QUESTIONS:
1. "criticized by others for its exploitation of communities and/or reduction of art to a kind of inadequate and ineffectual social work" I'm still a bit curious about this criticism.
2. When does art in public interest cross into the territory of design?
3. What exactly does it mean when the artist is maintaining a dual identity?
4. Can certain groups rely less on the conduit?
5. What does an artist gain or lose in the process of becoming a mentor/teacher figure? Is there?
TAKEAWAYS:
1. This reminds me a lot of Indira Freitas Johnson's installation of 100 Buddha sculptures around Chicago, part of her 2013 Ten Thousands Ripples project. They were scattered across various neighborhoods with issues in gang activity, gun violence, bullying, etc.
2. "What exists in the space between the words public and art is an unknown relationship between artist and audience, a relationship that may itself be the artwork." as someone who favors performance/outdoor art I really like this. Work that can respond individually to those that make contact with it and claim that contact as art.
3. I bring up question 2 because back during World War II, the very first modern graphic designers rose from artists sharing their political opinions through mass production in publications/posters/etc.
4. The examples given remind me of Chicago artist Hebru Brantley
No comments:
Post a Comment