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Slide Content
IMPACT
Thinking about…
Thinking about…
How do you know
when your work is
successful?
when your work is
successful?
The Ladder of
Participation
Shelley Arnstein
Participation
Shelley Arnstein
Roger Hart
durationofproject
participation
participation
Participants/
Collaborators
•Who are they?
•How many of them will there be?
•What aretheygettingoutofit?
•Whatistheirrole?
•What are their needs? Physical/Learning/Emotional
•What barrierswouldmake itdifficult?
•Howcan you reducethem?
Collaborators
•Who are they?
•How many of them will there be?
•What aretheygettingoutofit?
•Whatistheirrole?
•What are their needs? Physical/Learning/Emotional
•What barrierswouldmake itdifficult?
•Howcan you reducethem?
Nathan Jurgenson
The Social Photo: On Photography and Social Media
“The social photo finds its purpose not in the image object itself but in
the transmission of the moment as it presents itself. Circulation is the
content and experience is what is offered and shared. By diminishing
the importance of the media object, by making it close to or literally
disposable, social photos recentre communication itself. By removing
some of the heavy conceptual baggage from the term photography, we
can better think of images as speech, as gesture, as breath. Better than
thinking of social photography as something that involves
photographers exchanging their work, we might instead describe it
simply as talking or hanging out. The social photo’s central cultural
importance is the degree to which the images frame, the media object
itself, has dissolved away, leaving behind the substance of life and
experience.”
The Social Photo: On Photography and Social Media
“The social photo finds its purpose not in the image object itself but in
the transmission of the moment as it presents itself. Circulation is the
content and experience is what is offered and shared. By diminishing
the importance of the media object, by making it close to or literally
disposable, social photos recentre communication itself. By removing
some of the heavy conceptual baggage from the term photography, we
can better think of images as speech, as gesture, as breath. Better than
thinking of social photography as something that involves
photographers exchanging their work, we might instead describe it
simply as talking or hanging out. The social photo’s central cultural
importance is the degree to which the images frame, the media object
itself, has dissolved away, leaving behind the substance of life and
experience.”
Claire Bishop
–The Social Turn: Collaboration + its Discontents
Artforum2006
“For …supporters of socially engaged art, the creative energy of
participatory practices rehumanizes—or at least de-alienates—a society
rendered numb and fragmented by the repressive instrumentality of
capitalism. But the urgency of this political task has led to a situation in
which such collaborative practices are automatically perceived to be
equally important artistic gestures of resistance: There can be no failed,
unsuccessful, unresolved, or boring works of collaborative art because
all are equally essential to the task of strengthening the social bond.
While I am broadly sympathetic to that ambition, I would argue that it is
also crucial to discuss, analyse, and compare such work critically as
art.”
–The Social Turn: Collaboration + its Discontents
Artforum2006
“For …supporters of socially engaged art, the creative energy of
participatory practices rehumanizes—or at least de-alienates—a society
rendered numb and fragmented by the repressive instrumentality of
capitalism. But the urgency of this political task has led to a situation in
which such collaborative practices are automatically perceived to be
equally important artistic gestures of resistance: There can be no failed,
unsuccessful, unresolved, or boring works of collaborative art because
all are equally essential to the task of strengthening the social bond.
While I am broadly sympathetic to that ambition, I would argue that it is
also crucial to discuss, analyse, and compare such work critically as
art.”
Can art be
useful?
(and should)
useful?
(and should)
•Manifesto de ArteUtil
Written by Argentine artist Eduardo Costa in 1969 in
collaboration with Scott Burton
They proposed that art would have a direct social
impact and utility by improving city living
conditions
Inthe first ‘Useful Art’ work they bought metal
street signs and placed them on the NY streets where
they were missing
Written by Argentine artist Eduardo Costa in 1969 in
collaboration with Scott Burton
They proposed that art would have a direct social
impact and utility by improving city living
conditions
Inthe first ‘Useful Art’ work they bought metal
street signs and placed them on the NY streets where
they were missing
•Useful Art Association
‘useful art is about transforming
people’s lives, even on a small
scale. It is art as activism and
activism as art’ Tania Brugera
‘useful art is about transforming
people’s lives, even on a small
scale. It is art as activism and
activism as art’ Tania Brugera
•Should museums
and galleries
feed people?
and galleries
feed people?
•Can art be
useful?
…DEBATE
useful?
…DEBATE
Sharing
Economics
+
Collaborative
Practice
Economics
+
Collaborative
Practice
The sharing economy isa
peer-to-peer economic model where
people share access to goods and
services often via technology
can also be thought of as a socio-economic ecosystem built around
the sharing of human, physical and intellectual resources
peer-to-peer economic model where
people share access to goods and
services often via technology
can also be thought of as a socio-economic ecosystem built around
the sharing of human, physical and intellectual resources
the commons
a social practice of governing a resource not by state or
market but by a community of users that self-governs the
resource through self defined structures
market but by a community of users that self-governs the
resource through self defined structures
how does this relate to
collaborative Arts
Practice?
collaborative Arts
Practice?
rehana zeman
alternative economies
alternative economies
•What resources do you have that could be shared? physical
space / skills / knowledge / transportation / other
•What do you need and how might you access it?
•Is there anyone else that might need what you need? How
could you share space, equipment or training to reduce your
costs?
•What about an external partner outside the sector?
•How do you talk about this sharing? How does it further your
ideas?
space / skills / knowledge / transportation / other
•What do you need and how might you access it?
•Is there anyone else that might need what you need? How
could you share space, equipment or training to reduce your
costs?
•What about an external partner outside the sector?
•How do you talk about this sharing? How does it further your
ideas?
Asia
Art
Activism
Art
Activism
Led by Donkeys
the
vacuum
cleaner
aka
James
Leadbitter
vacuum
cleaner
aka
James
Leadbitter
Alfredo Jaar
@bxwarnock
www.bxwarnock.com
www.bxwarnock.com
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