Participatory art: Difference between revisions
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'''''Participatory art''''' ″Participatory Art is the realitzation of an experience rather than the explanation of an idea"<ref>Social Work as Art, Hugh England, p.102</ref>. |
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'''''Participatory art''''' is an approach to making art in which the audience is engaged directly in the creative process, allowing them to become co-authors, editors, and observers of the work. Therefore,this type of art is incomplete without the viewers physical interaction. Its intent is to challenge the dominant form of making art in the West, in which a small class of professional artists make the art while the public takes on the role of passive observer or consumer, i.e., buying the work of the professionals in the marketplace. Commended works by advocates that popularized participatory art include [[Augusto Boal]] in his [[Theater of the oppressed]], as well as [[Allan Kaprow]] in [[happenings]]. |
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Artwork that is interactive and participatory may be referred to as "participatory art |
Artwork that is interactive and participatory may be referred to as "participatory art" it may also be categorized under terms including Dialogical Art, [[Littoral Art]], Engagement Art Practice, [[Relational Art]], [[Social Practice#Art and Social Practice|Social Practice]], Community Art, and [[Suzanne Lacy|New Genre Public Art]]. |
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Participatory Art Practices tends to create events where the experience and and momentum are highly valued. The beholder is essential; the experiencie has to be personal but communal at the same time.It's an approach to making art in which the audience is engaged directly in the creative process, allowing them to become co-authors, editors, and observers of the work. Therefore,this type of art is incomplete without the viewers physical interaction. Its intent is to challenge social interaction, art as a medium to discuss social issues and the subjectivity of an spatial temporal register, in which the work means differently in different locations with different people and at a different time. The movement acts upon Dematerialitzation<ref>Concept created on the 60's, since Duchamp,precursor of conceptual art. "It means that all of the planning and desicions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes art..." quotation by Sol Lewitt, Six years: The dematerialitzation of the art object from 1966-1972,by Lucy Lippard,p.28.</ref>, The" Anti-spectacle"<ref>Cocept originated by [[Guy Debord]] The spectacle hides what is behind the image. "Debord's critique strikes to the heart of why participation is an important project : it rehumanises a society rendered numb and fragmented by the repressive instrumental-ity of capitalist production" Claire Bishop, Artificial Hells, 2012, p.11</ref>and fights the dominant form of making art in the West, in which a small class of professional artists make the art while the public takes on the role of passive observer or consumer, i.e., buying the work of the professionals in the marketplace. Commended works by advocates that popularized participatory art include [[Augusto Boal]] in his [[Theater of the oppressed]], as well as [[Allan Kaprow]] in [[happenings]]. |
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| ⚫ | In the Fall/Winter issue of Oregon Humanities magazine, writer Eric Gold describes "an artistic tradition called '[[Social Practice#Art and Social Practice|social practice]],' which refers to works of art in which the artist, audience, and their interactions with one another are the medium. While a painter uses pigment and canvas, and a sculptor wood or metal, the social practice artist often creates a scenario in which the audience is invited to participate. Although the results may be documented with photography, video, or otherwise, the artwork is really the interactions that emerge from the audience's engagement with the artist and the situation." Grand Kester stated:"In the [[Littoral Art]] the 'meaning of a given work is not centered in the physical locus of the object, or in the imaginative capacity of the single viewer. Rather it is dispersed through multiple register"<ref>Grant Kester, variant issue 9 " Dialogical Aesthetics: and critical Framework for Littoral Art"</ref>. In some cases only the experinece of the participants is the art and no objectified product would be found. |
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This movement has been long criticised for the difficulty of selling and exhibiting and it has been labeled as the 'failed arts' by the critics Wendy Steiner and Ken Johson. |
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Folk and tribal art are also considered to be "participatory art" in that many or all of the members of the society participate in the making of art. As the ethnomusicologist Bruno Nettl wrote, the tribal group "has no specialization or professionalization; its division of labor depends almost exclusively on sex and occasionally on age, and only rarely are certain individuals proficient in any technique to a distinctive degree ... the same |
Folk and tribal art are also considered to be "participatory art" in that many or all of the members of the society participate in the making of art. As the ethnomusicologist Bruno Nettl wrote, the tribal group "has no specialization or professionalization; its division of labor depends almost exclusively on sex and occasionally on age, and only rarely are certain individuals proficient in any technique to a distinctive degree ... the same |
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songs are known by all the members of the group, and there is little specialization in composition, performance or instrument making.” <ref>Nettl, Bruno, ''Music in Primitive Culture'', Cambridge, Harvard 1956, p. 10.</ref> |
songs are known by all the members of the group, and there is little specialization in composition, performance or instrument making.” <ref>Nettl, Bruno, ''Music in Primitive Culture'', Cambridge, Harvard 1956, p. 10.</ref> |
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| ⚫ | In the Fall/Winter issue of Oregon Humanities magazine, writer Eric Gold describes "an artistic tradition called '[[Social Practice#Art and Social Practice|social practice]],' which refers to works of art in which the artist, audience, and their interactions with one another are the medium. While a painter uses pigment and canvas, and a sculptor wood or metal, the social practice artist often creates a scenario in which the audience is invited to participate. Although the results may be documented with photography, video, or otherwise, the artwork is really the interactions that emerge from the audience's engagement with the artist and the situation." |
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==References== |
==References== |
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Revision as of 17:46, 25 April 2015
Participatory art ″Participatory Art is the realitzation of an experience rather than the explanation of an idea"[1].
Artwork that is interactive and participatory may be referred to as "participatory art" it may also be categorized under terms including Dialogical Art, Littoral Art, Engagement Art Practice, Relational Art, Social Practice, Community Art, and New Genre Public Art. Participatory Art Practices tends to create events where the experience and and momentum are highly valued. The beholder is essential; the experiencie has to be personal but communal at the same time.It's an approach to making art in which the audience is engaged directly in the creative process, allowing them to become co-authors, editors, and observers of the work. Therefore,this type of art is incomplete without the viewers physical interaction. Its intent is to challenge social interaction, art as a medium to discuss social issues and the subjectivity of an spatial temporal register, in which the work means differently in different locations with different people and at a different time. The movement acts upon Dematerialitzation[2], The" Anti-spectacle"[3]and fights the dominant form of making art in the West, in which a small class of professional artists make the art while the public takes on the role of passive observer or consumer, i.e., buying the work of the professionals in the marketplace. Commended works by advocates that popularized participatory art include Augusto Boal in his Theater of the oppressed, as well as Allan Kaprow in happenings.
In the Fall/Winter issue of Oregon Humanities magazine, writer Eric Gold describes "an artistic tradition called 'social practice,' which refers to works of art in which the artist, audience, and their interactions with one another are the medium. While a painter uses pigment and canvas, and a sculptor wood or metal, the social practice artist often creates a scenario in which the audience is invited to participate. Although the results may be documented with photography, video, or otherwise, the artwork is really the interactions that emerge from the audience's engagement with the artist and the situation." Grand Kester stated:"In the Littoral Art the 'meaning of a given work is not centered in the physical locus of the object, or in the imaginative capacity of the single viewer. Rather it is dispersed through multiple register"[4]. In some cases only the experinece of the participants is the art and no objectified product would be found.
This movement has been long criticised for the difficulty of selling and exhibiting and it has been labeled as the 'failed arts' by the critics Wendy Steiner and Ken Johson.
Folk and tribal art are also considered to be "participatory art" in that many or all of the members of the society participate in the making of art. As the ethnomusicologist Bruno Nettl wrote, the tribal group "has no specialization or professionalization; its division of labor depends almost exclusively on sex and occasionally on age, and only rarely are certain individuals proficient in any technique to a distinctive degree ... the same songs are known by all the members of the group, and there is little specialization in composition, performance or instrument making.” [5]
References
- ^ Social Work as Art, Hugh England, p.102
- ^ Concept created on the 60's, since Duchamp,precursor of conceptual art. "It means that all of the planning and desicions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes art..." quotation by Sol Lewitt, Six years: The dematerialitzation of the art object from 1966-1972,by Lucy Lippard,p.28.
- ^ Cocept originated by Guy Debord The spectacle hides what is behind the image. "Debord's critique strikes to the heart of why participation is an important project : it rehumanises a society rendered numb and fragmented by the repressive instrumental-ity of capitalist production" Claire Bishop, Artificial Hells, 2012, p.11
- ^ Grant Kester, variant issue 9 " Dialogical Aesthetics: and critical Framework for Littoral Art"
- ^ Nettl, Bruno, Music in Primitive Culture, Cambridge, Harvard 1956, p. 10.
Bibliography
- Claire Bishop (ed.), Participation: Documents of Contemporary Art, Whitechapel Gallery/The MIT Press, 2006.
- Robert Atkins, Rudolf Frieling, Boris Groys, Lev Manovich, The Art of Participation: 1950 to Now, Thames & Hudson, 2008.
- Anna Dezeuze (ed.), The 'Do-it-yourself' Artwork: Participation from Fluxus to New Media, Manchester University Press, 2010.
- Claire Bishop, Artificial Hells: Participatory Art and the Politics of Spectatorship, Verso Books, 2012.
External links
- What Is a Participatory Practice? by David Goldenberg and Patricia Reed (interview)
- Participatory Arts: The Stranger Brings a Gift by Pia Moriarty (essay)
- Participatory Art: A Paradigm Shift from Objects to Subjects by Suzana Milevska (essay)
- Bryant College Community/Performance Conference (2004)
- Oregon Humanities magazine, Fall/Winter 2008. (Discusses participatory art by Portland, Oregon artists including Harrell Fletcher, Julie Keefe, Sam Gould, Tiffany Lee Brown, M. K. Guth, Gary Wiseman, and M.O.S.T.)
- Art Alienated: An Essay on the Decline of Participatory Art
- Examples: : Flickr tags "participatory_art" - (may need Flickr account) community_art