artschools   46

Explore the Era (Map) » Pacific Standard Time at the Getty
"Delve into the postwar Los Angeles art world in this online archive, which provides additional material related to the exhibitions on view at the Getty Center. Learn about hipsters and happenings, and the venues across the city where all the action took place through images from the archives and first-hand accounts with the artists."
socal  california  art  losangeles  artschools  pacificstandardtime  maps  mapping  midcentury  1950s  1960s  1970s 
june 2018 by robertogreco
Parallel School
"Parallel School offers an open environment for self-education in the broader context of art and design. We want to bring people from different places and backgrounds together to share knowledge, connect and initiate projects, publications, meetings and workshops.

Parallel School belongs to no one.
Parallel School has no location.
Parallel School is not teaching.
Parallel School is learning."



"Parallel School encapsulates the idea of non-institutional, self-organized education in the broader context of Art and Design. The idea is that anyone around the world, whether currently a student or not, can create a new type of school, parallel to existing ones. It serves as a structure to share knowledge, connect with other individuals and initiate projects and workshops. But it can be anything. Self-education and sharing knowledge are possibilities through which we can engage emphatically with one another.

Parallel School originally started as a way for sharing and exchanging ideas and topics (self-education) and organizing workshops across borders, for example in Paris, Berlin and Moscow and was continued in Glasgow, Brno, Leipzig and Lausanne.

The goal is to bring people from different places and different backgrounds, not only from the world of (graphic) design, and work in an autonomous, self-set open structure. The focus will be on topics participants propose themselves around the subject of education. We will invite guests and lecturers from different disciplines to complement the workshop series. In the spirit of self-education every participant holds a short workshop, conducts a discussion or does whatever suits best to share her/his interests or specialties. We believe that inspiring and productive situations can be created without hierarchy.

Spread the word, contribute and be part of Parallel School!"

[via: https://walkerart.org/magazine/never-not-learning-summer-specific-part-1-intro-and-identities ]

[previously: https://pinboard.in/u:robertogreco/b:aecd0852151a ]
alternative  design  education  schools  artschools  altgdp  openstudioproject  lcproject  deschooling  unschooling  self-education  self-directed  self-directedlearning  glasgowbrno  leipzig  lausanne  paris  berlin  moscow  self-organization  art  learning  events  publications  hierarchy  horizontality  workshops  unconferences 
january 2018 by robertogreco
Escola Aberta
"Escola Aberta1,2 is:

a) autonomous b) reflexive c) temporary

1.The Escola Aberta will be a temporary design school based in Rio de Janeiro. Teachers and students of graphic design from the Gerrit Rietveld Academie (Amsterdam) will conduct a week of workshops, lectures and activities, aiming to ignite a discussion on ways of teaching and learning and to establish an exchange of ideas with Brazil.

2. Directed at students, young professionals and artists, masters and apprentices, the Escola Aberta will be free of charge and take place from the 6th till the 11th of August, at the Carioca Design Center, Tiradentes square.

Escola Aberta1,2 will be:

a) free of charge b) in Rio de Janeiro
c) on August 2012 d) from monday to friday

1.Application deadline is 1st of July 2012. A total of 60 participants will be selected.
2. Please note that the Escola Aberta is unable to provide or organize any accommodation, board or transportation. Attendance is expected for the entire duration of the school, i.e. every day from Monday till Friday.

Escola Aberta1,2 seeks:

a) students e) craftsmen i) Brazilians
b) teachers f) artists j) foreigners
c) masters g) designers k) you
d) apprentices h) philosophers

1.The Gerrit Rietveld Academie is a dutch art and design academy, based in Amsterdam. It has grown to be a uniquely international school, open to applicants from all over the world. As a consequence an increased multicultural exchange of ideas, customs, knowledge and skills is cultivated. Particularly in the graphic design department the gap between teachers and students has become eminently narrow. This closeness ultimately opens up an intensified reciprocal exchange of opinions and ideals.

2.The Escola Aberta is looking for people with open minds, will for exchange, a questioning attitude and love for debate. Participants will be challenged to assume different roles during the week, to act as teachers and students, masters and apprentices, designers and artists. They must be able to switch from theory to practice and from protest to action.

T (true) or F (false):
( ) An art school, simply put, is a representative of the institutionalization of art.
( ) When our view of art is limited, so is our view of society.
( ) If questions aren’t asked in art schools, where then?
From Teaching to Learn by Joseph Kosuth, 1991.

Knowledge is something that:
a) You have to repeat and memorize, in order to get a diploma.
b) When in fact you need it, you can get it anywhere.

In 1971, conceptual artist John Baldessari was asked to exhibit his work at an art school in Nova Scotia. Since the school had no funds to fly him out for the installation, Baldessari sent a piece of paper printed with the words, ‟I will not make any more boring art,” and instructed the school to recruit students to write the sentence repeatedly all over the gallery walls, ‟like punishment.”

Art cannot be taught. However, one can teach _______________. The School is the servant of the _____________. One day the two will merge into one. Therefore, there are no teachers and pupils, but ________________ and ________________.
From the ‟Bauhaus Manifesto”, Walter Gropius, 1919.

“We do not need to consciously learn anything in order to learn something”. Do you agree? Explain. ____________________________________________ ____________________________________________ ____________________________________________
From Robert Fillou’s interview with John Cage in ‟Teaching and Learning as performing arts”.

Schools are:
a) on demand d) museums
b) commodities e) all of them
c) social events
School (from Greek “scholè”) means “free time”, being the time when people don’t have to act economically or politically. Within the domain of the school, neither accumulation and profit-seeking nor power games take center stage, but only the subject matter."

[via: https://walkerart.org/magazine/never-not-learning-summer-specific-part-1-intro-and-identities ]
brasil  brazil  lcproject  openstudioproject  altgdp  design  art  artschools  riodejaneiro  2012  ephemerality  ephemeral  autonomy  reflection  temporary  escolaaberta  bauhaus  bmc  blackmountaincollege  robertfillou  johncage  johnbaldessari  franklloydright  hermannvonbaravalle 
january 2018 by robertogreco
Under the Mango Tree—Sites of Learning - documenta 14
"To come under the shade of this mango tree with such deliberateness and to experience the fulfillment of solitude emphasize my need for communion. While I am physically alone proves that I understand the essentiality of to be with.
—Paulo Freire, Pedagogy of the Heart

The structures of formal education systems are increasingly reaching their limits due to their outmoded and inflexible foundations. However, informal and artist-led educational initiatives are taking root. documenta 14’s aneducation and ifa (Institut für Auslandsbeziehungen) are organizing the gathering of Under the Mango Tree—Sites of Learning, which addresses current educational shifts by inviting different artistic initiatives and schools from multiple geographies to come to Kassel. These different organizations are critically positioned both within and outside the Western canon.

With a special emphasis on historical and contemporary accounts and examples from nonhierarchical models of learning, the gathering presents Indigenous, communal practices of producing and preserving knowledge as well as initiatives that reflect on postcolonial knowledge production in nonhierarchical settings.

The some twenty contributors are each working towards new vantage points for a contemporary and broadened understanding of learning and knowledge production. Their work is presented in forms ranging from lectures to performances and workshops, in which active participation is welcome. Drawing on the model of a communal garden as a place of teaching and learning, the gathering takes place at various sites in Kassel during documenta 14.

Contributing projects, initiatives, and schools: Óscar Andrade Castro and Daniela Salgado Cofré (Ciudad Abierta), David Chirwa (Rockston Studio 1985), Sanchayan Ghosh (Santiniketan), Rangoato Hlasane (Keleketla! Library), Anton Kats (Narrowcast House), Duane Linklater, Tanya Lukin Linklater and cheyanne turions (Wood Land School), Sofía Olascoaga, Alessandra Pomarico (Free Home University), Marcelo Rezende, Syafiatudina (KUNCI), Jorge I. González Santos (Escuela de Oficio), Marinella Senatore (The School of Narrative Dance), and others

*Please register for the gathering by filling in the form at: www.ifa.de/en/events/under-the-mango-tree.html. More information will be provided upon registration.

Under the Mango Tree is a cooperation between documenta 14 aneducation and the Visual Arts Department of ifa (Institut für Auslandbeziehungen).

The gathering is supported by a partnership with ArtsEverywhere, an online platform by Musagetes, which discusses the arts in relation to all aspects of the world around us."
via:javierarbona  documenta14  artschool  artschools  education  sfsh  pedagogy  unschooling  deschooling  aneducation  learning  paolofreire  ciudadabierta  óscarandradecastro  danielasalgado  davidchirwa  rockstonstudio1985  sanchayanghosh  santiniketan  rangoatohlasane  keleketla!library  antonkatsnarrowcasthouse  duanelinklater  tanyalukinlinklater  cheyanneturions  woodlandschool  sofíaolascoaga  alessandrapomarico  freehomeuniversity  marcelorezende  syafiatudina  KUNCI  jorgegonzálezsantos  escueladeoficio  marinellasenatore  theschoolofmarrativedance  altgdp  knowledgeproduction  workshops  events  horizontality  indigenous  communal  postcolonialism  hierarchy  amereida 
july 2017 by robertogreco
What Is an Art School?
"BY
Daniel Atkinson
FILED TO
Education
Featured
DATE
Jun 19, 2017
PART OF SERIES

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Launching “What Is an Art School?,” an ongoing series examining at the past, present, and future of art education, the following is an interview exploring current self-organized art schools. It is connected to a larger set of translations—to appear in English for the first time—and commissioned texts focused on critically important, forward-thinking art teaching that will be published in the weeks to come.

What is an art school? A simple, even naive question, but one that is particularly fraught in today’s art education landscape. If one takes seriously the challenges of contemporary art and the myriad ways that artists engage with the world—from restoring contaminated soil to enabling conversation to presenting the experience of light itself—it becomes difficult to know where the lines are drawn between art education and education more generally. Adding to the complexity of the situation are economic shifts in educational funding and student debt, sociocultural changes brought about by the internet and other technologies, and the consistent battle over the politics of the classroom. Within this environment, a number of potential pathways have been proposed by artists, curators, and educators in the forms of new art schools and programs throughout the world. They range from short-term projects attached to museums and universities to globally connected digital universities to schools run out of artists’ houses for the neighboring community."
art  education  altgdp  artschools  lcproject  openstudioproject  artschool 
june 2017 by robertogreco
Southland Institute
"The Southland Institute (for critical, durational, and typographic post-studio practices) is an unaccredited two-year postgraduate workshop and evolving public online repository of educational resources, built around a central curricular helix consisting of the tools, processes, histories, and discourses of typography and critical art-making. It is also intended to be a forum for inquiry into the processes, potentials, and complications of education and its attendant structures and systems.

Participants’ own self-directed practices will be supplemented by courses, screenings, lectures, trips, theoretical readings, and discussions involving image, sound, time, typography, space, theory, structure, pedagogy, archives, and language. The program will be focused on exploring the gaps, grey areas, interrelationships, and common boundaries between these concerns, as well as their connection and relation to broader questions and circumstances.

These fundamental strands will be augmented by an evolving sequence of courses and workshops from a variety of disciplines, depending on participants’ backgrounds and interests, including but not limited to: design, art, moving image, economics, curation, landscape studies, education, writing, architecture, and sound. Connections will be explored via work, writing, conversation, typographic studies, critique, and documentation. The program is intended to provide space and time in which participants can expand the spectrum and depth of their practices, develop the critical tools necessary to navigate and articulate the paradoxes and contradictions around them, and to find the formal tools and venues best suited to conveying these explorations.

Objective:

Offering an approach to thinking about and making work rooted in historical and contemporary practices and theories of both graphic design and contemporary art, the Southland Institute is a space for self-directed research, critique, conversation, cross-pollination, and expansion along and between continua of critical, durational, and typographic post-studio practices. We are seeking participants with integrative and transdisciplinary practices and backgrounds who are interested in interweaving discourses of 20th and 21st century art, media, graphic design, literary, and critical theory.

The aim of the institute is to expand and deepen participants’ practices and provide an experience and education roughly analogous to graduate level study, while removing it from the private investment and commercial speculation of the student loan industry.

The program is intended to function on its own as a practice-based, research-driven, postgraduate educational environment, or as a supplement to other institutions or engagements with which participants may be currently or previously involved.

Participants will work primarily on self-directed projects under consultation with resident faculty and in conversation and collaboration with one another.

Conditions / Need:

The aim of the institute is to activate and explore the points of contact between disciplines and media, and to create a space for extended development, exposure, and conversation, without the heavy debt burden that often accompanies such study. The institute arises in response to several gaps that we perceive in the current landscape of higher education:

• a gap in dialog between departments and discourses at existing institutions of all sizes
• a lack of programs that actively integrate strategies and pedagogy from both graphic design and post-conceptual art
• a need for more programs that enable and encourage rigorous and sustained study and practice without incurring long term debt.
• a lack of institutions in which faculty are paid fairly and sustainably for their contributions.

Structure:

The program is 2 years long, each academic year divided into two 12-week sessions. Each session consists of two parts: one taught by a visiting educator/practitioner, the other consisting of a typography workshop in direct conversation with, and response to, the other course. Each session will begin with a reader or reading list, and end with documentation of the activities and conversation from the course, both of which (reader + documentation) will then be made public via the Southland Institute website. The semester will also include critiques, trips, presentations, and individual meetings with resident and visiting instructors.

Community Involvement:

During each year of residency, each participant will be required to organize one exhibition, and organize and teach one public workshop on a topic of their choosing.

Location:

Los Angeles, CA and online at southland.institute

Faculty:

Fiona Connor is a New Zealander currently living and practicing art in Los Angeles. Her work uses strategies of repetition to produce objects that interrogate their own form by engaging different histories embedded within our built environment. Much of Connor's practice is collaborative, and moves fluidly between curating, facilitating and object making.

Recent projects include the Newspaper Reading Club (founded in 2011), the conversion of her own Los Angeles apartment over 12 months in 2016 into a gallery titled Laurel Doody, and the founding of the Varese Group: a loose collective of associates, mentors, and fellow artists who will meet annually over five years, for one month each year, in an old house in Marzio, Northern Italy. During the past eight years, Connor has exhibited in Los Angeles, New York, Barcelona, Basel, Istanbul, Sydney and Auckland.

Joe Potts is a graphic designer and educator using found and synthesized sound, typography, images, and conditions to explore and question the structures and institutions we inhabit, in an effort to repurpose these components and imagine possibilities enabled by their reconfigurations. He currently teaches at Otis College of Art and Design and the University of Southern California, and is the founder of the Southland Institute.

Lucas Quigley organizes programs concerned with images of the production and distribution of objects and goods; unusual threads within the history of technical image-making; and the social parameters that make these descriptions possible.

Programs include the film series "Wie Man Sieht (As You See) In Memory of Filmmaker Harun Farocki," at the Goethe Institut in Los Angeles, "Andersen and Fisher" and "The Devil Probably" at Yale Union, "Exploded View … Interface … Letter & Spirit …" at LAXART. He co-authored the article "Colorless Green Ideas" in the Bulletins of the Serving Library. He has taught at California Institute of the Arts and Otis College of Art and Design, and lectured at HEAD Geneva, UCSD, and The Serving Library.

Aurora Tang is a researcher and curator based in Los Angeles, with a focus on place-based practices. Since 2009 she has been a program manager at The Center for Land Use Interpretation. From 2011-2015 she was managing director of High Desert Test Sites.

Resources:

The institute begins its existence with little in the way of property or equipment. We believe that this enables an efficiency and a focus on education itself, at a cost that is many degrees of magnitude lower than many, if not all, current offerings. Los Angeles is a city of numerous research institutions, libraries, and other accessible resources of which we encourage students to actively avail themselves.

Tuition, Affordability, Transparency, and Sustainability:

The twin financial aims of the institute are affordability for students and fair compensation for instructors. We believe in paying our instructors for their contributions, and hope to model an alternative to the ubiquitous undervaluing of educators.

Program tuition is $3500 / year.

Accreditation:

The Southland Institute is not accredited by any accrediting body, and therefore does not officially grant degrees."
via:soulellis  altgdp  lcproject  openstudioproject  typogrphy  design  art  education  artschools  alternative  losangeles  joepotts  fionaconnor  lucasquigley  aurortang  graphicdesign  artschool 
may 2017 by robertogreco
Free School of Architecture
"The Free School of Architecture will explore the edges of architectural education.

The Free School of Architecture is a tuition and salary free, not-for-profit organization.

The Free School of Architecture will launch in 2017 in Los Angeles, California."
architecture  education  artschools  altgdp  design  losangeles  lcproject  openstudioproject  artschool 
december 2016 by robertogreco
The Alternative Art School Fair Radio | Clocktower
"The Alternative Art School Fair at Pioneer Works presents an introduction to alternative art schools from around the US and the world, November 19-20, 2016. The entire event, including workshops, discussions, and keynote presentations by Carol Becker, Luis Camnitzer, Craig Wilkins and Dorothea Rockburne, will be streamed live and archived on clocktower.org.

See the radio schedule below to plan your listening party. The live listening link can be found HERE.

Art education is a reflection of social and cultural evolution; it engages with structures of meaning-making and considers different frameworks for experience. The impetus to create an alternative art school is rooted not only in a desire to create “better” art, but to create the conditions for greater freedom of expression. Often run as free, artist-run initiatives, the values and visions of alternative art schools vary widely in methodology, mission and governance. But even when they are relatively small in scale they provide vital models of cultural critique and experimentation.

Listening Schedule:
November 19
Keynote panel -- 12:00-1:30PM
Carol Becker
Luis Camnitzer
Dorothea Rockburne
Victoria Sobel
Interviewer/Moderator: Catherine Despont

How can alternative systems impact traditional arts education? -- 2-3:30PM
Ox-Bow
Daniel Bozhkov
School of the Future
Interviewer/Moderator: Regine Basha

Art and Democracy -- 3:45-5:15PM
UNIDEE
The Black Mountain School
UOIEA (Anna Craycroft)
Interviewer/Moderator: Provisions Library

Self-Governance as Pedagogy: Of Other Spaces -- 5:30-7:30PM
Art and Law Program
Interviewer/Moderator: Associate Director Lauren van Haaften-Schick
Art & Law Program Fellows: Abram Coetsee & Alex Strada (Fall 2016), Damien Davis (Spring 2016)

November 20
Keynote -- 12:00-1:30PM
Dr. Craig L. Wilkins, PhD, RA

Hybrid Practice -- 2:00-3:30PM
SFPC
Zz School of Print Media
Southland Institute
Interviewer/Moderator: Archeworks

Responsive Programming: A Conversation Between The Ventriloquist Summerschool and Sheila Levrant de Bretteville -- 3:45-5:15PM
The Ventriloquist Summerschool
Sheila Levrant de Bretteville

(Re)incorporating Art in Everyday Life -- 5:30-7:00PM
Chad Laird (Sunview Luncheonette)
Tal Beery (School of Apocalypse)
Tatfoo Tan (NERTM)
Moderator/Interviewer: Grizedale Arts"
tolisten  education  altgdp  openstudioproject  lcproject  sfsh  schools  artschools  2016  radio  art  pioneerworks  alternative  diy  small  democracy  local  play  self-directed  self-directedlearning  unschooling  deschooling  architecture  nyc  brooklyn  chicago  uk  guatemala  london  egypt  puertorico  sanjuan  northcarolina  portonovo  benin  statenisland  design  michigan  saugatuck  curriculum  pedagogy  learning  howelearn  organizations  cooperatives  publishing  networks  fairfax  virginia  losangeles  oslo  accrá  edinburgh  making  craft  mexicocity  mexicodf  df  mexico  noray  stavanger  paris  france  brussels  mutlidisciplinary  interdisciplinary  transdisciplinary  kansascity  missouri  seoul  biella  italia  italy  systemsthinking  socialjustice  independence  carolbecker  victoriasobel  reginebasha  transart  marywallingblackburn  craigwilkins  sheilalevrantdebretteville  michaelnewton  shannonharvey  hragvartanian  crossdisciplinary  multidisciplinary  communication  technology  socialnetworks  artschool 
december 2016 by robertogreco
Learning Gardens
[See also: https://www.are.na/blog/case%20study/2016/11/16/learning-gardens.html
https://www.are.na/edouard-u/learning-gardens ]

"Learning Gardens is a meta-organization to support grassroots non-institutional learning, exploration, and community-building.

At its simplest, this means we want to help you start and run your own learning group.

At its best, we hope you and your friends achieve nirvana."



"Our Mission

It's difficult to carve out time for focused study. We support learning groups in any discipline to overcome this inertia and build their own lessons, community, and learning styles.
If we succeed in our mission, participating groups should feel empowered and free of institutional shackles.

Community-based learning — free, with friends, using public resources — is simply a more sustainable and distributed form of learning for the 21st century. Peer-oriented and interest-driven study often fosters the best learning anyway.

Learning Gardens is an internet-native organization. As such, we seek to embrace transparency, decentralization, and multiple access points."



"Joining

Joining us largely means joining our slack. Say hello!

If you own or participate in your own learning group, we additionally encourage you to message us for further information.

Organization

We try to use tools that are free, open, and relatively transparent.

Slack to communicate and chat.
Github and Google Drive to build public learning resources.

You're welcome to join and assemble with us on Are.na, which we use to find and collect research materials. In a way, Learning Gardens was born from this network.

We also use Notion and Dropbox internally."



"Our lovely learning groups:

Mondays [http://mondays.nyc/ ]
Mondays is a casual discussion group for creative thinkers from all disciplines. Its simple aim is to encourage knowledge-sharing and self-learning by providing a space for the commingling of ideas, for reflective conversations that might otherwise not be had.

Pixel Lab [http://morgane.com/pixel-lab ]
A community of indie game devs and weird web artists — we're here to learn from each other and provide feedback and support for our digital side projects.

Emulating Intelligence [https://github.com/learning-gardens/_emulating_intelligence ]
EI is a learning group organized around the design, implementation, and implications of artificial intelligence as it is increasingly deployed throughout our lives. We'll weave together the theoretical, the practical, and the social aspects of the field and link it up to current events, anxieties, and discussions. To tie it all together, we'll experiment with tools for integrating AI into our own processes and practices.

Cybernetics Club [https://github.com/learning-gardens/cybernetics-club ]
Cybernetics Club is a learning group organized around the legacy of cybernetics and all the fields it has touched. What is the relevance of cybernetics today? Can it provide us the tools to make sense of the world today? Better yet, can it give us a direction for improving things?

Pedagogy Play Lab [http://ryancan.build/pedagogy-play-lab/ ]
A reading club about play, pedagogy, and learning meeting biweekly starting soon in Williamsburg, Brooklyn.

[http://millennialfocusgroup.info/ ]
monthly irl discussion. 4 reading, collaborating, presenting, critiquing, and hanging vaguely identity-oriented, creatively-inclined, internet-aware, structurally-experimental networked thinking <<<>>> intersectional thinking

Utopia School [http://www.utopiaschool.org/ ]
Utopia School is an ongoing project that shares information about both failed and successful utopian projects and work towards new ones. For us, utopias are those spaces and initiatives that re-imagine the world in some crucial way. The school engages and connects people through urgent conversations, with the goal of exploring, archiving and distributing collective knowledge throughout this multi-city project.

A Pattern Language [https://github.com/learning-gardens/pattern_language ]
Biweekly reading group on A Pattern Language, attempting to reinterpret the book for the current-day."

[See also: "Getting Started with Learning Gardens: An introduction of sorts"
http://learning-gardens.co/2016/08/13/getting_started.html

"Hi, welcome to this place.

If you’re reading this, you’re probably wondering where to start! Try sifting through some links on our site, especially our resources, Github Organization, and Google Drive.

If you’re tired of reading docs and this website in general, we’d highly recommend you join our lively community in real time chat. We’re using Slack for this. It’s great.

When you enter the chat, you’ll be dumped in a channel called #_landing_pad. This channel is muted by default so that any channels you join feel fully voluntary.

We’ve recently started a system where we append any ”Learning Gardens”-related channels with an underscore (_), so it’s easy to tell which channels are meta (e.g. #_help), and which are related to actual learning groups (e.g. #cybernetics).

Everything is up for revision." ]
education  learninggardens  learningnetworks  networks  slack  aldgdp  artschools  learning  howwlearn  sfsh  self-directed  self-directedlearning  empowerment  unschooling  deschooling  decentralization  transparency  accessibility  bookclubs  readinggroups  utopiaschool  apatternlanguage  christopheralexander  pedagogy  pedagogyplaylab  cyberneticsclub  emulatingintelligence  pixellab  games  gaming  videogames  mondays  creativity  multidisciplinary  crossdisciplinary  interdisciplinary  ai  artificialintelligence  distributed  online  web  socialmedia  édouardurcades  artschool 
december 2016 by robertogreco
Maybe a School, Maybe a Park.
"Maybe a School, Maybe a Park is a week-long graphic design project consisting of daily workshops, discussions, and lectures, in collaboration with a set of invited designers from Canada and abroad. The program stems from an interest in looking at design with an expanded lens, beyond the traditional client-designer relationship, and into a territory that is more exploratory and personal. The program is meant to be an opportunity for experimentation in design learning, through an informal, collaborative, and supportive setting. Also, of course, it’s summer, so it should be an opportunity to enjoy oneself and not take things too seriously.

The program looks to de-emphasize the need for a particular outcome in a participant’s work. Instead the program emphasizes keeping an open mind in the process of making, and through discussions with your fellow participants and tutors. The program is open to anyone with motivation and interest in design and alternative forms of learning, including not only graphic designers, but artists, architects, curators, and writers as well. We welcome and encourage a variety of perspectives, backgrounds, and levels of experience to apply for participation.

Our featured tutors include Biba Kosmerl, Charmant & Courtois, Louise Paradis, Nejc Prah, NODE Berlin Oslo/Serge Rompza, and Sean Yendrys."



"A School, A Park is a graphic design summer school based in Montréal, Canada, consisting of daily workshops, discussions, and lectures, in collaboration with a set of invited designers from Canada and abroad. Each year it re-organizes into a new format, with different tutors, and revolving around a new theme. The program stems from an interest in looking at design with an expanded lens, beyond the traditional client-designer relationship, and into a territory that is more exploratory. It’s meant to be an opportunity for experimentation in design learning through an informal, collaborative, and supportive setting. Also, it’s summer, so it should be an opportunity to enjoy yourself, meet new people, and not take things too seriously.

The summer school is open to anyone with motivation and interest in design and alternative forms of learning. This includes not only graphic designers, but artists, architects, curators, and writers as well. We welcome and encourage a variety of perspectives, backgrounds, and levels of experience to apply, from current students and recent graduates, to working professionals. Previous years have seen participants from across North America, including students representing schools such as UQAM, McGill, OCAD, NSCAD, RISD, Parsons, and CalArts.

PROGRAM
This year, the summer school will take on the form of a makeshift print shop. With a total of 5 workshops over 10-days, participants will have the opportunity to take part in 3 of them (one for one-day, three-days, and five-days), each led by a different set of tutors, allowing to experience a wide variety of attitudes and perspectives towards printing in a design context. Workshops will engage in technique, experimentation, distribution, and the community and cultural value of putting ink to paper. At the end of the 10-days, all the work produced will be organized into an exhibition and closing-party open to the public, celebrating everything that was made. The summer school fee guarantees participation in 3 workshops, use and access to all necessary project materials, and coffee each day. All we ask that you bring is a laptop, and if you prefer to have one, a camera."
montreal  sfsh  openstudioproject  lcproject  altgdp  2016  bibakosmerl  charmant&courtois  louiseparadis  nejcprah  sergerompza  seanyendrys  graphicdesign  collaboration  nodeberlinoslo  schools  artschools  artschool 
december 2016 by robertogreco
불확실한 학교 Uncertainty School
"Uncertainty School is a school to explore potential that cannot be described in a language of the world of certainty. The school’s curriculum focuses on art, technology, disability, and their correlation with one another, and aims at unlearning of exclusive or discriminatory viewpoints we have unconsciously accepted. Uncertainty School invites artists, activists and students main participants, regardless of disability. The school holds workshops for participants and public seminars open to general audience. The school provides sign language interpretation, translation, stenography, taking participants’ various types of disability into consideration, and offers education in a space easily accessible by the people with varying types of physical disabilities. Uncertainty School encourages participants to develop their independent artistic practice while forming a community of interdependent learning, in pursuit of a genuine value system based on fairness, beyond the concept of pro forma equality.

Uncertainty School workshops organized by Taeyoon Choi will introduce computer programming skills, online publication and exhibition methods, conducive to participants’ creative practice. Uncertainty School seminars will feature local and international artists participating in Mediacity Seoul 2016. The artists will to introduce their work and discuss technology, environment, and the human body in contemporary art.

Participants and collaborating artists will produce artwork or reinterpret existing work and present a group exhibition at Community Gallery of Buk Seoul Museum of Art. The entire process will be documented in video and writing, and posted on the website of Mediacity Seoul 2016."
uncertaintyschool  lcproject  openstudioproject  seoul  korea  southkorea  taeyoonchoi  altgdp  education  school  schooldesign  unschooling  deschooling  art  artschools  equity  fairness  unlearning  artschool 
december 2016 by robertogreco
école de Hogbonou
[via: https://pioneerworks.org/index/ecole-de-hogbonu/ ]

"L’école de Hogbonu, first art school in Benin Republic, West Africa, foreshadowed in summer 2016 in Porto Novo, the capital of the country by the Romanian Fabiola Badoi and the German Ewa Knitter, both living and working in Paris and their international team.

Hogbonu is the name given by the first inhabitants of the city of Porto Novo. It seemed echo with the spirit of the school.

l'école de Hogbonu opens a thinking towards a notion of art where creation is neither stake nor object of fetish making or merchandise, whispered art silently in life like a heart beat.

If schools are institutions made to give individuals a set of skills in order to fulfill a role in society, then l’école de Hogbonu is a non-school without any other finality than to provide time for exploration, idleness and wandering. Melting pot of transmitting and sharing knowledge as well as uncertainties, disquiet, doubts.

Skhole, skholes
A. noun. : primary meaning : stop
a. rest, leisure;
i. studious occupation, scientific intercourse,study;
ii. place of study, school;
iii. study product, treatise, work;
b. respite, truce;
c. leisure, slowness, idleness;
B. adv.
at. at leisure, in his time, slowly, step by step;
b. with difficulty, not easily

L’école de Hogbonu offers :

defining and defending artistic identity emphasizing cultural heritage intended by the school to be explored and deepened in order to construct a consistent discourse.

building critical thinking to strenghten an aesthetical judgement by reflecting with people from various fields and horizons : artists, historians, art historians, farmers, workers, fishermen, travelers, anthropologists, shamans, priests, philosophers, sociologists, educators, architects, writers, poets, psychologists, linguists, dieteticians, musicians, beggars, actors, dancers, economists, mathematicians, physicists, geologists, art critics, theorists…

translating cultures by simple exchange, without hierarchy

opening knowledge and carving out, throwing light on the intimate relationship between disciplines

forging a pertinent vision of art and its market

inaugurating an artistic research

slowing down art production

finding alternative economies

digging the poetic furrow of life

or

remaining in the poetic wake of life

or

traveling in the poetic vein of life

..there is nothing to say, there is only to be, there is only to live. Piero Manzoni"
benin  artschools  art  education  schools  openstudioproject  lcproject  pieromanzoni  webdesign  webdev  sfsh  altgdp  slow  horizontality  transdisciplinary  multidisciplinary  crossdisciplinary  leisure  leisurearts  artleisure  slowness  idleness  non-schools  unschooling  deschooling  l’écoledehogbonu  portonovo  fabiolabadoi  ewaknitter  artschool 
december 2016 by robertogreco
Alternative Art School Fair | Pioneer Works
[See also: The Alternative Art School Fair Radio
http://clocktower.org/series/the-alternative-art-school-fair-radio ]

"The Alternative Art School Fair
November 19-20, 2016

The Alternative Art School Fair presents an introduction to alternative art schools from around the US and the world.

Art education is a reflection of social and cultural evolution; it engages with structures of meaning-making and considers different frameworks for experience. The impetus to create an alternative art school is rooted not only in a desire to create “better” art, but to create the conditions for greater freedom of expression. Often run as free, artist-run initiatives, the values and visions of alternative art schools vary widely in methodology, mission and governance. But even when they are relatively small in scale they provide vital models of cultural critique and experimentation.

The Alternative Art School Fair event, including workshops, discussions, and keynote presentations by Carol Becker, Luis Camnitzer, Craig Wilkins and Dorothea Rockburne, will be streamed live and archived by Clocktower Productions on clocktower.org.

Media Sponsor:
Hyperallergic

Participating Schools

AAPG – Alternative Art Program Guatemala • AltMFA • Anhoek School • Archeworks • Arts Letters & Numbers • ASCII Project • Beta-Local • Black Mountain School • Brooklyn Institute for Social Research • Center for Art Analysis • COLLABOR • école de Hogbonu • Enroll Yourself • Free School of Architecture • Islington Mill Art Academy • Grizedale Arts • Ox-Bow School of Art and Artists' Residency • NERTM - New Earth Resiliency Training Module • Nomad/9 • Pioneer Works • School of Apocalypse • School of Critical Engagement - SoCE • School of the Future • School for Poetic Computation • SOMA • Sommerskolen • Spring Sessions • Sunview Luncheonette • The Art & Law Program • The Black School • The Other MA - TOMA • The Public School • The School of Making Thinking • The Southland Institute • The Ventriloquist Summerschool • The Zz School of Print Media • Thinker Space • Transart Institute • Uncertainty School • UNIDEE - University of Ideas • Utopia School

Presses, Libraries, Resources

Arthur Fournier Fine and Rare • Booklyn • Brooklyn Art Library • Common Field • Inventory Press • OSSAI - Open Source and Space Administration Institute for Alternative Research • Provisions Library • Sketchbook • Project Zone Books

Saturday Schedule … [with session descriptions]

Sunday Schedule … [with session descriptions]

Schools [and a few other things, as noted, website links to descriptions, and to each school’s site if there is one]

AltMFA
London, United Kingdom

Alternative Art College
United Kingdom

Alternative Art Program
Guatemala

Anhoek School
Brooklyn, New York, USA

Antiuniversity Now
London, United Kingdom

Archeworks
Chicago, Illinois, USA

Arts Letters & Numbers
New York, USA

ASCII Project
Mohansein Giza, Egypt

Beta-Local
San Juan, Puerto Rico

Black Mountain School
Black Mountain, North Carolina, USA

GALLERY
Booklyn
Brooklyn, New York, USA

LIBRARY
Brooklyn Art Library
Brooklyn, New York, USA

SCHOOL
Brooklyn Institute for Social Research
Brooklyn, NY, USA

NETWORK
Common Field
National

école de Hogbonu
Porto Novo, Bénin

Enrol Yourself
London, United Kingdom

BOOKSTORE
Fournier Fine & Rare
Brooklyn, New York, USA

Grizedale Arts
Coniston, Lake District, UK

PRESS
Inventory Press
New York, New York, USA

New Earth Resiliency Training Module [NERTM]
Staten Island, NY, USA

Nomad/9 MFA
Hartford, Connecticut, USA

RESOURCE
Open Source and Space Administration Institute for Alternative Research [OSSAI]
nomadic

Ox-Bow School of Art and Artists’ Residency
Saugatuck, Michigan, USA

Pioneer Works
Brooklyn, New York, USA

LIBRARY
Provisions Library
Fairfax, Virginia, USA

Ricean School of Dance
Hydra Island, Greece

School of Apocalypse
Brooklyn, New York, USA

School of Critical Engagement [SoCE]
Los Angeles / Oslo / Accra

School of the Future
Brooklyn, New York, USA

School for Poetic Computation
New York, NY, USA

Shift/Work
Edinburgh, Scotland

Spring Sessions
Amman, Jordan

SOMA
Mexico City, Mexico

Sommerskolen
Stavanger, Norway

Southland Institute
Los Angeles, California, USA

Sunview Luncheonette
Brooklyn, New York, USA

The Art & Law Program
New York, New York, USA

The Black School
Brooklyn, New York, USA

The Cheapest University
Paris, France

The Free School of Architecture
Los Angeles, California, USA

The Public School
Brussels, New York City, Los Angeles, and elsewhere

The School of Making Thinking
Brooklyn, New York, USA

The School of the Damned
London, United Kingdom

The Ventriloquist Summerschool
Oslo, Norway

The Zz School of Print Media
Kansas City, Missouri, USA

ThinkerSpace
Brussels, New York City, Los Angeles, and elsewhere

TOMA
Southend-on-Sea, United Kingdom

Transart Institute
Berlin, Germany, and New York, New York, USA

Uncertainty School
Seoul, New York, International

UNIDEE-University Of Ideas
Biella, Italy

Union of Initiatives for Educational Assembly (UOIEA)
Sites vary

PRESS
Zone Books
Brooklyn, NY, USA"
altgdp  art  artschools  pioneerworks  2016  alternative  diy  lcproject  openstudioproject  sfsh  small  democracy  local  play  self-directed  self-directedlearning  unschooling  deschooling  architecture  nyc  brooklyn  chicago  uk  guatemala  london  egypt  puertorico  sanjuan  northcarolina  portonovo  benin  statenisland  design  michigan  saugatuck  curriculum  pedagogy  learning  howelearn  organizations  cooperatives  publishing  networks  fairfax  virginia  losangeles  oslo  accrá  edinburgh  making  craft  mexicocity  mexicodf  df  mexico  noray  stavanger  paris  france  brussels  mutlidisciplinary  interdisciplinary  transdisciplinary  kansascity  missouri  seoul  biella  italia  italy  systemsthinking  socialjustice  independence  carolbecker  victoriasobel  reginebasha  transart  marywallingblackburn  craigwilkins  sheilalevrantdebretteville  michaelnewton  shannonharvey  hragvartanian  crossdisciplinary  multidisciplinary  communication  technology  socialnetworks  artschool 
december 2016 by robertogreco
Alternative art schools: a threat to universities? | Education | The Guardian
Angry at soaring fees and disillusioned with established courses, artists are simply doing things for themselves
artschools  MAmodule5 
december 2016 by SarahHolyfield
Curious Cargo 3: Solving Problems with Problem Setting
"Designs are judged in a context. The full context is that we live on a planet beset by countless injustices and wicked problems. Existence is a yawning abyss that devours all meaning and everyone dies alone. But since contemplating that for more than a few moments can cause complete paralysis, most people section off the dark crystal of the world into manageable shards and consider only a few facets at a time.

When it comes to presenting a new idea, the stage you set has an enormous influence on how people respond. Our work is judged by how well it achieves what we say it set out to do. And so the knife maker is judged on the quality of their knife, while the water cleaner is judged on the impossible problem of poverty. If the knife maker had started out talking about poverty, they too would be judged on the utter failure of a knife to address the growing gap between the rich and poor.

There is a trick here. You can change your destination after the fact. You can change your problem as many times as you like, right up until the moment you go public. We know this is possible because after a new design has achieved success, a common “behind the scenes” story designers tell is how they first set out to do X but in their exploration they realized Y. Apple set out to make a tablet, but then decided they should use the tech to first make a phone, and Steve Jobs told this story only after both had been launched. Good design stories may be told linearly but they are rarely composed that way.

In crits, it often feels unfair to go after a student’s set problem. For one thing, they are working under extremely tight constraints. For another, they tend to be honest to a fault about their starting point. If you responded to every presentation with “but what does this do about the situation in America’s prisons?” you’d come across as aggressively rude. Yes, I am aware that this new kind of notecard will do nothing to end the drone strikes in Yemen. No, this chair does not address climate change. We had three weeks and no budget. Fuck off.

In the world, going after the set problem is a vital part of design criticism. When Volvo releases paint to make bicyclists easier to see, it is right and good to rant about the merchants of death machines putting the blame on their victims. When Apple speaks of devices for a better life and a better world, it is right and good to ask about the conditions under which they are made. Good design criticism works to expand the horizons of public discussion, to bring to light elements that are glossed over or forgotten.

Note the power of context setting: Apple bears the brunt of criticism for labour practices at Foxconn even though Sony, Microsoft, Amazon, Nintendo, and many others use the same supplier. I suspect this is partially because Apple in your headline = many clicks and partially because Apple devotes so much marketing time to a story about how their things are made. All car manufacturers are selling death machines, but Volvo gets the rant because they brought up bike safety while the rest of the companies serenely ignore the issue.

And none of them are addressing the situation in America’s prisons.

This difficulty shows up everywhere. In social justice contexts, the line between expanding and derailing the discussion is tricky to draw. In politics, we have the Overton window to name the range of ideas which are acceptably debatable and there is plenty of fighting to be done about the shape and size of the window. In journalism, there are the spheres of consensus, controversy and deviance and the reality distorting tendency of the press to report on neither consensus nor deviance. In design, MAYA returns. There is most advanced, yet acceptable design and there is most advanced, yet acceptable criticism.

Problem setting matters because it influences not only what gets designed but how we talk about what gets designed, and that influences what gets designed next. Sooner or later, some of those chronically unconsidered facets are going to force their way on stage whether we want them or not."
timmaly  2015  crits  design  designschool  artschool  context  overtonwindow  marketing  apple  designcriticism  criticism  raymoundloewy  critique  problemfinding  problemdefinition  volvo  judgement  industrialdesign  architecture  productdesign  journalism  politics  consensus  controversy  deviance  derailing  artschools 
april 2015 by robertogreco
A Bad Education | The Pedagogical Impulse
"PH: … I don’t want to make art that’s about say­ing that I did some­thing. I want to make art that does some­thing. I don’t always care whether peo­ple under­stand or not that I am doing it, but I want to know for my own sake that what I did had that impulse.

To me, that’s the enor­mous gap between art that claims to be about social change, and art that embod­ies social change. And that is why the rela­tion­ship between ped­a­gogy and art is absolutely cru­cial, because ped­a­gogy and edu­ca­tion are about empha­sis on the embod­i­ment of the process, on the dia­logue, on the exchange, on inter­sub­jec­tive com­mu­ni­ca­tion, and on human rela­tion­ships. The prod­uct may or may not be nec­es­sary or impor­tant. But it can­not hap­pen if this exchange does not take place. Art, tra­di­tion­ally, has not always been about the process. Ulti­mately in a museum when you look at a paint­ing, the process of its mak­ing is inter­est­ing to know, but it is not essen­tial to expe­ri­enc­ing the work. What mat­ters is that it’s there; that it hap­pened. In socially engaged art, that is the oppo­site: what is impor­tant is the process, and the process is inex­tri­ca­ble from the experience.

HR: What you are say­ing reminds me of some­thing that Shan­non Jack­son men­tioned in her talk at Open Engage­ment this past year. She said some­thing to the effect of what looks like inno­va­tion in one field may be old news in another field. And I’m think­ing about this in the way that some processes of edu­ca­tion are taken up in socially engaged art.

I was read­ing a bit about Reg­gio Emilia before I came to meet you, because I had learned that you have a Reg­gio Emilia com­po­nent in the show down­stairs. I found this quote by Loris Malaguzzi: “We need to pro­duce sit­u­a­tions in which chil­dren learn by them­selves, in which chil­dren can take advan­tage of their own knowl­edge and resources… We need to define the role of the adult, not as a trans­mit­ter, but as a cre­ator of rela­tion­ships — rela­tion­ships not only between peo­ple but also between things, between thoughts, with the envi­ron­ment.”[ii]

PH: Sounds a lot like socially engaged art, right?

HR: Right! But I wanted to ask you about where we diverge. It feels like we may be in a com­pro­mised posi­tion. As artists there is an imper­a­tive to par­tic­i­pate in a cycle of pro­duc­tion, to be acknowl­edged as authors, or to be thought of as pri­mary authors, and to par­tic­i­pate in an art dis­course. In what way do we have to diverge from edu­ca­tional processes?

PH: We still belong to a tra­di­tion of art mak­ing where things acquire dif­fer­ent mean­ings depend­ing on the con­text. So like Duchamp’s uri­nal, of course it’s use­ful as a uri­nal and when it becomes art it becomes use­ful in other ways as art. And like what Tom Fin­kle­pearl was say­ing, it’s time to put the uri­nal back in the bath­room[iii], because we’ve come to a point where the use­ful­ness of art as aes­thet­ics has run its course. So it’s time to go back and think about aes­thet­ics as some­thing that func­tions in the world in a dif­fer­ent way.

Which cre­ates an inter­est­ing prob­lem: why don’t we just aban­don aes­thet­ics alto­gether? Why don’t I just become a Reg­gio Emilia edu­ca­tor since their phi­los­o­phy is close to what I do? Maybe I should just move to Italy and teach lit­tle kids. There’s this ten­dency by young artists of think­ing: “maybe I’m just doing some­thing ill informed and ridicu­lous, and I might as well just become a pro­fes­sional in what­ever field I’m inter­ested in. Maybe I should become a hor­ti­cul­tur­al­ist”, or what­ever. The other side is that the artist is per­form­ing roles that are osten­si­bly per­formed bet­ter by pro­fes­sion­als of those dis­ci­plines, like in Rirkrit’s case: the edu­ca­tors do it so much bet­ter than them, so why is he get­ting the credit? And why is what edu­ca­tors are doing not con­sid­ered art? Why should a mediocre edu­ca­tion pro­gram be cel­e­brated as this won­der­ful rela­tional aes­thet­ics piece, when a won­der­ful edu­ca­tion pro­gram that really changes people’s lives can never be con­sid­ered an impor­tant artwork?

So the issue is really, what is the con­tex­tual social ter­ri­tory where this takes place? Where are you stak­ing your claims? And where are you pro­duc­ing crit­i­cal­ity? To sim­ply say that Reg­gio Emilia is a great art­work is com­pletely untrue. That’s not their goal; their goal is to cre­ate bet­ter cit­i­zens for the world, etc. As an artist, what becomes really inter­est­ing is to con­sider this think­ing within the con­text of art mak­ing, the con­text of the role of art in soci­ety. Art, for bet­ter or for worse, con­tin­ues to be this play­ing field that is defined by its capac­ity to rede­fine itself. You can­not say, “This is not art!” because tomor­row it could be, or “It can be art,” because I say it is. Art is a space, which we have cre­ated, where we can cease to sub­scribe to the demands and the rules of soci­ety; it is a space where we can pre­tend. We can play, we can rethink things, we can think about them backwards.

But just to clar­ify: when I say that Reg­gio Emilia is not real art, I don’t think it’s enough to make art with “pre­tend” edu­ca­tion. I don’t think one should jus­tify the use of any sem­blance in edu­ca­tion for the sake of art, as was the case of that children’s activ­ity by Rirkrit I described, unless if you are just meant to be jok­ing or play­ing (which is not very inter­est­ing to begin with). My point is that when you are mak­ing cer­tain claims, or even gen­er­at­ing cer­tain impres­sions about what you are doing, you need to do them in an effec­tive way in order to really affect the world, oth­er­wise your artis­tic inter­ven­tion in the social realm is no dif­fer­ent from mak­ing a paint­ing in the stu­dio. And there is a dif­fer­ence between sym­bolic and actual intervention."



"PH: Why is it that we can be very crit­i­cal of stan­dard art­works that we under­stand the para­me­ters of? We can be very crit­i­cal of this work because we are very famil­iar with for­mal­ism and with abstrac­tion, and there are a slew of the­o­ret­i­cal approaches. When­ever you do an abstract paint­ing that looks exactly like Mon­drian, peo­ple will tell you that your work is not very rel­e­vant because you’re just copy­ing Mon­drian. And yet, you’re com­pletely home free if you do this con­cep­tual project of a school that doesn’t teach any­body and where nobody learns any­thing, but it looks really great in the press release.

HR: So by “abstract edu­ca­tion” you meant projects that use the lan­guage and frame­work of edu­ca­tion, but don’t func­tion as education?

PH: It’s com­pli­cated. Because I don’t want to say that it’s bad to do that. Some­times you just want to do a project that’s about the idea of this or that. You want to do a project that’s about dance; it doesn’t mean that you have to dance. It’s very dif­fer­ent to do a paint­ing about war, than to par­tic­i­pate in a war.

That’s why in my book, Edu­ca­tion for Socially Engaged Art, I tried to address this prob­lem by mak­ing a dis­tinc­tion between what I under­stand as sym­bolic ver­sus actual prac­tice. What I tried to argue in the book is that in art, the strongest, more long­stand­ing tra­di­tion is art as sym­bolic act; art that’s a rep­re­sen­ta­tion of the world. You make an art­work that is a thing on its own, but it addresses the world. Guer­nica is a sym­bolic act. It tells you about the hor­rors of Guer­nica, the mass killings.

In the 60s that starts to change, artists don’t want to do things about the world; they want to do things that are acts in the world. That’s why per­for­mance art emerges. I’m not going to make a the­atre piece where I pre­tend to be x, y or z. I’m going do a real live action where I am Pablo Helguera and I’m talk­ing to you, Helen. And we’re going to have this expe­ri­ence, and this expe­ri­ence can only pos­si­bly exist in this moment in time and never again, any­where else. And that’s what this art­work is about. That’s what Fluxus was about, that’s what John Cage talked about, and that’s what Alan Kaprow’s hap­pen­ings were about; it’s a very Zen idea. Suzanne Lacy’s per­for­mances, for exam­ple, they were about these women at this moment. It might be art his­tory later. It might later become a prod­uct. But the fact of the mat­ter is that what it is at that moment can never be repeated.

So, to me, socially engaged art emerges from that tra­di­tion of the here-and-now. What the “here-and-now” means, in my view, is that the artis­tic act is inex­tri­ca­ble from the time/place con­text, but that it also affects it in a very direct way. The work needs to be under­stood, described, and pos­si­bly eval­u­ated and cri­tiqued in terms of what those actual events were. When­ever you don’t have that infor­ma­tion, which is unfor­tu­nately most of the time, there is no way to know whether it hap­pened or not. Those projects that you know are really cre­at­ing an impact, that they have a pres­ence; it’s almost self-evident. I mean what­ever you want to say about Tania Bruguera’s Immi­grant Move­ment Inter­na­tional, you can go there today and see it. It’s hap­pen­ing right now. She isn’t mak­ing it up.

HR: Can you talk about the ten­sion between use­ful­ness, ambi­gu­ity, and learn­ing out­comes? You men­tion that we eval­u­ate things all the time any­way. How do you eval­u­ate art ped­a­gogy projects?

PH: Cre­at­ing an … [more]
via:ablerism  2015  art  education  helenreed  pablohelguera  socialpracticeart  pedagogy  reggioemilia  informal  accountability  relationships  arteducation  artschools  learning  howwelearn  teaching  howweteach  institutions  revolution  resistance  stabilization  socialengagement  conversation  critique  criticism  alternative  altgdp  museums  museumeducation  schoolofpanamericanunrest  usefulness  ambiguity  outcomes  evaluation  happenings  performance  performanceart  fluxus  hereandnow  taniabruguera  johncage  suzannelacy  context  socialchange  experience  everyday  openengagement  shannonjackson  aesthetics  buckminsterfuller  power  artschool 
february 2015 by robertogreco

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