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Intervention! Art in Public Spaces

NCAEA Conference / Asheville, NC / Sunday, Nov 4, 2012
by

Jack Watson

on 18 February 2013

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Transcript of Intervention! Art in Public Spaces

Contemporary Practice: Reconsider the "Art Object" Other kinds of Public Space http://jasoneppink.com/pixelator/ JASON EPPINK, "Pixelator" http://michaelrakowitz.com/parasite/ MICHAEL RAKOWITZ, “paraSITE”: l'art du déplacement (the art of moving) Parkour (Freerunning) http://vimeo.com/1062093 Alex Villar, "Temporary Occupations" Timothy “Speed” Levitch, "The Cruise" The organization of the urban environment according to the habitual, structured, emotional, or unconscious behaviors of the people within it Psychogeography The Spectacle
http://www.babelgum.com/4024557/yes-men-the-legendary-bbc-bhopal-hoax.html THE YES MEN http://www.unr.edu/art/delappe.html JOE DELAPPE, “deadiniraq” http://abstractor.tv/03.Videos/Home_TV.htm JI LEE, “Abstractor” http://insecurespaces.net/archisuits.html# SARAH ROSS, “Archisuit” http://www.parkingday.org/ REBAR, “PARK(ing) Day” events http://vimeo.com/1062083 Alex Villar, "Irrational Intervals" The “ambient unities” of Paris, or the spaces that people experience as distinct unities, and the passages between them “Psychogeographic guide of Paris”, Guy Debord, 1955 Guy Debord, 3rd from right The Situationists Joseph Beuys
I Like America and America Likes Me.
“Everyone is an artist” “Social Sculpture” Image citations
All images created by the author except: “I like that one idea can have so many people involved and excited. It’s made me more conscious of routine and ways to disturb it… I also like that it’s an artform that, although it doesn’t have a concrete holdable product, it does not not have one. The product is the experience that may be more memorable in a way than a painting to both author and spectator.” Student Feedback:
About making ephemeral works in public spaces Student Feedback: Personal Reflections “I didn’t know people would be so considerate and willing to participate…It was great to see how nice people can be.”


“This class is so much fun and these new projects make me so excited for next year!” Student Feedback: Personal Reflections “This is maybe weird, or maybe not at all, but in some ways I think the leash project was like gay PDA in somewhere where people aren’t used to it. Everyone looks, but they don’t want you to know they’re looking. Some people feel uncomfortable. Some people want you to think that they’re basically accepting, but you can tell that they’re breaking a sweat. I’ve never actually experienced that treatment – or been so aware of it – in my lifetime, but I know that I probably will along the road.” “Even being uninvolved affects the work, because people who just walked [the pathway] as they normally would were contributing in their own way by choosing not to participate. People who went all the way… influenced others to try something different as well. The spectators all influenced one another by setting the norm for themselves, and they influenced the work by establishing the definition of our work” Student Feedback:
About the participatory nature of contemporary art What does it mean to be socially engaged? Art education places excessive emphasis on the self.

SOCIALLY-ENGAGED ARTMAKING IS…
Inquiry-based
Relational
Rooted in social issues
Relevant to the viewer’s experience
Relevant to the artist’s experience SECOND WEEK: Plan Discussions and examples continue
Brainstorming begins, as large group
Brainstorming turns to strategizing Theater games
(Theater of the Oppressed)
Improv Everywhere
Theory
Contemporary Artists
Daily Discussions FIRST WEEK: Experiment + Research The Upside Down Classroom Introduction The Ritual of the "Everyday" Contemporary Practice: Reclaiming Public Space The Process Student Work Benefits Questions and Concerns "Leash Children" "Monthly Meeting Marathon" "Frozen in the Stairwell" Public Spaces and "Pseudo-Public" Spaces Dérive Contemporary Practice: Flash Mob Tactics Improv Everywhere Jack Watson
Visual Art and Art History Chapel Hill High School
Chapel Hill, NC DeLappe, J. (artist). (2006). Dead-in-iraq [artwork], retrieved July 1, 2010, from: http://www.unr.edu/art/delappe.html
Eppink, J. (artist) (2007). Pixelator [artwork], retrieved July 1, 2010, from: http://jasoneppink.com
Miller, B. (director). (1998). The cruise [film still], retrieved July 1, 2010, from: http://dgaquarterly.org
Nicholson, C. (photographer). (2008). Frozen grand central [performance], retrieved July 1, 2010, from: http://improveverywhere.com
Rebar (artist). (2009). Parking day [artwork], retrieved July 1, 2010, from: http://parkingday.org
Villar, A. (artist). (2002). Irrational intervals [artwork], retrieved July 1, 2010, from: http://de-tour.org David Darts, NYU Steinhardt
Jack Richardson, OSU Newark Planning a new curriculum: Studio Art Spaces as sites of inquiry: Exploring Compositional Possibilities THIRD WEEK: Implement Final adjustments and discussions
Implementing projects Stand on their own as artworks pedagogical value for the students who created them authentic artistic experience Authetnic Assessment INTERVENTION! Art in Public Spaces NCAEA Conference
Asheville, NC
Sunday, Nov 4, 2012 Jack Watson
Full transcript