ART and the COMMUNITY

"In the Place of the Public Sphere," signals a double reading. In particular, the use of the word "place," or rather the place of the word "place," in the title asserts two different conceptions of the public sphere. In one reading the public sphere is a place, a kind of arena or location defined by spatial boundaries with an inside that can be occupied. Public sphere is a somewhere. A second reading of the title invokes a possible alternative to, or a replacement for, the public sphere. "In the place of" suggests that rather than an inside, we might imagine an instead to the public sphere.

miwon kwon 'siting of public art'

thhis kind of art refers largely to art and media that has been planned or staged for a specific area or space of intention.

Some forms of public art are designed to encourage audience participation in a hands-on way. Examples include public art installed at hands-on science museums such as the main architectural centerpiece out in front of the Ontario Science Centre. This permanently installed artwork is a fountain that is also a musical instrument


http://en.wikipedia.org/wiki/File:Hydraulophone_water-pipe-organ-flute_as_public_interactive_art.jpg

collective practices

In the last 10 years or so collaborative art practices have moved in to the mainstream of cultural production, and collaboration is now largely taken for granted as one of the numerous ways that artists can choose to operate. Despite this, artistic collaboration still raises some interesting and crucial questions about the nature of authorship, authenticity and the artists’ relationships to their works & audiences that inevitably disrupts the persistent and popular image of the artist as a ‘heroic’ solitary figure. While some collaborations have come from a reaction against political and cultural regimes, there are numerous other artists who have chosen to work together as a positive choice for collaboration. Common to most if not all collaborative practices though, is an implicit critique of the idea of the artist as a figure that stands outside of society engaged in an internal singular dialogue.

Mark Dunhill & Tamiko O'Brien 2005

http://www.theoryflux.com/ (interesting online collaboration)

The idea of the solitary genius and the relationship of this idea with capitalism is something that has been critiqued, questioned and undermined by artists and theorists (at least since Duchamp ‘collaborated’ with Leonardo or later when Rauschenberg painstakingly erased De Kooning’s drawing.)

examples of collaboration include

Jean-Paul Sartre and Simone de Beauvoir, Henry Miller and Anais Nin, Marie and Pierre Curie, Martha Graham and Erick Hawkins, and Georgia O'Keeffe and Alfred Stieglitz; the productive partnerships of Pablo Picasso and Georges Braque, Albert Einstein and Marcel Grossmann, Aaron Copland and Leonard Bernstein, and Freeman Dyson and Richard Feynman; the familial collaborations of Thomas and Heinrich Mann, Hubert and Stuart Dreyfus, and Margaret Mead, Gregory Bateson and Mary Catherine Bateson; and the larger ensembles of The Guarneri String Quartet, Lee Strasburg, Harold Clurman and The Group Theater, and such feminist groups as The Stone Center and the authors of Women's Ways of Knowing.

CREATIVE COLLABORATION

Vera John-Steiner

situations,,,from anti art to situationism

some basic concepts of the situationist s

dérive=is an original concept in which one chooses to sort of explore an environment, with no plans and no preconceptions, in other words no plans.

The sudden change of ambiance in a street within the space of a few meters; the evident division of a city into zones of distinct psychic atmospheres; the path of least resistance that is automatically followed in aimless strolls (and which has no relation to the physical contour of the terrain); the appealing or repelling character of certain places — these phenomena all seem to be neglected. In any case they are never envisaged as depending on causes that can be uncovered by careful analysis and turned to account.

—Guy Debord, Introduction to a Critique of Urban Geography
http://en.wikipedia.org/wiki/D%C3%A9rive

class conscious=means where you stand in society in regards to social stuctures , it relates very much to self awareness, and also relates to marxist theory, a sort of 'class itself'!

the spectacle= three different types ,the concentrated, diffused and the intergrated.
the first is any creative tendency, and relate it to or with a bureaucratic class. the second is its relation to a comodity, and how certain commodities interelate with each other. the last spectacle is the intergrated one it questions morality .

world revolution= the Marxist concept to over throw capitalism.

institutional critique

institutional critique is highlighting the sort of back house interelations between artworks and office work co existing together, and how both ultimately contribute to a finished work of art.
artists include; michael asher, marcel broothaers, daniel buren and hans haacke.

n more technical terms, Institutional Critique is an artistic term meant as a commentary of the various institutions and assumed normalities of art and/or a radical disarticulation of the institution of art (radical is linguistically understood in its relation to radix which means to get to the root of something). For instance, assumptions about the supposed aesthetic autonomy or neutrality of painting and sculpture are often explored as a subject in the field of art, and are then historically and socially mapped out (i.e., ethnographically and or archaeologically) as discursive formations, then (re)framed within the context of the museum itself.

http://en.wikipedia.org/wiki/Institutional_Critique

ARTY PARTY+=???

Art is the process or product of deliberately arranging elements in a way to affect the senses or emotions. It encompasses a diverse range of human activities, creations, and modes of expression, including music, literature, film, photography, sculpture, and paintings. The meaning of art is explored in a branch of philosophy known as aesthetics.

The definition and evaluation of art has become especially problematic since the early 20th century. Richard Wollheim distinguishes three approaches: the Realist, whereby aesthetic quality is an absolute value independent of any human view; the Objectivist, whereby it is also an absolute value, but is dependent on general human experience; and the Relativist position, whereby it is not an absolute value, but depends on, and varies with, the human experience of different humans.^[1] An object may be characterized by the intentions, or lack thereof, of its creator, regardless of its apparent purpose. A cup, which ostensibly can be used as a container, may be considered art if intended solely as an ornament, while a painting may be deemed craft if mass-produced.

Traditionally, the term art was used to refer to any skill or mastery. This conception changed during the Romantic period, when art came to be seen as "a special faculty of the human mind to be classified with religion and science".^[2] Generally, art is made with the intention of stimulating thoughts and emotions.

The nature of art has been described by Richard Wollheim as "one of the most elusive of the traditional problems of human culture".^[3] It has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exploring and appreciating formal elements for their own sake, and as mimesis or representation. Leo Tolstoy identified art as a use of indirect means to communicate from one person to another.^[4] Benedetto Croce and R.G. Collingwood advanced the idealist view that art expresses emotions, and that the work of art therefore essentially exists in the mind of the creator.^[5][6] The theory of art as form has its roots in the philosophy of Immanuel Kant, and was developed in the early twentieth century by Roger Fry and Clive Bell. Art as mimesis or representation has deep roots in the philosophy of Aristotle.^[4] More recently, thinkers influenced by Martin Heidegger have interpreted art as the means by which a community develops for itself a medium for self-expression and interpretation.^[7]

^{keep it simple lol lol}

^{http://en.wikipedia.org/wiki/Art}

relational aesthetics

Relational Aesthetics

The French curator Nicholas Bourriaud published a book called Relational Aesthetics in 1998 in which he described the term as meaning ¿a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.¿ He saw artists as facilitators rather than makers and regarded art as information exchanged between the artist and the viewers. The artist, in this sense, gives audiences access to power and the means to change the world. Bourriaud cited the art of Gillian Wearing, Philippe Parreno, Douglas Gordon and Liam Gillick as artists who work to this agenda.
(fucking late entry),,,,
https://www.tate.org.uk/collections/glossary/definition.jsp?entryId=634