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Pedagogy as Art, Relational Aesthetics and Socially Engaged Art
By: Yiwen, Zac-Va, Makayla
Author of Education For Socially Engaged Art
● Pablo Helguera● Born April 25, 1971 (Age 47)● http://pablohelguera.net/● Mexico City, Mexico● Director of adult and academic programs, Artist and
Author● The main purpose (SEA)● The triple threat
Socially Engaged Art Defined● Internet
○ Also known as ‘Social Practice’, consists of more than one person or a community taking part in social interactions, collaborations or debates in any form of art.
● Pablo Helguera ○ Definition○ Community○ Situations○ Conversations○ Collaboration○ Antagonism○ Performance○ Documentation○ Transpedagogy○ Deskilling
● In the Past○ Collaboration, participatory, community, public, dialogic and relational aesthetics
“All art, inasmuch as it is to be created to be communicated to or experienced by others, is social” (Helguera, 2011, p.1)
Education For Socially Engaged Art● Started in the 1960s
○ Emerged during the Post Minimalism era
● “This is an important query; art students attracted to this form of art making often find themselves wondering if it would be more useful to abandon all art together and instead become professional organizers, activists, politicians, ethnographers, or sociologists.” (Helguera, 2011, p. 4)○ Socially engaged art promotes active presence within the community and has an immediate effect
to those who are a part of it or witness it.
● Actual or Symbolic?○ School○ Political Rally○ Collective art
● Is it both?○ Impact on society can’t be measured○ Unavoidable standpoint in political and social issues
Key to the City- Paul Ramirez Jonas 2010● Symbolic?
○ Dignitaries or Heroes○ Giving a person a key that
symbolizes the city○ Normal, everyday citizens○ Exchange of keys○ Unlocks a variety of area
around the city■ Community gardens■ Police station■ Cemetery■ Museums
● Actual?○ Communicative action
Education For Socially Engaged Art Cont.● Levels of Participation
○ Nominal Participation■ Reflection/Passive Detachment
○ Directed Participation■ Completing a task
● Yoko Ono’s Wish Tree 1996○ Creative Participation
■ Provides content● Allison Smith’s The Muster
2005○ Collaborative Participation
■ Sharing responsibility● Caroline Woolard’s project Our
Goods
A. The Construction of a Community
B. Multi- Layered Participatory Structure
C. Virtual Participation: Social Media
D. Time and Effort
E. Audience Questions
Integrating SEA into an Art School Curriculum
1. Comprehensive understanding of SEA.
2. Reconstructing/Refiguring
3. Experiential challenges
4. Reinvented curriculum of art history
Author of Outside Curricula and Public PedagogyWilliam H. Schubert•Retired in 2011 from the University of Illinois at Chicago (UIC) where he was a faculty member since 1975
•Prior to being a professor he was an elementary school teacher in Downers Grove, Illinois (1967-1975)
Education: - Bachelor’s Degree from Manchester College- Master of Science in Philosophy of Education from Indiana University- Ph.D. in Curriculum Studies from UIC
Awards: Distinguished Scholar-Teacher Award, the University Excellence in Teaching Award, the University Graduate Mentoring Award, and the Alumni Association Teaching Excellence Award
•Published 17 books, 200 articles and chapters, has made over 250 presentations at scholarly and professional organizations
Outside Curricula and Public Pedagogy● Public pedagogy in educational foundations and curriculum studies
● Outside curriculum (non-school / out-of-school curriculum): Learning that takes places outside of the usual/ traditional space
● John Dewey: school vs. education
- Education: “reconstruction or reorganization of experience which adds to the meaning of experience, and which increases ability to direct the course of subsequent experience”.
- Schooling: miniature societies in which democracy and reconstructive individual inquiry might flourish.
- Education vs. mis-education: schools too often are mis-educative—productive of discord rather than harmony, monotony rather than variety, and constraint instead of expansion
Outside Curricula and Public Pedagogy
Collateral learning: students learning in addition to or apart from that which educators intend.
- Progressive education expands on the need for students and teachers to construct their lives from their experience
•To perceive more fully the great diversity of venues that shape who we have become, are becoming, and might become
•We must see education as a search for who and how we are becoming—to see ourselves as developers of curricula and public pedagogies as we continue to find who we are and hope to be
Expanding the Center: Looking to The Center for Urban Pedagogy For a Successful Model of Participatory Pedagogy
Paul Lloyd Sargent● Born: U.S.
● Multidisciplinary artist who divides his time between Buffalo, Brooklyn, and
Wellesley Island, N.Y
● Education: M.F.A., School of the Art Institute of Chicago, Chicago IL. (2000) / B.A., Hamilton College, Clinton NY. (1993)
● Research Interests: Great Lakes and St. Lawrence River history; Supply and disposal chain; International shipping; Spatial practices; Border issues; Experimental geography; Media theory and history; Media literacy.
● “Expanding the Center: Brooklyn’s Center for Urban Pedagogy” (2010)
Expanding the Center: Looking to The Center for Urban Pedagogy For a Successful Model of Participatory Pedagogy
•Education as [social practice] Art
John Dewey’s 1934 text “Art as Experience”, he emphasized that both our experiences in education and our understandings of aesthetics must be considered in terms of our social environments, conditions, and interactions. School and art are each participatory, experiential, and process-oriented social practices.
•Pedagogy as Art Practice:- Introducing The Brooklyn-based Center for Urban Pedagogy (CUP): A nonprofit organization that uses the power of design and art to increase meaningful civic engagement.-CUP “makes educational projects about places and how they change” (Sargent, 2010, p. 6).“CUP collaborates with designers educators, advocates, students, and communities to make educational tools that demystify complex policy and planning issues” (The Center for Urban Pedagogy, 2018). -CUP philosophy: The power of imagination is central to the practice of democracy and that the work of governing must engage the dreams and visions of citizens-CUP is a success as measured by the aesthetics of their output as well as in the effectiveness of their pedagogical practice.
Expanding the Center: Looking to The Center for Urban Pedagogy For a Successful Model of Participatory Pedagogy
Examples of pamphlets:
1). Vendor Power! Made it to the National Design Triennial at the Cooper Hewitt http://www.welcometocup.org/file_columns/0000/0980/mpp_vendor_power.pdf
2). Predatory Equity: The Survival Guide http://welcometocup.org/file_columns/0000/0021/pepdffinal.pdf
Expanding the Center: Looking to The Center for Urban Pedagogy For a Successful Model of Participatory Pedagogy
● Garbage Problems
In 2002, the Center for Urban Pedagogy (CUP) partnered with students from the NYC City-as-School program for an urban investigation into the “garbage problem” after Fresh Kills Landfill on Staten Island got closed down.
-Conducting interviews, visiting important garbage sites, researching garbage infrastructure
-End product: a 30 minute video titled “Garbage Problems”, four educational posters, and a design for the reuse of the landfill
“Garbage Problems” debuted at an exhibit at Apex Art in 2002. One of the posters from the project was published in “The Atlas of Radical Cartography”.
The video has been used in classrooms around the city to explain our city’s garbage infrastructure and what people mean when they talk about environmental justice.
Author of A Pedagogical Turn: Brief Notes on Education as Art Kristina Lee Podesva is an artist, writer, teacher, and
editor who works at the intersection of art making, writing, and publishing.
She is currently the Editor & Publisher of Bruna Press + Archive based in Bellingham, Washington.
Her artwork has appeared in exhibitions at Artspeak (Vancouver), Darling Foundry (Montreal), Museum of Contemporary Art (Denver), No Soul for Sale at the Tate (London), Dorsky Gallery (Long Island City), and the Power Plant (Toronto), among other venues.
In addition, her publication-based art has appeared in various books and catalogues including Waking Up from the Nightmare of Participation, Recipes for an Encounter, and The F Word.
A Pedagogical Turn: Brief Notes on Education as Art
“One of the most well known instances of education as a form of art appears in Joseph Beuys’ practice beginning in the 1970s.”
“While earlier efforts undertaken by the Russian Constructivists, the Bauhaus, and the faculty of Black Mountain College, among others, sought to erode the distinction between art and life through educational vehicles, they did not appropriate pedagogical forms in their artistic production, using them instead as a means to an end.”
“By contrast, Beuys presented scores of educational lectures as performances, documented in a series of photographs and blackboard drawings that register the artists’ actions.”
“With his proclamation that “EVERY HUMAN BEING IS AN ARTIST,” poised to join others in the construction of “A SOCIAL ORGANISM AS A WORK OF ART,”
“The Düsseldorf Academy of Art fired him in 1972 after he opened his course to any student who wished to attend it”
A Pedagogical Turn: Brief Notes on Education as Art“Beuys’ practice laid the groundwork for subsequent movements including institutional critique and relational aesthetics, which have, in turn, revived education as art.”
“It would be too easy to blame the neoliberal agenda for the academy’s current corporatization”
“Harvard Business Review article by Daniel Pink, it is the various arts institutions that grant MFAs as a professional degree for tens of thousands of dollars a year that are first and foremost responsible for this equivalence”
“Ian Wallace wrote “The Idea of the University,” an essay that discusses how the image and function of art and the university will always fall short of our expectations since they are both falsely idealized. Although we may come to understand how our perception of the truth-telling power of both art and the university (and by extension the academy and education) is illusory and derives from specific rather than universal values, we do not and cannot seem to abandon either ideal, adopting instead reformist (in the better case) or resigned (in the worse case) approaches to achieving their promise. It is, perhaps, through education as a form of art making that we do not settle for better or for worse.”
Author of Relational AestheticsNicolas Bourriaud
born in 1965
a writer, curator and art critic.
who has curated a great number of exhibitions and biennials all over the world. With Jérôme Sans, Bourriaud co founded the Palais de Tokyo in Paris, where he served as co director from 1999 to 2006.
“I am very honoured to be able to contribute to the history of Istanbul Biennial, which has always been a place of strong curatorial statements since its creation in 1987. Also, as a crossing point, the city of Istanbul takes a specific signification today, in a global political era marked by binary thought. I will try to build an exhibition that measures up to our historical situation.”
Nicolas Bourriaud to curate 16th Istanbul Biennial September 14–November 10, 2019
Relational Aesthetics
- A Term created by curator Nicolas Bourriaud in the 1990s to describe the tendency to make art based on, or inspired by, human relations and
their social context
“The role of artworks is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real, whatever
the scale chosen by the artist” -Bourriaud
“The first question we should ask ourselves when looking at a work of art is: – Does it give me the chance to exist in front of it, or, on the contrary, does it deny me as a subject, refusing the consider the Other in its structure? Does the space-time factor suggested or described by this work, together with the laws governing it, tally with
my aspirations in real life? Does it criticise what is deemed to be criticisable? Could I live in a space-time structure corresponding to this reality?” (p. 57) -Bourriaud
Rirkrit TiravanijaWas born in Buenos Aires in 1961 and was raised in Thailand, Ethiopia, and Canada.
Since the 1990s, Tiravanija has aligned his artistic production with an ethic of social engagement, often inviting viewers to inhabit and activate his work.
In one of his best-known series, begun with pad thai (1990) at the Paula Allen Gallery in New York, Tiravanija rejected traditional art objects altogether and instead cooked and served food for exhibition visitors. For his second solo exhibition in New York, held at 303 Gallery in 1992,
Rirkrit Tiravanija Art InstallationIn Rirkrit Tiravanija's piece, Tiravanija painted rats on the wall symbolizing the rat race of life and placed the folding chairs side by side, inviting the viewer to share a seat with another person to experience the piece. Tiravanija's invitation to sit with others among the rats, the distraction box, and contained plants in the foreground is aimed at starting a dialogue.
Activity: Let’s make a story!
Objective: Students are to create a narrative using randomly selected words
1). Form two groups
2). Each student in the group will pick out a word from the hat
3). Students will create a story using the words in the order that they were picked.
4). Students will have ten minutes to discuss the story as a group, then an additional ten minutes to draw the story on the paper provided
5). Share!
https://i.gifer.com/8kNh.gif
Questions
1. Do you believe for children to be “adapted” to the institutions of current society or for them to be so educated that they will be impelled to modify it?
2. Do you play an active role in shaping who you are becoming? How do you know?
3. How do we as teachers inspire our students to create works of art that engage their viewers to go beyond being a silent viewer?
4. As teachers how do we promote a free space for learning for our students?
5. Is Socially Engaged Art actual or symbolic or both? Why?
6. From a future teacher standpoint, how important is SEA and do you plan to incorporate SEA into future lessons?
7. Does SEA impact present education? How?
ReferencesSchubert, William H. “Outside Curricula and Public Pedagogy.” Handbook of Public Pedagogy.
Helguera, Pablo. Education for Socially Engaged Art: a Materials and Techniques Handbook. Jorge Pinto Books, 2011.
Podesva, Kristina Lee. “A Pedagogical Turn: Brief Notes on Education as Art (Kristina Lee Podesva).” Fillip, 2007, fillip.ca/content/a-pedagogical-turn.
Bourriaud, Nicolas. Relational Aesthetics. Les Presses Du Reel, 2009.
http://recycledcarbon.com/cv.html
http://welcometocup.org/
http://creativetime.org/projects/key-to-the-city/
