Nato Thompson, Socially Engaged Contemporary Art: Tactical and Strategic Manifestations (Americans for the Arts, 2011)https://animatingdemocracy.org/sites/default/files/NThompson%20Trend%20Paper  (链接到外部网站。)

Thomas Keenan in conversation with Carin Kuoni in Entry Points: The Vera List Center Field Guide on Art and Social Justice No. 1 (New York: Vera List Center for Art and Politics, 2015). PDF can be found in related module or in “files” on Canvas.

Write an overview and reading response and answer the question.

What are tactics, strategies, and what is the individual artist’s role in relation to the state?

about one-page

ARTHI4223-001
Spring 2021

Rhoda Rosen (rrosen1@saic.edu)
Tuesdays 6:30pm

Socially Engaged Art Practice Syllabus
Course Zoom Link:

https://saic-edu.zoom.us/j/88610551286
Meeting ID:

886 1055 1286
This is the link for all classes. Consultation by appointment.

All Zoom meetings start at 6:30pm Central Time. We will likely meet for no

longer than 1 hour and 45 minutes, after which it is expected you take a
break and then use remaining class time to read course materials and to do

the research for assignments,

Course Description

This course is for students who are interested in or practice art that takes place
outside of the studio, an art that bumps up against real life, an art that engages
robustly with the world in order to build a socially just future. It is also for those
students who are thinking about how to write about such art within the art
historical field, and for those students who want to think carefully about how to
curate socially engaged art (or social practice) in traditional as well as
experimental contexts. This course will contextualize contemporary social
practice, by looking at writings that define this emerging art historical field and will
survey a range of socially engaged projects. For spring, the course will take
place mostly live online, although there will be a few asynchronous days. BUT
for those students who are willing and who wish to meet in-person, the course
will include the option of joining me for my social practice programs and the
opportunity to meet community members with whom I work, BUT this will not be
required and participation in these events will not impact grades.

Expectations

• Students must complete all written assignments, and attend all full group
and individual video conferences.

• Students are expected to participate in class discussions and in-class
writing projects in an informed way.

• You will be assessed on your engagement in discussions, the level of
engagement with homework, your independent project, and the quality of
your contribution to collaborative projects in the field.

Learning Outcomes

• Students will develop familiarity with a range of artists, projects, and the
literature that has been written about them, all of which operate under the
umbrella of socially engaged art practice.

• Students will define, research, and present an independent project that
can be enacted in the world.

Grading

• Class participation (incl. discussions & online quizzes): 30%
• Assignment 1 (hands on project): 35%
• Assignment 2 (final written project): 35%

Assignments

There are two assignments for this course and a number of in-class quizzes. One
assignment is hands-on. It is a project that could be operationalized in the real
world. The second assignment is a more traditional essay. The details of these
assignments may be found in the week in which they are due, below, as well as
in the Assignments section of Canvas.

Schedule

Tuesday, February 2 , 2021 –
Social Practice: What is it? What is it not?

• Introductions
• Overview of syllabus and projects
• Class Discussion of what might and might not constitute ethical, socially

engaged art
• Wodiczko, Rakowitz, Serrano, Baronet, and others

Homework for Tuesday, February 9, 2021

Read Nato Thompson, Living as Form: Socially Engaged Art from 1991-2011,
Living as Form http://cp.art.cmu.edu/wp-content/uploads/2014/12/living-as-
form

Come to Zoom class prepared for discussion.

Tuesday, February 9, 2021 –
How do we do social practice ethically?

Discussion of homework reading:

Nato Thompson, Living as Form: Socially Engaged Art from 1991-2011, Living as
Form http://cp.art.cmu.edu/wp-content/uploads/2014/12/living-as-form

Homework for Tuesday, February 16, 2021

Read Pablo Helguera, Education for Socially Engaged Art: A Materials and
Techniques Handbook (NYC: Jorge Pinto Books, 2011), Chapter 1. PDF can be
found in the module section or on “files” on Canvas.

Claire Bishop, “The Social Turn: Collaboration and Its Discontents,” Chapter 1 in
Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso,
2012). READ ONLY Pages 11-40. On Canvas.

Come to Zoom class prepared for discussion.

Tuesday, February 16, 2021 –
What does it mean to yield authorship?
Discussion of homework reading:

Pablo Helguera, Education for Socially Engaged Art: A Materials and Techniques
Handbook (NYC: Jorge Pinto Books, 2011), Chapter 1. PDF can be found in the
module section or on “files” on Canvas.

Claire Bishop, “The Social Turn: Collaboration and Its Discontents,” Chapter 1 in
Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso,
2012). READ ONLY Pages 11-40. I have placed the full book on Canvas, but you
need only read Chapter 1.

Homework for Tuesday, February 23, 2021

Nato Thompson, Socially Engaged Contemporary Art: Tactical and Strategic
Manifestations (Americans for the Arts, 2011)
https://animatingdemocracy.org/sites/default/files/NThompson%20Trend%20Pap
er

Thomas Keenan in conversation with Carin Kuoni in Entry Points: The Vera List
Center Field Guide on Art and Social Justice No. 1 (New York: Vera List Center
for Art and Politics, 2015). PDF can be found in related module or in “files” on
Canvas.

Come to Zoom class prepared for discussion.

Tuesday, February 23, 2021 –
What are tactics, strategies, and what is the individual artist’s role in relation to
the state?

Discussion of homework readings:

Nato Thompson, Socially Engaged Contemporary Art: Tactical and Strategic
Manifestations (Americans for the Arts, 2011)
https://animatingdemocracy.org/sites/default/files/NThompson%20Trend%20Pap
er

Thomas Keenan in conversation with Carin Kuoni in Entry Points: The Vera List
Center Field Guide on Art and Social Justice No. 1 (New York: Vera List Center
for Art and Politics, 2015). PDF can be found in related module or in “files” on
Canvas.

Tuesday, March 2, 2021 –
No online live class. Class is asynchronous tonight.

View YouTube lecture and answer three questions. Submit on Canvas by
Tuesday, March 2 at 11:59pm.

View the full Stephen Wright Lecture (1 hour and 33 minutes) and answer quiz
questions: https://www.youtube.com/watch?v=OQllhu7B0ng&t=3453s

Quiz 1:

Answer this question in a few paragraphs and submit on Canvas by March
2 at 11:59pm. You will submit your answer in Quiz 1 in the Assignment
Section of Canvas.

What possibilities do art projects open up when they are in stealth mode,
when they may not present as art but rather as life?

You will be graded on how well you demonstrate that:

• You viewed the full presentation
• Understood the presentation
• Were able to integrate the ideas in the presentation with the question
• You understand how ideas from previous readings connect with or

differ from Stephen Wright’s ideas

Tuesday, March 9, 2021 –
Discussion of hands-on project expectations

Presentation on the socially engaged art project with which I work and
presentation on fundraising for art projects.

Tuesday, March 16, 2021 –
No live online online class. Asynchronous class.

Group or independent work independently (3 hours minimum of work expected).

Tuesday, March 23, 2021 –
Live online class.

Review and peer discussion of projects.

Tuesday, March 30, 2021 –

Assignment 1:

By 11:59pm Tuesday, April 6, 2020, submit group or independent hands-on
project.
There are TWO choices for this assignment:

1. Work collaboratively and hands-on with me (online or in-person) in a
socially engaged art not-for-profit with which I work (the finished
product you submit will be a grant proposal that can be submitted to
a foundation for funding for artists with a lived experience of
homelessness)

OR

2. Work collaboratively (or independently) on writing a funding

proposal (real or hypothetical) for a project of your own design

For both projects, in class:

3. I will introduce you to the world of not-for-profit funding and give you
an overview and resources on how to write a grant proposal

4. I will provide you with a number of funding options
5. In groups or independently, you will review those funding sources
6. Determine the mission and values of these funding sources
7. Design a program that meets the funders expectations
8. Write the proposal, including a budget if requested.

You will be assessed on how well you understood the mission and values
of the funder, how well you synthesized their values with your program
idea, how well you communicated the rationale of the program, how
achievable and measurable your program is, and how realistic your
proposed budget is. Length of assignment determined by word count
allowed in funding proposal.

AND

Homework for Tuesday, April 6, 2021

Read Gregory Sholette Kim Charney, eds., Delirium and Resistance Activist Art
and the Crisis of Capitalism. I have placed full book on Canvas, but you must
only read CHAPTER 11

Come to class prepared for discussion.

Tuesday, April 6, 2021 –
Socially engaged art activism and capitalism

Discussion of homework reading:

Gregory Sholette Kim Charney, eds., Delirium and Resistance Activist Art and
the Crisis of Capitalism. I have placed full book on Canvas, but you must only
read CHAPTER 11

Homework for April 13, 2021 –

Read “An Interview with Grant Kester”, Circa, No. 117 (Autumn 2006), pp 44-47.
On Canvas in Files and

Grant Kester, The Noisy Optimism of Immediate Action: Theory, Practice, and
Pedagogy in Contemporary Art”, Art Journal, vol. 71, no. 2 (Summer 2012) pages
86-99

Come to class prepared for discussion.

Tuesday, April 13, 2021 –
Theory and Practice

Discussion of homework reading:

Read “An Interview with Grant Kester”, Circa, No. 117 (Autumn 2006), pp 44-47.
On Canvas in Files and

Grant Kester, The Noisy Optimism of Immediate Action: Theory, Practice, and
Pedagogy in Contemporary Art”, Art Journal, vol. 71, no. 2 (Summer 2012) pages
86-99

Tuesday, April 20, 2021 –
No live online class. Class is asynchronous today.

All students to do reading and complete quiz.

Some students also to come for individual consultation.

Consultation sign-up link:
https://docs.google.com/spreadsheets/d/1QkwPYYqQRrdL_50P9b3g_Jn2u1_AK
XZeGoIqUvQCNeM/edit?usp=sharing

Quiz 2:
Read Nicholas Mirzoeff, “Afterword: Visual Activism” in How to See the
World, pp283 and answer this question:

What would you say the new and alternative vocabulary of visual activism
is? Use both Mirzoeff’s ideas and others you have been reading about.

• You can list these or write them in no more than 1 paragraphs.

• Then, in one paragraph, say why you think these are useful for
contemporary visual activism now.

Due by 11:59pm on Tuesday, April 20. Submit on the quiz on Canvas.

Tuesday, April 27, 2021 –
Individual Consultations. Students can also work on final essay.

https://docs.google.com/spreadsheets/d/1QkwPYYqQRrdL_50P9b3g_Jn2u1_AK
XZeGoIqUvQCNeM/edit?usp=sharing

Tuesday, May 4, 2021 –
What role does self-care play in the racialization of health?

We will watch and discuss some artistic projects together and conclude our
course with some final thoughts on a framework for socially engaged art.

Assignment 2 – You must submit your assignment on Canvas by 11:59pm
on May 4, 2021.

An essay that provides an overview and the debates within the
methodologies for that have been used to assess the importance of
socially engaged art OR a critical analysis, based on research, of three
socially engaged art projects of your own choosing.

In both projects, you will be graded on:

• How well you understand and present the research material you
review.

• How well you understand the problems and debates within socially
engaged art practice.

• How well you present your ideas

You must refer to at least three peer-reviewed sources.
You must include at least three examples of socially engaged art to
highlight your thesis.

Essays should be no longer than 4 pages for undergraduate students.
Essays should be no longer than 6 pages for graduate students.

Tuesday, May 11, 2021 –
Troubling white care

Presentation

________________________________________________________________

Further Bibliography

Beshty, W. Ethics. MIT & Whitechapel Gallery: Cambridge, 2015.

Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship.
Verso: London, 2012.

Finkelpearl, Tom. What We Made: Conversations on Art and Social Cooperation.
Duke University Press: Durham, 2013.

Foster, Hal. Bad New Days: Art, Criticism, Emergency. Verso: London, 2017.

Gradywith, Elizabeth. Future Imperfect. A Blade of Grass: New York, 2016.

Hlavajova, Maria, and Ranjit Hoskote, eds., Future Publics (The Rest Can and
Should be Done by the People): A Critical Reader in Contemporary Art.
Valiz/BAK: Utrecht, 2015.

Léger, Marc. Vanguardia: Socially Engaged Art and Theory. Manchester
University Press, Manchester, 2019.

McKee, Yates. Strike Art: Contemporary Art and the Post-Occupy Condition.
Verso: London, 2017.

Wexler, Alice, and Vida Sabbaghi. Bridging Communities through Socially
Engaged Art. Routledge: New York, 2019.

See the series Field| A Journal of Socially Engaged Art Criticism. Issues are
available online at: http://field-journal.com

SAIC Official Policies

1. Attendance Policy:
Students are expected to attend all classes regularly and on time. Any necessary
absences should be explained to the instructor. Students who are ill should
contact their faculty member or leave a message for the instructor in the
department office the day they are absent. For an extended absence due to
illness, contact Health Services. Notification is then sent to all instructors
informing them of the student’s absence. For other extenuating circumstances
contact the Academic Advising office. Please note that the written notification
does not excuse a student from classes. The instructor gives students officially
enrolled in a course credit only if they have responded adequately to the
standards and requirements set. If the instructor does not clarify their
requirements and absence policy in the course syllabus, students should ask the
instructor. Also note that if a student registers late for a class (during add/drop)
the instructor counts the missed classes as absences and the student is
responsible for assignments given during those missed days. (From Page 123-4
of SAIC Bulletin: http://www.saic.edu/life/policies/index.html#bulletin)

2. Accommodations For Students with Disabilities:
SAIC is committed to full compliance with all laws regarding equal opportunities
for students with disabilities. Students with known or suspected disabilities, such
as a Reading/Writing Disorder, ADD/ADHD, and/or a mental health condition
who think they would benefit from assistance or accommodations should first
contact the Disability and Learning Resource Center (DLRC) to schedule an
appointment. DLRC staff will review your disability documentation and work with
you to determine reasonable accommodations. They will then provide you with a
letter outlining the approved accommodations for you to deliver to your
instructors. This letter must be presented before any accommodations will be
implemented. You should contact the DLRC as early in the semester as possible.
The DLRC is located within the Wellness Center on the 13th floor of 116 S
Michigan Ave. and can be reached via phone at 312.499.4278 or email
at dlrc@saic.edu.

3. Academic Honesty:
From the SAIC Student Handbook:
“Academic misconduct includes both plagiarism and cheating, and may consist
of: the submission of the work of another as one’s own; unauthorized assistance
on a test or assignment; submission of the same work for more than one class
without the knowledge and consent of all instructors; or the failure to properly cite
texts or ideas from other sources. Academic misconduct extends to all spaces on
campus, including satellite locations and online education.
Academic integrity is expected in all coursework, including online learning. It is
assumed that the person receiving the credit for the course is the person

completing the work. SAIC has processes in place that protect student privacy
and uses LDAP authentication to verify student identity.”
Specific procedures for faculty to follow in the case of academic misconduct are
detailed in the Student Handbook.
Additional resources for students:

• Read “Plagiarism: How to Recognize It and Avoid It: a short guide
prepared by the Faculty Senate Student Life Subcommittee in 2004.

• Read the Flaxman Library’s quick guide titled “AVOID PLAGIARISM.”

4. Digital Device Policy:
DIGITAL DEVICES in class (LAPTOPS, PHONES, TABLETS, etc.):
The student use of various digital devices in class such as laptops, phones,
tablets, etc. should be limited only to appropriate use given the lecture and
discussion format of the class. Use of digital devices in class to do non-class
related work will not be allowed or tolerated. Similarly, use of digital devices in
class during screenings will not be allowed or tolerated.
If a student has a software or hardware related problem please visit the CRIT
Helpdesk on the 9th floor of the 112 S. Michigan (Maclean) Building for
assistance addressing these issues.

Writing Center:
Lakeview Building, 116 S. Michigan Ave., 10th Floor writingcenter@saic.edu
312.499.4138 http://www.saic.edu/academics/academicresources/writingcenter/
Appointments
Schedule in advance: https://www.supersaas.com/schedule/saic/WritingCenter
Short-notice: Call 312.499.4138 to see if there are any openings
Hours
Monday – Thursday: 9:00 AM – 7:15 PM
Friday: 9:00 AM – 5:15 PM
Walk-in hours: Monday – Thursday: 4:15–7:15 PM