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This is the improved and expanded second edition of The Social Art, an engagingly written, highly accessible tour through the world of language. Macaulay uses jokes, anecdotes, quotations, and examples to introduce readers to the full range of current linguistic knowledge, covering in 35 brief chapters (2 new to the second edition) topics like language acquisition, phonology, morphology, syntax, semantics, dialects, conversation, narrative, swearing, and more.
The Present Prospects of Social Art History represents a major reconsideration of how art historians analyze works of art and the role that historical factors, both those at the moment when the work was created and when the historian addresses the objects at hand, play in informing their interpretations. Featuring the work of some of the discipline's leading scholars, the volume contains a collection of essays that consider the advantages, limitations, and specific challenges of seeing works of art primarily through a historical perspective. The assembled texts, along with an introduction by the co-editors, demonstrate an array of possible methodological approaches that acknowledge the crucial role of history in the creation, reception, and exhibition of works of art.
‘a game-changer, a must-read for scholars, students and artists alike’ – Tom Finkelpearl At a time when art world critics and curators heavily debate the social, and when community organizers and civic activists are reconsidering the role of aesthetics in social reform, this book makes explicit some of the contradictions and competing stakes of contemporary experimental art-making. Social Works is an interdisciplinary approach to the forms, goals and histories of innovative social practice in both contemporary performance and visual art. Shannon Jackson uses a range of case studies and contemporary methodologies to mediate between the fields of visual and performance studies. The result is a brilliant analysis that not only incorporates current political and aesthetic discourses but also provides a practical understanding of social practice.
This is the definitive analysis of art as a social and perceptual system by Germany's leading social theorist of the late 20th century. It combines three decades of research in the social sciences, phenomenology, evolutionary biology, cybernetics, and information theory with an intimate knowledge of art history, literature, aesthetics, and contemporary literary theory.
With a focus on socially engaged art practices in the twenty-first century, this book explores how artists use their creative practices to raise consciousness, form communities, create change, and bring forth social impact through new technologies and digital practices. Suzanne Lacy’s Foreword and section introduction authors Anne Balsamo, Harrell Fletcher, Natalie Loveless, Karen Moss, and Stephanie Rothenberg present twenty-five in-depth case studies by established and emerging contemporary artists including Kim Abeles, Christopher Blay, Joseph DeLappe, Mary Beth Heffernan, Chris Johnson, Rebekah Modrak, Praba Pilar, Tabita Rezaire, Sylvain Souklaye, and collaborators Victoria Vesna and Siddharth Ramakrishnan. Artists offer firsthand insight into how they activate methods used in socially engaged art projects from the twentieth century and incorporated new technologies to create twenty-first century, socially engaged, digital art practices. Works highlighted in this book span collaborative image-making, immersive experiences, telematic art, time machines, artificial intelligence, and physical computing. These reflective case studies reveal how the artists collaborate with participants and communities, and have found ways to expand, transform, reimagine, and create new platforms for meaningful exchange in both physical and virtual spaces. An invaluable resource for students and scholars of art, technology, and new media, as well as artists interested in exploring these intersections.
We engage with works of art in many ways, yet almost all modern philosophers of art have focused entirely on one mode of engagement: disinterested attention. Nicholas Wolterstorff explores why this is, and offers an alternative framework according to which arts are a part of social practice, and have different meaning in different practices.
In recent years, social and economic pressures have combined to affect the traditional role of the homemaker. With emphasis being placed on the world of work as opposed to the life of home, many people now struggle to fulfil several functions simultaneously. This increasingly busy and hectic climate has led to an apparent downgrading of the work of the homemaker. Taking a spiritual perspective inspired by the work of Rudolf Steiner, Veronika van Duin suggests that homemaking needs to be undertaken consciously as an honoured and valued task - as nothing less than a 'social art'. If we are to enjoy happy and contented family and home lives, the role of homemaker ought to be regarded highly. Without claiming that there is a blueprint for perfect homemaking, the author offers principles and observations based on a study of the seven 'life processes' and how they work on us. She addresses the significance of rhythm, relationships, artistic environment, caring, self development, and much more besides in this invaluable book.
History as Art, Art as History pioneers methods for using contemporary works of art in the social studies and art classroom to enhance an understanding of visual culture and history. The fully-illustrated interdisciplinary teaching toolkit provides an invaluable pedagogical resource—complete with theoretical background and practical suggestions for teaching U.S. history topics through close readings of both primary sources and provocative works of contemporary art. History as Art, Art as History is an experientially grounded, practically minded pedagogical investigation meant to push teachers and students to think critically without sacrificing their ability to succeed in a standards-driven educational climate. Amid the educational debate surrounding rigid, unimaginative tests, classroom scripts, and bureaucratic mandates, this innovative book insists on an alternate set of educational priorities that promotes engagement with creative and critical thinking. Features include: A thought-provoking series of framing essays and interviews with contemporary artists address the pivotal questions that arise when one attempts to think about history and contemporary visual art together. An 8-page, full color insert of contemporary art, plus over 50 black and white illustrations throughout. A Teaching Toolkit covering major themes in U.S. history provides an archive of suggested primary documents, plus discussion suggestions and activities for putting theory into practice. Teaching activities keyed to the social studies and art curricula and teaching standards Resources include annotated bibliographies for further study and lists of arts and media organizations. This sophisticated yet accessible textbook is a must-read resource for any teacher looking to draw upon visual and historical texts in their teaching and to develop innovative curriculum and meaningful student engagement.