Library and Gallery Exhibitions as Public Scholarship: Public Engagement with Images of Ethnicity, Gender, Place, Race, and War in Illustrated Sheet Music (original) (raw)
Related papers
‘Artist as Activist’: promoting collections, outreach and community learning
Art Libraries Journal, 2009
Inspired by their new university president’s call for global outreach and a desire for community partnerships, several libraries at the Ohio State University worked with the Columbus Museum of Art on a proposal for exhibitions and public programming. Called ‘Artist as Activist’ this exhibition and educational program proposed a dynamic collaboration between the institutions, with the goal of broadening the audience for the museum’s and the libraries’ collections and developing an inclusive educational and dissemination model.
Joni M. Cherbo and Margaret J. Wyszomirski (eds.), The Public Life of the Arts in America
2002
This book includes nine chapters organized into three parts that are based upon the background papers commissioned by the American Assembly (an organization housed at Columbia University) related to a conference ("The Arts and the Public Purpose") held in late May 1997. Be warned that the book is indeed centered on the arts in America, but there is much of interest to international readers. While it is understandable that the book starts with general and conceptual arguments in Part I before moving to less abstract and more "balanced" data-rich material, readers should be alerted that the sometimes daunting early chapters may yield richer rewards if they are read "out-of-sequence", following selected excursions to other parts of the book (but do not try to ascertain what is meant by the various flow charts, "tree diagrams", and "spoked-wheel graphs" intended to establish connections among "mega-concepts"). The organization is as follows. Part I, "Exploring a Changing Landscape", includes a chapter by the editors entitled "Mapping the Public Life of the Arts in America", as well as Harry Hillman Chartrand's "Toward an American Arts Industry", and Margaret Wyszomirski's "Raison d'Etat, Raisons des Arts: Thinking About Public Purposes". In Part II ("The Public and the Arts"), the focus narrows somewhat in three chapters devoted to more "measurable" issues of common interest to all segments of "the arts".
Constructing Audiences, Defining Art: The Field Experiment of the Open Public Library
Art in Public Spaces. Visual Arts Journal. (ISSN 23482508), 2016
In her book De la valeur de l'Art, Raymonde Moulin remarks that the relations between visual artists and sociologists underwent several changes (Valeur de l'Art 13). In the late 1960s and early 1970s "avant-garde" artists began to show interest in critical sociology as a weapon against the art market and the museum. At this time a movement labelled as "institutional critique" emerged out of conceptual art, based on "an artistic practice that reflects critically on its own housing in galleries and museums and on the concept and social function of art itself " (Alberro and Stimson, Institutional Critique). This artistic movement meanwhile has seen three generations, the first one being associated with the New York Citybased Art Workers Coalition (AWC) (Bryan-Wilson, Art Workers 14) and with artists such as Marcel Broodthaers and Daniel Buren in Europe or Michael Asher, Robert Smithson, Hans Haacke, and Martha Rosler in the USA. Subsequently, idealist philosophy and cultural theory-especially in different variants of post-structuralism-gained discursive dominance and was the privileged partner of artists, curators, and critics in the discourses of the artistic field. Thus, in the 1980s sociologists such as Pierre Bourdieu or Vera Zolberg could write that art and sociology do not go together (Bourdieu, Questions 207; Zolberg,1). Raymonde Moulin, however, mentions that in the "nineties again certain 'avant-garde'artists did show a critical attitude similar to sociology and were investigating the economical and social conditions of the construction of the value of art" (Moulin, "Heirs" 169). We want to elaborate on that observation in dealing with an exemplary project of artists belonging to the second generation of institutional critique, whose critical impetus often tried to transcend the confines of the artistic field. 1 Such developments make diagnoses like those of Bourdieu or Zolberg as time bound as the idea that the struggle between sociology and visual art is any longer about the 1-The "generations" of institutional critique and their critical impetus are differentiated and discussed in Bryan-Wilson, Julia. "A Curriculum for Institutional Critique, or The Professionalization of Conceptual Art".
2017
“How do you build a model program for campus art from the ground up?” This is the question Andrée Bober faced a decade ago as founding director of Landmarks, the public art program of The University of Texas (UT) at Austin. The program stems from a 2005 university policy that aimed to engage the campus community by presenting works of art in the public realm. Bober's vision not only transformed the university's landscape, but also established Landmarks as a leading public art program in the country. Today the collection consists of 40 works of art, including 28 sculptures loaned by the Metropolitan Museum of Art, and many additional projects underway. UT alumna Amanda Douberley spoke with Bober for this special issue of Public Art Dialogue.
Syllabus from a graduate seminar. Description: The central problematic of this course is the public domain as a zone of contestation, transformation, exchange, and participation. We will begin by examining the relationship between public art and the elusive concepts of " the public " and the public sphere. We will consider the role of public art as a prism through which to understand wider cultural, societal, and political issues and trends. Public implies more than moving outside the gallery, and entails new forms of interaction between artists, audiences, and communities. Some themes we will address include art in virtual and physical space; site-specificity, and expanded notions of site; monumentality and ephemerality; performance, intervention, and activism; and interactive strategies such as dialogue, relationality, and participation. The semester is organized broadly into three parts: examining conceptions of the public(s), interrogating ideas of place and site, and considering select curatorial and artistic strategies. The course will engage with examples of artistic projects, exhibitions, and events, and include screenings of documentaries as well as guest speakers. Students will contribute to a class blog and develop a curatorial proposal as a final project.
Voice: Reflections on an Artist-Led Program at the Met
Journal of Museum Education, 2017
This article explores an education project in which artist Fred Wilson, poets from Lincoln Center's Poet-Linc program, and the Met Museum Education Department collaborated to produce a teenled spoken-word poetry performance in the Met's galleries. Wilson drew from his own knowledge of the collection to facilitate a group dialogue about objects across collection areas that highlight Black history, connecting objects such as European paintings to those in the special exhibition Kongo: Power and Majesty. The teens worked over months with poet-educator Jose Olivarez to write poems that drew from visual analysis, arthistorical research, and personal reflection, which were ultimately performed for an audience of a few hundred. The project, though short in duration, can be seen as part of a larger shift to highlight the voices and histories of people of color in the museum's narrative of art history.
Essay in As Radical, As Mother, As Salad, As Shelter: What Should Art Institutions Do Today?
As Radical, As Mother, As Salad, As Shelter: What Should Art Institutions Do Today?, 2018
From Paper Monument, editors: In light of recent political shifts across the globe, have you sensed a change in the position of the art institution vis-à-vis political activism? Can an art institution go from being an object of critique to a site for organizing? How? Should the art institution play this kind of role? What other roles can or should it play? What other institutions, curators, or publics do you look to in formulating your own institution’s position? Recent controversies over curatorial choices have foregrounded the different ways in which institutions envision their audience(s). In your experience, is this process changing? How should it proceed? How can an institution address the dichotomy between art as cultural entertainment and art as political inquiry? What is the role of the curator in mediating this? How does this compare to the artist’s role? How can art institutions be better? WITH CONTRIBUTIONS BY: Regine Basha Chloë Bass Dena Beard Zachary Cahill Ken Chen Lori Cole Anne Ellegood Anthony Elms Deborah Fisher Zanna Gilbert Namita Gupta Wiggers Larissa Harris Pablo Helguera Megan Heuer Kemi Ilesanmi Mary Jane Jacob Alhena Katsof Kristan Kennedy Alex Klein Jordan Martins Amanda Parmer Risa Puleo Laura Raicovich Sara Reisman Chris Reitz Nicolás Rodríguez Melo Stephen Squibb Elizabeth Thomas Gilbert Vicario Anuradha Vikram