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methodologies, aesthetics, and environments, yet these projects all share an aesthetic of human interaction and development. The end products of such works are not commodities, but rather processes for constructive social change. Some foundational characteristics of socially engaged art remain consistently relevant to a diverse range of works. For an artist or producer to create a successful social practice work, they must consider the unique context in which they are working and identify specific characteristics of the community and environment. They must also balance aesthetic and methodology in their work, aligning the timeline of a project with its purpose: a quick-impact ephemeral work, or the regularity of a longitudinal work.
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the defining characteristics of socially engaged art. Process is determined by method; thus, social practice producers and artists are often more concerned with the methodology rather than the aesthetic of their work. Many argue that social practice has created a new aesthetic of its own: an aesthetic of human interaction and development that is based not on spectatorship but on participation. This aesthetic captures the diverse methods employed by socially engaged art and encompasses not only traditional methods of painting, photography, architecture, and performance; but also, nontraditional forms borrowed from other disciplines, such as festivals, conferences, schools, and protests.
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supporting and amplifying social practice work. Many institutions constitute an extension of the public sphere, regardless of whether they are public or private in their ownership and operation. Partnerships between socially engaged art and contemporary institutions have thus widened the public sphere, and provided mutual benefits to the institution, the community, those engaged in the project, and the producers. Moreover, arts institutions are what make social practice legible as art. Social practice works are inextricable from formal arts institutions like museums or cultural funding agencies, which “recast alleviation of social and economic inequality as cultural production.”
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socially engaged artists and producers must look elsewhere for support. The expansion of the art world in the 21st century has seen the emergence of alternative supports, such as non-profit organizations and the ever-growing biennale network. Other partners include art fairs, or commissions and residencies associated with universities, foundations, and urban regeneration. Artists and producers have also formed their own means of support, as artist-run exhibition spaces, journals and blogs demonstrate. The
Institute for Art and Innovation publishes a biannually book based on the Social Art Award.
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objects, marketing materials, and performative event-based pieces that can exist in a gallery setting as well as in the public sphere. Much of this work centers around issues of capitalism and consumerism. By putting this work within the context of fictional products or alternative services, we are able to engage in a more enhanced conversation around topics ranging from globalization, immigration reform, and health care in a way that is whimsical and visually inspiring."
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organizations, and institutions that intersect many different parts of their community and environment. One theorist makes the comparison between socially engaged art projects to exotic fruit, stating that both “usually travel poorly when 'exported' to other locations to be replicated.” The community and environment are therefore not merely external influencers on a specific project, they are inherent characteristics.
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autonomous realm of experience and judgment that cannot be reduced to logic, reason or morality but is of great importance to humankind. Aesthetics have the capacity to critique our beliefs and values by restructuring our perception of the world. Their application can achieve one of the cores aims of socially engaged art: the definition of a new social order characterized by engagement and participation.
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the promise of an aesthetic that engages social practices was established. The
Immersionists' ecosocial aesthetic has been discussed in both the international press and art history books such as Jonathan Fineberg's Art Since 1940: Strategies of Being, and Cisco Bradley's The Williamsburg Avant-garde: Experimental Music and Sound on the Brooklyn Waterfront.
176:, or mobilizing communities towards a common goal. The diversity of approaches pose specific challenges for documenting social practice work, as the aesthetic of human interaction changes rapidly and involves many people simultaneously. Consequently, images or video can fail to capture the engagement and interactions that take place during a project.
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reframes ideas and beliefs outside of the disciplines in which we have accepted them, methodology takes the frameworks of those disciplines to produce new aesthetics. Socially engaged art has embraced conferences, urban regeneration projects, pedagogical projects, and protests, which are all frameworks borrowed from other disciplines.
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Much social practice has taken place in the gap between the public and cultural institutions, which has been identified and acted upon as a new site for artistic intervention. However institutions, such as museums, foundations, non-profit organizations, and universities all play a significant role in
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Longitudinal projects are those built upon regular and reoccurring social interactions and dialogue, organized with the intention to be sustained over a longer period. They typically occupy the same space and are characterized by deeper partnerships and relationships that are gradually built over the
484:, and rather than exhibiting art objects, the artist’s participatory role in their work as well as their collaboration with the public becomes the exhibition. Several conferences are held nationally and internationally to bring together artists and academics involved in the field. They have featured
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In the traditional art world, market value and a work's collectability are deeply intertwined. This has posed a challenge to socially engaged artists seeking museum and gallery support, since many works go against the capitalist market to challenge traditional collecting practices. As a result, many
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While aesthetics and methodology can have conflicting interests, there are important reasons why artists and producers should seek to integrate the two. Methodology will engage the public, but aesthetics will play a large role in determining how a project is interpreted. Ultimately, the two can work
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Aesthetics are typically hierarchical, highly subjective, and greatly determined by external influencers, such as the imagery of a given culture, or the relationship between appearance and market value. To escape these external influencers, aesthetics can also be defined in terms of “aesthesis,” an
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For much of art history, a work's aesthetic has been upheld as the primary measure of its quality. The 20th century broadened the public understanding of art to consider concept and process alongside aesthetic. And by the new millennium the tables had turned to emphasize process over product: one of
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Until 2020 the term "social practice" was used in a branch of social theory that described human relationships to each other and to the larger society as "practices". The term “social practice art” is likely rooted in the German phrase “Kunst als soziale Praxis,” which emerged in writings about such
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Ephemeral projects are typically characterized by temporary gatherings and occupation of space. They create situations in which social interactions are momentary and not expected to become long-lasting. The immediate impact of ephemeral works often means they take place around a particular issue or
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The environment could be described on two primary levels: the broader community, city, or region; and the immediate space being occupied – a street, museum, studio, or other area. To understand the context in which they are working, artists and producers must develop relationships with individuals,
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practiced a form of creative social and environmental engagement using terms such as "aesthetic activism," "media rituals," "circuitive systems" and "immersive mutual world construction." Although a program of corporate welfare in the new millenium exploited the resulting revival of their district,
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Social practice has received criticism for being "exploitative of the marginalized communities from which it so often draws..." Social practice art can also serve as the public face of externally led economic activities in undervalued urban communities, concealing extractive relationships behind a
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Universities often partner with producers, artists and theorists of socially engaged art. These relationships offer mutual benefits for both academic institutions and artists. Universities offer artists employment security, the support and validation often required for establishing grant-based and
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Methodology in socially engaged art refers to the set of practices used throughout the process and production of a project. The method is no longer a means to an end, but an end within itself: the experience of creation and experimentation is a central element of social practice. While aesthetics
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environment that not only accepts, but encourages, experimentation. Artists in turn provide knowledge, skills and research to support individuals and broader programs within the university. As producers and scholars, they generate both new theory and new practice for the field of socially engaged
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The method and aesthetic adopted in social practice work is greatly influenced by intended timeline. Length determines the type of social and/or political change the artist aims to achieve, the types of dialogue created, and the ways in which an individual can engage with a work. The length of a
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Socially engaged art differs from its art historical ancestors in that it is not a specific movement or style, but rather a way of defining a new social order. Thousands of existing social practice projects across the world have taken vastly different approaches to their combination of publics,
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Curator Shane
Montgomery wrote, "Over the last few years, a new group of artists have emerged that package themselves as corporate entities. They develop a company name, a branding scheme, and utilize the language of advertising and marketing. These individual artists and collectives create art
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Social practice artists and producers aim to affect their community and environment in a real (rather than symbolic) way - some specifically do so in hopes of enabling social and political change. Each project is tailored to the community and environment in which it will take place. In social
150:. Because people and their relationships form the medium of social practice works – rather than a particular process of production – social engagement is not only a part of a work’s organization, execution, or continuation, but also an aesthetic in itself: of interaction and development.
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Artists working in social practice co-create their work with a specific audience or propose critical interventions within existing social systems to expose hierarchies or exchanges, inspire debate, or catalyze social exchange. There is a large overlap between social practice and
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course of the work’s existence. As a result, many long-term social practice projects include a pedagogical element in their work. Classes, urban regeneration work, schools, or institutional partnerships are all examples of longitudinal projects.
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practice, the identification of the public, or audience, precedes the project's development. It is impossible to create a project founded upon engagement and collaboration without first making assumptions as to who will be involved.
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Introduction by
Jonathan Fineberg to the catalogue for the exhibition, Out of Town: The Williamsburg Paradigm, curated by Fineberg for the Krannert Art Museum (University of Illinois, 1992).
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Introduction by
Jonathan Fineberg to the catalogue for the exhibition, Out of Town: The Williamsburg Paradigm, curated by Fineberg for the Krannert Art Museum (University of Illinois, 1992).
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Social practice aims to create social and/or political change through collaboration with individuals, communities, and institutions in the creation of participatory art. In the case of the
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Although projects may incorporate traditional studio media, they are realized in a variety of visual or social forms (depending on variable contexts and participant demographics) such as
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together to enhance each other: the aesthetic value of a project can increase its social function, while the method can heighten the aesthetic experience through public engagement.
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157:, who lived and worked in a toxic industrial area of north Brooklyn, both social and ecological engagement became important, leading to new theories of ecosocial subjectivity.
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project is also extremely situational. Some projects aim to have an immediate impact, while others prefer to build relationships that foster change over an extended period.
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has been used in the social sciences to refer to a fundamental property of human interaction, it has also been used to describe community-based arts practices such as
165:. Social interaction inspires, drives, or, in some instances, completes a project. The discipline values the process of a work over any finished product or object.
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Jessica Nissen, exhibition essay for Out of Town: The
Williamsburg Paradigm at the Krannert Art Museum, University of Illinois, Urbana-Champaign, 1993, p. 50.
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Helping to inspire a period of urban renewal in
Williamsburg, Brooklyn in the 1980s and 1990s, a community of interdisciplinary artists known as the
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https://liberalarts.tulane.edu/sites/default/files/sites/default/files/Anagnost.2017.Parasitism%20and%20Contemporary%20Art.Beyond%20Critique.pdf
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The
Williamsburg Avant-Garde: Experimental Music and Sound on the Brooklyn Waterfront by Cisco Bradley, Duke University Press, 2023, p. 27
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The
Williamsburg Avant-Garde: Experimental Music and Sound on the Brooklyn Waterfront by Cisco Bradley, Duke University Press, 2023, p. 27
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The
Williamsburg Avant-Garde: Experimental Music and Sound on the Brooklyn Waterfront by Cisco Bradley, Duke University Press, 2023, p. 27
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The Williamsburg Avant-Garde: Experimental Music and Sound on the Brooklyn Waterfront by Cisco Bradley, Duke University Press, 2023, p. 27
201:, followed by other institutions of higher education offering similar degrees. Social practice art as a medium has been referenced in the
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concept. Protests, festivals, conferences, or pop-up performances have all been used as mediums for ephemeral social practice work.
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practices in the 1990s. The term "art and social practice" was institutionalized in 2005 with the creation of the Social Practice
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Social practice work focuses on the interaction between the audience, social systems, and the artist or artwork through
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Cruz, Teddy (2012). "Democratizing Urbanization and the Search for a New Civic Imagination.". In Thompson, Nato (ed.).
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811:"After OWS: Social Practice Art, Abstraction, and the Limits of the Social - Journal #31 January 2012 - e-flux"
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As an emerging field, social practice can encompass a variety of terms: public practice, socially engaged art,
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in the arts focuses on community engagement through a range of art media, human interaction and
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1264:, edited by Pamela Fraser and Roger Rothman, 79-96. New York: Bloomsbury Academic, 2017.
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Mapping the Terrain: New Genre Public Art: Suzanne Lacy: 9780941920308: Amazon.com: Books
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Bishop, Claire, “Antagonism and Relational Aesthetics,” October Magazine, no. 110, 2004
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1093:"Pablo Helguera » Blog Archive » Education for Socially Engaged Art (2011)"
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Kester, Grant, “Conversation Pieces: The Role of Dialogue in Socially Engaged Art,”
1178:. Portland, OR: Open Engagement/Pacific Northwest College of Art/Publication Studio
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in San Francisco, California, featured the following social practice art projects:
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It's the Political Economy, Stupid: The Global Financial Crisis in Art and Theory
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The Interventionists: Users' Manual for the Creative Disruption of Everyday Life
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they wish to engage are therefore core characteristics of socially engaged art.
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Maves, Mark; Hodal, Stephanie (1999). "Museums and Livable Communities".
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The One and the Many: Contemporary Collaborative Art in a Global Context
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The One and the Many: Contemporary Collaborative Art in a Global Context
755:"Collaboration is Where the Art of Social Practice Begins | ArtJob"
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Education for Socially Engaged Art: A Materials and Techniques Handbook
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Collectivism after Modernism: The Art of Social Imagination after 1945
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Beyond Critique: Contemporary Art in Theory, Practice, and Instruction
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Artificial Hells: Participatory Art and the Politics of Spectatorship
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Bishop, Claire. “The Social Turn: Collaboration and Its Discontents”
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Artificial Hells: Participatory Art and the politics of Spectatorship
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Exhibitions of social practice art often include multiple artists or
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855:"A critique of social practice art - International Socialist Review"
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Delirium and Resistance: Activist Art and the Crisis of Capitalism
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979:"Outside the Citadel, Social Practice Art Is Intended to Nurture"
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Dark Matter: Art and Politics in the Age of Enterprise Culture
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The Neoliberal Undead: Essays on Contemporary Art and Politics
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Brave New Avant Garde: Essays on Contemporary Art and Politics
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Conversation Pieces: Community and Communication in Modern Art
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What We Made: Conversations on art and social cooperations
520:, Death and Taxes, Inc., Old Glory Condom Co., PP Valise,
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What we Made: Conversations on art and social cooperation
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What we Made: conversations on art and social cooperation
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Escape the Overcode: Activist Art in the Control Society
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Anagnost, Adrian. “Parasitism and Contemporary Art.” In
1405:. Los Angeles: Journal of Aesthetics and Protest, 2012.
516:, Acclair, C5 Corporation, Davis & Davis Research,
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Living As Form: Socially Engaged Art from 1991 to 2011
1000:"Social Practice Degrees Take Art to a Communal Level"
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Engagement Party: Social Practice at MOCA, 2008-2012
1426:. Los Angeles: University of California Press, 2004.
1051:"Notes Toward a Non-Anthropocentric Social Practice"
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As an example, the 2007 Social Practice exhibition,
1489:. Minneapolis: University of Minnesota Press, 2007.
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Living as Form, Socially Engaged Art from 1991-2011
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Living as Form, Socially Engaged Art from 1991-2011
874:Rose, Mark (March 6–12, 1991). "Brooklyn Unbound".
1440:. Los Angeles: Museum of Contemporary Art, 2013.
1417:Social Works: Performing Art, Supporting Publics
1032:"DIGITAL DIVIDE: CONTEMPORARY ART AND NEW MEDIA"
500:, art talks, forums, and gallery exhibitions.
1314:. Durham: Duke University Press. p. 128.
1299:. Durham: Duke University Press. p. 126.
1216:. Durham: Duke University Press. p. 346.
743:. Durham: Duke University Press. p. 132.
467:corporate partnerships, and access to a high
146:, methodology, debate, media strategies, and
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1334:. Berlin: Institute for Art and Innovation.
1266:https://doi.org/10.5040/9781501323430.ch-007
1231:. New York: Creative Time Books. p. 58.
1049:Rana, Anthony Marcellini and Matthew David.
262:the artist or producer wishes to engage and
1478:Sholette, Gregory and Oliver Ressler, eds.
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434:. Unsourced material may be challenged and
333:. Unsourced material may be challenged and
1492:Thompson, Nato and Gregory Sholette, eds.
1485:Stimson, Blake and Gregory Sholette, eds.
1356:"Meaning Maker Press Pack by PreNeo Press"
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617:. New York: Jorge Pinto Books. p. 22.
1445:Mapping the Terrain: New Genre Public Art
1284:. New York: Jorge Pinto Books. p. 4.
454:Learn how and when to remove this message
353:Learn how and when to remove this message
80:Learn how and when to remove this message
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524:, Slop Art, TDirt, Tectonic Corporation,
1328:The Social Art Award 2021: New Greening
836:"Social Practice Art's identity crisis"
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1433:. Durham: Duke University Press, 2011.
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673:Theory in Contemporary Art Since 1985
657:We Need to Talk About Social Practice
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955:Cembalest, Robin (31 October 2013).
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432:adding citations to reliable sources
331:adding citations to reliable sources
1461:. Winchester, UK: Zero Books, 2013.
1454:. Winchester, UK: Zero Books, 2012.
1201:. New York: Verso Books. p. 2.
1161:. Cambridge: MIT Press. p. 19.
933:"Theaster Gates' Social Formations"
1412:. Eindhoven: Van Abbemuseum, 2009.
1282:Education for Socially Engaged Art
1199:Education for Socially Engaged Art
1172:Radon, Lisa, ed. (November 2017).
957:"How to Speak Artspeak (Properly)"
615:Education for Socially Engaged Art
387:Social practice and the art market
244:Characteristics of social practice
52:tone or style may not reflect the
25:
1496:. Cambridge: The MIT Press, 2004.
396:Social practice in the university
1503:. New York: Creative Time, 2012.
977:Kennedy, Randy (20 March 2013).
791:. California College of the Arts
659:, artpractical.com, 6 March 2019
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378:Social practice and institutions
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62:guide to writing better articles
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1403:A Guidebook of Alternative Nows
1244:The Journal of Museum Education
30:For the community service, see
1398:. New York: Jorge Pinto, 2011.
1073:Otis College of Art and Design
199:California College of the Arts
1:
236:, dialogical aesthetics, and
1482:. London: Pluto Books, 2013.
1475:. London: Pluto Press, 2011.
1468:. London: Pluto Press, 2017.
1419:. New York: Routledge, 2011.
998:Grant, Daniel (2016-02-05).
719:"Reviews In Cultural Theory"
1447:. Seattle: Bay Press, 1995.
1436:Kester, Grant et al., eds.
476:Exhibitions and conferences
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1517:Contemporary art movements
1069:"Graduate Public Practice"
789:"Social Practice Workshop"
274:Aesthetics and methodology
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1310:Finkelpearl, Tom (2012).
1212:Finkelpearl, Tom (2012).
931:Anagnost, Adrian (2018).
739:Finkelpearl, Tom (2012).
253:Community and environment
97:socially engaged practice
1280:Helguera, Pablo (2012).
1197:Helguera, Pablo (2012).
698:. New York: Verso Books.
613:Helguera, Pablo (2012).
295:Longevity vs. Transience
220:, new-genre public art,
1325:Loeser, Nicole (2021).
1157:Thompson, Nato (2012).
694:Bishop, Claire (2012).
514:Anti-Advertising Agency
56:used on Knowledge (XXG)
1388:. London: Verso, 2012.
1295:Kester, Grant (2011).
1138:February 2006, 178-83.
1110:Lacy, Suzanne (1995).
655:abreu, manuel arturo,
505:Corporate Art Expo '07
186:Brooklyn Immersionists
180:History of terminology
155:Brooklyn Immersionists
129:ecosocial immersionism
60:See Knowledge (XXG)'s
632:Relational Aesthetics
197:concentration at the
109:relational aesthetics
1499:Thompson, Nato, ed.
723:Reviewsinculture.com
428:improve this section
327:improve this section
117:socially engaged art
113:new genre public art
1471:Sholette, Gregory.
1464:Sholette, Gregory.
1457:LĂ©ger, Marc James.
1450:LĂ©ger, Marc James.
1401:Hickey, Amber, ed.
226:interventionist art
18:Social practice art
1415:Jackson, Shannon.
1004:The New York Times
984:The New York Times
877:The New York Press
628:Bourriaud, Nicolas
125:participatory art,
1341:978-3-9819114-3-5
1097:Pablohelguera.net
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528:We Are War.
170:performance
1527:Aesthetics
1511:Categories
1365:2024-03-22
1182:28 October
1121:0941920305
1078:2016-01-30
1017:2016-02-08
815:E-flux.com
765:2014-09-19
576:References
444:April 2023
343:April 2023
136:aesthetics
70:April 2017
1136:Artforum,
1012:0362-4331
535:Criticism
415:does not
314:does not
880:. p. 10.
544:See also
210:ArtNews,
206:Artforum
163:pedagogy
937:nonsite
522:SubRosa
509:The LAB
436:removed
421:sources
335:removed
320:sources
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634:, 1998
140:ethics
1332:(PDF)
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264:where
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526:and
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419:any
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