Questions:
What type of team did Suzanne Lacy use to move a hundred enormous boulders to several locations conveniently over night?
How did she assure that legally they weren't crossing any boundaries?
Were the workers in any other collaboration between Grennan and Serandino in making the candy bar besides having their picture taken for the front of it?
Did Martinez have any input into the performances or the aesthetics of the parade?
Were the artists in this chapter or the organizations mentioned affiliated with one another other than the fact that they were all based in Chicago?
The artists who had little to no input into the final outcome of the piece other than setting it up so that the groups they were collaborating with could showcase their thoughts seemed to serve more relevance to its audience, such as Street-Level Video and Martinez' parade.
The pieces that were completely the artists' vision, like Gennan and Serandino's candy bar and Suzanne Lacy's boulders were meaningful sentiments while they were on display, but served no long-term use to the community that they were intended for.
In order to be successful in outreach projects, there needs to be a web of organizations and collaborators behind you in order to execute an idea.
There is a line between artwork and charity which is drawn by the level of conversation that can be initiated by the significance of the piece to its local collaborators and the intended audience.
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