The social practice of art in the USA (2)

Many institutions, especially those in cities and neighborhoods with pressing social problems, see the need to extend their reach. As we could read in the edition of The New York Times on March 24, 2013.

The Museum of Contemporary Art Detroit, for example, is constructing a final work by the artist Mike Kelley, who committed suicide last year, that will function as a kind of perpetual social-practice experiment. Although Kelley was never identified with the movement, he specified before his death that the work, “Mobile Homestead” — a faithful re-creation of his childhood ranch-style home that will sit in a once-vacant lot behind the museum — should not be an art location in any traditional sense but a small social-services site, with possible additional roles as space for music and the museum’s education programs. Whether visitors will understand that the house is a work of art and a continuing performance is an open question. Smaller institutions like the Hammer Museum and the Museum of Contemporary Art in Los Angeles, the Walker Art Center in Minneapolis and the Queens Museum of Art, which is acknowledged as a pioneer of social-practice programming, have also begun bringing the movement into the spotlight. (Tania Bruguera, a New York artist who is known for helping immigrants and has been supported by the Queens Museum and Creative Time, sometimes explains social-practice art with an anti-Modernist call to arms: “It’s time to restore Marcel Duchamp’s urinal to the bathroom.”)

A short documentary from Creative Time Reports about Americans dealing with debt, created by Strike Debt, an art collective that grew out of the Occupy Wall Street movement.

Still, the political nature of the movement propels it into territory that is unfamiliar to many artists and art institutions. Last year, for example, a group of artists boycotted a summit meeting that has been held annually by Creative Time since 2009, saying they objected to the participation of a digital art center supported by the Israeli government. (Creative Time later
made clear that the meeting received no funds from the organization or the Israeli government.)

Mr. Thompson of Creative Time said that many of the most dedicated social-practice artists see a huge divide between themselves and the commercial art world. “There are artists who don’t want to be the entertainment,” he said. “During a crisis of vast inequity they don’t want to be the sideshow, off to the side juggling.”

Caroline Woolard,  Brooklyn artist whose projects include collaborating on temporary “trade schools” where classes are paid for through bartering, said she became a social-practice
artist not because she objected to the commercial or institutional art sectors but because she felt that the art world was too isolated.

“It was the realization that the types of people who went to cultural institutions — museums or galleries — were such a small section of any possible public for the kind of work I was interested in,” she said. She added, though, that she believed the movement would only broaden, and that museums and even the commercial art world would have to find a way to get involved.

“I do think that there will be ways for new kinds of collectors to emerge who will support these kinds of long-term projects as works of art,” said Ms. Woolard, who was recently asked by the Museum of Modern Art’s education department to take part in a social-practice program, “Artists as Houseguests: Artists Experiment at MoMA,” over the next few months.

Pablo Helguera, who is organizing the experiment as the director of adult and academic programs in MoMA’s education department, said that departments like his, as opposed to curatorial ones, are often the doors through which social-practice artists enter the museum world.

“There have always been artists working this way, but we started seeing more and more of them,” Mr. Helguera said. “My theory is that the shift began happening sometime after 9/11. I think it was the question ‘What is the meaning of making art in the world like it is today?’ ”

Mr. Helguera, who has written a book on the subject, “Education for Socially Engaged Art,” added that galleries and museums are only now beginning to scope out the movement’s contours. “The art world has these expectations,” he said. “It’s like you’re supposed todeliver your fall collection and your spring collection, and then what are you doing for the summer, for the art fairs and the biennials?”

“But this kind of work doesn’t operate according to that calendar,” he said. “It might mean a connection with some community or group of people for years, maybe some artist’s whole life. It’s hard to bring to the public. Sometimes it’s hard to define.”

Even those who live in the world of socially engaged art sometimes need help defining it. Justin Langlois, a Canadian artist, recently wrote a wry David-Letterman-style list of questions that artists can pose to themselves to determine whether they are indeed practicing social practice. Question No. 19was “Can your work be critiqued by a painter?” Question No. 22: “If your project was a math equation, did the sum always end up as a critique ofcapitalism?” And the final question: “Were you asked to explain the reason you think your project is art?”

 

 

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