Arts and Community Engagement 2018

Ideas 1) I love the idea of cherishing the process of collaboration as opposed to simply working toward an end product. I can become so obsessed with career advancement that I forget what a great joy it is to really get down in the trenches with your work and let the symbiosis exist between you and your collaborators/the communities you are engaging with. 2) The idea of defining community fascinates me as well...I've never thought about what an assortment of communities I've been a part of and continue to be a part of. And how that will inform the communities I try to engage with. 3) Dedeaux's work fascinates me. The subtleties of how someone so seemingly well-intentioned could produce something so potentially damaging to the community they claim to be wanting to help. Questions 1) What does the author think is a responsible way to a make art about a community? When you do not see them as inferior and something to be improved upon. 2) Since the author rejects t...

1. Inherent differences when comparing government communities to other communities, namely artistic communities. Political art being considered radical and un-favored by certain government bodies, as expected. 2. The artist using aesthetic as a measurement of artistic capability or even as a  way to connect to the priori. 3. The inevetability of political art backfiring - doing more damage to the cause in question rather than creating a revolutionary concept. Questions: 1. Does art created in more privileged communities have less of an impact on political causes? If so, why? 2.  If a person was not in a community, lets say they were isolated on an island for their entire life with no other people, and yet somehow was able to survive; what would they think of art? Would they be able to perceive it as we do? 3. How does a community learn to create art that also directly benefits its fitness?

Three Key ideas That resonated with me: - The writer touches on "The confusion that exists between political representation and symbolic representation [...] evident in community art projects that fail to distinguish between the artist's ability to "exhibit" a given community in a project, performance, or image[...]"When creating community based art projects that touches on challenging topics, taking other individuals experiences and lives as subject of the artwork, all information involved in the project must be true to reality and authentic to each individual represented. The writer takes Alfredo Jaar's exhibit "One or Two Things I Know About Them" as an example in which the artist failed to authentically and fully represent the community he chose to exhibit in his artwork. - the writer draws a parallel between the "victorian" model of social policy and the world that we live in today, bringing to light certain challenges that a ...

3 Key Ideas: "In many community-based public art projects it is precisely the community whose voice is never heard" It was interesting to hear that the work of artists can often drown out what the community has to contribute to the project. It's not fair to those who are being represented to be misunderstood by all parties. Although, admittedly I was not exactly surprised to hear about it. Artists all know that it takes a lot to put a project together. I find it can be easy to loose sight of the goals ahead. "'Community art" is often used to demarcate those works that are produced by, or address, subjects defined by their difference from a white, upper-middle class norm." Wow, this kind of took me back a bit. I had never really thought about it. It creates this odd dynamic where white people are created as the normal ones often times, even though it's not true. As many other things that exist in today's world, this only contributes to the ...

1) "Delegation and political fetishism" - Pierre Bordieu The relationship between the community and the "chosen" delegate. 1a) If we have a "chosen" delegate from the particular community, then why we don't have then a"chosen" artist-delegate, based on the specific artist community? 2) .."both the artist and the social worker share a belief in the universality of the discourses that they deploy in their work with the community." Reading this article I think more and more that the artist who wants to do "community art" needs to have some kind of extra social skills, extra knowledge based on their experience that is in a relationship with that community. 2a) Is the talent and empathy enough to start thinking about being a part of the "community art" or the experience and education are the most important? 3) How the community artists choose the specific art form that they will use in the certain project? ...

Key Ideas: - Speaking on about the Community: " Typically the artist sets out to challenge the subjects, to expand their awareness and engage them in a process of critical self-reflection and analysis. The artists' role is to  resuscitate their sense of "self-esteem" and to provide them with a meaningful creative experience that will allow them to become "participants in their own reclamation"  - " For the community artist "art" or the  "aesthetic" plays the same role that "science" does for the reformer, it is a universally-applicable language that allows them to transcend the specificity of their own social and cultural positions and that sanctions their intervention in any given community." - " The trouble with a lot of politically motivated art is a failure of nerve. Artists who produce work that they know is not favored by our established regime are not necessarily taking risks, since they can foreca...

Aesthetic Evangelist Key Ideas 1. Its interesting how community art is conceptualized based off of the idea that people are the cause of their own poverty (poverty is an individual problem and cause). How different would the community art be if the blame was put on the government instead. 2. It's interesting to me how, the government and institution are willing to fund projects regarding well fare and projects relating to capitalistic gains; but aren't as prudent when it comes to the social/ mental health of people who are at the foundation of community and community issues. 3. There is no way to measure the genuine and correct way of making community art, other than ones moral compass and "a spontaneous and natural outpouring of moral compassion by individual citizens for their fellow creatures" (page 22). Thoughts 1. The term artist in the sense of "community artist" is so loosely used, without defining really the definition of "Artist...

This was such a good article! This article touched on a lot of things we discussed last semester, but really broadened and defined them. 1.     It made me think a lot about J.R. and his work with different groups. Both he and the author share this idea that the process is as important, if not more important, than the product. If you are creating work in an unethical way, does it matter how beneficial the outcome is? As artists we must check ourselves along the way to make sure that all aspects of the process are in-line with our message and goal. 2.     This article definitely opened my eyes to some of my personal preconceptions. I think that I used to view myself in the romantic manner described, the artists who crosses boundaries and goes into dangerous terrain etc. Through art activism class last semester, and this class this semester, I’m seeing how much deeper and wider one must approach the idea of art activism within a community, and the trick...

Key Ideas That I Found Interesting: "A very different kind of "collaboration" would arise out of a project produced with a politically-coherent community."  "Each new site, issue, or community, becomes another opportunity to reaffirm their social transcendence through the universal language of art, which can bridge cultural differences and heal social divisions." "The "community" in community-based public art often, although clearly not always, refers to individuals marked as culturally, economically, or socially different either from the artist or from the audience for the particular project." Questions: "Disavows the autonomous development of the community." (Why were the words in this sentence chosen? What impact do they have?) How can an artist present their artwork to a community that they do not identify with and at the same time, not come off as disrespectful?  Can all types of art actually "bridge cu...

Three Key Major Ideas ·        There has been a shift in the United States Art community, resulting in a “new genre” of public art. This new genre had influenced different funding foundations to change the guidelines for artist they want to fund. Particularly the MacArthur foundation changing there language to specifically reject any art in favor of community based organizations that are working to promote social justice and democracy through media. This shift in funding had really shocked me. ·        The conservative’s view on community outreach. When he says Welfare and arts funding can be viewed as “symptomatic of a general cultural and moral decline. He then goes on to say conservatives view such programs as robing the rich of spiritual growth that is provided by individual acts of philanthropy, it implies that conservatives wish to take part in community outreach to feel good about their selves.   ·  ...

Christopher Stromebeck 3 Key Ideas That Resonated With Me There is a heritage of noble obligation which young people accept and long to perpetuate. The desire for action, the wish to right wrong and alleviate suffering haunts them daily. I think community-based public art is at a cross-roads in its development as a mature practice (or set of practices); it has reached a point at which it can sustain, and benefit from, a response that is supportive of its goals without sacrificing a critical distance. Each new site, issue, or community, becomes another opportunity to reaffirm their social transcendence through the universal language of art, which can bridge cultural differences and heal social divisions. 3 Questions Brought From The Text Which art form is heard by communities best? How to properly balance community art, as well as the want for economical support? What’s the next big step in growing our community even more?

Three Key Ideas:  1.   "Further, this work tends to be less concerned with producing objects per se than with a process of collaboration, which is understood to produce certain pedagogical effects in the community."           - By producing pedagogical effects in the community, it not only brings awareness but also helps the community grow as inviduals and as one. Art is a language that is understood in all languages, it is also a factor in the growth of any and every community. In some case art is an escape from reality, this encourages anyone to display their perspective on life, the world, and most of all social and or political issues. 2. "This "new genre" of public art, according to critic Suzi Gablik, "takes the form of interactive, community-based projects inspired by social issues."     - When members of a community come together to face any issue, their main goal is to shed light upon what and how this issue is affec...

Key Ideas- Wow. I never realized the government’s role in community based art. One thing I’ll probably never forget from reading this is the idea that “state sponsored welfare is wrong because it robs the rich of the opportunity to experience a moral transcendence in the act of self-less giving.” What? Because giving is actually for the moral transcendence of the giver and not to benefit the receiver? How is that even a valid argument? This really opened my eyes because I’ve never heard of this argument before. This discussion about trying to help others for one’s personal spiritual evolution, and not actually to see someone else benefit. It’s crazy to think, but also obviously true, that people feel entitled to tell someone else when they are wrong and to put themselves in a higher position of right to “fix” them and doing so gives them the gratification and the sense of more power. But the intention is all wrong. Who is to say who is right and who is wrong? Typically it’s those...

Kazmiera Tarshis The first thing that really spoke to me was that community based art is drawing upon the idea of empowerment. I am always looking for ways to empower myself and those around me and I love the concept of bringing empowerment to communities of people through art practice. I would definitely want to incorporate this into my core beliefs when creating community based art. Another concept that stood out to me was this idea that the poor are to blame for their own poorness. This cultural shaming of people who are not well off, saying that they are in this situation because they were too lazy to get themselves out of it. The fact that the upper class really holds this idea to truth is not surprising but certainly affects the way in which I would go about creating community based art. I would want to address this idea in some way, which links back to empowerment. The third thing I felt affected by was the words of “New York Senator Daniel Patrick Moynihan's influential...

3 key ideas from the text that resonated with me:  -When an artist is identified as a catalyst of a project, they are aesthetically distanced from the community that they are working with. The sense of “authority” that the artist has often stems from the collaborative aspect of community-engaged art, in which the artist surrenders some of their creative independence in order to incorporate the group’s ideas. Though their “sacrifice” makes them feel entitled to speak on behalf of the community, we must acknowledge that the differences in challenges between artist and community cannot be reconciled/understood through the artist’s expression of their own vaguely related experiences.  -Faith was very present in previous relationships between artist and community; Evangelism reinforced a divisive structure that distinguishes one person as a “bad" subject/individual in need of reform, and the other as a “good" subject/“enlightened reformer”. There are traces of this relationship in...

1. First of all, wow. I never realized why the government was so against removing public funding for the arts, and now I see why. Art has the power to change people's minds, to influence them to question systematic oppression and alert them to the fact that they are a part of the system, no matter the community in which they exist. 2. It's crazy how artists will try and compare their lives to those of communities they're choosing to represent, but truly have no similarities! Or simply use the projects to promote themselves in the art world, but never use the voices of the community. 3. The fact individuals can be made to believe that their circumstances are a result of their own faults, mistakes and sins, rather than a structural problem revolts me. I've seen this my whole life, represented in media, movies, books etc. 1. What is the best way to go about community based art in a way in which the individuals have a voice, but the issue can also be expanded to encom...

Key Ideas -Community art is believed to be an interaction between the “artist” (empowered individual) and a priori (In need of empowerment). Creating an exchange that happens between two groups from different backgrounds (financial, intellectual, social, cultural) in which one side is seen as  underprivileged.    -Viewing community artists as saviors for people dealing with homelessness or poverty are to fault for their situation based on their life choices and personal “mistakes”, rather than dismantling the broken system within the political and economic forces that have pushed communities into this life style. -The communities in “need” are not an artists costumer, but their client, “the raw material upon which we work”, while the costumers are the agencies and institution to whom a successful report will “increase our grant.” (Owen Kelly) Questions *Could an individual from the community be the artist, rather than someone from an opposite backgrou...

In my humble opinion, producing community art is a major responsibility. It can be used to build self-esteem and growth in the community. Most importantly I do believe it could be a response to systematic oppression, and as a result, it can spark conversations and possibly lead to policy and laws changing Key ideas that resonated with me: Ø   This quote: “ The trouble with a lot of politically motivated art is a failure of nerve. Artists who produce work that they know is not favored by our established regime are not necessarily taking risks since they can forecast the results. Truly taking a risk means not knowing what's going to happen in the end”. Ø   Secondly, I agree when creating community-based art with highly complex populations e.g. the homeless, mental health, and incarcerated should engage in major research, and public policy surrounding the issues so community member’s involved are armed with tools to help permanently change their situations for the bet...