Socially-engaged artworks and events that reveal relationships and faith in humanity.
Claire Titleman: Good Grief Workshop
Mast on Fig, LA
Next Saturday: May 25, 2019
Once, during grad school, I installed my art in a corridor, and an artist named Emily Mast visited, saw it, emailed me, and now I’ve been aware of her goings-on for over 10 years. I try to reach out and email artists whose work I like, sometimes they’re responsive, sometimes they’re not, but I try. She’s opened a space in LA and this upcoming workshop sounds amazing.
Mast on Fig is ever so pleased to announce its second “Intimate Experience” by Claire Titleman! Intimate Experiences are performative experiments (concerts, classes, demos, meals, conversations, workshops, readings, meditations, etc.) for 15 people or less that will take place on a weekly basis over the course of this summer.
Good Grief Workshop
Saturday, May 25th 6-8 PM
Mast on Fig
4030 N Figueroa St LA 90065
Limit: 10 people
$10 suggested donation
What would happen if we passed down the legacies of our loved ones — not just to our family but to strangers? Good Grief will be a space for communal grieving, an opportunity to celebrate those who passed with people they never knew. Share something of them, whether it’s concrete or ephemeral, rational or absurd. Play us or teach us a song they loved, read a letter they wrote, do show and tell with an object you inherited, bring in a food they made for you, including its recipe. Mimic their laugh, teach us how to move our hips the way their hips moved when they walked. In this way, instead of creating a legacy that goes in a straight line, we scatter it out into the universe.
The last line is such a beautiful, wonderful gesture. To me this kind of relationship-building, experience-making, trust, and reciprocity are the essence of social practice. If your story can live indelibly in the minds and hearts of nine other people, art objects and documentation are immaterial.
Grief and loss are inevitable in life. And yet death is taboo in our culture, which makes grief feel all the more isolating. You don’t want to “burden” anyone with your sadness. (This is a double-edged sword of positivity.) I love this idea of sharing a joyful memory with strangers you trust because they share grief in common with you.
Lenka Clayton & Jon Rubin: Fruit and Other Things
Carnegie International, Pittsburg
Unfortunately, I didn’t get to see this project in person, only online. It’s a beautiful concept that resonates with me regardless. Here’s the premise:
10,632 paintings rejected by the Carnegie International are painted, exhibited and then given away, in alphabetical order
First of all, what an achievement to sum up a large social-practice-and-object project in one simple sentence. Learn more on their project website.
Watch this two-minute video to hear from the artists about their motivations.
For me, the best social practice projects have an elegance, as if the solution to how to develop this project was the most logical solution (yet only the artists would even think to do it). Fruit and Other Things has this sense of elegance, consideration, and completion.
There’s care, craftsmanship, uncovering history, a gesture of acknowledgment and kindness to other artists who faced rejection, generosity, ambitious scale, and distribution (the artworks living in the world). (Not to mention one of my faves, hand-lettering.)
I also like the exhibition design, with the poster board on a pallet (progress towards the 10k posters done made physical), worktables, and the open-top frames on the wall that allow easy change-outs of the artworks. It makes the process of the project self-evident and accessible.
Plus, there’s the democratization of collecting, with the collectors being asked to register on their project website and send in a photo. (This is something I have asked people to do in past projects, with less success. What do audience member-participants owe? To whom do they owe it? What is the nature of the transaction? What does their fulfillment or failure to fulfill their obligation say? What is a reasonable rate of fulfillment: 15% 50%? What do artists receive? How does participants’ completion of the feedback loop support the completion of the project? What do participants receive? How does it enhance their investment in the project or their aesthetic experience of participation?)
Last, I just want to acknowledge how many people are involved in this project. The artists are supported by a large team. All these people ought to be paid for their labor. This type and scale of social practice project requires tons of institutional support. The artists are giving away the artworks for free, and the aesthetic gestures are conceptual and relational, it may be tempting to think that social practice can happen on shoestring budgets. But actually this is a site-specific commission and live performance which also requires ongoing administration. So congrats to the artists but also to the curators and Carnegie International team for this vision and investment.
Calcagno Cullen, Amanda Curreri and Lindsey Whittle: Archive as Action
Contemporary Arts Center, Cincinnati
Through June 16, 2019
This exhibition makes me happy because:
- Amanda Curreri is a grad school classmate who’s one of the smartest people I know and her relational actions have a high degree of open-ended-ness and exploration that I find very risky and admirable. She is attempting to do nothing short of re-writing social relations and experiences of power.
- Calcagno Cullen is a like-minded colleague from the Bay Area alternative art scene who founded Wave Pool in Cincy, which does super interesting things in community-facing art.
- It’s an exhibition of socially-engaged art and all the artists are women.
- Though I can’t visit, I got a sense of the exhibition from Sarah Rose Sharp’s “The Potential of Participatory Museum Exhibits” on Hyperallergic (May 14, 2019) to learn more about what viewers experience (H/T Nyeema Morgan). The artists’ practices seem to cover a spectrum of participatory art, with objects to be manipulated, objects as interfaces that collect contributions (artist-as-gatherer?), and objects as props for shared physical experience in real time.
We can all be World-Makers
I am so grateful to know artists who are world-makers. They saw that certain spaces, practices, and institutions didn’t exist in the world, and they decided to create those them. It takes blood, sweat, tears, and huge amounts of guts. Emily Mast doesn’t have to host events in her studio open to the public. Cal Cullen didn’t have to create and run Wave Pool as a different model of a gallery. Before social practice became a legitimized field, Jon Rubin and Harrell Fletcher were doing projects in the CCA library that almost seemed like extended practical jokes. Now they’ve gone on to found programs and nurture future generations of social practice artists. Ryan Pierce wanted artists to experience a different relationship to nature and collaboration found in your typical residency, so he co-founded Signal Fire, which is now celebrating its 10-year anniversary.