  Urban Spaces

 

 

Johnson, Louise C., and MyiLibrary. Cultural Capitals: Revaluing the Arts, Remaking Urban Spaces. Farnham, England: Ashgate Pub, 2009. Print.

An optimistic book about the power of the arts to enhance city images, urban economies and communities.

 

 

The Arts: A Social Perspective

 

 

Kaplan, Max. The Arts: A Social Perspective. Rutherford, N.J: Associated University Presses, 1990. Print.

Presents an optimistic assessment of how a turn towards creativity and the arts have led to sustainable urban development.  The urban development outlook on social practice in the arts is a nice contrast to the other more theoretical texts, and provides more insight for those interested in design or architecture.

 

Conversation Pieces: Community and Communication in Modern Art

 

 

Kester, Grant H. Conversation Pieces: Community and Communication in Modern ArtBerkeley: University of California Press, 2004. Print.

This book does not set out to only define and conceptualize community or socially engaged art, but to trace its antecedents in art history and locate it in relation to critical theory by providing a framework to evaluate it.

 

 

The One and the Many: Contemporary Collaborative Art in a Global Context

 

 

Kester, Grant H., and Inc ebrary. The One and the Many: Contemporary Collaborative Art in a Global Context. Durham [N.C.]: Duke University Press, 2011. Print.

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 to the less publicized projects.

 

Urban Interventions: Personal Projects in Public Spaces

 

 

Klanten, Robert, and Matthias Hübner. Urban Interventions: Personal Projects in Public Spaces. Berlin: Gestalten, 2010. Print.

Looks at multiple artist’s personal project within public spaces, which is a shift from the focus of collective art in other titles.

 

 

 

Public Art: Theory, Practice and Populism

 

 

Knight, Cher Krause. Public Art: Theory, Practice and Populism. Malden, MA: Blackwell, 2008. Print.

Compares art in public places and intervention art to art that is institutionalized.

 

 

 

Artists, Patrons, and the Public: Why Culture Changes

 

 

Lord, Barry, and Gail Dexter Lord. Artists, Patrons, and the Public: Why Culture Changes. Lanham, Md: AltaMira Press, 2010. Print.

An attempt to debunk how anything can be considered art, and why socially engaged art is valid.  An excellent starting point to begin thinking about these fundamental questions.

 

 

Paper Politics: Socially Engaged Printmaking Today

 

 

MacPhee, Josh, Deborah Caplow, and Eric Triantafillou. Paper Politics: Socially Engaged Printmaking Today. Oakland, CA: PM Press, 2009. Print.

A collection of contemporary politically engaged printmaking showcases art that uses themes of social justice and global equity to engage community members in conversation.

 

 

Creative Arts in Interdisciplinary Practice: Inquiries for Hope and Change

 

 

McLean, Cheryl L. Creative Arts in Interdisciplinary Practice: Inquiries for Hope & Change. Calgary: Detselig Enterprises, 2010. Print.

An action-oriented and transformative research text that points to a new path for hope and change while showing how the creative arts in inquiry and in action applied across disciplines can make a critical difference for individuals and society.

 

 

Art, Space and the City: Public Art and Urban Futures

 

 

Miles, Malcolm, and MyiLibrary. Art, Space and the City: Public Art and Urban Futures. New York: Routledge, 1997. Print.

Looks at socially engaged art from the perspectives of Marxism, feminism and ecology in relation to the city.

 

 

 

PSU

 

 

PSU MFA Social Practice – PSPJ ISSUE 1.” PSU MFA Social Practice. Web. <http://www.psusocialpractice.org/articles/>.

A brand new publication that is available free and online and features the newest scholarship that is coming out of the only program in North America that is completely focused on this topic.

 

 

What We Want Is Free: Generosity and Exchange in Recent Art

 

 

Purves, Ted. What We Want Is Free: Generosity and Exchange in Recent Art. Albany, NY: State University of New York, 2005. Print.

Thinks about how artists should be thinking about their role and responsibility as such, and how social practice can engage and affect peoples lives.

 

 

 

The Interventionists: Users' Manual for the Creative Disruption of Everyday Life

 

 

Thompson, Nato, and Gregory Sholette. The Interventionists: Users’ Manual for the Creative Disruption of Everyday Life. North Adams, MA: Cambridge Mass, 2004. Print.

Serves as a handbook to the new and varied work or interventionist art.

 

 

 

Art and Revolution: Transversal Activism in the Long Twentieth Century

 

Raunig, Gerald. Art and Revolution: Transversal Activism in the Long Twentieth Century. Los Angeles: Semiotext(e), 2007. Print.

Argues that the most important contemporary art is made outside of the institution and has ties to social engagement, revolution and political action.

 

 

 

 

ARTocracy: Art, Informal Space and Social Consequence : A Curatorial Handbook in Collaborative Practice

 

 

Sacramento, Nuno, and Claudia Zeiske. ARTocracy: Art, Informal Space and Social Consequence : A Curatorial Handbook in Collaborative Practice. Berlin: Jovis, 2010. Print.

This book looks at curatorial practice of socially engaged art within “informal” spaces rather than traditional institutions.

 

 

Dark Matter: Art and Politics in the Age of Enterprise Culture

 

 

Sholette, Gregory. Dark Matter: Art and Politics in the Age of Enterprise CultureLondon: Pluto, 2011. Print.

Focuses on cultural workers in terms of artistic production, which provides a Marxist view within the collection.

 

 

 

Collectivism after Modernism: The Art of Social Imagination after 1945

 

 

Stimson, Blake, and Gregory Sholette. Collectivism After Modernism: The Art of Social Imagination After 1945. Minneapolis, MN: University of Minnesota Press, 2007. Print.

A collection of ten essays that demonstrate collectivist art social practice in the context of actual artist collectives.

 

 

Group Work

 

 

Temporary Services. Group Work. New York, NY: Half Letter LLC, 2007. Print.

Temporary Services are one of the most active and successful social practice collectives in North America.  Group Work compiles multiple perspectives of collaborative social practice from both artists, scholars, and even musicians.

 

 

 

 

Temporary Services. Public Phenomena.  Chicago, IL: Half Letter LLC, 2008. Print.

Public Phenomena is the result of over ten years of photo documentation and research of public interventionist art.

 

 

 

Journal of Aesthetics & Protest

 

 

The Journal of Aesthetics & Protest.” The Journal of Aesthetics & Protest. (2001 – 2012). Print.

The Journal of Aesthetics and Protest  is a Los Angeles based artists’ collective’s journal that “sits at the discursive juncture of fine art, media theory, and anti-authoritarian activism.”  It takes critical theory out of the academic or cultural institution.

 

Living as Form: Socially Engaged Art from 1991-2011

 

 

Thompson, Nato. Living as Form: Socially Engaged Art from 1991-2011. New York, NY: Creative Time, 2012. Print.

A very new and current view and history of socially engaged art.  This title will work well as a historical introduction for undergraduates who are just beginning to research the subject.

 

 

 

Wu, Chin-Tao. Privatising Culture: Corporate Art Intervention since the 1980s. New York: Verso, 2002. Print.

Looks at the opposite side of the spectrum and discusses how art is a commodity and has monetary value.  Contrasts well with the rest of the literature that focuses on the aesthetics of socially engaged art, rather than the inevitable business side of all artistic practice.  Also looks at art intervention within these institutions which brings the text back to a politically driven stand point.

 

 

 

Cultural Appropriation and the Arts

 

 

Young, James O. Cultural Appropriation and the Arts. 6 Vol. Malden, MA: Blackwell Pub, 2008. Print.

Discusses the difference between copying art and stealing art in order to create new expressions.   Looks at ways in which artists have “stolen” bits of culture in order to appropriate them as social commentary, whether political or not.

More Great News: We’re the Recipient of a Windsor Endowment for the Arts Grant!

We’re thrilled to announce this, and very flattered to be in such great local company!!!

Honouring leaders in Windsor’s arts community, the Windsor Endowment for the Arts (WEA) will officially present the WEAs, winners of the WEA Arts Leadership Awards and WEA Arts Grants on Saturday, May 5 at Windsor Music Theatre.  Ten recipients will be honoured including the recipient of the first Elizabeth Havelock Grant in the Arts.

Windsor Endowment for the Arts offers four Emerging Artist Grants to support the professional and creative development of emerging artists. Grants are awarded every second year to successful applicants. Artists who meet the eligibility requirements are invited to apply.

Outstanding nominations, from the public and recognized leaders in the arts culture community identified the seven winners of the WEA Arts Grants. Three arts organizations and four emerging artists will be recognized.

Arts Infrastructure Grants

Community Arts Nancy Johns Gallery & Framing
Performing Arts Chris Rabideau
Visual Arts Media City Film Festival

Emerging Artists Grants

Community Arts Broken City Lab Artist Collective
Literary Arts Kate Hargreaves
Performing Arts Crissi Cochrane
Visual Arts Amy Friend

Elizabeth Havelock Grant in the Arts

Visual Artist Shirley Williams

Huge thanks to Windsor Endowment for the Arts, and to Jennifer Willet and Rod Strickland for the nomination. We’re looking forward to celebrating on Saturday! See you there!

We Made the “2012 Sobey Art Award” Ontario Long List!

We’re really exited to post this … just found out today! We made the 2012 Sobey Art Award Ontario Long List! It’s incredibly flattering to have made it to this stage of the competition, and we owe a huge thanks to Srimoyee Mitra for the nomination.

And, in case you didn’t know, we’re not the first Windsor-based artists to have been included — Zeke Moores made the short-list just last year!

Ok, more soon, but in the meantime, here’s the official news from the press release:

The Art Gallery of Nova Scotia and the Sobey Art Foundation are pleased to announce the long list for the 2012 Sobey Art Award, the pre-eminent award for contemporary Canadian Art. This year marks the 10th anniversary of the Award. Following a three-month nomination process, the Curatorial Panel has announced the 25 artists vying for the 2012 Sobey.

The long-listed artists for the 2012 Sobey Art Award are:

West Coast and the Yukon
• Sonny Assu
• Julia Feyrer
• Gareth Moore
• Kevin Schmidt
• Corin Sworn

Prairies and the North
• Amalie Atkins
• Paul Butler
• Jason de Haan
• Robyn Moody
• Elaine Stocki

Ontario
• Broken City Lab 
• Aleesa Cohene
• Annie MacDonell
• Nicholas Pye & Sheila Pye
• Derek Sullivan

Quebec
• Olivia Boudreau
• Raphaëlle de Groot
• Julie Favreau
• Nadia Myre
• Ève K. Tremblay

Atlantic
• Mark Igloliorte
• Stephen Kelly
• Eleanor King
• Lisa Lipton
• Graeme Patterson

The 10th Anniversary shortlist of the Sobey Art Award will be announced in late June. An exhibition at the Museum of Contemporary Canadian Art (MOCCA) in Toronto will feature select work by the shortlisted artists from October 24, 2012 to December 30, 2012. The 10th Anniversary Sobey Art Award winner’s announcement will take place at a Gala event at the MOCCA on November 16, 2012.

The 2012 Sobey Art Award Curatorial Panel consists of:

• David Diviney, Curator of Exhibitions, Art Gallery of Nova Scotia;
• Louise Déry, Directrice Galerie de l’UQAM, Université du Québec à Montréal;
• David Liss, Artistic Director and Curator, Museum of Contemporary Canadian Art;
• Ryan Doherty, Curator, Southern Alberta Art Gallery;
• Bruce Grenville, Senior Curator, Vancouver Art Gallery.

For more detailed biographical information on the 25 long listed artists and members of the Curatorial Panel please go to: www.sobeyartaward.ca

In Store: A Series of Documentary Shorts on SRSI

We’re incredibly excited to be able to post this trailer for the forthcoming series of documentary shorts, In Store, produced, directed, and edited by the astoundingly talented, Daragh Sankey. Here’s the background from the In Store website:

It’s been a long time coming, but I’m finally posting stuff from my work in Windsor. It is a series of documentary shorts called In Store. It’s stuff I shot during Broken City Lab’s SRSI Project. SRSI stands for Storefront Residencies for Social Innovation, and it involved artists from across the country doing residencies in three vacant Windsor, ON storefronts.

I’ve got a trailer up now, and the shorts themselves will start showing up in a week or two. To stay on top of it, you can follow the sitethe twitter feedThe RSS feed. Or, if you’re reading this from the main Angry Robot site, the posts will show up there too. Or you can wait for me to just beam the stuff into your brain, which I’m sure will be available as a delivery platform any day now.

What can you expect from this? There will be about 10 films total. Most follow an artist as they do their thing on the residency, but they’re not all summaries; some single out moments. A longer one will be about Broken City Lab, the organizers of the event, and will be a bit broader than just the SRSI event. One will be about Windsor. I’ll be releasing a new one every week or two.

What’s it all about? Surprisingly, many of the artists used the space less as a gallery, and more as a base camp for engaging with the city. They produced art that was questioning, playful, exploratory and thought-provoking. You will see: disco balls, transplanted plants, fictional security guards, roving libraries, Detroit, gambling, a long street of vacant houses. If there’s a theme, it may be the challenges facing post-industrial cities like Windsor, and the role of art in articulating and helping face those challenges.

Hopefully, you’ll enjoy it.

Keep your eyes here: http://angryrobot.ca/instore/ ')}