Friday, May 17 PUBLICS PROGRAMMING LUNCHTIME PROGRAMING

Panel Exhibition Workshop Panel Open Platform For OE 2013 Lexa Walsh has collaborated with the curatorial teams to bring conference goers a selection of SOCIOLOGY (OF AND) FOR ALUMS AFRICAN SOLUTION TO AMERICAN PROBLEM: CARE AND RADICAL PEDAGOGY ARTIST TALK lunch time, food-related, programming. SOCIALLY ENGAGED ART PRACTICE A sampling of past, and current works made by alumni of PSU’s READ THE QUR’AN People take supplies from an abandoned school after hurricane For the last four years, Laurenn McCubbin has been working with If we understand the sociological imagination as one which MFA in Art and Social Practice program. Featured artists include Ghana ThinkTank will host a group reading and interactive dis- Katrina and start their own school in a grocery store. Teens and a group of sex workers, interviewing them about their lives in and FOODPHREAKING PDX searches out, designs and reveals interconnections between Katherine Ball, Varinthorm Christopher, Parallel University, Ar- cussion of the Qur’an with members from the community. This adults gather in a museum and lead 10-minute workshops on out of the industry. McCubbin asked them to send her an object FoodPhreaking PDX is a pop-up food hack lab that will be run- personal troubles and social issues, between biography and his- iana Jacob, Zach Springer, Hannah Jickling, Eric Steen, Lexa session will be used as an intercultural workspace, classroom, topics that they are passionate about. Adults with mental diver- that they associate with sex work, so that she could investigate ning in Portland, Oregon in May and June 2013. For Open En- tory, might we not find parallels and intersections between so- Walsh, and Jason Zimmerman. and tea lounge. Copies of the text will be provided and traditional sities are supported in showing their art in galleries and growing how to collaboratively place the products of sexual labor into gagement we will open our lab to conference attendees and ciological method and socially engaged art practice? This work- Moroccan tea will be served. food for 30 families in Portland. Models for collaboration toward new contexts both in and out of the gallery space. For her proj- serve them a small meal. The primary research project at the shop, led by the Institute for Art Scene Studies seeks to critically positive change are emerging everywhere with care as the fun- ect for XCO, she chose four spaces: formal, gallery, installation FoodPhreaking PDX lab is “A Curry for Cascadia”: developing a explore ways that sociological methods might be combined with, Open Platform damental element. Six artists and educators who cite care as be- and public. McCubbin’s presentation for Open Engagement will national dish for the Cascadia Separatist movement. Vegan and or applied to, ways of interpreting art and the performative Panel ing crucial to their practice will discuss their work in relation to show the documentation of the interaction of these sexualized THE ORDER OF THE THIRD BIRD: ATTENTION LAB REPORT gluten free options will be available. scenes art stimulates. Through dialogue we bring into question questions around care as a guiding philosophy. objects with each of these spaces. WHAT’S THE HARM OF COMMUNITY ARTS our received notions of both social and artistic research, while The Order of the Third Bird is a small group of practitioner-friends AND SOCIAL PRACTICE? THE ETHICS The Center for Genomic Gastronomy is an independent re- simultaneously pointing towards new scripts and new perfor- working at the convergence of performance, aesthetic theory, Carmen Papalia, Kristin Lantz, Rachel Mulder, Sunaura Taylor, Carla and what might be termed “art-appreciation.” Their aim is to OF ENGAGEMENT AND NEGATIVE VALUE Bergman, Rozzell Medina, Nat Turner, and Jordan Martin. search institute that studies the genomes and biotechnol- mances in the art world. Project evolve protocols of sustained attention suitable to the occasion Community art and social practice as participatory forms of ogies that make up the human food system on planet earth. The Center presents its research through public lectures, The Institute for Art Scene Studies is a project of Pablo Helguera, of a work of art, and to mobilize this shared practice in a series of art have long histories of engaging publics in contemporary so- MENDING PATRIOTISM workshops, publications, meals and exhibitions. They have Barbara Adams, David Peppas and Adeola Enigbokan. The Insti- interventions and engagements. For this presentation, Sal Ran- cial issues through collaborative engagement in local contexts. Mending Patriotism takes the form of an old-fashioned sewing worked extensively in Europe, Asia and North America. tute brings together artists and social researchers to interpret dolph, an associate of the Order, will report on recent investiga- This turn to community in the arts rarely receives critical re- Open Platform bee, in which participants sew a quilt made from clothing cast genomicgastronomy.com the behavioral scripts and performances, which arise around tions into the topic of attention, touching on history, experimen- view. Amidst the ever positive connotations of “community” and OUT OF THE SHADOWS: off by migrants crossing Mexico’s Sonoran desert towards the contemporary art. tal research, and experience. Particular notice will be taken of “participation,” this panel considers the potential for harm/ UNDOCUMENTED AND UNAFRAID U.S. border. This workshop provides a space for learning and ex- such evidence as has come to light regarding relevant activities negative value in these arts practices. Even as Benjamin (1978) change around the issues of border-crossing, human migration, Annabel Manning’s Out of the Shadows: Undocumented and Un- and theories from earlier times and distant places. encouraged the “advanced” artist on the left to intervene, like and national identity. Quilts have historically been used to signi- afraid is a collaborative art project with the Immigrant Youth TALK IS CHEAP Project the revolutionary worker, he also warned it was “an impossible fy safe houses, most notably on the Underground Railroad. In our Forum, “undocumented and unafraid” Latino high school and Talk Is Cheap. I know it. You know it. We all know it. In fact, place.” Panelists will explore a new taxonomy of potential harm: modern day how do people seeking refuge identify allies? In what GETTING TO KNOW YOU(TUBE) college students in the Triangle area (NC) who are “coming out.” talk is so cheap that is practically free! Yet we sometimes pay a Open Platform non/consensual engagement in public interventions, extended ways can we as individuals participate in nation-wide concerns? Following opening remarks, stick around and share your favorite We created an exhibition with artworks by me, the youth, and us steep price when we misspeak...Talk Is Cheap: Unincorporated colonial practices of exploiting vulnerable communities, poten- What is our collective vision of the future of patriotism and na- YouTube videos with other conference participants as a way of TEENS/PROTEST working collaboratively, all aiming to provoke the public’s com- Language Laboratories has set up experiments that, through tial for spectacle, compromise and collaboration, blurred lines tional identity? On display will also be Juna Rosales Muller’s orig- getting to know each other and the vast wonders that the inter- Teens/Protest is a presentation by Teresa Albor about a solu- plicity. It has seven distinct parts: photo-portraits, sunprints questions about language and miscommunication, explore hy- of copyright, and the increased instrumentalization and insti- inal quilts made from migrants’ discarded clothes. net has to offer. Show us something funny, informative, musical, tion-based project addressing the artist’s analysis of the lack (plus Rogues gallery), monoprints, interactive installation with bridizing migrant practices. T.I.C believes alternative forms of tutionalization of “outsider” practices by government and art cute, mystical—whatever you’re into! Together, we will climb into of institutional attempts to challenge negative media imag- cameras and mirrors, photo IDs, surveillance room and sound- knowledge are valuable, so we have taken our research to the worlds. es of protest or provide historical context in Chicago. Working bites. The exhibition opened at Duke University in April 2013, and YouTube’s deepest caverns of collective consciousness and un- Open Platform street. Our first lab is Pura Cháchara, a mobile bike-b-q unit through an established high school art programme run by art- later at the Levine Museum of the New South. earth hidden treasures, stretching the boundaries of what tubes Dr. Marnie Badham , Amy Spiers, Dr. Kathleen Irwin, Claude Schryer which we use to collect oral histories about miscommunication and you were meant for. ists, Teresa Albor has been enabled to explore protest with teens AFFIRMATION HOTLINE in exchange for delicious homemade arepas! through music, the creation of protest props and mock protests, Affirmation Hotline is a project by Lisa Ciccarello and Steve Getting to Know You(Tube) was started in 2011 by artists Crys- with the assistance of local artist John Swain. The work is less Project Open Platform Leathers that uses an automated answering service to deliver Silvia Juliana Mantilla Ortiz is a transnational artist with con- tal Baxley and Stefan Ransom as a way to cruise YouTube with about approaching social activism through appropriation of affirmations when needed. The project was born from the desire stantly expanding roots. Her notions of home and belonging strangers. It’s currently held on the first Monday of every month activist imagery (the hand-made sign, the protest gathering) TAKE-A-PENNY, CONSTRUCTING ZION to take a technology largely used to dehumanize phone commu- continuously swell in order to include the many places where at Portland’s historic Hollywood Theatre and supported by the and more about planting a concept/ideas in the open minds of LEAVE-A-PENNY UNIVERSITY Constructing Zion is an ongoing documentary photography and nication and reappropriate it in order to provide a source of posi- a piece of her being resides; these include Bogotá, Colombia; interknitting skills of Mike Merrill. gettingtoknowyoutube.com teens—leaving this behind as a non-material legacy. Without conversation, what’s the point of coffee? For 18th-cen- writing project by Talena Sanders examining land use and do- tivity and inspiration. Calling cards for the hotline will be handed Edison, NJ; Providencia, Colombia; Williamstown, MA; Giron, Co- tury Londoners, there wasn’t any. Their preferred form of coffee mestic space in the border towns of Hildale, UT/Colorado City, AZ out during the conference, and attendees will be encouraged to lombia; and Los Angeles, CA. shop was the penny university, a name not chosen coincidental- the largest known community of polygamists in America, large- call 503-360WELL at any time before, during, or after the con- Project Open Platform ly: after paying a one-cent tuition charge, visitors could learn, ly made up of members of the Fundamentalist Church of Jesus ference. We’ll also be taking suggestions for additional affirma- teach, or debate one another. Coffee was complimentary, pro- Christ of Latter-Day Saints sect. Houses are frequently left SPEED IDEATING ART ACTIVIST COHORT tions from conference-goers (via a suggestion box) as part of vided to encourage discourse. unfinished, and basic maintenance is lapsing around the town the conference participation. Speed Ideating is an activity for quickly getting in deep and wide The interactive and shared nature of story circles is an integral as their prophet, Warren Jeffs, predicts frequent doomsdays. A with a bunch of new people. This rousing and intimate event fa- methodology to address the public of youth as well as promote Take-A-Penny Leave-A-Penny University, a project by Sean visual symbol of their absolute faith in Warren Jeffs, these un- Event cilitated by Ariana Jacob invites Open Engagement participants story-telling as a tool in social justice. Through a presentation Schumacher, would recapture that spirit by opening a space for finished homes communicate the desire of the faithful for the SHINE A LIGHT 2013 to share their ideas and get a feel for each other through a swift by Erin Hylton based on the story circle method, participants will SHINE A LIGHT 2013 anyone with expertise—formal or informal, mundane or esoter- day of the “lifting up.” series of 2 minute face-to-face conversations. Join us for a gain powerful tools to work with youth and how to connect youth ic—to share. Keeping with the conference’s spirit, even the 1¢ AT THE PORTLAND ART MUSEUM round of fast, facilitated discussions with other conference at- to social issues. The exercises are based on creating a sense of cost would be replaced with tokens that could be exchanged as Shine A Light 2013 once again asks visitors to reconsider what is FRIDAY MAY 17, 6PM-12AM tendees about Social Practice, Art and Existence. community and shared experience. In sharing their story, they in take-a-penny leave-a-penny trays. Open Platform possible in a museum. Join us to engage with the Museum in un- THE PORTLAND ART MUSEUM now bridge connections to each other and to social issues. expected ways and celebrate socially engaged works of art. A mix 1219 SW Park Ave. Portland, OR 97205 I PAINT YOU. YOU PAINT ME of artist-driven installations, performances, and interventions Workshop Project “There are two easels facing each other. I am at one, you at the will take place throughout the Museum campus offering an ex- $15 general admission PUBLIC SOCIAL UNIVERSITY/LETS Panel other. Paint, brushes, canvas and painting uniforms are provid- citing opportunity to rethink your relationship to art. This year SOUND POLLINATION ed. We have about thirty minutes to make portraits of each other. Public Social University (PubSoU) is an ongoing forum for creat- VERSUS: GAME FORMS FOR Shine A Light welcomes noted artist and educator Paul Ramirez Free for: Sound Pollination is a conversation that serves as rich content After we are done, you take the painting I made of you and I keep OE Presenters, Museum members, ing free learning events in art galleries, public parks, cafes, mu- SOCIAL PRACTICE Jonas, who is helping to shape the experience of the night in for a live radio program recording at Open Engagement, which Students with college pass, and those 17 and under the one you made of me. So far, I painted 49 portraits of you and partnership with artists and Museum staff. Shine A Light is a seums, and other accessible venues. It was founded in 2008 by This panel will address the social forms embodied in sport and will broadcast on KILI radio in Pine Ridge Reservation, South Da- you painted 49 portraits of me.” collaboration between the Museum and Portland State Universi- students at Portland State University. Recently, PubSoU Co-Di- game cultures. Panelists include Ted Purves and Zachary Walter, kota. Our invitation is to talk with each other, exploring the ways ty’s Art and Social Practice MFA program. For more information, Artists rector Rozzell Medina has been exploring possibilities of utilizing who will discuss Role-Playing Games and Purves’ forthcoming that artists engaged in social change promote growth, transfor- This is the working text of the project. Piero Passacantado will a LETS (Local Exchange Trading System) as a means of sustain- monograph on Social Practice and form; John Muse and Matthew please see the sidebar to the right. mation, and rich community. discuss how it came to be, its influences and offer some reflec- Alysha Shaw Kelsey Snook ing and expanding the work of individuals endeavoring to create Callinan, who will discuss a recent exhibition at Cantor Fitzger- tions on its realization and implications. Travis Neel Molly Sherman free, social learning communities. LETS nurtures meaning and ald College entitled And the Winner Is Nick Kahn; Lee Walton, who We will weave the stories gathered at OE to those of indige- Dillon de Give Lexa Walsh empowerment in economic participation without mimicking one- will discuss his many sport and game projects; Lauren Ruth, who nous and Native communities, discussing the impact that each Erin Charpentier Grace Hwang to-one transaction pitfalls of capitalism. During this workshop, will discuss a recent project for Imperfect City and Drift, the of these unique spaces have in nurturing and sustaining social Open Platform Paul Ramirez Jonas Heather Donahue Patricia Vazquez Zachary Gough participants will learn more about LETS and PubSoU by creating Delaware Center for the Contemporary Arts Running Club; and transformation. Quirky, funny, bold, chatty types: welcome! This FUN-A-DAY Sharita Towne Jen Delos Reyes their own hypothetical LETS as well as a spontaneous PubSoU Sal Randolph, who will discuss her play experiences in World of project is presented by Mi’Jan Celie Tho-Biaz. Eliza Gregory Nolan Calisch Fun-a-Day began with a simple premise: do something every day event cultivated from public knowledge. Warcraft as they relate to her social practice work. Betty Marin Erica Thomas in January, then show your work the following month in a big John Muse, Matthew Seamus Callinan, Ted Purves, Zachary Walter, show. Since its inception in 2004, the project has spread to over To see a complete schedule please visit: Sal Randolph, Lauren Ruth, Lee Walton 25 cities and has shown thousands of pieces of art. Nick Lally, tiny.cc/shinealight2013 who began the project, is in the process of interviewing partic- ipants and organizers in an effort to piece together a history of the project for a book commemorating the tenth anniversary of the project. He will present excerpts from this document along with images of the Fun-a-Day projects.

ORGANIZERS

ERIN CHARPENTIER is a graduate stu- ZACHARY GOUGH makes festive, social BETTY MARÍN is an artist, educator, TRAVIS NEEL is a graduate student in PATRICIA VÁZQUEZ is an artist and MAY 17 dent in Portland State University’s and conversational artworks that and social justice worker from Wilm- the PSU Art and Social Practice pro- filmmaker with 7 years of experience Art and Social Practice MFA program. critically explore personal values. He ington, CA. Some of her foundational gram. He is an artist with a back- as community based organizer and She is an artist and educator with a holds a BFA from Mount Allison Uni- work has been with Slanguage Studio, ground in education and social jus- educator. She has created videos, working background in the non-profit versity in New Brunswick and is an an L.A. based artist collective, and tice. His projects aim to redistribute installations, books and situation sector. She focuses on projects and MFA candidate in the Art and Social Witness for Peace, an international cultural and economic capital with based work with and about the immi- programs that are community based Practice program at PSU. Latin American solidarity organi- multiple publics. grant communities of the places she and collaborative with a participato- zation. She investigates issues of has lived in. She has started to define ry pedagogical approach. immigration, education, and empow- relationships, social processes and erment in the MFA in Social Practice taken-for-granted ethics in commu- program at PSU. nity dynamics as the main materials of her artistic practice. She is also a committed painter and printmaker.

CONTRIBUTORS

Based between Chicago and tics of cultural measurement. computer programmer inter- RACHEL MULDER is a learning games, money, and language. ideas around embodiment, New York City, MICHAEL RA- ested in digital media, collab- coordinator at Project Grow, Her Money Actions have been theories of care, and disability KOWITZ* is an Iraqi-American CARLA BERGMAN is a commu- oration, participation, radical an open Art studio and organ- seen recently on the streets and animal rights. conceptual artist who oper- nity organizer, a curator and political theory, mathematics, ic farming project for adults of New York and in No Longer ates within art spaces and a program coordinator at the education, space, and bicycles. with mental diversities in Empty’s takeover of an aban- MI’JAN CELIE THO-BIAZ is a beyond them. With his series Purple Thistle Center in Van- He teaches at the California Portland. doned bank building in Long Doctoral Candidate in the field paraSITE, Rakowitz built cus- couver. She establishes in- College of the Arts and The Island City. She is currently of International and Multicul- tomized, inflatable shelters clusive spaces that empower San Francisco Art Institute. JUNA ROSALES MULLER is a fab- teaching on the topic of at- tural Education, and cultural for the homeless using a mere youth to learn, make and do. He lives and works in Oakland, ric artist, printmaker, outdoor tention as an IHUM fellow at worker and documentary art- budget of $5.00 for plastic California. educator, and agricultural Princeton University, and in- ist in Santa Fe, New Mexico. As bags and waterproof tape for MATTHEW SEAMUS CALLI- worker. Her work with mi- vestigating experience value, an independent community each project, and the exteri- NAN has been the Campus KRISTIN LANTZ is an artist and grants’ clothing began while and play. radio producer and host, she or vents of buildings for heat. Exhibitions Coordinator for educator at the Columbus Mu- leading teenagers on trips to works in artistic and Native In Return, produced by Cre- Haverford College since 2007. seum of Art who fosters sin- the U.S.-Mexico border. She LAUREN RUTH is a multi-dis- communities using the power ative Time in 2004, Rakowitz Curated exhibitions include cere and lasting relationships believes you don’t have to be ciplinary artist whose col- of narrative as a transforma- reopened his grandfather’s Problemy featuring the work between cultural institutions an expert on immigration to be laborative and participatory tive tool for social change import and export business, of Steven and Billy Blaise Du- and the communities they an ally. Based in rural Oregon, projects engage hierarchies Davison’s & Co., which first fala and And the Winner is Nick serve. Her many socially-en- she is currently employed at a of achievement. Working with NAT TURNER is the founder of operated in Baghdad and then Kahn co-curated by John Muse. gaged programs are models tangerine-packing factory. the race as a material form, Our School At Blair Grocery, a relocated to New York when Collaborating with co-cura- for connected learning that Ruth recently organized the sustainability education cen- his family was exiled in 1946. tors Harrell Fletcher and Jens utilize creative exhibition JOHN MUSE is an artist, writer, Three Month Marathon, the ter whose experiential curric- Rakowitz’s resurrected family Hoffmann, Callinan assisted strategies in order to docu- and curator. He is currently world’s slowest marathon that ulum drives community devel- business offered free shipping in the creation of the People’s ment, highlight and share the the Postdoctoral Fellow in Vi- challenges notions of athlet- opment in the lower 9th ward to Iraq three months after the Biennial, an exhibition sup- possibilities of institutional sual Studies at Haverford Col- ic success through collective of New Orleans LA. U.S. declared stifling trade ported by Independent Cura- and community collaboration. lege’s John B. Hurford Center ambulatory action. Ruth is ZACHARY WALTER is a writ- restrictions on the country. tors International that toured for Arts and Humanities. His Assistant Professor of Art at er and theorist interested in Spoils of 2011, another Rakow- the US in 2010-12. STEVE LEATHERS is a project media and installation works the University of Tennessee the blurred relationship be- itz and Creative Time collab- associate at an Urban Planning, and curatorial projects can be at Chattanooga and she and LISA CICCARELLO is a Portland tween gaming and society. An oration, took a more provoc- Design, and Landscape Archi- seen at finleymuse.com; his curator Maiza Hixson co-direct poet and the author of four avid player of games since he ative and personal approach tecture firm in Portland. He last papers can be found at haver- the Shaft Space, a mobile gal- chapbooks. She last collabo- was introduced to Advanced to American-Iraqi relations. collaborated with Lisa Cicca- ford.academia.edu/JohnMuse lery as work of art originally rated with Steve Leathers on Dungeons and Dragons at the Housed at Park Avenue Autumn rello on Joyography, a crowd- founded in an elevator shaft. Joyography, a crowd-sourced CARMEN PAPALIA is a Social impressionable age of five, he restaurant, the “culinary/art sourced map of joy in Portland PUBLICS map of joy in Portland at Open Practice artist that makes has taught at Eastern Ore- experience” provided patrons at Open Engagement 2012. TALENA SANDERS is a second Engagement 2012. participatory projects on the gon University and California with rich traditional Iraqi year student in the Duke Uni- ANNABEL MANNING, a partic- topic of access as it relates College of the Arts. Presently, dishes served on rare piec- versity MFA in Experimental GHANA THINKTANK is develop- ipatory artist working with to public space, the Art insti- he teaches a course on the in- es of fine China from Saddam and Documentary Arts. Her ing the “first world”. “Third undocumented youth in North tution and visual culture. He tersection of games, Western Hussein’s personal collection. interdisciplinary practice ex- world” think tanks propose Carolina, was born in Mexico invites others to embrace as- culture, and the postmodern More surprising than the sen- plores relationships between solutions, to first world prob- City, has a B.A. from Sarah pects of disability experience subject at the University of sory tensions experienced by personal identity, visual and lems. Solutions are then put Lawrence College and a B.F.A. as a productive way of being. South Dakota. each diner, notably the con- material culture, dress and into action. Some actions pro- from Massachusetts College trast between the “sweetness adornment, spiritual practice, duce workable solutions while of Art, and is currently com- PIERO PASSACANTANDO is a so- LEE WALTON is an artist who of the Iraqi date syrup, and and geographic place. Her others create intensely awk- pleting an M.F.A. in Experi- cial practitioner and a painter. works in a variety of media, the…bitter provenance of the work combines experimental ward situations, as we play out mental and Documentary Art In his social projects, he ex- from game/system based dishware,” was the dramatic cinema, documentary and ex- different cultures’ assump- at Duke University (degree ex- plores innovative frameworks structures and web-based conclusion of the project. A perimental ethnographic ap- tions about each other. pected May 2013). to foster interaction. In his proaches. performances to situations cease-and-desist letter from paintings he focuses on pat- and events. He holds an MFA in the State Department call- ERIN K. HYLTON is a cultural JORDAN MARTIN is a sophomore tern and color. Recently, he SEAN SCHUMACHER is an inter- Art from the California College ing for the “surrender” of the organizer, social justice advo- at The Cooper Union in Man- has blended these two as- disciplinary artist and graphic of the Arts. Walton is an As- platesabruptly ended Spoils, cate, mentor, and artist who hattan. Currently on leave, she pects of his practice into par- designer. His works explore of- sistant Professor of Art at the and resultedin their return currently works as Schools is applying to Harvard and de- ticipatory painting projects. ten unintentionally collabora- UNC at Greensboro. His work to Iraqi territory. It was, ac- Programs Coordinator at The veloping a curriculum of care. He lives and works in NYC. tive actions in urban sites. He and musings can be viewed at cording to Rakowitz, a “kind of Studio Museum in Harlem. In has shown in Las Vegas, Port- leewalton.com perfect” ending to the project. practice she works on commu- TED PURVES is a writer and land, and San Francisco, and *Keynote Presenter nity efforts with youth using artist based in California. His has permanently-sited works LAURENN MCCUBBIN is a mul- creativity and artistic expres- public projects and writing in- in both Portland and Las Ve- TERESA ALBOR is an interdisci- timedia artist specializing in sion. Erin’s personal mantra vestigate localism, systems of gas. Schumacher received his plinary artist based in Chicago immersive video installation, is to “Take Action, Create exchange, and critical occupa- MFA from Portland State Uni- IL and London, UK. A graduate large scale images and social Change”. tions of social forms. His col- versity in 2012. of Chelsea College of Art and practice. Her work investi- laborative work with Susanne Design, she is interested in DR. KATHLEEN IRWIN’S teach- gates the fluidity of gender Cockrell can be found under AMY SPIERS is a Melbourne- projects that are performance ing and research focuses on expression and presentation, the name of Fieldfaring (field- based artist who employs a based and which blur the scenography, set and costume along with how outsider com- faring.org). Purves founded cross-disciplinary approach boundaries between audience design and performativity in munities are simultaneously the MFA concentration in Social that includes photography, and author. She has lived and found-space performance. celebrated and denigrated Practice at California College video, installation, text, per- worked in London, Eastern Eu- Before joining the faculty at for moving outside of social of the Arts in 2005 and is cur- formance and public interven- rope and Asia. the U of R, she worked for ten norms. She graduated with an rently the Chair of the MFA Fine tion for both site-specific and years as a Sessional Lecturer MFAEDA from Duke University Arts Program. An expanded DR. MARNIE BADHAM Original- gallery contexts. Amy complet- at the University of Ottawa in 2013. new edition of Purves’s book, ly from Canada, Marnie is an ed an MFA in 2011 entitled The and for fifteen years as a free- What We Want is Free: Generos- artist-researcher exploring limits of sociability: An explo- lance theatre designer. Irwin ROZZELL MEDINA is an art- ity and Exchange in Recent Art, representational practice (art, ration of the possibilities and has designed over 150 pro- ist, musician, writer, activist, (2005) will be released in early policy, research) and collab- pitfalls of participatory art. fessional shows for theatre, gardener, and friend. He is 2014 by SUNY Press. oration with communities in opera, dance, film and video as Co-Director of Public Social SUNAURA TAYLOR is a painter the margins. At the University well as community-engaged University (PubSoU) and the SAL RANDOLPH lives in New and writer that holds her MFA of Melbourne, her practice-led projects. Coordinator of Chiron Studies York and makes artworks in- from the University of Califor- research investigates social- OPEN ENGAGEMENT 2013 at Portland State University. volving social interactions, nia Berkeley. Her work explores ly-engaged arts and the poli- NICK LALLY is an artist and PUBLICS

“If you are reading (or hearing) this, you are part of its public. So first let me say: Welcome.”

—Michael Warner, Publics and Counterpublics What constitutes a public? How is a public formed? Where is the public in public art? Who is affected in socially engaged art? Who is engaged? Who is excluded? Who benefits? Who is your public(s)? In this line of programming we are investi- gating the concept of publics (communities, audiences, or- ganizations, strangers, partic- ipants, consumers) and the is- sues relating to working in the public sphere (public art, civic engagement, education, jour- nalism and more). May 18 LUNCHTIME CONTEXTS PROGRAMMING PROGRAMING

Panel Presentation CraftPerspectives | Symposium Open Platform The Basics of Remix Videos as a Form of Active Resistance to Open Platform For OE 2013 Lexa Walsh has collaborated with the Dominant Cultural Hegemonies: This workshop is designed CRAFT + SOCIAL PRACTICE: MODEL MODEL UNITED NATIONS) THE KNITTING PROJECT curatorial teams to bring conference goers a selection of ON HIATUS: THE IMMINENT for artists who wish to experiment with film to engage with ORGANIZED BY THE MUSEUM OF CONTEMPORARY CRAFT Model Model United Natins: Issues in Practice was a participatory The Knitting Project addressed a need to engage folks in a nurs- lunch time, food-related, programming. IMPOSSIBILITY OF THE ART STRIKE and respond to a contentious topic in their community or the GABRIEL SALOMAN event presented by the CCA Social Practice Workshop. The goal ing home who were understimulated and bored. A cross gener- Craft + Social Practice is a project of the Museum of Contem- popular media. Calling on the history of activist film makers of Model Model UN was to appropriate the form of Model United ational effort invited participants to engage in creating public THE LEGACY OF SITE SPECIFICITY: porary Craft that will explore the role of craft-based media and and contemporary remix artists, the workshop will question Nations to examine contemporary art, specifically Social Prac- art. Suzanne Morlock as project inventor and facilitator, coaxed SILENCE SOCIALLY ENGAGED ART SINCE THE 1990S technique in relation to social practice. In recent decades, many whether and how film can intervene with and influence people, tice. Participants drafted a resolution, followed by a public Ox- participants to think without traditional outcomes and embel- “Silence!” is a communal dining event loosely based on the tra- MICHAEL BIRCHALL artists have turned to an interdisciplinary approach to making movements, and politics. Topics include culture jamming, viral ford-style debate. The three participants will present the event lish outdoor animal statues in Jackson Hole Wyoming. Self se- ditions of Zen practice. Moro will prepare a traditional Japa- PIRATE TROPIC: CULTURAL that draws from a range of materials and processes. The use of videos, international community media movements, media as well as facilitate a brief discussion addressing the topics that lecting involvement, some participants created a vision togeth- nese vegetarian meal to be shared with various constituents BOOTLEGGING IN COLOMBIA, handcraft with project-based works has become an increasing literacy, copyright and creative commons law. came up during and after the event. er, others had ideas but didn’t want to knit, while others learned from the local community. During the meal, participants are JUAN OBANDO trend. Perhaps rooted in the counterculture and DIY movements to knit. The knitting sessions created a nexus and possessed asked to share, eat and finish the dishes in silence. The deaf- The art market is institutionalized. Art power is geographically of the 20th century, craft has become a compelling vehicle to Project its own rhythm and interpersonal social form. Ten statues were ening silence encourages participants to appreciate sharing, bring together collaborators to engage in social work, ranging imbalanced. How do artists and cultural workers engage these Open Platform adorned and on exhibit through the winter 2012-13. eating and harmony. facts en masse, as a part of larger movements? And what is the from critical resistance to collaborative gesture. BLIND FIELD SHUTTLE MEMORY/LOSS lineage of framing socially engaged aesthetic campaigns into Carmen Papalia’s non-visual walking tour, the Blind Field Shuttle, Takeshi Moro attended Brown University, where he received his This symposium seeks to explore: How can practices that have Relational aspects of memory are brought into focus working art exhibition histories? Three presentations, three glimpses is an experience in which up to 50 people can walk with the artist Project BA in Economics and Visual Arts. He received an MFA from The traditionallyemphasized the production of objects play a part as an editor on Henry’s autobiography. He is experiencing the into histories of art and social practice. through urban and rural spaces while closing their eyes. Each School of the Art Institute of Chicago in 2008. He is currently in a contemporary art movement that is invested in dialogue loss of his short-term memory while culling the archives of his THE HAPPIEST HOUR OF FOLK SONGS instance of the Blind Field Shuttle is an invitation to explore Assistant Professor of Art and Art History at Santa Clara Uni- and the social as a means of production? What is it about craft- long-term memory for the story of his life. In this presentation, The Sopractical Sisters will serenade your weary ears with orig- the possibilities for learning and knowing that become avail- versity. based media that is appealing to socially-engaged artists and Tamarind Rossetti will share her video and text work created in inal arrangements of their favorite folk songs. They will compel Panel able through the non-visual senses. Participants line up behind how is it being engaged? How has craft always been a social response to this experience. you to sing along, because, yes, even artists and academics can RURALSCAPE Papalia, link arms and close their eyes for the entire hour-long practice, from workshop to dining table? sing. Drink some whiskey, or a fine microbrew, and tap your foot experience. After using their non-visual senses for a prolonged RURALSCAPE brings together seven innovative artists and col- to the sound of harmonious human experience. You don’t have to CACTUS COMESTIBLE amount of time, participants begin to recognize sight as one of lectives whose work complicates and informs our ideas of ‘rural’. A Roundtable Conversation featuring artists Gabriel Craig, Ayumi Open Platform worry about understanding lectures anymore. Turn to your neigh- the many ways in which to interpret a place. desert ArtLAB will prepare a cactus-based meal to engage din- These socially-engaged artists live in villages, on farms and even Horie, Stacy Jo Scott of Craft Mystery Cult, and Michael J. Strand. SOCIALLY ENGAGED ARTIST RESIDENCY PROJECT bor and tell that person a story about the most exquisite time you ers in discussing what we forfeit when our relationship with in cities, and are working on projects that are deeply connected In recent decades, many artists have turned to interdisciplinary ever had with a work of music. Hell, ask them to dance. Welcome This Socially Engaged Artist Residency Project addresses ques- native ecology is sacrificed. This multi-sensory presentation to less-peopled places, their histories, resources, economies practices that draw from a range of craft-based materials and to The Happiest Hour of Folk Songs you never even knew you loved. tions of how place—in this case a rural village in upstate NY—in- Open Platform utilizes desert ecologies and foods to examine paradox of place, and culture. After quick “show and tell” presentations, we will processes. Rooted in countercultural and DIY traditions, craft has tersects with questions about who is the public in public art. I identity, and sustainability. Through multimedia performance lead a lively discussion using a talk-show format to highlight the become a compelling vehicle to engage in social work, from critical CAMP OUT hope to create community wide investment and participation. and social art projects desert ArtLAB utilizes urban space and individual creative responses to issues associated with working resistance to collaborative gesture. This roundtable will explore: Camp Out takes place on August Farm in the Pacific Northwest Project Prior to the 3 week residency in July 2014, village residents will cactus as tools to engage residents to reclaim desert ecology in the “ruralscape.” We’ll pose questions that help reveal strate- How can practices that have traditionally emphasized the produc- each summer. It aims to foster solidarity and empowerment review and select artists’ projects. Residents will provide lodging BEERS MADE BY WALKING and indigenous knowledge systems through intervention and gies, troubles and delights. Visit ruralscape.org for an archive of tion of objects play a part in culture making invested in dialogue “Value Judgments of (relational) Aesthetics” will address issues in their homes and meals for the artists. Materials, resources and Beers Made By Walking, a project by Eric Steen, invites brewers food practice. artists, residencies, and resources. as a means of production? What is it about craft- based media around the struggle to evaluate the value and success of socially exhibition space will be provided by community and civic organi- onto nature hikes and urban walks. Along the way we identify ed- that is appealing to socially-engaged artists? How has craft al- engaged art. Having witnessed contentious debates about this desert ArtLAB is a Phoenix-based initiative dedicated to a so- Moderators: M. Michelle Illuminato, Brett Hunter, Linsey Laserte, zations. Let’s have a conversation about how this will work. Me- ible and medicinal plants and the brewers make beer inspired by ways been a social practice, from workshop to dining table? issue in contemporary art theoretical and critical discourse as cial art practice exploring connections between ecology, cul- and Ethan Martin. Panelists: Sarah Kanouse (Compass), Susanne lissa Sarris would love to hear your questions and considerations. the flora from the trail. For Open Engagement 2013 we will con- well as within the community, this talk presented by Macon Reed ture, and community. Through multimedia performance, visual Cockrell and Ted Purves (Fieldfaring), Matt Garcia, Joe Jeffers duct a neighborhood walk in Southeast Portland with Coalition Paper-Bag-Lunch Breakout Discussion Sessions will look at the way in which socially engaged art is evaluated and social art, desert ArtLAB informs a discourse of Phoenix’s Brewing and Upright Brewing. Walkers can give their thoughts (Harold Arts), Rhonda Janke, Ryan Griffis and Sarah Ross (Re- These two discussion sessions, moderated by artists who en- from different categorical perspectives, in an attempt to de- Performance urban landscape, while challenging residents to consider how gional Relationships), and Richard Saxton and Kirsten Stoltz (M12 and opinions to the brewer as we go. The brewery will make their gage craft and social practice, will continue to unpack the re- fine criteria that can be applied across various contexts of work. native ecology can inform identity, progress, equality and the Collective) decisions and brew the beer in late May. The beer will be available lationship between the materials and methods of handcraft and RAINBOW COALITION PUPPET SHOW The talk will attempt to unpack popular arguments, and propose sustainability of desert culture and communities at Portland Beer Week in June and a special Beers Made By Walk- socially-motivated culture making. a new set of criteria that can be universally applied across the A mermaid advertises for social justice in an informational re- ing event in October 2013. port covering the late 1960s and early 1970s community and many forms of socially engaged art. Project Discussion 1 How can artists bring the past forward, using craft youth organizing of Chicago’s Rainbow Coalition and Fred Hamp- as a framework to leverage a broad cultural legacy in the pro- THE MAKING OF TALZAR ton of the activist Black Panther Party Illinois Chapter, his work Ongoing Project duction of contemporary work? Moderated by Ayumi Horie and Open Platform The Making of Talzar chronicles Amanda Herman’s in-depth ex- stopped short in his assassination by the police and FBI. In a Stacy Jo Scott. VOX POPS PODCAST: DAILY REPORT change with Saad Mulhadin, an Iraqi who’s translating his dislo- theatrically underwater room, this piece advertises for work AID FOR USA AND CANADA cating experience as a refugee in Sweden into an epic, allegorical and research into continued community action by pairing beauty Discussion 2 What is the position of the artist and of the au- Aid for USA and Canada is a collaborative performance, sculp- Vox Pops is a journalistic investigation of this year’s corner- science fiction story. Since Mulhadin escaped Iraq during the with revolutionary politics and looks at this Chicago movement’s dience within project-based works that grant objects—or their ture and archive that investigates the monetary and political stone themes in the form of twenty-minute podcasts avail- Gulf War he’s been creating an imaginary world based on his ex- legacy, collating community organizing in the city today and cit- production—social agency? Moderated by Michael J. Strand and relationships of Canada, the United States and Haiti. The proj- able to stream each morning of the conference. Vox Pop(uli), periences and dreams. The collaborative project includes maps, ing current city policy shortcomings which Hampton addressed Gabriel Craig. ect began during the 2011 Ghetto Biennale when artist Allison Lt. “voice of the people,” is a reporting style that surveys the costumes, objects (such as a prototype of a time travel machine) in his holistic and revolutionary approach. Rowe took on the role of a contradictory foreign aid worker, street spontaneously posing the same question to members of photographs, and a short film. Herman will focus on the com- MADE IN HAITI Workshop: collecting rather than distributing aid in Port-au-Prince. The the general public. Here, the prompts are derived from stat- plex context of the project, from the minute details of a person’s Social Practice as a Model for Social Entrepreneurship audio and object donations she received ranged from activist ed conference concerns, such as “What constitutes a public?” imagination to the immense geopolitical ramifications of war Workshop Frau Fiber has organized a participatory workshop that explores sculptures to refuse off the ground, Haitian cooking lessons, or “How is a public formed?” To provocate these issues on the and forced migration. Social Practice and its existing or imagined relationship with So- INSIDE THE HIDDEN DRAMAS and pleas for help. The archive will begin touring in June of ground level, collaborating reporters target active partici- ORGANIZERS cial Entrepreneurship. Related to MADE IN HAITI, an ongoing proj- (AND CONCEALED COMEDIES) OF RELATIONAL ARTS 2013, and will be expanded during a second round of collections pants of the event and casual observers alike. This project is ect that created a self-sustaining alternative supply chain of PRACTICES (AND PRACTIONERS): later this year. presented by Tori Abernathy. Panel Presentation product handmade by Haitian garment workers, this project will A WORKSHOP EXPLORING IMAGES OF (IN)CONGRUENT DILLON DE GIVE is an artist and educator. His work has been pre- TACTICAL INJUNCTIONS: consider the transition from a Social Practice hybrid art/fash- EXPERIENCES IN THE PRACTICE OF RELATIONAL AESTHETICS sented with The Center for Urban Pedagogy, Proteus Gowanus, AN INVITATION TO TREAT ion/garment brand to a Social Entrepreneurship model of small- IN INSTITUTIONAL CONTEXTS: Open Platform Ongoing Project The Portland Art Museum, Flux Factory, Catch!, Guapamacáta- scale manufacturing as a viable alternative to free trade zones. A COMEDY TO SOME, A TRAGEDY TO OTHERS. The Treaty of Waitangi (1840) represents a living and ongo- RIGHT NOW YOU’RE IN THE SAFEST OF HANDS TEA ro in Michoacán, Mexico, and The Center for Contemporary Art ing socio/cultural partnership between New Zealand Maori and If there is a resonance between you and this workshop title, Santa Fe. He is a co-founder of The Walk Exchange. Right Now You’re in the Safest of Hands is a multi phase project TEA is an ongoing project that utilizes the space created when the Crown. By referencing social norms, legislation and case please consider joining us as we explore what happens when Open Platform focused on maintenance, neighborhood repairs, and online col- someone sits, sips, and reflects over a cup of tea to demonstrate histories which stem from this (unenforceable) partnership, things go sideways (and smoothly) with collaborators, present- ALYSHA SHAW is an interdisciplinary artist based in Santa Fe, lectivity. After compiling a sizable database of videos, the artist a shared humanity. During the TEA performance, just as Iraqis this project by Layne Waerea will demonstrate, through docu- PHILIP VON ZWECK ers, funders, (social) media, and the public… as well as within New Mexico. She works with performance, music, video, inter- Clint Sleeper will invite participants to create videos of their own offered tea to Aaron Hughes while deployed to Iraq, he makes mentation of performative interventions in public and private ourselves… when we take relational practices inside institu- active arts, sculpture, installation, writing, and community Artist, occasional curator, and frequent organizer Philip von showcasing the repair of each participant’s own neighborhood. and offers tea in the Iraqi tradition. However, the tea is served in spaces, how knowledge of the legal and cultural frameworks tional contexts. Drawing on time-tested methods from dif- organizing. Shaw’s current work explores the intersections of Zweck will discuss the trajectory of his work from his origins as a Submitted work should showcase repairs or maintenance made styrofoam cups mimicking the cups given to detainees at Guan- can be used to identify “legitimate” spaces within these sys- ferent parts of the Relational Theatre Tool Kit, invitations will art, politics, and folk culture. painter to sound artist; producer of the weekly submission-only to the participants’ locale. The artists submission platform will tanamo Bay. The hour long performance consists of a series of tems, where the modes of behaviour can be challenged, cri- radio program Something Else (WLUW FM, 1995-2010); through be extended (gently, incrementally) to take up the image-rich encourage video uploading from phones and digital cameras, stories and group discussion that in the end are not about tea ERICA THOMAS uses the forms of documentary, workshops, and tiqued and ultimately exploited through performative, artistic public and collaborative projects such as Temporary Allegiance language of theatre as a means of social connection, collective after the video is categorized, it will be algorithmically added but about engaging with uncomfortable subjects such as op- public events. Her recent work explores how humans under- means in the complex social. (Gallery 400, 2005-present) a 25 ft flag pole located on state inquiry and community expression. In Relational Theatre people to the constant stream on the website, and made available for pression, war, and racism. stand and interact with urban ecological processes, and the property that anyone can sign up to fly a flag on for a week at are free to move between witnessing and participating. No the- online viewing. ways an urban experience affects our relationships to place time to; the Fryvaly: you bring it, we fry it, you eat it (with Kevin atre background necessary. Presented by the Rhizome Theater. Panel Presentation and to each other. Jennings, 2007-2009); and A Work by Philip von Zweck (Perfor- Ongoing Project THE LAUNDROMAT PROJECT ma11, NADA HUDSON/ Invisible Exports, MDW Fair/Chicago Art Open Platform ENVOY SENDING SERVICES (ENVOYSS) SHARITA TOWNE is pursuing an MFA in Art and Social Practice. As Review) which produced free, limited edition, print-on-demand Workshop What happens when your artist-neighbor takes over the televi- ADDRESSING POWER an artist she’s interested in unpacking our historical burdens. ENVOY SENDING SERVICES (ENVOYSS) is a face-to-face-to-face sion screens at your local laundromat? Or what if she offers yoga works by approximately 30 artists. MEDIA CONTEXT She’s undertaken this work at memorials, in Saharawi refugee Power can be traced in each interaction. As one person acknowl- communications provider, a project by Matt Carlson and Alex and portraiture classes instead? How could an art class between Open Space Documentary While we love their gutsy vigor, long- camps, in Brazilian favelas; through education, printmaking, edges another they work from the power they have been award- Fink. To request an envoy, text “envoy” to 707-335-4021. An en- the wash and dry cycles spark a new vision of home? What does form documentaries loom like skyscrapers from the 1960s— video, and collections of stereo photography of her life—at Project ed and their perception of the power of the other. Recognizing voy will meet you at a sending station, discuss what you want to it take to really listen and be responsive to diverse participants? overbuilt and probably not sustainable. In comparison, more home and elsewhere. these realities in social practice, Corrie Peters will introduce say, find desired recipient(s), and deliver the message on your How can we build a corps of artists that are equipped and com- WALKING ACROSS THE PACIFIC agile “open space” transmedia projects are taking advantage of strategies used to both perpetuate and diminish power. It will behalf. Why send an envoy instead of call or text? Because an JEFFERY WRIGHT, a father of three who lives in the fabled heart mitted to engaging neighbors in their full imaginations in tru- Thirteen months after the March 11th earthquake in Japan the digital platforms to become more adaptable and less predict- introduce the strategy of learning new tools from marginalized envoy carries the meaning of your message, not merely its elec- of “Portlandia,” utilizes illustrative means to reevaluate peo- ly inclusive communities? The Laundromat Project asks these Misawa pier arrived on the Oregon coast. The Pacific currents able. With new tools and apps, filmmakers are testing new path- communities and applying it within a community with identifi- tronic form. In addition, you aren’t limited to specifiable recipi- ple, institutions and their relative positions. His creative in- questions, and more, through its adventuresome yet communi- that carried this pier show the interrelationship of local events ways for storytelling, social change, and participatory “open able power. Approaching those that are marginalized and asking, ents. Connect with people about whom you know only a little (e.g. spiration is born daily out of the places he lives and works. In ty-attuned programming across greater New York City. and global realities, one of the foundations of our collaborative spaces” for conversation. The open space documentary model “What can I learn?” may hold the possibility of expanding the di- someone from Minnesota) or broadcast a message to everyone addition to highlighting people and situations which he feels work. Now we are engaged in a project that cherishes stories, frames local and community-based media practices as key to alogue of how to constructively address the realities of power in an envoy meets. envoyss.org are not receiving adequate recognition, he wants to better un- nurtures dialogue and searches for questions in the midst of bringing people with diverse interests together. This workshop, one’s practice. earth moving realities such as natural disasters. For Portland presented by Helen DeMichiel, explores these newly emerging derstand the effects of gratitude in life. James Jack and Toshiaki Tomita will conduct a walk as the second spaces across the globe where technologies encounter places step on the uncertain pathway across the Pacific as part of a and people in unpredictable ways. larger aim to explore a new vision of life.

CONTRIBUTORS MAY 18 CLAIRE DOHERTY* is the artists and activists, who interdisciplinary experimen- CAROLE LUNG, aka Frau Fiber, and apexart, among others. GABRIEL SALOMAN is a multi- founder and Director of Situ- have been exploring our ties tation or independent practice is a textile worker and activ- disciplinary artist based in ations, an art commissioning to different neighborhoods, within a casual yet critical en- ist. As Frau Fiber, Carole has FAITH PURVEY’S work centers Vancouver, Canada, who works and publishing organization cities, and rural parts around vironment. worked worldwide to create on public engagement, specif- in sound, text, visual medi- based in Bristol, who were the the midwest. It is a collective site-specific performances ically site-responsive tempo- um and socially collaborative producers of Nowhereisland, project of knowing where we AMANDA HERMAN works with of garment production labor. rary installation, and a studio forms. He has worked collabo- one of the primary public art are­—of inhabiting, traversing communities, families, or in- Herer project, KO Enterpris- practice involving sculpture, ratively with Red76, The STAG, projects of the UK’s London and narrating what we call the dividuals to create films, pho- es: High Performance Apparel painting, photography, and The Lower Mainland Painting 2012 Cultural Olympiad. Over Midwest Radical Culture Corri- tographs, and public interac- Production, (2010), was orga- video. Her projects deal with Co. and Yellow Swans and is the past ten years, Situations dor. midwestcompass.org tions that address complex nized at Museum of Contempo- issues of habitation and currently an MFA candidate at has been responsible for art- social issues. Her work tells rary Craft. home, urban infrastructure, Simon Fraser University. works which open up new and CRAFT THERAPISTS holds as stories of survival and trans- transience, and nature, often surprising encounters in the its mission the re-education formation mixing fact, fiction, M12 COLLECTIVE: RICHARD SAX- through collaborative sculp- MELISSA SARRIS is actively public realm: from-off artis- of hands and will through art, and fantasy. She holds a Social TON and KIRSTEN STOLTZ repre- ture-building processes with involved in socially engaged tic interventions to cumula- craft and play and is the collab- Practice MFA from California sent M12, a group of artists and youth, civic and community projects inspired and support- tive programs of temporary oration between Heather Cam- College of the Arts, where she creative professionals based leaders, and artists. ed by her rural upstate village, commissions such as One Day eron and Jennifer Brant. They was faculty from 2008-11. in Byers and Last Chance, Col- posing questions about what Sculpture, New Zealand. Claire have over thirty years of ex- orado. M12 creates visual art MACON REED is an extradisci- authority looks like, what we has worked with artists of in- perience in community-based AYUMI HORIE is a Maine-based projects and cultural oppor- plinary artist currently fin- collect and what we value. She ternational repute including art, various textile modalities, studio potter and organizer of tunities for diverse and often ishing an MFA at the University is also very interested in what Susan Hiller, Phil Collins, Tim traditional art practices, art Obamaware andHandmade for ignored rural populations both of Illinois at Chicago. She uses the rest of the socially en- Etchells, Thomas Hirschhorn therapy and education. Japan, campaigns that raised in the American High Plains her practice to pollinate ideas gaged world is up to. and Jeppe Hein, with a partic- funds for the 2008 Obama region and Internationally. The and bridge working methodol- ular emphasis on new forms HELEN DE MICHIEL is a San Fran- election and earthquake disas- group’s projects are designed ogies between communities, CLINT SLEEPER is an amateur of engagement and research. cisco-based filmmaker and ter relief. In 2012, Horie was and built to integrate art, ar- employing radio documentary musician, a clumsy handyper- Situations is currently pio- writer, whose narrative, docu- named the first “Ceramic Artist chitecture and social engage- production, social practice, son, and an aspiring technol- neering a new program of work mentary and new media works of the Year” by Ceramic Month- ment, and expand the reach and sculpture, video, experimental ogist. His work explores au- in Oslo, Norway, along with new have screened theatrically and ly Magazine. ayumihorie.com. reputation of art made in rural pedagogy, curatorial projects, thorship, media, recycling, the works for Bristol by writer Tony broadcast on public television, communities. M12studio.org and summer camp as needed. hi-fi, the lo-fi, maintenance AARON HUGHES is an artist, or- White and artist Anna Barrib- collected in museums, and now and forms of collectivity. He ganizer, and Iraq War veteran, KERRI-LYNN REEVES is an in- all. Claire has written and lec- circulate on the internet. Her Chicago-based AMBER MARSH is currently pursuing an MFA whose work seeks out moments terdisciplinary artist from tured extensively on contem- most recent transmedia work, has recently performed at De- degree at SFU in Vancouver BC. of beauty, in order to construct Winnipeg, Manitoba. She is porary art commissioning. Her Lunch Love Community, can be fibrillator, Rumble Arts, Links new languages and meanings currently a Masters of Fine The SOPRACTICAL SISTERS are books include Contemporary watched and shared at lunch- Hall and fabricated for Odd Ma- out of personal and collective Arts candidate at Concordia PSU Art and Social Practice MFA Art: From Studio to Situation lovecommunity.org. chine, Alien Queen, and Hell in traumas. He uses these new University in Montreal, Quebec, candidates Patricia Vazquez (Black Dog Publishing, 2004); a Handbag. She’s taught pup- ENVOYSS Like everyone, MATT languages and meanings to and holds a Bachelor of Fine and Alysha Shaw, alumna Lexa Situation (Whitechapel/MIT petry in Chicago and El Salva- CARLSON and ALEX FINK en- create projects that attempt Arts degree from the Univer- Walsh, and Portland musician Press, 2009), Locating the dor, and in New York attended joy good conversations. They to de-construct systems of de- sity of Manitoba. She has par- Sara Leah Gentner. They have Producers: Durational Ap- Cooper Union and performed at know that good things happen humanization and oppression. ticipated in residencies at the emerged from long days of re- proaches to Public Art (2010) Theater for the New City, Low- when people talk to one an- Banff Centre for the Arts and search and practice to bring and the forthcoming Out of er Manhattan Cultural Council other with care. In their work KEMI ILESANMI is inspired by Mildred’s Lane. you beautiful music. Time and Place: Public Art and St. Marks Church. they try to make more con- the immense possibilities for Now (2013). She advised the versations better. They create joy and positive change at the CHARLIE MICHAELS AND NICK REGIONAL RELATIONSHIPS ERIC STEEN’S work centers on Olympic Park Public Realm Ad- opportunities and occasions intersection of arts, activism TOBIER, with the Stamps School commissions artists, schol- explorations of alternative visory Committee and in 2009, to experiment with their own and community. She is cur- of Art and Design at the Uni- ars, writers and activists to education, slow living, and the was awarded a Paul Hamlyn ways of talking. And they in- rently the Executive Director versity of Michigan, collabo- create works that counter social underpinnings of place. Breakthrough Award as an vite you to join them and ex- of The Laundromat Project, rate on art and design projects dominant beliefs about human Eric often invites the partici- outstanding cultural entre- periment with yours. which builds creative commu- with Detroit schools to engage geography based on binary pation of brewers, challenging preneur. She is the Chair of the nities by bringing art to where youth and neighborhoods oppositions like “urban” and them to create commercial European Network of Public Art FIELDFARING: SUSANNE COCK- the people already are: their through creative practices. “rural” and “cosmopolitan” products that celebrate the Producers. situations.org.uk RELL and TED PURVES work col- local coin-op. and “provincial.” Begun by Il- social and physical landscape. *Keynote Presenter laboratively under the rubric SUZANNE MORLOCK is an in- linois-based artists and edu- of Fieldfaring to create social M. MICHELLE ILLUMINATO and termedia artist primarily en- cators Ryan Griffis and Sarah TOSHIAKI TOMITA’S work is a po- TORI ABERNATHY is an art- Brett Hunter create events, etic documentary about certain CONTEXTS art projects that investigate gaged with imagination and Ross in 2011, RR has released ist, educator, and writer from the overlay of urban and rural public projects, and artworks context. She works to invent four projects, by artists Mat- images born from a relationship Miami living in Portland. She systems upon the lives of spe- (both individually and collab- interstices unique to each thew Friday, Claire Pentecost, with others, a story about the studied art and anthropology cific communities. They ask oratively) that engage com- project. Some strategies are Fereshteh Toosi/Neil Brideau, process whereby the images at Reed College; she is founder questions about the nature munities and investigate the collaborative while others re- and Patrick Lichty. change and grow in that intima- and co-director of RECESS. Her of people and place as seen sometimes complicated rela- quire solitary practice. Attri- cy. His work has been exhibited work adopts methods from ad- through social economy, his- tionship between people, place, butes involved often include RHIZOME THEATRE emerges at the Seoul Arts Center, Yoko- vertising, surveillance, media, tory and local ecology. field- and culture. Both teach at Al- knitting, defiance of gravity, in Portland as three people hama Triennial 2001, Odense and other large institutions to faring.wordpress.com fred University and live in rural reinvention and whimsy. asking questions: Adam Ward City Museum in Denmark and the expose their limits on autono- Allegany County, New York. (Director of Research) has de- University of Hawai‘i. mous movement while champi- As a new media artist, MATT JUAN OBANDO is an artist vised more than 170 Relation- oning the capacities of human GARCIA investigates the sub- Artist and art writer JAMES working between Colombia and al Theatre events in Canada, LAYNE WAEREA is an artist and subjectivity. jectivity of ecology, place, and JACK is concerned with the The U.S. and holds a position The Netherlands, and the US. educator of Maori/New Zea- visual culture. He maintains a framing of social landscapes as Assistant Professor of Art Adam trained with Augusto land-Irish descent, living in MICHAEL BIRCHALL is a curator socially engaged studio practice and his creative works nur- at Elon University in North Car- Boal (in London and New York), New Zealand. Layne completed and writer, currently working exploring the intersection of ture the relationship of peo- olina. Recently, he developed and David Diamond (in Van- her Master of Art and Design in on his PhD at the University of digital media, community, and ple with the complex layers of an editorial piracy project couver). Greg Heffron (Asso- 2012 and has commenced her Wolverhampton; researching interdisciplinary inquiry. Garcia place. His art works have been while on residency in Medellín, ciate Artist) facilitates Mudra PhD studies at AUT University new models of curatorial prac- is currently an Assistant Pro- featured at the Setouchi Tri- Colombia, and was awarded a Space Awareness: a mind- in Auckland, New Zealand. She tices in socially engaged art. He fessor of Digital/New Media at ennial, Honolulu Museum and Rhizome Commission for his fulness-based performance supports her art by working in is a co-publisher of the journal Kansas State University. Asian-American Arts Center in MUSEUM MIXTAPE project. practice. Zoey Moyle (Asso- learning development at AUT. On Curating, and a guest lec- New York City. ciate Artist) trained in View- laynewaerea.wordpress.com turer in Curating at the Zurich LORI GORDON is a San Fran- CARMEN PAPALIA See PUBLICS points, Suzuki and Grotowski. University of the Arts (ZhdK). cisco-based artist and in- RHONDA JANKE is currently NAMITA GUPTA WIGGERS is Di- dependent curator. Through serving as “artist in residence” CORRIE PETERS is a relational TAMARIND ROSSETTI is an artist rector and Chief Curator of Mu- CCA SOCIAL PRACTICE WORK- collaborative endeavors, she at her farm in Kansas, and as artist currently studying in and writer living in Los Angeles. seum of Contemporary Craft in SHOP: IRINA CONTERAS, NINA explores the distance between “embedded artist” within the Winnipeg. Before (and along- Her practice explores language partnership with PNCA, where DIAZ and MONTE MASI are stu- coincidence and intention, college of agriculture at her side) art-making she spent 13 and memory. Some shows in- she has organized dozens of dents from the California Col- with an emphasis on setting university. Interests include years in the social work field clude the Neurosciences Insti- exhibitions and written a num- lege of the Arts Social Practice up moments that deviate from collaboration with nature/ learning about power and the tute, SD; Pacific Design Center, ber of publications. Wiggers is Workshop. the expected. In some cases, soil and use of local materials. systems that control it from LA; Gallery PT, Japan; VU Am- co-founder of Critical Craft Degrees include MFA-IA from those who often find them- Forum, which connects art- B MEDIA COLLECTIVE is a com- she’s more interested in pro- sterdam, The Netherlands. MFA Goddard College and PhD in selves deprived of power. Re- ists, academics, and museum munity-based video art group viding the organized frame- in Public Practice, Otis, and BA crops/soils from Cornell. lationships orient her under- professionals through annual that uses documentary films, work around which potential in Art Practice/English Litera- interactions may occur. standing of art and the world. ture, UC Berkeley. programs and dialogue. political remix videos, and LINSEY LASERTE and ETHAN skill-building workshops to Founded in 2006, HAROLD MARTIN are in their last year as SHANI PETERS is a New York ALLISON ROWE is a Toronto PHILIP VON ZWECK is an artist catalyze collaborative work ARTS is a non-profit organi- students at Alfred University. based artist and educator based artist and educator who and painter who lives in Chica- for social justice. Known for zation dedicated to bolstering They are co-founders of the working in video, printmaking, works in sculpture, perfor- go. His work ranges from radio their video vaudeville variety the efforts of emerging and Social Organization for the Use and public projects. Her work mance and social practices. broadcasts and public proj- show and film series on art and mid-career artists and musi- of Public Spaces (SOUPS) an reflects interests in activism Rowe’s work has most recently ects to solely authored paint- resistance, they have been cians through self-directed artist collective dedicated to histories, cultural record keep- been exhibited at the Har- ings. Recent projects include collaborating in Portland since and project-driven residency the activation of underutilized ing, media culture, and commu- bourfront Centre in Toronto, 65GRAND; Performa 11; The 2010. bmediacollective.org. programs. Held on the Haven public spaces. The are cur- nity building. She has exhibited the Ghetto Biennale in Port- Museum of Contemporary Art rently working on projects and widely, and completed residen- Chicago; Gallery 400; three- OPEN ENGAGEMENT 2013 COMPASS is a loose and shift- Tree Farm in Chesterhill, OH, au-Prince and in public spaces public events in Hornell, NY. cies with LMCC, LES Printshop, walls, Chicago. ing group of about fourteen Harold Arts offers a refuge for across North America. CONTEXTS

The tenor of a conversation, the demographic of a neighborhood, the unwritten rules of a profession. What exactly do we mean when we speak about the “context” of a socially engaged artwork? The choices that practitioners make when speaking about the frame around their work have become virtually as important as the work itself. Context is firmly established as a site for creative activity and sensitive response. It must be negotiated, reported on, and occasionally sought out.

Speakers and projects in this category emphasize a direct address of the context from which they draw content, participation, and in which they seek to create social impact. Discussions will address histories, places, people, issues, social relations, and more. May 19

INSTITUTIONS PROGRAMMING LUNCHTIME PROGRAMING

Panel Panel Presentation Open Platform Panel Open Platform For OE 2013 Lexa Walsh has collaborated with the curatorial teams to bring conference goers a selection of lunch-time, ART MUSEUMS AND SOCIAL PRACTICE: ARTISTS WORKING WITH INSTITUTIONS PEOPLE’S LIBRARY DOWN IN THE GROUND INSTITUTIONS WORKING WITH ARTISTS food-related, programming. WHERE ARE WE NOW? Speaking artists will address specific projects that they have car- People’s Library, presented by Mark Strandquist, is a highly Individuals representing a variety of institutions will lead a panel WELL artists Liza Wade Green and Emily Rea give a presentation Every year Open Engagement devotes discussion to exploring the ried out in relation to an institution. Through a variety of individu- collaborative multi-site installation. Each interactive and sus- discussion centered on the current socially engaged work within on their interactive, collaboratively developed project, Down In FINAL MEALS: PORTLAND relationship between social practice and art museums. This year als and projects, we will hear first hand experiences of the intrica- tainable sculpture features a library designed, built and au- their institution. The panelists will briefly address their experi- the Ground (D.I.G.), performed at a the Newtown Creek Wastewa- we are asking ourselves how we might push beyond “show and cies of carrying out socially engaged works in relation to a variety thored by community members. Utilizing hundreds of discarded As part of their multi-year project, for one day during the con- ences with socially engaged work in the institution, the panel will ter Treatment Plant in Brooklyn, NY in May of 2012. WELL created tell” to create a space for richer, deeper discussion. We start- of institutions. Ten artists will present for eight minutes each. books, participants pulp and create new sheets of paper. These ference, Lucky Pierre will cook recreations of final meals re- then lead the audience in a discussion about the future of social this twofold performance installation in collaboration with the ed the conversation early. We invited a range of institutions and sheets are used to create hundreds of blank books for anyone practice in these specific institutions. quested by Texas death row inmates. Volunteers (conference Moderator: Mark Menjivar. Panelists: Zach Cahill, Stephanie Dia- hidden workers of subterranean New York City including New York artists to share burning questions, challenges and triumphs to check out, author, and return. Each book is included in the li- attendee, student, passerby, community member) will be vid- mond and Caroline Woolard (remote), Nolan Calisch and Molly Sher- City Sandhogs, MTA employees, wastewater treatment workers of social practice in our work—things we are dealing with right brary’s permanent collection. The resulting installation includes Moderator: Grace Hwang. Panelists: Meagan Atiyeh (Oregon’s Per- eotaped eating a meal. At the conclusion of the day, volunteers man (Farm School), Harrell Fletcher, Sebina Haque, Garrick Imatani and FDNY explosive experts. Through underground meetings, in- now! By the time we see each other on Sunday, May 19, we’ll be hundreds of micro-monuments, becomes the real and symbol- cent for Art in Public Places), Cameron Cartiere (Emily Carr Uni- and conference attendees will join together for a communal and Kaia Sand, Ariana Jacob, Consuelo Velasco Montoya, Carmen terviews and an exchange of artistic ideas, these workers helped sharing our process and bringing the most pressing, interesting, ic meeting place for alienated publics, and offers sustainable, versity), Ryan N. Dennis (Project Row Houses), Stephanie Parrish meal (with a focus on comfort foods pulled from the Texas Papalia, Transformazium, and Linda Wysong. the artists explore the incredible infrastructure of the every- and juicy issues to the Open Engagement session. Please join us. collective and critical alternatives for the form and function of (Portland Art Museum), George Scheer (Elsewhere Collaborative), Department of Criminal Justice final meals online listing). To- day–and bring the performance and installation to life. This panel discussion is organized by Stephanie Parrish, Mike Mu- public art. nomovement.com and Sally Szwed (Creative Time) gether we will attempt building and re-imagining community Open Forum rawski, and Kelsey Snook from the Portland Art Museum. through cooking and sharing food while making a monument to OPEN ENGAGEMENT AND THE the state-sanctioned final comfort of eating a meal. Open Platform CREATIVE TIME SUMMIT IN CONVERSATION Open Platform Discussion Workshop Organizers from the Open Engagement Conference and the Cre- THE TAN Lucky Pierre, based in Chicago, is as a collaborative group THE WHITEHOUSE RADICAL PEDAGOGY working in writing, performance, and visual forms. Lucky Pierre UNPREDICTABILITY ative Time Summit will host a conversation about the future of The space(s) for art to be engaged critically and outside the The artist run centre has a unique standing in institutional his- creates structures for engagement with various publics. In During the session Marilyn Lennon will reflect on a number of these platforms for participatory, socially engaged art practice. frameworks of formal institutions are as crucial to the growth tory, specific to Canada. Designated a charitable function, ARCs The Otis MFA Public Practice students, alum and faculty will these forms, we explore complex issues and ideas (political, the pertinent questions that occupy us on the Masters in Social explore the notion of teaching and learning in public practice, and rooting of social-artistic swellings as are the myriad art- Beginning with the history, foundational goals, and past ap- operate as institutional branches of non-profit organizations aesthetic, social) in ways that accommodate a wide range of Practice and the Creative Environment (MA SPACE) at the Lim- including their own experience in the classroom, their art prac- ists working within these environments. Noncommercial critical proaches of both conferences, the floor will then open up to ses- run by artists. These models, while outdated, are pivotal to the experience, styles and approaches. erick School of Art and Design in Limerick, Ireland. Within the tices and the radical ideas that have formed the public practice spaces, if properly tended, can be the foundations for dynamic, sion participants to share their own ideas about what is needed development of Canadian arts institutions. The Whitehouse stu- context of the program we increasingly find ourselves operating curriculum at Otis College of Art and Design. This workshop will supportive and/or experimental communities, however these most from these gatherings as they continue to grow and serve dio project, located in Toronto, Ontario, is an experiment in both with openness; to embracing contestation; to getting lost in the be co-produced with Brent Blair, specialist on training methods sorts of spaces may often also succumb to arbitrariness and the expanding publics. institutional critique and arts administration. Operating as an heat of creative exploration, to embracing possible failure, and ambient pressure to professionalize. Curation is an art. Here is open-source, shifting collective of 26, the Whitehouse is unique of Augosto Boal and presently Associate Professor of Theater KATZ’S DELI to embracing criticality. We invite an open reflection on a case a discussion with curator Andrew Lyman on many of the lessons in its operational strategy, loosely based on 60’s models of art- Practice and Director of M.A. In Applied Theater Arts at the USC study from one of our graduates which positions the unpredict- learned working with professional, private, and ultimately non- In Katz’s Deli, Amanda Katz takes on the artist-run space as Panel ist run centres. The Whitehouse frames arts administration as School of Dramatic Arts. able as a learning device. commercial iterations on the exhibition of art in the world(s). social practice. This project is presented by the Whitehouse’s medium, interrogating the ways in which individual artists in- BEFORE IT BEGINS...AND WHEN IT’S OVER Xenia Benivolski. Participants include: S.A. Bachman*, Kristy Baltezore, Brent ternalize the institution of art and the exchanges and negotia- Artistic and curatorial desires to present socially-engaged art Blair*, Teresa Flores, Daniel French, Michelle Glass, Tracee John- Open Platform tions that artists make with one another when they self-deter- Open Platform often yield unusual and even accidental or unauthorized col- Open Platform son, Bill Kelley Jr.*, Katie Loughmiller, Consuelo Velasco Mon- METAMEDIA AT THE UNIVERSITY OF OREGON mine the conditions of their practice and its public reception. CIVITAS’ THE JOHN NOLEN 1913-2013 laborations. From grassroots organizations to governmental toya*, Silvia Juliana Mantilla Ortiz, Faith Purvey, Tamarind Ros- For Open Engagement, Amanda will lead a lunchtime discussion THE WASSAIC PROJECT GREATER ERIE CONVERSATION PROJECT agencies to museums, institutional practices can just as likely setti, Hataya Tubtim and others (*denotes program faculty and This presentation by Jher is an exploration of Metamedia and centering on the space’s core tensions and how they give way The Wassaic Project is a contemporary exhibition and residency The Civitas Collaborative has rented an office in Erie’s Masonic support or hinder the unfolding of an artistic process. When is visiting artists). Follow us on Twitter @OtisAgitate its relationship to socially engaged theory-practice of art-sci- to a broader conversation about artistic agency and the rela- program housed in unique historic farm structures in Wassaic, Temple in which to house the year-long installation and inter- it better for artists to create their own institutions? How do we ence-community. The time is ripe for re-revealing the words of tionship between authorship and community-contingent prac- NY. The Wassaic Project exists to strengthen local community by Discussion active performance called, “The John Nolen 1913-2013 Greater set clear expectations and negotiate for processes that support John Dewey’s call to imagine and enact art as experience, cul- tices, over the typical meal of pastrami sandwiches and lox and increasing the social and cultural capital through inspiration, Erie Conversation Project.” Each week members of the public are research and time necessary to establish genuine community WHAT CAN A RESEARCH CENTER DO FOR SOCIAL PRACTICE? ture, communication, and community. Metamedia at the Univer- bagels. promotion and creation of contemporary visual and perform- invited to participate in a discussion about the landscape archi- relations, secure adequate financial and administrative support, sity of Oregon has curated and collaborated with institutions ing art, and providing an intimate and genuine context for art Katz’s Deli is a project by artist Amanda Katz in which she pe- tect and city planner, John Nolen, and his early twentieth centu- and effectively promote and validate the work? Coordinator Kyle Lane-McKinley will talk about our first years as such as the Jordan Schnitzer Museum of Art (JSMA), Wayne Ly- making and community building. Through the year-round resi- riodically invites other artists to relocate their practice at ry plan for Erie, PA. Through this conversation, Civitas intends to the Social Practice Arts Research Center (SPARC) at UC Santa man Morse United States Courthouse (WLMUSC), as well as phys- This panel is co-organized by Gregory Sale, Elizabeth Johnson dency, free annual festival, seasonal exhibition, and education her Los Angeles studio for one week, culminating in a Satur- identify which of Nolen’s ideas are worth pursuing today, a cen- Cruz and describe our brown bag lecture series, our affiliates and ical/digital immersive environments, academic and community and Julio Cesar Morales from the Herberger Institute for Design outreach program, the Wassaic Project provides valuable cultur- day brunch conversation open to the public. Brunch attendees tury after the publication of his report. Periodic reports will be fellows programs, as well as other ways individuals and organi- arts organizations. and the Arts at Arizona State University. al programs in a vastly underserved rural region. This project is bring a text for exchange with one another and inclusion in the issued in the form of a newpaper the “Erieland Times News.” Lisa zations and communities can become involved. The second half presented by the Wassaic Project’s Bowie Barnett-Zunino. Open Platform Katz’s Deli archive. Nolen of Civitas will present this project. JohnNolenProject.com of this program will be a facilitated dialogue brainstorming the role (if any) a research center (with the resources of a Research PUBLIC PARTICIPATORY STRATEGIES Open Platform Open Platform 1 university) can bring to social practice debates. We eagerly FOR PERFORMANCE IN REGIONAL AUSTRALIA Open Platform ROGER MARIS CANCER CENTER RESIDENCY THE STUDIO FOR SOUTHERN CALIFORNIA HISTORY welcome the input of Open Engagement participants as we build Artists are a valuable addition to any institution. As the Art- The Studio for Southern California History works with publics, and develop the mission and goals of the center. Steve Mayhew will present recent projects that Country Arts SA ARTIST TALK ist-in-Residence at the Roger Maris Cancer Center, Heather volunteers, interns, and—whenever possible—paid staff, to re- have produced to employ various performance based artists and ORGANIZERS In Gemma-Rose Turnbull’s projects, Red Light Dark Room; Sex, Zinger works with a multitude of organizations: Sanford Hospi- cover and generate history in community, from the ground up. Open Platform publics, creating original and unique works for regional Austra- lives & stereotypes (created in collaboration with street sex tal, LIVESTRONG, The Creative Center and The Global Alliance for Founder Sharon Sekhon and artist/writer Janet Owen Driggs CHURCH OF CONTEMPORARY ART lia. From the 12 month exploration into art and civic engagement workers) and Paper Thin, (victims of elder abuse) she actively HEATHER DONAHUE received her BFA in Interdisciplinary Practices Arts and Health as well as with different local communities such discuss the Studio’s place-based operations at the intersection in “The Coriolis Effect” to the social media based character de- engaged in a synthesis of traditional frameworks of Documen- from Maryland Institute College of Art. Her studies have included as North Dakota State University, Fargo Public Schools and many of scholarship and experience. Including: the LA History Archive: The Church of Contemporary Art presents excerpts from their velopment in “If There Was A Colour Darker Than Black I’d Wear tary Photography and the methodologies of Participatory Pho- queer theory, spiritual discourse, interpersonal communication, local artists. In addition to making art with cancer patients, she a growing catalog of downloadable oral histories, historical performance and video work and discusses their particular It” via the simple small community exploration of worthiness in tography. This blending of methods and modes was a conscious fine arts, and cognitive sciences. Donahue is an MFA candidate in also works to develop a dynamic, sustainable arts program that ephemera, and educator resources; and My Neighborhood, a pho- brand of satire. In a demonstration of CoCA’s inclusive nature, “I Met …”. Mayhew will show examples of these projects exploring attempt to provide opportunity for participants to be allowed Portland State University’s Art and Social Practice Program. offers diverse entry points to the creative process for patients to essay competition that invites participants to define their the founders collaboratively present the foundational principals how they engaged publics in regional Australia as well as provide greater involvement in the process of having their stories told in as well as staff. neighborhood. To date, we have over fifty photo essays that are of their dynamic organization such as the key concept of Criti- insight into how an institution like Country Arts SA has trans- visual form. She continues to explore this synthesis in a range of HARRELL FLETCHER received his BFA from the San Francisco Art In- expressions of “home” and community neighborhoods across cal Hospitality. Their self-reflexive institutional critique blends formed through the programming of such works. collaborative projects with her family; I wish I could spend more stitute and his MFA from California College of the Arts. He studied or- Southern California. satirically performed services with sincere intention toward ganic farming at UCSC and has produced a variety of socially engaged time with my family. Project critical applications. Performative elements of their practice Ongoing Project collaborative projects. Fletcher is an Associate Professor of Art and Open Platform include inspirational sermons, original soundscapes, live/video EXTREMELY LUMINOUS PRODUCTIONS PROJECTGROW: THE PLACE TO SEE DINOSAUR BONES Social Practice at Portland State University in Portland, Oregon. hymns, giving of Kool-Aid and marshmallow sacraments, scrip- Port City’s ProjectGrow, a program of Albertina Kerr, is a pro- SUPPORT/RETRY/FAIL tural readings of canonized modern art texts, therapy sessions The film explores how artist Lori Gordon has continued to follow fessional art studio and urban farm in North Portland comprised GRACE HWANG Grace Hwang is an artist and educator pursuing an Support/Retry/Fail is an argument for the role of small and mid- for artists, and projects that critique the very nature of collab- her innate desire to work with strangers and create moments of individuals of all cognitive, intellectual, and physical abilities. MFA in the Art and Social Practice Program at PSU. Her work draws sized nonprofits in the development of experimental work. It is oration and community. of beauty with very modest means. Gordon and her co-director The supporting and supported individuals are one in the same. from her experiences as a museum educator in New York and as a generally agreed upon that artists need to be able to take risks Brandon Kendall dissect just what the concept of Social Practice We all learn from one another and glean inspiration from wher- classroom teacher in North Portland. Her current interest examines in order to develop their practice. However, the structures and is. Including interviews with various artists and their studios, ever possible. The artists and farmers choose the type of mean- rule-based games as a social interface. models to encourage these risks have not been clearly expressed allowing an inside look at work that powerfully conveys the im- ingful work they wish to do every day and are fairly compensated by the institutions who are best equipped to support experimen- portance of socially engaged art. Most importantly, it attempts for it. We thrive on immersing ourselves in the community, as MARK MENJIVAR is an artist and photographer based in San Antonio, tal work. This presentation by David Huff explores what makes to answer the innocuous question, “how is this art?” well as inviting others into our space, making an environment as TX. He has a BA in Social Work from Baylor University and is an MFA community-supported nonprofit art spaces uniquely situated to inclusive as the one we envision for the world. Candidate in the Art and Social Practice program at Portland State support risk-taking projects and lays out a general framework University. for how these organizations can better help artists develop their practice.

CONTRIBUTORS

MAY 19

Since 2002, TOM FINKELPEARL Commissioning Public Art in as Exhibitions Coordinator / Cu- organizing, he enjoys spending spiration from wherever pos- features histories that are has served as the Executive the Urban Environment. rator for Pro Arts, a contempo- time with his daughter and sible. The artists and farmers typically distorted or ignored, Director of the Queens Mu- rary arts nonprofit in Oakland, talking about space. choose the type of meaningful and challenges the form and seum of Art, which operates THE CHURCH OF CONTEMPORARY California and as a guest cura- work they wish to do every day function of public space. as a cultural crossroads in ART collective includes found- tor / panel speaker for numer- ANDREW LYMAN is the curator and are fairly compensated Strandquist’s project Write America’s most diverse county ing artists and curators Jes- ous institutions including the of The Tan, a noncommer- for it. We thrive on immersing Home Soon was exhibited in through art programs, com- sica Allee, Stephanie Jardin, Arts Council of Oklahoma City, cial art place in the Barelas ourselves in the community, as the 2012-13 international munity organizing, and edu- Wago Kreider, Jay Needham, CCAC, and Kala Institute. neighborhood of Albuquerque, well as inviting others into our showcase of Socially Engaged cational outreach. Finkelpearl and Angela Watters. Through New Mexico. Andrew has been space, making an environment Art (Art Museum of Americas, was previously Deputy Direc- performances, sculpture, GARRICK IMATANI (artist) and working for over eight years as as inclusive as the one we envi- Washington, DC). tor at P.S.1 Contemporary Art painting, photography, sound KAIA SAND (poet) were award- an artist, organizer, publisher, sion for the world. Center during its merger with and video installations, the ed a public project with the and tinkerer with various gal- TRANSFORMAZIUM (Leslie Stem, the Museum of Modern Art, Church of Contemporary Art City of Portland Archives and leries, groups, organizations, GREGORY SALE is a multidis- Dana Bishop-Root, and Ruth- and has also worked as the Di- pairs the rituals and relics of Records Center (PARC) and Re- and odd folk. He is originally ciplinary artist. With support ie Stringer) partners with rector of New York City’s Per- religion with the seductive al- gional Arts and Culture Council from Indiana. from Creative Capital Founda- Braddock Carnegie Library cent for Art Program and as lure of contemporary art. (RACC) through Percent for tion, and the Andy Warhol Foun- to foster space for expres- the Executive Director of The Art in 2013. Their residen- STEVE MAYHEW works as a per- dation, he is currently produc- sion, encounter, investigation Skowhegan School of Painting GABRIEL CRAIG is a De- cy-based labor intersects re- formance director, dramaturg ing a series that give voice to and resource exchange, and and Sculpture in Maine. Fin- troit-based metalsmith, writ- search, material works, and and creative producer. He the multiple constituencies to offer a platform for local- kelpearl’s book Dialogues in er, and craft activist, whose activism. Both live and teach has spent the last six years of incarceration and criminal ly produced arts discourse. Public Art (MIT Press) was pub- performative use of craft in Portland, Oregon. concentrating on engaging justice systems. He serves as They operate a screen-print- lished in 2000. His new book, engages diverse audiences in regional Australia in partic- Assistant Professor of Inter- ing shop in the library, and are What We Make: Conversations discussions about self-suf- ARIANA JACOB makes conver- ipatory art works. Currently media and Public Practice at currently developing a public on Art and Social Cooperation, ficiency, labor, consumption, sation based art. Her work has a member on the Australia Arizona State University. art lending collection. has been released by Duke Uni- and tradition. Recently, Craig been included in the NW Bien- Council’s Theatre Board, May- versity Press (January 2013). was a featured artist in 40 nial at the Tacoma Art Museum, hew was also the Artistic Di- NOAH SIMBLIST is a writer, cu- WELL (Liza Wade Green, Will Finkelpearl received a BA from Under 40: Craft Futures at the Disjecta’s Portland 2012 Bien- rector of the 2012 Regional rator and artist, specializing Orzo, Emily Rea, and Lígia Teix- Princeton University and an Renwick Gallery of the Smith- nial and the Discourse and Dis- Arts Australia Conference / in art and politics of Israel/ eira) is a collaborative team MFA from Hunter College, CUNY. sonian American Art Museum. cord Symposium at the Walker Festival. Palestine. He is an Associate of MFA students from the gabrielcraigmetalsmith.com. Art Center. She holds an MFA in Professor of Art at Southern Performance and Interactive MEAGAN ATIYEH directs Ore- Art and Social Practice from CONSUELO VELASCO MONTOYA Methodist University. Media Arts program at Brook- gon’s Percent for Art in Public STEPHANIE DIAMOND’s work uti- Portland State University. has a BA in art with an empha- lyn College. With backgrounds Places program for the Oregon lizes self-care, personal prac- sis on mixed media, murals and SALLY SZWED manages the in writing, music, computing, Arts Commission (2001-pres- tice and individual awareness JHER is founder of Metamedia publications. Her Master’s de- annual Creative Time Summit physical theater and dance, ent). She is a founding board as a catalyst for being of ser- at the University of Oregon and gree in Public Art Studies from and Global Residency Program, these artists create work in- member of Disjecta Contem- vice to communities. She draws a doctoral student in Media USC focused on arts admin- and has worked on numerous tegrating public practice, porary Art Center, Portland. from her experiences as the Studies. His practice explores istration, digital media and Creative Time projects since interactive programming, Director of Education and Com- relations across art, commu- art in rural contexts. Chelo is 2008. She also served Pro- composition, and movement. LISA AUSTIN, working with munity Relations at MoMA/P.S.1 nication, music, philosophy, presently the Program Coor- gram Manager of EFA Project wellwaternyc.tumblr.com the Civitas collaborative, has and at Socrates Sculpture Park. law, and cinema. He is an affil- dinator and faculty, MFA Public Space in NYC, where she pro- helped to: create a preser- She has held teaching positions iate of the Institute of Cogni- Practice at Otis. duced exhibitions, workshops, LINDA WYSONG has a hybrid vation non-profit (ErieCDP. at Parsons, PACE University and tive and Decision Sciences and and events. She holds an MA in practice that stands at the org), save a local landmark Metropolitan College. the Center for Advanced Tech- JULIO CESAR MORALES is an Curatorial Practice from Cali- nexus of sculpture, environ- (VillaChapel.com), form a nology in Education. artist, educator and curator. fornia College of the Arts. mental design and social prac- non-profit to promote bike, JANET OWEN DRIGGS is an art- His work explores issues of tice. She sees Public Art as bus and rail (AllAboardErie. ist and writer. Recent co-pro- ELIZABETH JOHNSON is a cho- labor, memory, surveillance GEORGE SCHEER is an artist, key to community dialog and com), organize an annual com- ductions include: Come In, reographer, dancer, and ed- technologies and identity writer, and organizational engagement. Her projects in- petition to encourage entre- We’re Open, fifty short inter- ucator. Elizabeth creates art strategies. His artwork has creative. In 2003, with Steph- clude a Water Education Plaza preneurs (InnovationErie.net) views about “social practice” that promotes civic dialogue, been shown extensively in the anie Sherman, he co-founded and a tour of Portland from and start an interstate group (2012). Sharon Sekhon is an and involves trained dancers US and internationally at Bi- Elsewhere, a living museum the workers’ perspective. She to link sculpture faculty and historian dedicated to recov- and individuals in different ennales from Lyon to Istanbul and residency set in a former lives and works in Portland. students (SculptureX.org.) ering and sharing the social communities. She was the As- to Singapore. He is currently thrift store in Greensboro, NC. history of her region. She is sociate Artistic Director of Liz Curator at Arizona State Uni- In 2007 they began Kulturpark. GEMMA-ROSE TURNBULL is an XENIA BENIVOLSKI (b. Moscow, the founder of nonprofit orga- Lerman Dance Exchange, and versity Art Museum. Their work operates at the in- Australian artist who creates INSTITUTIONS 1983) is an artist and curator nization the Studio for South- is currently at Coordinator of tersection of site-specific art collaborative photography living and working in Toron- ern California History. Socially Engaged Practice at MIKE MURAWSKI, Director of Ed- practice, urban development, works. She worked in a vari- to. She is the founder of The Arizona State University Art ucation and Public Programs, and community design. ety of roles­—photojournal- Whitehouse and the critical RYAN N. DENNIS joined Project Museum. Portland Art Museum. Mike ist, Editor of the Australian project Rearviews. Recent proj- Row Houses as the Public Art earned his PhD in Education STACY JO SCOTT is an artist PhotoJournalist, facilitating ects include Make a sick paint- Director in October 2012. Prior AMANDA KATZ Katz’s Deli is a from American University, fo- based in Oakland, CA. She is a workshops in Vietnam­­—be- ing or a sick readymade at Red to moving back to Houston she project by artist Amanda Katz cusing his research on inter- member of the Craft Mystery fore transitioning to working Deer College, AB, Mistica Can- worked at the Museum for Afri- in which she periodically in- disciplinary arts learning. He Cult performance collabo- exclusively as a documentary adieseat the Museo de Ciudad, can Art in New York City as the vites other artists to relocate previously served as Director rative and founder of Open photographer. She has com- Quertaro, Mexico, In search of traveling exhibition manager. their practice at her Los An- of School Services at the Saint Factory, projects that explore pleted several major projects, relief, WW TWO, Montreal, QC. She received her MA from Pratt geles studio for one week, cul- Louis Art Museum and Coordi- the ritual and performative including publishing a book, Institute in May 2011. minating in a Saturday brunch nator of Education at the Kem- potential of the handmade. since then. BRENT BLAIR is founding di- conversation open to the pub- per Art Museum at Washington openfactoryproject.com, rector of the USC MA / Ap- FARM SCHOOL (Nolan Calisch lic. Brunch attendees bring University. craftmysterycult.com CAROLINE WOOLARD is an art- plied Theatre Arts program, and Molly Sherman) Nolan a text for exchange with one ist, organizer, and co-founder founder of LA Liberation Arts Calisch and Molly Sherman another and inclusion in the CARMEN PAPALIA See PUBLICS KELSEY SNOOK creates par- of OurGoods.org and Trade- and Community Engagement share an art practice called Katz’s Deli archive. ticipatory environments with School.coop, two barter econ- STEPHANIE PARRISH is the As- (LACE) Center, a Linklater and Farm School. They create site Daily tous les jours. She has omies for cultural production. sociate Director of Education TO practitioner. He has trained specific and participatory BRANDON KENDALL is a film- developed research work on and Public Programs at the counselors, educators, lead- projects in a wide variety of maker and screenwriter, re- participatory design with Me- HEATHER ZINGER is the Art- Portland Art Museum. She is ers, and cultural fieldworkers contexts from farms to local siding in Los Angeles. Lori lissa Mongiat at goodpartici- ist-in-Residence at the Roger part of the original team that in popular theatre for therapy, businesses to art museums. Gordon is a Bay Area artist pation.com. Kelsey holds a BA Maris Cancer Center (Fargo, in 2009 developed the Muse- education and social change Their work has been presented and independent curator. To- in Industrial Design from the ND) and a visiting artist at um’s annual Shine A Light event all over the world. at SF MOCFA, New Seasons Mar- gether, Gordon and Kendall Rhode Island School of Design North Dakota State University. ket, and the Matisse Museum. (Extremely Luminous Produc- , an ongoing partnership with and an MA in Creative Practice During her residency, she uses ZACHARY CAHILL is an interdis- tions) are currently at work on the Art and Social Practice MFA for Narrative Environments art to engage patient during ciplinary artist whose work has SABINA HAQUE is an artist of a feature-length documentary program at Portland State Uni- from Central Saint Martins their cancer treatments. In been shown at ZKM, Karlsruhe, South Asian descent raised in about the art form of social versity. She has held education College of Art and Design, Lon- addition, Zinger works on cre- Germany; TONYS, New York; and Karachi by her American moth- practice. and curatorial positions at the don. ative collaborations connect- threewalls, Chicago; amongst er and Pakistani father. Haque Mildred Lane Kemper Art Muse- ing healthcare professionals others. His writings have ap- received an MFA in Painting GAVIN KROEBER is a cultural um (Washington University in MICHAEL J. STRAND is a North with art and design students. peared inMousse, the Journal from Boston University, and producer based in New York. St. Louis), the Saint Louis Art Dakota-based artist and ac- of Visual Culture, RETHINKING teaches at Portland State He was a producer at Creative Museum, and the National Mu- tivist known for work such as BOWIE ZUNINO is an artist and MARXISM, and he is a regular University. Sabina has estab- Time for five years and has seum of American Art/National The Misfit Cup Liberation Proj- community organizer with contributor to Artforum.com. lished community partner- organized his own projects in Portrait Gallery. ect, which investigates craft an MFA from the Rhode Island ships with schools, museums, Boston including Experience as a catalyst for social change. School of Design in Sculpture. CAMERON CARTIERE is Dean of universities and non-profits, Economies. Port City’s PROJECTGROW, a Strand was featured in 40 Un- She is a founder and co-exec- Graduate Studies at Emily Carr to design collaborative art program of Albertina Kerr, is der 40: Craft Futures at the utive director of the Wassaic University of Art and Design. projects with under-served KYLE LANE-MCKINLEY is the a professional art studio and Renwick Gallery of the Smith- Project and the Wassaic Artist Her research areas include youth in Portland, Boston, Los coordinator of SPARC at UC urban farm in North Portland sonian American Art Museum. Residency. She lives in Wassa- public art, urban renewal, and Angles, West Virginia and Ka- Santa Cruz, the co-founder comprised of individuals of michaeljstrand.com ic, NY with her husband, Jeff curatorial practice. She is the rachi, Pakistan. of the building collective, and all cognitive, intellectual, and and daughter Gilvey. author of RE/Placing Public has spent a decade helping physical abilities. The support- MARK STRANDQUIST (Rich- Art, co-editor of The Practice DAVID HUFF the Executive Direc- run DiY bike projects. When he ing and supported individuals mond, VA) facilitates interac- OPEN ENGAGEMENT 2013 of Public Art, co-author of tor of The Arts Center in Corval- is not teaching, making stuff, are one in the same. We all learn tions that incorporate view- the Manifesto of Possibilities: lis, Oregon. He previously served managing farmers markets, or from one another and glean in- ers as direct participants, INSTITUTIONS

The Institutions line of programming investigates the role of the socially engaged artist within the structure of formal organizations such as museums, governments, corporations, non-profit organizations, and schools. It asks:

What are the dichotomies and tensions for artists working with institutions? How do socially en- gaged artists (and the institutions who seek to support them) find bal- ance between freedom and compro- mise; credibility and experimentation; engaging new publics and maintain- ing old audiences? Sometimes the in- stitution itself becomes a medium. Who are the leading sculptors of in- stitutions in art and social practice? What is it like to build a new program, organization, idea within an existing institutional context? When does the institution itself become art?