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Articles 1 - 7 of 7
Full-Text Articles in Art Practice
Describe The City You Live In, Jingfei Hu
Describe The City You Live In, Jingfei Hu
Masters Theses
I dive into the fields: frequency (sound), wavelengths (light), shapes (conversation): they build connections. What is action without reflection? Now I’m a city drifter. Through art making and dialogue I try to drop the anchor into the futuristic turbulent ocean (of society, speed, and the status quo ). Did I drop it? Not sure. I grew up in the most fast- paced city in China, Shenzhen. I feel pressured there. Do I feel that pressure here? of a precarious, unpredictable future? These questions push me out of the turbulent ocean to grab the present.
There are three stages of time: …
Tied Together, Eiko Nishida
Tied Together, Eiko Nishida
Theses and Dissertations
The paper is about a site-specific installation that questions a viewer’s norms and perspectives, through the use of multilingual newspapers as a sculptural material.
Re-Rooting/ Re-Routing, Elisabeth Hanson Sundberg
Re-Rooting/ Re-Routing, Elisabeth Hanson Sundberg
Senior Projects Spring 2022
This paper is the story of a community art project with the goal of thinking through the two questions: How can an understanding of land, specifically the colonial and indigenous histories layered within it, facilitate acknowledgement of the relationship of local and non-local food to food access efforts? How does acknowledgement of the roles of local and non-local food in food access efforts, facilitate understanding of times when it is productive to gather as a community? The text is organized as components of a set table: the table supports, the seats, the table top, the table cloth, the dishes, and …
The Dancing Between Two Worlds Project: Background, Methodology And Learning To Approach Community In Place, Anindita Banerjee, Shaun Mcleod, Gretel Taylor, Patrick L. West
The Dancing Between Two Worlds Project: Background, Methodology And Learning To Approach Community In Place, Anindita Banerjee, Shaun Mcleod, Gretel Taylor, Patrick L. West
Landscapes: the Journal of the International Centre for Landscape and Language
This article recounts the history to date of the Dancing Between Two Worlds (DBTW) project, which was initiated by a team of artist-scholars at Deakin University in 2018. DBTW’s brief was to engage the Indian community living in the western fringes of Melbourne in a project on civic belonging, cross-cultural artistic identity, and the performance of outer-suburban Indian diaspora. Working with the creative and community energies that are activated at the intersection of the creative arts and demographically inflected place, the Deakin researchers collaborated with local artists with an Indian background on a major performance in late 2019: …
Get Teens Talking: A Hands-On Approach To Sel Through The Arts, Gina H. Moore, Gina H. Moore
Get Teens Talking: A Hands-On Approach To Sel Through The Arts, Gina H. Moore, Gina H. Moore
National Youth Advocacy and Resilience Conference
Explore the power of art to give tweens and teens a vehicle for healthy self-expression and life skills that can take them from risk to resilience. Interact and connect in this hands-on session that demonstrates engaging activities to create a sense of community within groups. Exercise your creativity and leave with unique artwork and a written guide to facilitate the activities in your programs.
The Unity Mural: Bridging Communities Through Artmaking, Margaret A. Walker
The Unity Mural: Bridging Communities Through Artmaking, Margaret A. Walker
International Journal of Lifelong Learning in Art Education
A visual essay of a community based art education mural between two universities and a local community, following a tragic hate crime.
Uncharted Territory: Critical Social Artistic Practices In The 21st Century, Kyra M. Detone
Uncharted Territory: Critical Social Artistic Practices In The 21st Century, Kyra M. Detone
Honors Theses
Since the early 1990s, the American art world has witnessed the rise of critical social artistic practices that are largely collaborative projects driven by participatory experiences between artists and community. With its roots in the activist, protest, and public art movements beginning in the late 60s, socially engaged art steps out of traditional viewing spaces like the museum and directly confronts society’s object-based and monetary understanding of art. Driven by process and dependent on coalition building, creative problem solving, and public service rather than profit, socially engaged critical practice is complex and demands a new vocabulary through which to critique …