Profiles of Contemporary Art and - ARTisSpectrum

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Art and Social Practice by Nellie Scott 86 ARTisSpectrum Hammer Museum presents the Dream In, (2010) a project by Artist-In-Residence, Machine Project, and artSpa.
Portland Art Museum presents Mole Flanders, a project by Jen Kovach, Coral Short and Helen Reed providing hundreds of hairy and non-hairy moles to visitors within the European Galleries. Photo by Jason Kaplin. For some years it has been commented that Social Practice art has been suffering from identity stress. What is Social Practice art exactly? Who sets its parameters? The Artists? The Institutions? The Audience? This much is absolute: Social Practice art is a medium in which artists are able to socially engage their community, while pushing the limitations of traditional art theory. To place Social Practice art within the confines of a blanketed description in order to make it easier to digest for the art world has been the subject of great debate within the practice. In the spectrum of Social Practice art, definitions are loose and are changing the ever evolving dichotomy between the artist and the audience. In Social Practice art, significance is found in social interaction, and artworks are generally coined as ‘art projects,’ boundaries are redefined in the social dialogue and context of each Social Practice art project. Stretching limitations of imagination and participation, Social Practice art intends to nurture an intimate relationship between the artist and the onlooker in the most direct of ways. While Social Practice art is difficult to pin down to any certain terms, its presence is infiltrating the modern art world at a growing pace. In an era of constant status updates, established art institutions can no longer sit passively by; in order to stay relevant, they must become more accessible 1 . The rising generation no longer seeks a submissive role as an audience member, but wants instead to explore the intrinsic value of art. In an effort to stay fresh to a generation that requires constant stimulation, museum visitor program directors are scheduling more inter-relative, socially engaged artwork 2 . Two museum institutions that have quickly jumped on board with the promotion of visitor engagement through Social Practice art are the Hammer Museum (Los Angeles, CA) and Portland Art Museum (Portland, OR). 1 Yank, Sue Bell. “Sue Bell Yank: How Art Museums Are Striving to Stay Relevant for a New Generation.” Breaking News and Opinion on The Huffington Post. N.p., n.d. Web. 16 Mar. 2011. . 2 Ragsdale, Diane E.. “Recreating Fine Arts Institutions.” Stanford Social Innovation Review Fall (2009): 36-41. Print. 87 ARTisSpectrum
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ARTisSpectrum Volume 25 The Chelsea
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Forthcoming Exhibitions Summer Exhi
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ARTisSpectrum Publisher Agora Galle
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Profiles If you like to keep up-to-
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Iva Milanova Belief Oil on Canvas 3
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Professional artist wasn’t your f
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Flavio Pellegrino Flavio Pellegrino
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Pilar Fernandez Duarte Spanish arti
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Robert Beverly Hale teaching at the
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white surface board facing the clas
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ARTisSpectrum Magazine Silver Editi
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The Synergy of Success ...Why Agora
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The Synergy of Success ...Why Agora
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THE SYNERGY AT AGORA GALLERY CREATE
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Jazz Baby Oil & Acrylic on Canvas 4
Page 35 and 36: Anti Liu Anti Liu’s sensitive yet
Page 37 and 38: Ford Weisberg Elegantly smooth in t
Page 39 and 40: Susannah Virginia Griffin Competing
Page 41 and 42: Chritch Chritch in her Studio Forei
Page 43 and 44: Carolyn Rogers Elio Talon Audacious
Page 45 and 46: Raul Cantu El Nucleo Giclee Print o
Page 47 and 48: Kenji Inoue Let`s go Drive Acrylic
Page 49 and 50: Carmen Sotuela With a boldly toned
Page 51 and 52: sometimes undetectable to us; it is
Page 53 and 54: VéroniKaH Self-taught artist Véro
Page 55 and 56: Betsey Chesler day, including class
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Page 59 and 60: Tamara Dimitroff Tamara Dimitroff l
Page 61 and 62: Masoud Abedi We are often outsiders
Page 63 and 64: Dr. Caroline Josephs PhD Sydney --
Page 65 and 66: Susannah Virginia Griffin It was an
Page 67 and 68: Mary Nangah My experience in NYC as
Page 69 and 70: Wendy Cohen Life is meant to be ext
Page 71 and 72: Umeko Okano Japanese artist Umeko O
Page 73 and 74: InDy (Didier Bovard) For Didier Bov
Page 75 and 76: Thierry Fazian Caribbean artist Thi
Page 77 and 78: Chantal Westby Learned and formally
Page 79 and 80: Eberhard Marx’s oil on canvas and
Page 81 and 82: those materials that lie before her
Page 83 and 84: Gary Hong Patricia Brintle Brillian
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Page 93 and 94: Becky Franco Twilight Oil on Canvas
Page 95 and 96: An imaginative spirit dances throug
Page 97 and 98: Rosa Ibarra Every stop on Rosa Ibar
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Page 103 and 104: Bruno Antonio Malatesta Avatar Acry
Page 105 and 106: Art Matters: Why we Collect Art by
Page 107 and 108: Carol Grief by Michel Picotte in th
Page 109 and 110: W. Waller: Through the artist, Mich
Page 115 and 116: Berlin by Iva Milanova Berlin is kn
Page 117 and 118: Prague by Rumen Sazdov “Prague Ma
Page 119 and 120: Toronto by Bisa Bennett Toronto is
Page 121 and 122: Sydney by Joolie Green Sydney is so
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Profiles of Contemporary Art and - ARTisSpectrum

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