The Politics of Interventionist Art: The Situationist International, Artist Placement Group, and Art Workers’ Coalition

Rasmussen, Mikkel Bolt

doi:10.1080/08935690802542374

Cited by 11 publications

(4 citation statements)

References 9 publications

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“…The TAs, one a documentary photographer and the other a muralist, both embodied a lifelong commitment to social justice and public and political artmaking, a reminder that the long history of critically conscious community art is often overlooked amid the current trendiness and somewhat as cultural maker-spaces and do-it-yourselfers (Vossoughi et al, 2016). We draw on the tradition of artists as change agents, noting that the arts themselves are thought to open spaces for divergent thinking (Anderson et al, 2013;Kenny and Morrisey, 2020;Mardirosian and Lewis, 2016;Rasmussen, 2009). Indeed, John Latham and Barbara Steveni's Artist Placement Group (UK) sought to position the body of the artist as a professional outsider in a setting that was not typically associated with art (such as industry or politics), to disrupt and critique institutions and social conditions.…”

Section: Theoretical Perspectives and Methodological Approachesmentioning

confidence: 99%

Artists as catalysts: the ethical and political possibilities of teaching artists in literacy classrooms

Crampton

Lewis

2020

ETPC

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Purpose This study aims to discuss the ethical and political possibilities offered by the presence of teaching artists (TAs) and visual artwork in racially and culturally diverse high school literacy (English Language Arts) classrooms. Design/methodology/approach This study explores episodes from two separate ethnographic studies that were conducted in one teacher’s critical literacy classroom across a span of several years. This study uses a transliteracies approach (Stornaiulo et al., 2017) to think about “meaning-making at the intersection of human subjects and materials” (Kontovourki et al., 2019); the study also draws on critical scholarship on art and making (Ngo et al., 2017; Vossoughi et al., 2016). The TA, along with the materials and processes of artmaking, decentered the teacher and literacy itself, inviting in new social realities. Findings TAs’ collective interpretation of existing artwork and construction of new works made visible how both human and nonhuman bodies co-produced “new ways of feeling and being with others” (Zembylas, 2017, p. 402). This study views these artists as catalysts capable of provoking, or productively disrupting, the everyday practices of classrooms. Social implications Both studies demonstrated new ways of feeling, being and thinking about difference, bringing to the forefront momentary possibilities and impossibilities of complex human and nonhuman intra-actions. The provocations flowing from the visual artwork and the dialogue swirling around the work presented opportunities for emergent and unexpected experiences of literacy learning. Originality/value This work is valuable in exploring the boundaries of literacy learning with the serious inclusion of visual art in an English classroom. When the TAs guided both interpretation and production of artwork, they affected and were affected by the becoming happening in the classroom. This study suggests how teaching bodies, students and artwork pushed the transformative potential of everyday school settings.

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Section: Theoretical Perspectives and Methodological Approachesmentioning

confidence: 99%

Artists as catalysts: the ethical and political possibilities of teaching artists in literacy classrooms

Crampton

Lewis

2020

ETPC

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“…Rasmussen (2009) analyzes three art movements of the 1960s -the Situationist International, the Artist Placement Group, and the Art Workers' Coalition -all of which attempted to use avant-garde art as a political tool to address social issues and bring about social change. Huston (1992) is critical of these theories on the grounds that they are unable to explain and often do not even consider factors affecting the production and social reception of avantgarde arts.…”

Section: Theories Of the Avant-gardementioning

confidence: 99%

Avant-Garde Art and Artists

Crane¹

2015

International Encyclopedia of the Social &Amp; Behavioral Sciences

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The concept of the avant-garde has been applied to three types of changes in the arts: in the aesthetic content of art, in the social content of art, and in the norms surrounding the production and distribution of artworks. First used in France in the 1830s, the term acquired new meanings and connotations in the twentieth century, ranging from aesthetic innovation to alienation. The best-known literary and philosophical theories of the avant-garde have concentrated on the content of avantgarde works, while sociological theories and research have been concerned with the production and reception of these works. In the context of postmodernism at the end of the twentieth century, alternatives to the aesthetic and social values of art establishments are less likely to come from avant-gardes than from artists outside the system. The visual strategies and tactics of artistic avant-gardes of the prewar period have been appropriated by the electronic media and other forms of popular culture such as advertising, fashion design, and music videos. Works created for popular consumption that use avant-garde techniques are unlikely to contain critical content. As high culture has become less distinct from popular culture, the concept of the avant-garde has lost many of its former connotations. The avant-garde's mission as iconoclast and social rebel has been taken over by cultural avant-gardes in the form of a wide variety of micropolitical movements.

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“…1960'larda Situationist International, Artist Placement Group ve Art Workers' Coalition gibi avangard sanat hareketleri, sanatı sosyal meseleleri ele almak ve sosyal değişim yaratmak için politik bir araç olarak da kullanmıştır (Crane, 2015;Rasmussen, 2009). Bu hareketler geleneksel sanatsal normlara meydan okumayı, yenilikçi ve düşündürücü eserler yaratmayı amaçlamıştır.…”

Section: Retro Tasarımunclassified

Grafik Tasarım Üzerine Güncel Okumalar

Erarslan Turhan,

Tanrıkulu,

Kaya

et al. 2023

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Grafik tasarım, günümüzün görsel iletişim dünyasında önemli bir rol oynayan ve sürekli evrim geçiren dinamik bir alandır. Bu alandaki gelişmeleri anlamak ve uygulamak, tasarımcılara sadece estetik bir deneyim sunmanın ötesinde, etkili iletişim stratejileri geliştirmelerine de olanak tanır. "Grafik Tasarım Üzerine Güncel Okumalar" adlı bu çalışma, grafik tasarım alanındaki son eğilimleri ve geçmişin postrmodern yansımalarıyla bilrikte önemli konuları inceleyerek, eklektik tavırların eksantrik unsurlarını tasarımcılara güncel bilgilerle sunmayı amaçlamaktadır. Kitap, akademik bir perspektifle hazırlanarak grafik tasarımın temel prensipleriyle birlikte okuyucuların yapa zekâ gibi değişen dinamikleri anlama ve uygulama becerisine bir bakış sunmaktadır. Çalışmada geleneksel tasarım ilkelerinden yapay zekâ destekli tasarım süreçlerine kadar geniş bir yelpazede konular ele alınarak grafik tasarımının çok katmanlı yapısı farklı dinamikleriyle ortaya konulmuştur.

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The Politics of Interventionist Art: The Situationist International, Artist Placement Group, and Art Workers’ Coalition

Cited by 11 publications

References 9 publications

Artists as catalysts: the ethical and political possibilities of teaching artists in literacy classrooms

Artists as catalysts: the ethical and political possibilities of teaching artists in literacy classrooms

Avant-Garde Art and Artists

Grafik Tasarım Üzerine Güncel Okumalar

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