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https://delirious-noise.glitch.me
https://glitch.com/edit/#!/delirious-noise
Click the Read More link for commentary on Delirium and Resistance.
- What was new to you in this chapter? What do you make of that information/opinion?
- It was new to me that community-based art was looked at negatively, prior to the era of social practice art. This text claims that in effort to narrow the gap between art and society, community artists do exactly the opposite in that community arts appear to substitute artist-generated services for genuine public services, thus reforming, rather than fundamentally transforming offensive political inequalities that have only grown in the past 30 years. Furthermore, community-based art practices run the risk of ensconcing the contemporary artist as some sort of profound revelatory change agent/aesthetic evangelical. I definitely can understand the arguments against community-based art practices, considering the interventions most often look like collaborative murals. However, using art as an outlet is never underrated. Social practice art pushes this idea further, and more-so encourages critical thinking and ultimately change.
- What are your thoughts on the mainstream art world's subservience to the interests of capitalism and consumer culture?
- It does not surprise me considering we live in a money-driven, capitalist society. I feel that Jeff Koons certainly undermines the work that influential social practice artists are doing in the field, considering he is the one gaining respect and profit. However, social practice art is inherently radical, therefore it makes sense that the government and economy would not back it up. I thought it was also interesting that social practice art is said to have become popular due to ever-shrinking stock of large urban studio spaces, ironically.
- It does not surprise me considering we live in a money-driven, capitalist society. I feel that Jeff Koons certainly undermines the work that influential social practice artists are doing in the field, considering he is the one gaining respect and profit. However, social practice art is inherently radical, therefore it makes sense that the government and economy would not back it up. I thought it was also interesting that social practice art is said to have become popular due to ever-shrinking stock of large urban studio spaces, ironically.
- Why does Sholette think socially engaged art's cooptation by, and complicity with, the mainstream art world is problematic? Do you agree/disagree, and why?
- It is sooo problematic! Once social practice art is in the hands of high-art institutions and cooperations, it will no longer be authentic or radical. It will simply push just enough boundaries to be 'edgy,' but fail in creating waves of protest. Socially engaged art belongs in the hands of the artists themselves, which are in reality not part of the mainstream art world. Social practice art will be neutralized in the hands of the Guggenheim or Whitney.
- It is sooo problematic! Once social practice art is in the hands of high-art institutions and cooperations, it will no longer be authentic or radical. It will simply push just enough boundaries to be 'edgy,' but fail in creating waves of protest. Socially engaged art belongs in the hands of the artists themselves, which are in reality not part of the mainstream art world. Social practice art will be neutralized in the hands of the Guggenheim or Whitney.
- Do you think social practice art is an effective form of conscious political resistance? Why or why not?
- I believe that social practice art is effective in providing awareness to the public, and has opportunity to promote change. However, at this point in time, these interventions might not be enough to actually create change. Depending on how much media coverage a social practice intervention gets, this will determine whether the general public can accessibly respond and promote the same ideas as well. Organization is key to social practice art, as well as social media and exposure to the general public.
- I believe that social practice art is effective in providing awareness to the public, and has opportunity to promote change. However, at this point in time, these interventions might not be enough to actually create change. Depending on how much media coverage a social practice intervention gets, this will determine whether the general public can accessibly respond and promote the same ideas as well. Organization is key to social practice art, as well as social media and exposure to the general public.