Category Archives : Aesthetics
Art, Activism, and Technology Lecture Series: Rick Lowe, “Social and Community Engaged Work: The Genuine and the Artificial”
Art, Activism, and Technology Lecture Series: Brett Cook, “Embodying Liberation: A Dialogue on Community and Healing”
Regents Lecture: Performance without Curators: Art and the Public Sphere
Performance and the Art World
Rebecca Schneider, Theater Arts & Performance Studies, Brown University
Peter Taub, Museum of Contemporary Art, Chicago
Malik Gaines, Art, Hunter College
Response by Lawrence Rinder, UC Berkeley Art Museum and Pacific Film Archive
Moderated by Laura Richard, History of Art, UC Berkeley
Panel Discussion: When Presenters Become Curators/When Curators Become Presenters
Curating People
April 29, 2011
Creative Time 2013: Margaret Crawford
Two words that I hate: placemaking and vibrant. Yet I constantly hear these buzzwords in urban planning and design, public art and arts funding, often paired, implying that the first invariably leads to the second. Although I would be happy to blame Richard Florida’s “Creative Class” thesis (see my previous ARC keyword) for popularizing them, this definition of “successful” urban spaces has a much longer history. Both words can be traced back to the 1960s, a key moment in American urbanism, when a new set of values appeared that inverted the dominant view of cities.
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Creative Time 2013: Jesse Rodenbiker
Two Eiffel Towers stand in nearly identical proportions in vastly different locales. Their embodied histories and the meanings they signify are highly divergent. So are the symbolic and material relations to those who live in their vicinity. What does the Tianducheng’s Eiffel Tower replica connote? How is it approached on-the-ground by those who live daily in the shadow as well as those displaced residents moved for its construction?
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Creative Time 2013: Hannah Merriman
An artist organizes a political rally about a local issue. The project, which is supported by a local arts center in a medium-size city, fails to attract many local residents; only a couple dozen people show up, most of whom work at the arts center. The event is documented on video and presented as part of an exhibition. In truth, the artist can claim to have organized a rally?” This is one of the provocative questions that Pablo Helguera raises in his bookEducation for Socially Engaged Art.
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Reimagining the Urban: Margaret Crawford
In 2002 economist Richard Florida published the Rise of the Creative Class. In it he argued that the best way for cities to revive their ailing urban economies was to remake themselves in order to attract a social category he called “the creative class.” At the core of this group were innovative and creative workers whose importance in the new knowledge-based economy could produce new companies, attract jobs and residents, and expand consumption. These benefits would then trickle down to re-ignite local economies, based on the “rising tide lifts all boats” principle.
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