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A show challenging conventional understandings of public art, Culture in Action in Chicago had a new social agenda, and rethought what an exhibition of contemporary art might be. Through eight projects by artists initiated in the early 1990s and developed in collaboration with local people, the intention was to engage diverse groups over time, in addition to the visiting public in 1993. In the fifth book in Afterall's Exhibition Histories series, the course of these projects is documented, with critical reappraisal of this important exhibition in newly commissioned essays and interviews, together with reviews from the time.
Lastgaspism: Art and Survival in the Age of Pandemic is a collection of interviews, critical essays, and artwork that consider matters of life and death having to do with breath, both allegorical and literal. Bringing into mutual proximity the ecological, public health, political, and spiritual crises that came to the fore in 2020, this book considers these compounding events and how they impact one another and asks with critical optimism what can happen in this moment of transition.
What if museum critics were challenged to envision their own exhibitions? In Curatorial Dreams, fourteen authors from disciplines throughout the social sciences and humanities propose exhibitions inspired by their research and critical concerns to creatively put theory into practice. Pushing the boundaries of museology, this collection gives rare insight into the process of conceptualizing exhibitions. The contributors offer concrete, innovative projects, each designed for a specific setting in which to translate critical academic theory about society, culture, and history into accessible imagined exhibitions. Spanning Australia, Barbados, Canada, Chile, the Netherlands, Poland, South Africa, Switzerland, and the United States, the exhibitions are staged in museums, scientific institutions, art galleries, and everyday sites. Essays explore political and practical constraints, imaginative freedom, and experiment with critical, participatory, and socially relevant exhibition design. While the deconstructive critique of museums remains relevant, Curatorial Dreams charts new ground, proposing unique modes of engagement that enrich public scholarship and dialogue.
Ideas are embedded in social arrangements, which in turn produce effects. With this simple premise, this radically accessible systems design book makes a compelling case for arrangements as a rich and overlooked terrain for social justice and world building. Unpacking how ideas like racism and sexism remain sturdy by embedding themselves in everything from physical and social infrastructure to everyday speech and thought habits, this book gives readers the tools to sense, intervene in and imagine new arrangements.
Why do people go to exhibitions, and what do they hope to gain from the experience? What would happen if people were encouraged to move freely through exhibition spaces, take photographs and be playful? In this book, Inge Daniels explores what might happen if people and objects were freed from the regulations currently associated with going to an exhibition. Traditional understandings of exhibitions place the viewers in a one-way communication form, where the exhibition and those behind its creation inform their audiences. However, motivations behind exhibition-going are multiple and complex and frequently the intentions of curators do not match the expectations of their visitors. Based on an in-depth ethnographic examination of the processes involved in the making and reception of one particular exhibition-experiment as well as a study that follows 'freed' objects into their new homes, this publication not only sheds light on what exhibitions are, but also what they could become in the future. Featuring over 175 colour illustrations and using practical examples, this is an important contribution for students and scholars of anthropology, museum studies, photography, design and architecture.
'A Section of Now' aims to re-establish a dialogue between architecture and society that would allow architecture to begin to contend with and address our changed and changing social norms. The publication serves as a meditation on new behaviours, rituals, and values and their spatial implications, and seeks to catalyse urban and architectural interventions that accommodate, influence, and, in some cases, pre-empt our new lived realities. Authors address topics ranging from the safety of digital spaces to how normative life trajectories affect the elderly and the many selves each of us puts forward, while architects present frameworks for, among other things, spaces for blended families, thirty-year-old retirees, and contested monuments. Bringing together analytical essays about the contemporary moment and the direction in which society is moving, projective texts that outline new architectural types to address societal needs, alongside television series, photography, and architecture and design projects, 'A Section of Now' outlines a new relationship between the spaces in which we live and the ways we live within them. Architect, editor, and curator Giovanna Borasi is Director of the Canadian Centre for Architecture.
An anthology of essays on art's relation to the public realm since 1989 This critical anthology explores the myriad histories and worlds through which art is produced and experienced. It is guided by the following questions: How are the "global" and the "located" shaped and understood in disparate contexts and times? How have artists experimented with modes of exhibition-making and public presentation? Key essays previously published by Afterall are included alongside new image-led presentations, translated material and commissioned texts. The anthology addresses the topic in both theoretical terms and through case studies. Contributors include: Silvia Rivera Cusicanqui, Miguel A. López, Eddie Chambers, Francesca Recchia, Pablo Lafuente, Philippe Pirotte, Ntone Edjabe, Clémentine Deliss, Khwezi Gule, Charles Gaines, David Teh, Ekaterina Degot, Ana Teixeira Pinto, María Berríos, Mujeres Creando, Comunitario del Valle de Xico, Tonika Sealy Thompson and Stefano Harney.
Amongst recent contemporary art and museological publications, there have been relatively few which direct attention to the distinct contributions that twentieth and twenty-first century artists have made to gallery and museum interpretation practices. There are fewer still that recognise the pedagogic potential of interventionist artworks in galleries and museums. This book fills that gap and demonstrates how artists have been making curious but, none-the-less, useful contributions to museum education and curation for some time. Claire Robins investigates in depth the phenomenon of artists' interventions in museums and examines their pedagogic implications. She also brings to light and seeks to resolve many of the contradictions surrounding artists' interventions, where on the one hand contemporary artists have been accused of alienating audiences and, on the other, appear to have played a significant role in orchestrating positive developments to the way that learning is defined and configured in museums. She examines the disruptive and parodic strategies that artists have employed, and argues for that they can be understood as part of a move to re-establish the museum as a discursive forum. This valuable book will be essential reading for students and scholars of museum studies, as well as art and cultural studies.
George E. Hein explores the impact on current museum theory and practice of early 20th-century educational reformer John Dewey’s philosophy, covering philosophies that shaped today’s best practices.
John Dewey is known as a pragmatic philosopher and progressive architect of American educational reform, but some of his most important contributions came in his thinking about art. Dewey argued that there is strong social value to be found in art, and it is artists who often most challenge our preconceived notions. Dewey for Artists shows us how Dewey advocated for an “art of democracy.” Identifying the audience as co-creator of a work of art by virtue of their experience, he made space for public participation. Moreover, he believed that societies only become—and remain—truly democratic if its citizens embrace democracy itself as a creative act, and in this he advocated for the social participation of artists. Throughout the book, Mary Jane Jacob draws on the experiences of contemporary artists who have modeled Dewey’s principles within their practices. We see how their work springs from deeply held values. We see, too, how carefully considered curatorial practice can address the manifold ways in which aesthetic experience happens and, thus, enable viewers to find greater meaning and purpose. And it is this potential of art for self and social realization, Jacob helps us understand, that further ensures Dewey’s legacy—and the culture we live in.