Art As Social Action •1 Art As Art 10 Years of of 10 Years Queens College CUNY College CUNY Queens Social Action Social March 24—August 29, 2021 March 24—August and the Queens Museum and the Queens Social Practice Queens Social Art As Social Action •2 Art As Social Action •3 57 29 43 53 63 66 36 68 40 50 60 70 How do you get to Flushing Creek? Thanks and Acknowledgments Public Programs: Public Programs: Public Programs: Call and Response Public Programs: Erin Turner Cody Herrmann Workers Art Coalition Social Practice Queens Co-Founder, Social Practice Seeding Counter Hegemonies @ CUNY Social Practice: and SPQ student Brianna Harlan and SPQ student and SPQ student Brianna Harlan An interview between Maureen Connor, An interview between All Things Must Pass Reddy An interview between Prerana Alix Camacho-Vargas Humanities: Art, Activism, and the Public A Lesson on Care and Compassion 7 5 9 21 25 15 12 18 Naomi Kuo Movement as Social Action and Double Movement as Social Action and Floor Grootenhuis and Joel Murphy Digits for Social Practice Queens El Pedro Felipe (Vintimilla) One Amazing Seminar A Curatorial Note: A Decade of Teaching Art As Social Action Julian Louis Phillips Jeff Kasper Table of of Table Contents Art As Social Action •4 Art As Social Action •5 Transform- however, what officially became what officially however, hood storefront into a combination into a storefront hood headquarters for the Cuban artist’s the first of its kind in the New York the first of its kind in the New York al- the fact that many people were tiative. Tania established Immi- established Tania tiative. neighbor- Corona a transforming multi-pur- IMI’s catalog, this for try ready teaching art as social justice justice as social teaching art ready City region. This is not to ignore City region. This is not to ignore City colleges and universities. Reddy and Tarry Hum: Tarry and Reddy programs at neighboring New York pose space would soon come to an- pose space would soon come to urban studies seminar with Prerana urban studies seminar with Prerana in area colleges and universities. in area colleges and universities. the Social Practice Queens (SPQ) in ing Corona Plaza. Meanwhile, back - launched a new graduate level con grant Movement International (IMI), grant Movement at Queens College, Maureen and I at Queens College, Maureen and area this for broader recognition a centration in social practice art, centration in social practice summer of 2011, helped to anchor er, there exist several other similar community learning center and the community learning creatively invented pro-immigrant en- campaign. As Tom details in his art and our interdisciplinary chor of study. As of now, a decade lat- In the middle of a In the middle of mer of 2010, Tom Finkelpearl, then mer of 2010, Tom on might be interested in working my first few semesters of teaching my first few semesters of teaching known each other for many years, known each other for many years, the Director of the Queens Museum, the Director of the the Queens College Art Department the New York City art scene. And the New York City art scene. And tire teaching experience for the de- tire teaching experience for the now forgotten art event in the Sum- now forgotten art residency program? Tom and I had nor and I came back to Tom with nor and I came back to Tom with resident artist for this new ini- new this for artist resident The grant—from the Rockefeller Foundation—was a success, and port from Creative Time, we wel- we Time, Creative from port in the “socially engaged” strata of strata engaged” “socially the in that question straightforward ingly with additional collaborative sup- - we were friendly associates with en- would substantially reshape my

asked me a question: Did I think asked me a question: a grant with his museum that would although I had only just completed just only had I although - at CUNY, my colleague Maureen Con establish a new education-related establish a new education-related - straightforward answer to a seem comed Tania Bruguera as our first cade ahead. our thumbs up. It was a seemingly our thumbs up. It was a seemingly Gregory Sholette Co-Founder and Co-Director, SPCUNY/SPQ April 2021

A Decade of Teaching of Teaching A Decade Action Art As Social Art As Social Action •6 A Decade of Teaching Art as Social Action the year 2030 on your calendar, so the year 2030 on again to visit that we might gather ambitious new the outcome of SPQ’s Prerana Reddy. And second, mark Prerana Reddy.

journey as SPCUNY. journey as SPCUNY. Social Practice CUNY, a new, Social Practice New York). Thanks to a substantial New York). Thanks to a substantial Meanwhile, as SPQ turns ten, it is Meanwhile, as SPQ by SPQ alumni documented in this terviews featuring Chloë Bass, Tom two things. First enjoy and engage tice and community collaboration, tice and community collaboration, three-year grant from the Andrew - to encompass faculty and MFA stu new seminars at the CUNY Graduate new seminars at the CUNY Graduate College, and City College), while College, and City College), while and financial amplifying and Center, Finkelpearl, Maureen Connor and Connor Maureen Finkelpearl, program that pivots on social jus- social on pivots that program panding our existing programming and for student funding providing W. Mellon Foundation, we are ex- W. Mellon Foundation, we are - ing contemporary artists (the stu in mind that I encourage you to do interdisciplinary cultural learning interdisciplinary faculty art and research, creating faculty art and research, creating (including Brooklyn College, Hunter (including Brooklyn College, Hunter with the excellent projects created while cultivating leadership skills while cultivating leadership skills - within a diverse group of emerg dent body of the City University of dent body of the City University dents from other CUNY campuses dents from other CUNY campuses also turning into something differ- also turning into this with is It Queens College. at catalog along with writings and in- ent: ongoing support for the SPQ cohort ongoing support for the SPQ cohort Art As Social Action, Social As Art myself test and explore various myself test and explore various board as the co-director of SPQ in board as the co-director of SPQ this exhibition, and with a series this exhibition, and with a series of a couple of under- the creation the ten. For this special occasion rano McClain and Sol Aramendi—also rano McClain and Our first cohort of MFA graduates— Our first cohort Aylmer, Jose Ser- Barrie Cline, Seth possibilities and forms of study and possibilities and forms of study and Donald and Shelley The from port Rubin Foundation, SPQ has turned um, now under the erudite direction including those who have work in including those who have work - years of sustained financial sup graduate classes, and with several graduate classes, and with several at Queens Museum, in Venice, Italy at Queens Museum, in Venice, Italy and San Juan, Puerto Rico, as well along with as on Governors Island, on came who Bass, Chloë artist nine by projects new of selection a alumni, and hosted by our long-time served as co-developers of SPQ in served as co-developers Maureen and so far as they helped - community outreach. Now, two doz en remarkable MFA graduates later, collaborative partner Queens Muse- of successful projects carried out of successful projects carried of Sally Tallant. 2016, curated 2016, Art As Social Action •7 care, whether for objects, museums and schools do, has felt museums and schools do, has We more overwhelming than usual. main pertinent to me. Social Prac- main pertinent to - began envisioning the Art As So have felt very keenly where we’re have felt very keenly - through the uncertainty of institu tional closure, physical distancing, the classroom (a particular kind of the classroom (a I) tice Queens (Gregory Sholette and - rollout was only beginning. Con COVID-19 pandemic, and worked with COVID-19 pandemic, and worked with pedagogical, written, and curatori- unthinkable: an indoor exhibition unthinkable: an indoor exhibition unable to move towards tending, When we came together, in 2021, we When we came together, in 2021, in a public museum during an un- in a public museum during an institution) to the museum (a dif- institution) to the ferent, but no less particular kind particular less no but ferent, I come to all of my work (artistic, as a museum does, for ideas, as a as a museum does, for ideas, as us, individu- and all that has held ally and societally, in our places. and prohibitions against gathering. and prohibitions against gathering. certain moment, when the vaccine certain moment, when the vaccine sidering school does, or for people, as both our partners at the Queens Museum our partners at the Queens Museum opened something that had become of institution), these questions re- of institution), cial Action exhibition before the In 2017, in my essay In 2017, in my essay same care with our relation- our care with same - ships as we invest in our prac with our practice same care tice? - that we demonstrate in our re What happens if we take the What happens if we take the What happens if we take the lationships? Now, despite the passage of time best when we know we’re yoked to book (with which this exhibition book (with which These twinned questions are loose These twinned questions are loose poles that ask us to consider the poles that ask us to consider ing questions as core to my meth- ing questions as for Social Practice Queens’ text- for Social Practice

gogical practice: arenas that encourage us to do arenas that encourage us to alone? inevitably changes that and the arise out of moving one’s work from - art and my understanding of peda shares a name), I posed the follow- shares a name), our best: do we do better at work, at do better we do best: our our or away from work? Do we do others, or when we imagine we’re ods of teaching socially engaged ods of teaching socially engaged Chloë Bass Co-Director, SPCUNY/SPQ June 2021 Movement as Social as Social Movement Action and Double Double Action and A Curatorial Note: Note: Curatorial A Digits for Social for Social Digits Queens Practice Art As Social Action •8 A Curatorial Note same care with our present same care with our present need in the future? that we imagine we might that we imagine we might What happens if we take the What happens if we take the ments past, but an invitation to- ments past, but Thanks for celebrating our double Thanks for celebrating our double This anniversary exhibition is not This anniversary wards a new question: wards a new question: digits. just a marker of time and achieve- and time of marker a just boundaries of our own everyday boundaries of our own everyday - brant ways. The works in Art As So both right and wrong: while I’m un- between the digits of years can be helps us to break out beyond the helps us to break out beyond to move is to learn. On the morning to move is to learn. On the morning ry statement, “you’re going to be ry statement, “you’re going to Felipe Vintimilla Burneo’s Hombres Felipe Vintimilla people we encounter in new and vi- people we encounter in new and plexity of group identity in Pedro plexity of group profound; the movement within a within movement the profound; us differently, or to engage with, re- us differently, or to engage with, - previously encountered, or consid uttering a truism, my father was my father a truism, uttering imagine, or even simply notice the imagine, or even simply notice in double digits for the rest of your in double digits for the rest of your lines the Queens Museum’s atrium. lines the Queens lives: to consider the world around likely to live to 100, the movement - woke me up with the congratulato life!” I was shocked, having never , or the beauty and com- Transition, or the beauty and leave us with the promise that and leave us with the promise that At its best, socially engaged art At its best, socially engaged as permanent. Like most parents single day is already informative. ered, any condition in my own life ered, any condition in my own of my own 10th birthday, my father of my own 10th birthday, my father cial Action ask us to keep moving, series, which - lines . color . texture which measures which measures and Naomi Kuo’s Flush- Union Workers for a Just inPulse, Flushing Creek from Home, Notes on (Dis)Placement, and Murphy’s meander. Others, like Erin Turner’s mann’s breath rates, or Jeff Kasper’s pro- breath rates, or there are the bodies that move to- there are the bodies that tices and efforts to combat climate tion expands itself to address group tion expands itself to address group How to fall in love with a river: in love with How to fall Coalition’s phorically, as they consider water phorically, as they consider water , is a meditation a is Police, the of Feel ine different attitudes towards ac- ine different attitudes The indirectly in his light sculpture ing Art Tours #1 - 3, take a literal video totypes for white flags, which imag- totypes for white directly in Julian Louis Phillips’ directly in Julian Louis Phillips’ gether to organize fair labor prac- fair to organize gether Landscapes and fluidity as a both a body and and fluidity as a both a body - a moving path. Finally, the exhibi Alix Camacho’s Reports from Walked cessibility. Some projects, like cessibility. Some projects, like exhibition participants’ heart and exhibition participants’ coming together. On the other hand other the On together. coming change, as seen in the Workers’ Art efforts. The diffuse group-produced group-produced diffuse The efforts. effort of gentrification, referenced on the starker aspects of bodies - opt to walk the walk more meta - Herr Ann Cody or arzobispo río el move- Art As Social Action, I imagined - moves us. An exhibition showcas body: Floor Grootenhuis and Joel and Grootenhuis Floor body: tant and unrecovered theater person, tant and unrecovered the movement of language on a page us. tutions that may or may not hold ty of constantly and consistently ty of constantly and consistently through our program to the larger the to program our through their active artistic lives. Organiz- ple. I learn through the movement ple. I learn through public and private spaces, through pushing against the marginalizing pushing against the marginalizing ing alumni work from the same ac- ing alumni work from the same informed by the labor that is that labor the by informed ing the that begins with as a journey it forces of dominant culture, while forces of dominant culture, while with Social Practice Queens, moved world, and have moved beyond us to I have long maintained that sitting I have long maintained - ment work: the political necessi ademic program is an invitation to invitation is an program ademic al) through movement. An unrepen- al) through movement. and flow of human beings through I am edit, and revise. as I research, - also embedding ourselves in insti An exhibition is an invitation to An exhibition is an invitation consider how we move, and what consider how we move, and what see how our former students moved still and thinking is for other peo- still and thinking of my body, through the movement the through body, my of Art As Social Action •9 - Kasper invierte el mensaje habit - blanca se considerará como un sím - bolo auténtico de tregua y de colab Reconocido internacionalmente, Reconocido internacionalmente, poseer los objetos cotidianos. poseer los objetos cotidianos. protector de verdad o alto al fuego. pregunta qué pasaría si la bandera ual de rendición de la bandera y ual de rendición de la bandera La serie de Jeff Kasper prototipos La serie de Jeff muestra el para banderas blancas la bandera blanca es un símbolo sentido poderoso oculto que pueden sentido poderoso oración en vez de derrota. bol of truce, of collaboration rather bol of truce, of collaboration rather than defeat. tapped meanings within them. The tapped meanings within them. The usual call for surrender, Kasper usual call for surrender, Kasper - white flag was truly deemed a sym white flag is an internationally rec- internationally an is flag white - for white flags reveals how every day objects can hold powerful, un- day objects can asks what would happen if the asks what would happen if ceasefire. In subverting the flag’s ceasefire. In subverting the flag’s ognized protective sign of truth or truth sign of protective ognized Jeff Kasper’s series prototypes Jeff Kasper’s

Courtesy the artist Cortesía del artista Poly silk flags Banderas de seda polivinílica prototipos para banderas blancas prototypes for white flags 2017-2020 2017-2020 b. Mineola, NY, 1990 Jeff Kasper Jeff Art As Social Action •10 Jeff Kasper Art As Social Action •11 Jeff Kasper Art As Social Action •12 bres que explora diversas experien- diversas explora que bres tografías de estas celebraciones y celebraciones estas de tografías de retratos es una serie texture tidad y la migración y, al mismo a tiempo, se invita al espectador un tético. Esta serie es parte de El Pedro Felipe lleva desde 2017 El Pedro Felipe - procesiones. A partir de esta col es- participar directamente a nivel hom- titulado grande más proyecto fotográficos de hombres en estos fotográficos de hombres en estos - flexiones sobre el género, la iden documentando desfiles ecuatori- documentando y ha logrado reunir unas 5,000 fo- y ha logrado reunir unas 5,000 anos en Nueva York y en Ecuador anos en Nueva ección, Hombres - lines . color . ección, Hombres - lines . color cias masculinas. eventos en los que se sintetizan re- eventos en los que se sintetizan mately five thousand photographs of mately five thousand photographs migration, while inviting the viewer migration, while inviting the viewer has documented Ecuadorian Parades has documented Ecuadorian Parades these festivities and processions. and festivities these - these events that synthesize con templations of gender, identity, and - to engage at a direct aesthetic lev rades. Since 2017, El Pedro Felipe rades. Since 2017, El Pedro Felipe - resulting in an archive of approxi Taken from this collection, Hombres Hombres - lines . color . texture is Hombres - lines project titled hombres that explores in New York City and in Ecuador, in New York City and in Ecuador, diverse male experiences. a series of photographic portraits a series of photographic el. This series is part of a larger el. This series is part of a larger of men taken during Ecuadorian Pa- of men taken during at of photographic portraits of men - lines . color . texture is a series

Hombres - líneas . color . textura Courtesy the artist Cortesía del artista Fotografía digital en seda (crepé) Digital photography on silk Hombres - lines . color . texture (Crepe-de-Chine) 2017-2020 2017-2020 b. Cuenca, Ecuador, 1978 (Vintimilla) El Pedro Felipe Felipe Pedro El Art As Social Action •13 El Pedro Felipe (Vintimilla) Art As Social Action •14 El Pedro Felipe (Vintimilla) Art As Social Action •15 Street rd - Museum into a deep social engage kind context—a local our with ment begun eight years earlier, when art- begun eight years earlier, when between Ecuador and NYC, where home, shuttling videos and messag- together? of truck drivers who operated out tion system with their families at families their with system tion Corona Plaza. How did this all come How did this Corona Plaza. Corona Plaza, a triangular public The process could be said to have The process could be said to have project that opened our minds to project that opened our minds programming off site in Corona was She had been working with a group She had been working with a group ists and organizers led the Queens ists and organizers led the Queens NYC-based and Quito a by initiated at “Immigrant Movement,” a social at “Immigrant Movement,” the street from art project just down Ponce. Teresa Maria named artist and Roosevelt Avenue. Through her and Roosevelt Avenue. - art, she was creating a communica cluding a number of class meetings cluding a number space at the corner of 103 es back and forth as she travelled she was studying. on campus and in the community, in- community, the in and campus on moving “Mudanza” Ecuadorian of of institutional social practice. One of institutional social practice. Transforming In 2012, Social Prac- In 2012, Social terventionist theory and practical terventionist theory and practical tice Queens offered an interdisci- tice Queens offered the Queens Museum as a community - research work involving the demo Professor Tarry Hum from the Urban plinary seminar called seminar plinary ed- remarkable This was a Reddy. ucational opportunity that unfolded Studies and successfully merged Studies and successfully merged Studies Department -- plus addition- . Jose Serrano-McClain, Corona Plaza. Jose Serrano-McClain, Latino region of Queens, with in- Latino region of Queens, with lette from the Studio Art Department, lette from the

dents in Studio Art and in Urban dents in Studio Art and in Urban case from drawn concepts design - graphics, local politics, and con an SPQ graduate who was working at an SPQ graduate full art.” That’s a long sentence, al instruction from the Queens Mu- cerned stake-holders of this mostly cerned stake-holders of this mostly experiment brought together a group experiment brought together a group studies of socially-engaged visual de- engaged students in a real-life sign challenge under the guidance Prerana Programs, of Manager seum organizer at the time, wrote: “This organizer at stu- of graduate and undergraduate class The elements. inspiring of College Queens from instructors of -- Maureen Connor and Gregory Sho- -- Maureen Connor and Gregory Tom Finkelpearl Director of the Queens Museum Director of the Queens Museum (2002–2014) June 2021 One Amazing Seminar Amazing One Art As Social Action •16 One Amazing Seminar Meanwhile, a local City Council member, Julissa Ferreras, had be- She in Corona. activities museum’s many months of discussion and ne- many months of Museum had invited the celebrated became a cheerleader, funder, advi- ty, the students discussed the so- the students discussed the ty, Cuban Artist Tania Bruguera to cre- Cuban Artist Tania Bruguera to - There, in the midst of the communi During these discussions in 2011 During these discussions - project was born: a storefront proj that lasted perience, an experiment including, as mentioned above, as above, mentioned as including, with QM as a partner. Immigrant Movement International Immigrant Movement International for International became a location gotiation, QC launched the program gotiation, QC launched ate a social project in Corona. The ate a social project in Corona. a number of memorable SPQ events, . a site for Transforming Corona Plaza also saw immense potential in Coro- in immense potential saw also another key asset came into play. another key asset came into play. Along with Creative Time, the Queens Along with Creative Time, the Queens - cial fabric of Corona and the physi cal possibilities of the plaza. ect centering on the immigrant ex- ect centering on the immigrant seven years. Immigrant Movement come a great partner to all of the sor, and friend to the museum. She museum of Queens. During this pe- this During of Queens. museum museum staff to communicate bet- was, member exactly whose idea it been seeking new ways to connect been seeking new but we began talking about deeper ter among themselves. I cannot re- relationship with the public school relationship with - riod there was increased discus CUNY graduate, I was acutely aware CUNY graduate, I was acutely aware College was a part of the people’s During these years, the museum had During these years, university of New York City, and university of New York City, pre- practice. Indeed, Maureen had practice—a project meant to get the We had Queens College grads on our We had Queens College grads on Sholette, who is one of America’s ist who was well versed in social in versed well who was ist institutional collaboration. After foremost scholars of politically foremost scholars of politically lege in many Queens communities. Queens many in lege with Queens. We had a decades-old decades-old We had a with Queens. with the Queens Public Library. As a with the Queens Public Library. As we were hoping to be the people’s we were hoping to be the people’s was a classic example of social artist, and Maureen Connor, an art- artist, and Maureen Connor, an system, and a growing partnership system, and a growing staff, and in our audience. Queens sion with QC faculty including Greg sion with QC faculty including Greg engaged art and a veteran public sented a project at the Museum that of the importance of Queens Col- Queens of importance the of as we cart (2007, curator Sara Piragua cart member for a local city council local city council member for a member. She brought a set of skills - man prevailed). Interactive, social been a canvassing coordinator and been a canvassing to community engagement and di- to community engagement and ty organizers were creating inter- the following years. Two memorable the following years. Two memorable rator Herb Tam) in which he expertly rator Herb Tam) in which he expertly na with a series of commissions in na with a series of commissions Families Party in Queens and a staff a and Queens in Party Families political organizer for the Working political organizer part of what we did off site, and part of what we did off site, Reisman) that he brought to the lo- the to brought he that Reisman) projects were Miguel Luciano’s de- projects were Miguel Luciano’s ice treats and Shawn Leonardo’s ice treats and Shawn Leonardo’s ly engaged art was becoming a main ly engaged art was becoming a main which enriched our approach luxe wrestled an invisible man in a ring in a man invisible an wrestled were calling it social practice, but alogue that are rare at museums, museums, at are rare alogue that - Lucha Libre performance (2008, cu artists, programmers, and communi- active space, crossing boundaries, set up in the plaza (the invisible set up in the plaza (the invisible spurring dialogue. cal streets dispensing free shaved- - continued our programming in Coro organizer, Naila Rosario, who had organizer, Naila on-site as well. I am not sure we Mudanza trucks and touching videos Mudanza trucks and touching videos museum hired its first community first its hired museum - blew our minds. The project includ the museum, Ponce produced a mul- the museum, Ponce timedia outdoor event which really the project connected to the social the project connected to the social to program in the plaza for years Abichandani’s come—including to that night. It was aesthetically that night. On a summer night in June 2004, in On a summer night Ford Foundation. Park’s Ecuadorian Day celebration celebration Day Ecuadorian Park’s public art initiative, funded by the people exiting Flushing Meadows people exiting Flushing Meadows - inside the trucks sent to the driv finish her graduate studies, the fabric of the site in a way that few fabric of the site in a way that landscapes on the exterior of the landscapes on the exterior of youth leaders and the truck drivers youth leaders and the truck drivers of were the guides to the crowds In 2006 when Abichandani left to Abichandani and Prerana Reddy at Reddy Prerana and Abichandani collaboration with a youth leader- collaboration with by Jaishri ship program initiated ed video projections of Ecuadorian ed video projections of Ecuadorian ers from their kids back home. The ers from their kids back home. compelling, but more importantly, compelling, but more importantly, spired by that night, we continued of us had seen in Queens before. In- of us had seen in Queens before. ”Corona Plaza: Heart of Everywhere” of Heart Plaza: ”Corona Art As Social Action •17 One Amazing Seminar met practice on Roosevelt Avenue. ment where a lot was on the table, the table, was on a lot ment where ment for students to have input into of haze a in blurred not is memory the daily urban fabric. I hope my the daily urban fabric. I hope nostalgia, but to me that seminar that me to but nostalgia, Tiravanija or a community festival Tiravanija or a Perhaps nostalgically, I am think- Perhaps nostalgically, practice. It was an academic course practice. It was an academic course itself, a micro-utopia where theory itself, a micro-utopia where theory ing of the Transforming Corona Plaza where folks share pad Thai in a gal- a in Thai pad share folks where created by Rirkrit lery installation it with an outstanding faculty, but mo- special as a designed also was in was a social practice moment at Project Row Houses in Houston. at Project Row and social art was being put into class in those terms. It was a mo- class in those terms. It was a my mind as a wonderful moment of my mind as a wonderful moment mean the creation of a space and had a couple of new directors and new directors and of a couple had to meet and eat outdoors, and that to meet and eat meet their new they made the plaza the seminar back together in the the seminar adeptly has Bass Chloë and tired, of that will allow for an expansion still I But CUNY-wide. program the in that seminar, which has stayed the “micro-utopia.” By this, critics time where dialogue is open, where needs. The input of the Transform- needs. The input new staff. The Mellon Foundation new staff. The Mellon Foundation plaza to see the long-term outcome. plaza to see the long-term outcome. provided a transformational grant people are engaged in a remarkable Social Practice Queens has changed Social Practice Queens has changed in the space - an open place that in the space - it may be. This might be a moment seminar was still was seminar Plaza Corona ing was serving the community. I would was serving the community. I would love to bring the participants from stepped in. The Queens Museum has stepped in. The Queens Museum in see the potential of the program In the discussion of collaboration. is social practice art, one category and communication of experience social interplay, temporary though over the years. Maureen Connor re- Connor Maureen years. the over hub for cultural programming ments from the community process, ments from the community process, has since developed as a hub for hub as a developed since has that, devastated by COVID-19, the to see that the Mudanza trucks were the envisioned—but originally was that tal funding. Several years later the tal funding. Several years later transition: first, closing the street transition: first, the plaza, and then that ran through na Plaza, and through the city’s Pla- na Plaza, and through Corona community needed a place The official design employed ele- The official design employed - plaza with over $2 million in capi plaza was renovated and reopened. ing in the middle, and food vendors food carts and vendors, less often less vendors, and carts food lic space. On a recent afternoon lic space. On a recent afternoon - when I visited, there was a demon weekly by a greenmarket and fre- weekly by a greenmarket and months. The plaza warm weather It was a meeting place, graced It was a meeting place, graced design of inclusive public space. design of inclusive public space. za Program engineered a two-phase za Program engineered around the periphery. I was thrilled was I periphery. the around and it was hailed as a model for the and it was hailed as a model for quent cultural programs during the quent cultural programs during still there. One friend observed stration for immigrant rights in one stration for immigrant rights in section of the plaza, COVID-19 test- - such is the dynamic nature of pub supporting the renovation of the supporting the Art As Social Action •18 ma consciente con nosotros mismos ma consciente con nosotros mismos - tectar las conexiones entre los lati Pulso nos invita a conectar de for- Pulso nos invita Respirar juntos y exhalar en profun- Respirar juntos y proyecto utiliza sensores para de- para sensores utiliza proyecto pulsaciones se sincronizarán con pulsaciones se sincronizarán con izándose poco a poco. la misma. Si otro visitante participa Si otro visitante la misma. didad mejora nuestro bienestar. in- didad mejora nuestro dos del corazón de dos personas - diferentes y representa estas con - de un vídeo. Le invitamos a acti y con los demás a través de nuestro y con los demás a través de nuestro var la obra: siéntese en una silla var la obra: siéntese en una silla y tome los sensores. Conforme siga corazón y nuestra respiración. Este respiración. nuestra y corazón exiones a través de la proyección exiones a través de la proyección sus el indicador de su respiración, irán sincron- sus latidos con usted, invites you to connect inPulse invites you to heartbeats will eventually begin to heartbeats will eventually begin through your heart and breath. This heart and through your nections that occur between two nections that occur between two project uses sensors to detect con- uses sensors to project - people’s heartbeats, and visualiz Breathing together, and breathing Breathing together, ing. you follow the breathing prompt, you follow the breathing prompt, in your heartbeat will become more visitor participates with you, your activate the work by sitting in the activate the work by sitting in sync to one another. consciously to yourself and others consciously to yourself and others - es these connections through vid to eo projection. You are invited As chairs and holding the sensors. sync with your breath. If another out fully, improves our well-be- our improves fully, out

Courtesy the artists Cortesía de los artistas tion, variable duration tiva, duración variable Installation with heart sensors, Instalación con sensores cardíacos, inPulse inPulso 2021 2021 - chairs, and interactive video projec sillas y proyección de vídeo interac- b. Nairobi, Kenya, 1974 b. Honolulu, Hawaii, 1968 and Joel Murphy Joel and Floor Grootenhuis Grootenhuis Floor Art As Social Action •19 Floor Grootenhuis and Joel Murphy Art As Social Action •20 Floor Grootenhuis and Joel Murphy Art As Social Action •21 ma en la que los estadounidenses ma en la que los las mismos itinerarios, compartir Tours de arte en Tours de arte en Con su proyecto reflexiones que suscita el paseo y reflexiones que suscita el paseo un sentido de identidad a través de un sentido de identidad a través , Naomi Kuo investiga la for- Flushing, Naomi Kuo investiga ing, Queens, donde la comunidad ing, Queens, donde la comunidad de invita a los amigos, y a amigos los vínculos con lugares. Al plant- Al lugares. con vínculos los de ascendencia asiática obtienen de ascendencia asiática obtienen des de experiencia personal, Kuo - documentan en folletos que permit del mismo barrio. vos de 3 personas. Estos paseos se vos de 3 personas. Estos paseos asiática es mayoritaria. La artista asiática es mayoritaria. La artista - amigos, a dirigir paseos interacti earse esta cuestión a través de re- earse esta cuestión a través de - se centra en particular en Flush los en a otros participantes recorrer conectar con percepciones diversas Naomi Kuo investigates how Asian Naomi Kuo investigates Queens, in particular, where Asians Queens, in particular, that allow others to retrace their that allow others to retrace their tity through their relationships tity through their relationships to place. Pursuing this question - through personal knowledge net Flushing Art Tours, Flushing Art Tours, With her project walks are documented in booklets walks are documented in booklets works, Kuo focuses on Flushing, works, Kuo focuses on Flushing, Americans derive a sense of iden- Americans derive are the majority. Kuo invites friends are the majority. Kuo invites friends and friends of friends, to co-lead steps and follow their wandering in- steps and follow their wandering - sights, and connect with varied per ceptions of the same neighborhood. 3-person, interactive walks. The 3-person, interactive walks. Cortesía de la artista Courtesy the artists Folleto de papel impreso Printed paper booklets Flushing Art Tours #1 - 3 Tours de arte en Flushing # 1 - 3 2019-2021 2019-2021 b. Houston, Texas, 1991 Naomi Kuo Naomi Art As Social Action •22 Niaomi Kuo Art As Social Action •23 Niaomi Kuo - Kuo comparte este espíritu diligen muy común ver restos de madera y muy común ver restos de madera impro- huertos conforman que metal calles, las en similares marginales balcones de muchas familias de as- balcones de muchas familias de basura encontrada en Flushing, la basura encontrada en Flushing, tados en cada repetición. La obra tados en cada repetición. La obra - te y optimista y estimula la imag - ra, diversas estructuras de come Tienda, enrejado, nave espacial, es Tienda, enrejado, una escultura que se vuelve a con- una escultura que de una característica distintiva inación. de los residentes de Flushing. Es de los residentes de Flushing. dores exteriores ocupan espacios visados en los pequeños patios y visados en los pequeños patios a la resiliencia y a la ingeniosidad a la resiliencia y a la ingeniosidad cendencia asiática del barrio. Aho- barrio. del asiática cendencia struir a partir de materiales readap- struir a partir de se concibe como un reconocimiento la de Hecho urbano. entorno este de tienda forma de en estructura materials in each of its iterations. materials in each - hood. Various outdoor dining struc tures now occupy similar marginal tures now occupy similar marginal the distinctiveness of that urban ture that is rebuilt from repurposed ture that is rebuilt the resilience and resourcefulness The work is intended as a nod to The work is intended as a nod in Flushing, Kuo’s tent-like form in Flushing, Kuo’s tent-like form Tent, Trellis, Spaceship, is sculp- Tent, Trellis, Spaceship, ductive, edible gardens in the small ductive, edible gardens in the small yards and balconies of many Asian yards and balconies of many Asian - American families in the neighbor - al cobbled together to support pro spaces along the streets, adding to spaces along the streets, adding environment. Made of trash found shares this industrious and hopeful spirit, and encourages imagination. - common to see scrap wood and met of the residents of Flushing. It is of the residents of Flushing. It Cortesía de la artista Courtesy the artist ta, hilo, materiales reciclados Fabric, plastic, paper, wood, tape, - Tejido, plástico, papel, madera, cin Tienda, enrejado, nave espacial II Tent, Trellis, Spaceship II Tent, Trellis, Spaceship 2021 2021 string, recycled materials Art As Social Action •24 Niaomi Kuo Art As Social Action •25 imita la - Esta instalación escultural ilumina da evoca la ansiedad agobiante que da evoca la ansiedad agobiante de vez en policial presencia la de apariencia visual que acompaña al visual que acompaña apariencia sonido de las sirenas de policía. sonido de las sirenas sienten aquellos que son víctimas sentirse protegidos por la misma. La sensación de la policía La sensación de tural light installation invokes tural light installation invokes tected by police presence. Feel of the Police mimics the visu- Feel of the Police - who are targeted rather than pro al sensation that accompanies the al sensation that sound of police sirens. This sculp- sound of police overwhelming anxiety felt by those by felt anxiety overwhelming Concreto, acero, luces de fiesta y Cortesía del artista Concrete, steel, party lights, and Courtesy the artist The Feel of the Police acetato de color 2018 2018 color acetate La sensación de la policía b. Brooklyn, NY, 1988 Phillips Julian Louis Louis Julian Art As Social Action •26 Julian Louis Phillips Art As Social Action •27 Julian Louis Phillips miliares, paseos, vídeos y creación miliares, paseos, vídeos y creación - nados con el alojamiento y la gentri Notas sobre el (des)alojo es un Notas sobre el en curso en el proyecto multimedia personales del hogar de su infancia práctica basada en la investigación ficación a través de sus recuerdos ficación a través de sus recuerdos de Phillips incluye entrevistas fa- de Phillips incluye entrevistas los a refiere se que fanzines de al regresar a casa y tomar concien- tomar y casa a regresar al - relacio temas explora Phillips que en Bedford Stuyvesant, Brooklyn. La en Bedford Stuyvesant, Brooklyn. sentimientos de tensión y pérdida de tensión sentimientos al cia de que es un lugar sometido cambio sistemático. home and gentrification through his through gentrification and home hood home in Bedford Stuyvesant, - tension and loss felt when return Phillips explores themes related to Phillips explores is an on- is an on (Dis)Placement Notes - personal remembrance of his child - practice includes family inter Brooklyn. Phillips’ research-based Phillips’ Brooklyn. - ing home to a place that has under views, walking practices, videos views, walking practices, videos going multimedia project in which going multimedia gone systematic change. and zine-making that address the and zine-making that address Direct link to video. Cortesía del artista Courtesy the artist Notas sobre el (des)alojo Notes on (Dis)Placement Vídeo monocanal, sonido, 7:17 mins., y una publicación Video, sound, 7:17; and publication 2019 2019 Art As Social Action •28 Julian Louis Phillips Art As Social Action •29 bivalent about introducing my work bivalent about introducing my work ma- by evoking a bit of shock--to tradictions of social practice that tion through surprise or even fear. even or surprise through tion - that reproductive justice is com to abortion but the representation to health care, housing, child care I’m to address all these problems. - nipulate people into paying atten rights but learning what it means That’s not the response I want. I That’s not the response I want. people, isn’t necessarily the best plicated. It’s not just about access plicated. It’s not just about access don’t want to provoke the stigma don’t want to provoke the stigma I’m trying to eliminate. I explain I’m trying to eliminate. I explain is not about increasing abortion increasing about not is way to present social practice proj- social practice way to present for many people, and by implication for many people, At the same time, I’m somewhat am- At the same time, I’m somewhat and poverty in general. The project and poverty in general. The project abortion as we know it, but rather abortion as we on the men- a process of bringing attached to addresses the stigma abortion, it usually creates more seems in many ways one of the con- the of ways one many in seems ses. Since this is new information ses. Since this experimenting now with other meth- curiosity about what I’ll say next. curiosity about what I’ll say next. ods of presenting the work, but it often the most reliable way to reach of a broad range of rights; access of a broad range of rights; access Maureen Connor (MC): How do I ex- Maureen Connor been used for thousands of years been used for thousands of years baby start to move. In fact using has been a practice for centuries members? I sometimes begin with members? I sometimes ma is how to proceed. Do I follow in my impulse to present my work the mid nineteenth century, as long these herbs was not considered ty members or people who I meet ty members or people who I meet is that want to know what my work to wake you up when I finish.” That - tend to relax. Then, my next dilem not just for partners but communi- not just for partners usually gets a laugh and people usually gets a laugh and people plain what I do with community plain what I do - So, I might say that I plant gar dens of herbs and plants that have dens of herbs and plants that have ing? For example, I’ve been working ing? For example, I’ve been working for abortions. I usually get wide get usually abortions. I for which is when the mother feels the you about my work, but I might have might I but work, my about you and that it was in fact legal until as it was done before quickening, this is more general, a line that -- this is more general, about, which is-- “I’d like to tell - a way that will be kind of shock about abortion and contraception. eyes and surprised looks. Then I go eyes and surprised looks. Then I on to explain that herbal abortion that herbal on to explain on a project for the last four years on a project for the last four years March 2021 Maureen Connor, Brianna Harlan Harlan Brianna Queens Co-Founder, Queens Co-Founder, Social Practice Practice Social and SPQ student student and SPQ An interview between between interview An Art As Social Action •30 Maureen Connor Interview My friend, the artist Susan Jahoda My friend, the artist Susan Jahoda backwards from what we didn’t want didn’t we what from backwards how do you develop it?” So again, how do you develop it?” So again, the pedagogy of social practice and the pedagogy of social practice and to it. Like this is social practice, to it. Like this understand these contradictions. understand these contradictions. University of Massachusetts. So we University of Massachusetts. So While I had the context of the so- While I had the context of the possibility. Sometimes we worked we Sometimes possibility. projects into her teaching at the projects into her teaching at direct social connections. lege to work with, Susan was try- lege to work with, Susan was it to be. One focus of discussion it was an open field really, full of full really, field open an was it it’s also something to try to hold it’s also something to try to hold ing to bring more socially engaged was the group critique. We talked were talking a lot about “what is were talking a lot about “what what we’re doing, having this con- what we’re doing, how to do it versation. We learn born. So, that’s from the time we’re about how unproductive they often are, yet they have played an essen- and I started a Pedagogy Group in and I started a Pedagogy - 2012 that is still ongoing. The dis cial practice when it comes down cial practice when cussions we had really helped me cussions we had really helped at Queens Col- cial practice program one of the great things about it, but one of the great things about it, onto as basic to the field--making be. There’s been community art and many different forms of social en- ments and exclusions take place. take and exclusions ments keepers and hierarchies. One of the keepers and hierarchies. One of tion of CUNY. It’s a hierarchy and tion of CUNY. It’s to everyone, it costs a lot of money, to everyone, it costs a lot of money, the things I felt when we started not just CUNY, working with any in- not just CUNY, working with any Grant has brought in scholarships, Grant has brought in scholarships, But now more and more it does, and people can afford. Although it’s people can afford. Although it’s program was that social practice decade ago. I know it’s difficult decade ago. I didn’t have all of those hierarchies have all didn’t looking as I thought they were a looking as I thought I mean it’s great that the Mellon I mean it’s great that the Mellon I think that’s a fantastic change I think that’s a difficult place to it’s “open,” but it’s not that open it’s “open,” but it’s not that open with all the boundaries institutions institutions boundaries the all with you can’t get past it. And all of the you can’t get past it. And all of all different kinds of public art and and I hope it will help reduce some reduce help will it hope I and judge- where points sticking and gagement. Everything is kind of so- stitution, you confront many gate- many confront you stitution, can create, especially the institu- can create, especially contradictions, again, selectivity, contradictions, again, selectivity, cheaper than a lot of other places. or at least more money than many or at least more money than many it’s of those contradictions. But tice. It’s like teaching sculpture, tice. It’s like teaching sculpture, the table and saying, “I consider the table this a piece of sculpture,” and then talk about why, and why not, and their meaning and function begin to be identified. So, what I’m sug- tice as a very broad and generous When you ask the question ‘what is When you ask the question ‘what problem in the first question. When problem in the first So you have to work from there. don’t have much background in art don’t have much background in defines sculpture at a basic level. differences between objects and I would start by putting a chair on I would start by putting a chair is about, first you have to get past get to have you first about, is is “oh it’s a statue” or “it’s a kind is “oh it’s a statue” or “it’s a kind you’re presenting what your work work your what presenting you’re will have about what they’ve seen which I did for many many years. which I did for many many years. versation reaches a point where the versation reaches a point where field full of possibilities that are - and understood to be social prac as potentially hopeful and forward and hopeful potentially as - get all the pushback until the con gesting is to present social prac- sculpture?’ the first thing students sculpture?’ the first thing students say, especially those who really certain expectations that people that expectations certain of expectations that go back to the of expectations of public monument.” That’s what of public monument.” That’s what - MC: When Tom Finkelpearl first ap : Ok. That’s also : Ok. That’s also Brianna Harlan (BH) has become a bit institutionalised tutional programs, exhibitions and tutional programs, exhibitions and ten met with skepticism. Now as ten met with skepticism. Now tice art and Social Practice Queens Queens Practice art and Social tice Queens Museum to create a Social Queens Museum to create a Social Practice program, social practice Practice program, social practice public projects. But then, for me it proached the Queens College art de- proached the Queens College art the partment about partnering with ly found the best way. I’m looking, ly found the best it’s an experiment. ing to learn from other people and felt like a field, if one could even full of hope and possibility. Subse- was much less well-known and of- was much less well-known and ac- we all know it’s become more with. It’s really difficult for me to with. It’s really difficult for me and that it now comes with a set a really good answer that you ended a really good answer that you ended - 2: how have you seen social prac quently I feel that social practice call it that at the time, that was - cepted and is part of many insti ects. To summarize, I haven’t real- ects. To summarize, try- explain what I do and so I’m Number tips there. some exchange change in the last ten years? Art As Social Action •31 Maureen Connor Interview be a therapist. That’s one reason been working on similar issues been working on similar issues because artists aren’t familiar with because artists aren’t familiar with member--anybody that would talk to member--anybody that would talk me about their work. I would ask humanities and sciences. One of the humanities and sciences. to me when I was doing my research to me when I was doing my research to faculty who are very knowledge- to faculty who are unqualified to deal with a lot of lot a with deal to unqualified Can you concentrate? I also asked Can you concentrate? I also asked place. I would interview every staff place. I would interview every staff practitioners in those fields have practitioners in those fields have problems I sometimes find in well in find sometimes I problems Social Practice Queens has access Social Practice like for them. How are the working like for them. How are the working it. I didn’t feel that I should try to intentioned social practice work is work practice social intentioned why I think the more Social Prac- with some success for many years. with some success for many years. was one of the things that happened work from other fields and that and fields other from work Also, I think we don’t want to take Also, I think we don’t want to take about the workplace and what it felt about the workplace and what it felt - about the art institution as a work about social relationships. I would able in the fields of social science, social the fields of in able a tendency to reinvent the wheel get a lot of information and some conditions? Do you have privacy? conditions? Do you have privacy? of it was disturbing. I felt really on the role of being therapists. That on the role of being therapists. That My work has always been involved My work has always happen? So from that perspective I know? How is it that for example, for example, that is it know? How movies and plays are produced with tions about hierarchies in mind. tions are prestigious places to be tions are prestigious places to through projects that I started do- through projects I the hierarchies of the institutions practice. I tried to keep those ques- those keep to tried I practice. - person or two people get the cred - people work rather than just pub place. I was trying to understand lic spaces where exhibitions take lic spaces where exhibitions take ited, but in a museum that doesn’t it for a big museum exhibition, you it for a big museum exhibition, you in issues of feminism and social in issues of feminism I kind of backed interaction, but of social practice into the field I ing at art institutions, in which was already in that mindset, when I worked, underpaid, and that they worked, underpaid, and that they focused on them as places where focused on them as places where served they how also but in, worked a whole list of people that get cred- - accepted this because art institu affiliated with. So, that’s a big part as gatekeepers. And also how their as gatekeepers. And also how their started focusing on teaching social - employees were exploited, over of the labor around the presentation labor around the of the one fact that as the art as well of : Well the Pedagogy Group is one MC: Well the Pedagogy : How has your involvement with BH: How has your involvement met every week, working to develop develop working to week, met every my practice in general and also for me as a teacher. I felt like I needed have to take a seminar and students and seminar a take to have this, then I tried that…”Did it work?” it work?” that…”Did then I tried this, they want to graduate thay have to. they want to graduate thay have to be very direct but also to try not to force an ideology onto anyone. really a working group: “... I tried really a working group: “... I tried What is the best way to work with What is the best way to work with Social Practice Queens influenced Social Practice don’t necessarily [want to] take the don’t necessarily [want to] take like that. Some of the students like that. Some of the students your work? in- way, starting that and being we volved in that. In the beginning felt like it had a huge influence on yours is the only one offered so if the only one offered yours is were very skeptical, because they were very skeptical, because they weren’t necessarily self-selected for a Social Practice class either. a shared curriculum, but also our a shared curriculum, but also a group like that? So that was a re- ally difficult but interesting time. I You know how it works at CUNY, you You know how it works at CUNY, you own individual syllabi. So it was own individual syllabi. So it was one you’re teaching. But sometimes one you’re teaching. But sometimes “No, everybody was silent!.” Things “No, everybody was silent!.” Things Kasper, from the Social Practice Kasper, from the Social Practice become this hierarchical thing that haven in some way, and an identity. haven in some way, and an identity. kind of tough love approach that’s the crit--that tough love often dom- often tough love the crit--that to be the way to go. I know Jeff tial role in art pedagogy. We con- tial role in art used and the challenging and often and challenging the and used When that need pushes against the against pushes need that When program has been working on this program has been working on this provocative approach that was both it is, so how does it all of a sudden ing aggressive comments about ing aggressive comments about inates crits and that didn’t seem inates crits and what we do. Everybody knows what knows Everybody do. we what we as faculty are expert in? feel judged and even excluded. We feel judged and even excluded. be there shouldn’t weren’t saying - feedback and dialogue but rath As I just said, social practice is - and he’s been coming to the Ped agogy Group recently. He’s talked be- about how we all became artists anticipated and feared by students. someone’s work, people begin to someone’s work, people begin sidered how to challenge the psy- sidered how to cause we felt that making art was a was art making we felt that cause - common in a critique, such as mak er wanted to reconsider the terms chology and even the humanity of chology and even Art As Social Action •32 Maureen Connor Interview by saying, this is dangerous, en- by saying, this is dangerous, be the different perspectives and be the different the methodology, that we’re talking tribute something to a particular a to something tribute - reproductive rights and also herbal it as a method not recommending learned about that women rience - abortion proj the example with For presenting the history rather than rather the history presenting - tion, we brought together gynocolo doing. Many doctors still react doctors still doing. Many duced by a collective that I work duced by a collective that I work lot of ancient knowledge that goes ists. They came with a lot of their ists. They came with a lot of their interests of everyone involved and interests of everyone could really con- imagine how you issues deeply, consider what might issues deeply, consider - with called how to perform an abor we have to be very clear that we’re women. We explain that there’s a abortion is a dangerous thing. So abortion is a dangerous thing. about how it used to be an expe- and performed in private with other gists and lawyers who specialize in gists and lawyers who specialize sets of questions about what we’re sets of questions about what we’re couraging people to take herbs for couraging people to take herbs context or community. - ects I mentioned which are pro own expertise, but also their own own expertise, but also of abortion. We explain that we’re Museum organizing programs for Museum organizing programs built with a community. So I feel might disrupt the trust they have themselves before they approach that art students don’t tend to be. that art students the context of an institution it’s - tend to be skeptical about bring - not always so easy to find schol nities in Corona, I was really kind nities in Corona, I was really kind project. You need to research the people from different backgrounds people from different backgrounds So that was a great learning experi- So that was a great Since then I have found that outside dy, who was working at the Queens dy, who was working like artists really need to prepare I understand their fears about how I understand their fears about how in working with artists. Often they And process. the into an artist ing first question--how do you share first question--how do you share of range a with do to want you what as a partner on a social practice ars and activists who are interested ars and activists who are interested artists, or newcomers of any kind - and with all of the different commu It participate? to them get and someone about working with them social issues, and poverty in a way poverty in social issues, and seemed effortless for Prerana. ence for everyone. And Prerana Red- ence for everyone. of in awe of her. Going back to your of in awe of her. Going back to your ble way to understand how different mean to say that it was a bureau- members of a community could en- her social science knowledge and her social science knowledge and - manage interviews with stakehold taught a class, Transforming Corona taught a class, Transforming Corona they could offer to the world, added they could offer to the sense of potential inherent really sophisticated about politics, redesign a public space in the Co- redesign a public space in the rona section of Queens. She brought not well known in the US. His guid- not well known Plaza, that combined a group of un- of group a combined that Plaza, proach a low income, multicultural proach a low income, multicultural professor at Queens College was professor at Queens College was dergraduate Urban Studies students dergraduate Urban Studies students immigrant community, e.g. how to immigrant community, e.g. how in developing a social practice pro- in developing a social with our MFA and BFA students to with our MFA and BFA students with Greg and Tom Finkelpearl, we with Greg and Tom Finkelpearl, art and artists, many of whom were art and artists, many to and trust in ance, his openness they do, what artists and the work also an invaluable mentor. Together gage with local issues that impact- gram. Tarry Hum, an Urban Studies gram. Tarry Hum, an Urban Studies stand what a stakeholder is. I don’t stand what a stakeholder is. I don’t cratic approach; it was an incredi- experience about how to best ap- experience about how to best - under us helped she as even ers, ed them. Also, her students were mented and participated in decades public international mation about man behavior from as many different man behavior from as many different tice. I also learned so much from tice Queens can work with faculty tice Queens can hu- the more you can learn about think in general that’s a problem think in general Tom Finkelpearl who brought infor- perspectives as possible the better perspectives as possible the better Sholette, who lived through, docu- - don’t even know those rules. Work don’t have certain interpersonal (or don’t have certain interpersonal don’t realize they need it until they I certainly learned a lot from Greg I certainly learned a lot from Greg into a non art group is that they will into a non art group is that they will art- introduce the kind of framing - ac thinking not e.g. offer, can ists challenging be can people with ing with other expertise, the better. I with other expertise, that artists with social practice, and students in other departments departments other in students and - are in the middle of a difficult situ ation. The idea of bringing an artist so and every situation is different un- able you’ll be to deal with the came what we now call social prac- social call now we what came cording to a set of rules--often they rules--often of set a to cording expected. of socially engaged art as it be- other kinds of) expertise and often of) expertise other kinds Art As Social Action •33 Maureen Connor Interview He asked if I had any ideas about ideas any had I if asked He based on Greg’s generosity as well based on Greg’s generosity as well been invited write a catalog essay write invited been my ‘art institution as workplace’ my ‘art institution as workplace’ - hind the scenes work for the exhibi mania with the theme of art as gift. mania with the theme of art as gift. how we might make it a collective to the biennial’s production staff, I to the biennial’s production staff, and productive. more pleasant tion to you in this situation, how would rect and hopefully more productive and hopefully more rect ry, even though the formal program ry, even though The concept as well as the process The concept as well as the process proposed offering them wishes for proposed offering them project and bring students* in. So project and bring students* in. - developed alot after that first iter didn’t begin until 2010: Greg had didn’t begin until lens to the challenge. Since I as- lens to the challenge. Since I I also think is part of SPQ histo- I also think is what they felt would make their be- what they felt would make their way of addressing critique: what critique: way of addressing would you like, what’s important you want to change it? as the exhibition’s theme I brought I theme exhibition’s the as - ation but basically it’s a more indi and also to make a proposal to do and also to make Ro- a project for a biennial in Iasi, sumed the gift theme would not in- sumed the gift theme would not clude any special care or attention clude any special care or attention MC: Yes, well, I decided I would talk : Definitely, definitely, that was that Definitely, definitely, BH: be fatal. It’s not just a harmless be fatal. It’s not just a harmless In fact a lot of the be dangerous! In fact a lot of me? Am I the most served because me? Am I the most served because try maybe it’s being funded? And I much, if you take them in combi- much, if you take to really think that one through be- to really think that one through that you still think about often? the Institute for Wishful Thinking. to keep that kind of thing in mind. to keep that kind of thing in mind. nation, in the wrong way, it could nation, in the wrong way, it could little art project, so it’s important little art project, so it’s important lot of people are gonna say, well, lot of people are I feel like just understanding our I feel like just understanding I’m getting to do the research and I think it’s a terrible idea, it could I think it’s a terrible who is served by this project? Is it who is served by this project? Is and also thinking about, as I said: and also thinking about, as I said: a great answer. Is there an outcome about a project that I did with an- and I founded together with a group abortion herbs, if you take too abortion herbs, cause that’s the bottom line. own lack of knowledge as artists own lack of knowledge as artists projects your of one from impact or other collective that Greg Sholette of MFA students in 2008 called Just to give some backstory, which the point of view of, oh yeah, this to make yourself really knowledge- really yourself make to that needs solving? And what do I do what And solving? needs that tations and resistances and fears fears and resistances and tations need to know about this problem, need to know about this problem, They could ask about their hesi- They could ask Who is most served by this project? Who is most served by this project? Does it actually address a problem Does it actually address a problem proach, say, the gynecologist or say, the proach, So . . . anyway, essential tools that So . . . anyway, essential tools that is an art project and we wanna do this and what do you think? And a dealing with rather than just com- like I need to know what they’re I depend on, or questions. Okay, questions. or depend on, I ing in and asking questions from it? And that goes back to what I it? And that goes back to what - with, and I want to have a conver was just saying. A certain amount was just saying. A certain amount As I was saying before, when I ap- As I was saying before, when I able and then from there you can you there from then and able and what is the best way to learn and what is the best way to learn about working together with artists about working together start to reach out. work to want I that else somebody feel I with, project the about sation so I have a few questions. First: so I have a few questions. First: of it is your own research, you have of it is your own research, you have on a community project. on a community have that conversation with faculty the crazy specifics of abortion law the crazy specifics of abortion law tice Queens students and faculty to trenches, and here are some artists trenches, and here are some artists to grow the herbs and prepare them to grow the herbs anymore. safe and effective be to tive rights lawyers: They might feel nents engage in to make aspects of nents engage in to make aspects needs to be addressed. Maybe it protests and various other kinds of protests and various other kinds public aware of that. So that’s the other side that I feel like they have really been in the like they have really been in lost, that we don’t really know how lost, that we don’t It’s our responsibility to make the It’s our responsibility to make into performing a successful herbal into performing a - is working with lawyers, reproduc who come along, what do they know who come along, what do they know Artists may have been part of some Artists may have been part of some Another example from my experience Another example from my experience about how to approach legal issues? about how to approach legal issues? a activism, but we haven’t been in - and manipulation abortion oppo abortion illegal. and students in other departments. abortion and much of it has been has it of much and abortion courtroom arguing and dealing with courtroom arguing and dealing with could be interesting for Social Prac- or understand the backroom deals or understand the backroom deals Art As Social Action •34 Maureen Connor Interview Muste Institute (1974) who offered Muste Institute (1974) who offered bilize for peace and justice?” Their bilize for peace and justice?” Their maintain it. http://peacepentagon- it. maintain made a proposal titled S.O.S. Peace - hope was that the call and its sur tions threatened by government ha- tions threatened by government together with architect Nandini to to invite architects and artists mo- building a can “how prompt: the tention to the building as a symbol repairs. There was a call for pro- repairs. There was rassment) and the rest of the Peace to redesign the building according at- bring would publicity rounding War Resisters League, founded in War Resisters League, founded Bagchee and artist Maureen Shea Bagchee and artist Maureen Shea Friends of 339 (based on their ad- Friends of 339 (based Pentagon’s tenants. They worked Pentagon to replace the building posals organized by a group called posals organized So the Institute for Wishful Thinking Wishful for Institute the So dress 339 Lafayette St.) that in- dress 339 Lafayette St.) that years and was in need of major years and was and help raise funds to repair and gessive organizations for over 40 gessive organizations - safe space to progressive organiza 1923, (and their nonprofit, the A.J. 1923, (and their nonprofit, the A.J. cluded the building’s owners, the cluded the building’s owners, competition.net/introduction.html of peace activism in New York City of peace activism in New York City materials in the (often developing) materials in the (often developing) how we might present that idea. them apart piece by piece and sell them apart piece markets, often the parts in local well as the danger the pollution as to workers, ship breaking practices the poverty and scarcity of steady to bring a ‘dead ship,’ or a ship that was ready to be junked, into - the port of every major city world tagon, had served as a home for Univerity, Melbourne made a pre- a made Melbourne Univerity, Professor George Cairns of RMIT So Professor George Cairns of RMIT dozens of activist groups and pro- groups and activist dozens of wide and let them deal with it, see wide and let them deal with it, see about thought we So happens. what And then later that same year anoth- as scrap metal. While international as scrap metal. of are difficult to control because at the corner of Bleeker and Lafay- among activists as the Peace Pen- sentation at the conference about about conference at the sentation my shipbreaking and responded to jobs as well as the need for raw raw the need for as well as jobs courts have passed laws to reduce to laws passed have courts challenge. One of his ‘wishes’ was countries in which it occurs. er opportunity came up: a building known Manhattan, in Streets ette : Ship breaking refers to the MC: Ship breaking refers to the : I did research about it when it about research did I BH: know a little bit about it. - might have been considered obso though they are barely seaworthy. though they are barely seaworthy. thing that at the time I knew very thing that at the Then day workers climb onto the usually the beaches of South Asia. - For example an old luxury cruise drive them right up onto a beach, - dustry. I don’t know if you’re famil lete and taken out of service are service of out taken and lete liner would be repurposed to carry ly decomissioned. Once ships are little about--the ship breaking in- little about--the I was looking up your work, so I I was looking up your work, so I didn’t get a lot of responses, but I didn’t get a lot really interesting I did get some instead provisionally repaired and instead provisionally repaired and ing wreck by the time it was final- identified to be broken, captains iar with... final disposal or ‘recycling’ of final disposal or ‘recycling’ - freight and end up a battered, polut als. Ships that a few decades ago als. Ships that a few decades ago - ships containing hazardous materi sent back out to deliver cargo even ships and use hand tools to take ones. One of them was about some- ones. One of them Marx and Judith Butler and consider Marx and Judith Butler and consider - business school curriculum-- post being critical, but they hardly ever modernism applied to management modernism applied to management ment, capitalist derived, etc.) prob- the questions such texts raised in the questions such texts raised about Crit- I understood the things to consider the (business, manage- relation to capitalist values. One of relation to capitalist values. One Thinking created a project for an Thinking created Critical Management Studies that Studies Management Critical practices. MBAs take courses in practices. MBAs take courses I problems they would present. So probably about 120 people who (or wishes) that would address and perhaps solve the problem. presentations were based on a new presentations were Studies, a recent addition to the lem that they were speaking about, In 2009 the Institute for Wishful In 2009 the Institute - include readings about psychoanal ical Management Studies was that at good were really scholars its were presenting at this conference) field called Critical Management Management Critical called field ysis, feminism, essays by Foucault, and come up with three approaches academic conference at the Univer- the at conference academic sity of Warwick in Coventry, UK. Its sity of Warwick challenged everybody (there were challenged everybody (there were offered real solutions to any of the offered real solutions to any of Art As Social Action •35 Maureen Connor Interview Mahler, John Pavlou, Nathania Ru- Mahler, John Pavlou, Nathania bin; Bibi Calderaro and Tommy Mintz bin; Bibi Calderaro and Tommy Mintz Wishful Thinking since 2008 include Wishful Thinking since 2008 include participated in the Institute for in the Institute participated Andrea DeFelice, Sheiko Kirby, Matt Andrea DeFelice, Sheiko Kirby, Matt artists, so I appreciate it. artists, so I appreciate joined in 2011. essary in the field that we’re in as essary in the field *Queens College MFA students who *Queens College : I think we can. Yeah, I was MC: I think we can. BH: You sound very thoughtful, having an impact but also that my having an impact but also that tough love I was critical of earlier. that already, social practice and and practice already, social that that’s really problematic. pressive, thank you. I noticed that pressive, thank you. I noticed that porate sponsorship which results porate sponsorship which results don’t sound too negative and also a - danger of getting involved with cor little judgmental...too much of the - laugh out loud. That’s very reward ing, in terms of feeling like I’m like feeling in terms of ing, ing social practice -- I just wanna ing social practice -- I just wanna the in the trenches on that one, but in greenwashing or pinkwashing, which is good and completely nec- you’re a great audience, very ex- you’re a great audience, very Anyway, this has been lovely, Anyway, this has been lovely, ally want to add something to, we ally want to add do- art spaces. And also hurdles to gonna answer the one about art gonna answer the sometimes you were trying not to sometimes you were trying not spaces, but I’ve said a lot about spaces, but I’ve said a lot about all say capitalism. You know, we’re critiques are not too harsh. I hope I critiques are not too harsh. I hope can wrap the interview here. can wrap the interview MC: ...Other questions. : (laughs) I do think that you did BH: (laughs) BH: Mhmm. Yeah. you definitely did. brand names and what I would call brand names and what I would call know what state it’s in now post- now in it’s state what know it kind of pessimistic, but I think of that this is how the Peace Penta- Peace the how is this that - thing was they didn’t tear the build now. So the history of the building that’s something that I think about, too high. - not fondly, but just to keep a per COVID, but it was really a focus for COVID, but it was So unless you see one that you re- devoted to selling sneakers. I don’t I sneakers. selling to devoted ing down, they just repaired it in ing down, they just repaired it faux street culture. To me, it was faux street culture. To me, it was what seemed like the most basic way and used it. Of course there’s field. I know that probably sounds absolutely no reference to any of absolutely no reference to any get as not letting my expectations answer some of these… gon ended up. And the interesting gon ended up. And the interesting store--a large three storey building storey three large store--a really, be hilarious, to as ironic so spective on what’s possible in this ed as KITH, which is now a sneaker ed as KITH, which best practices for ship building as best practices for ship building they couldn’t even get that. The there. that were its tenants. Our proposal that were its tenants. Our proposal terested workers from South Asia to terested workers from South Asia discus- in participated and talks We were very pleasantly surprised We were very pleasantly surprised place the Peace Pentagon building place the Peace development. But during that time development. But during that time learn the trade. In the end, the building was sold, will (and the money) just weren’t with an obsolete ship that, instead with an obsolete to New York to re- would be brought well as ship breaking, bringing in- ship breaking, well as as was selected project when the and for the next few years Friends and for the next few years Friends and be renovated to serve as offic- and be renovated renovations the that mandated also some of the basic renovations, and sions about more progressive urban sions about more progressive urban evacuated, renovated and rebrand- es for the progessive organizations es for the progessive organizations competition. There were a number of competition. There were a number exhibitions around it, and we gave of 339 tried to raise money to do of 339 tried to raise money to of being taken apart in South Asia, of being taken apart of of the ship include the teaching one of the first prize winners in the one of the first prize winners in Art As Social Action •36 more personal and heartfelt. In los- more personal and - home, a solo activity that was inde tive. In conceiving of and writing tive. In conceiving of and writing thought. place on-site at the museum or at or museum the at on-site place - pendently driven and hopefully pro - lating my deeply personal experi ing my father this past year amidst ing my father this intimate and examining it with a intimate and examining it with voking more personal and reflective voking more personal - cre I tried to Must Pass, All Things ate a public program that could take ate a public program that could take societal COVID isolation, I felt I had I felt I isolation, COVID societal - something to say about grief, trans - sort of universal or macro perspec - ences, pain and inner thought pro cesses outward-- taking something

Art as Social Action:10 Years had no idea if, or when the museum had no idea if, or when the museum ming would look like with social relevant for the exhibit and much relevant for the exhibit and much Queens Museum. For months we Queens Museum. For months Exactly 1 year ago, on March 15th on March 1 year ago, Exactly posal of a face to face group zine posal of a face to face group zine distancing precautions and if the distancing precautions and if with - would re-open, what the program with come up I wanted to workshop. a public program in conjunction a public program something that was adaptable and something that was adaptable and show would happen at all. So in show would happen at all. So email that the exhibition was still email that the exhibition was still of 2020, I submitted a proposal for of 2020, I submitted - on, I had to amend my original pro of Social Practice Queens at the

January 2021, when I received the January 2021, when I received

Cristina Ferrigno April 29, 2021 Access the zine here.

Public Programs: Programs: Public All Things Must Pass Must Things All Art As Social Action •37 Public Programs Loss of a Loved One Loss of Work Loss of Place Loss of Mobility Loss of Senses Loss of Touch Loss of Privacy Loss of Structure Loss of Purpose Loss of Community below: the types of loss I cover are listed are cover I loss of types the - to Gratitude, as it is always some - thing to keep in mind while griev not to me was, “What is grief, if The activities I include, range from The activities I physical to mental to emotional and physical to mental love persevering?” I also dedicated a page and activity I also dedicated a page and activity ing. One recent pop culture quote, ing. One recent pop culture quote, from WandaVision, that really spoke from WandaVision, that really spoke type of loss that I’ve experienced type of loss that I’ve experienced tion, creativity and empathy. tal health strategy. in each section each in strategy. health tal The themes throughout this zine this The themes throughout loss, mindfulness and art as a men- loss, mindfulness I talk a little bit about a particular I talk a little bit about a particular and how others may have similar and how others may have similar - activities to encourage introspec experiences. I also have prompts or experiences. I also have prompts explore healing, processing grief & explore healing, over the course of 2020 (and on) over the course of 2020 (and Art As Social Action •38 Public Programs Art As Social Action •39 Public Programs Art As Social Action •40 bition, or to hear their thoughts. bition, or to hear their thoughts. more present in their relationship more present in their relationship thoughts and feedback of visitors visitors of feedback and thoughts Action throughout to Art As Social run. Midway, the the exhibition’s to the work, and to give the artist to complex topics that touch us in resent a collection of informative, resent a collection of informative, These cards are a method both to These cards are a method both - We don’t always have the resourc collected the Call and Response personal ways. in option). People’s responses to in option). People’s responses ist to express those complications. - four additional emotional respons a response to their creative call for a response to their creative call and reactions at play in response socially engaged artworks can be socially engaged artworks can engagement. The finished cards rep- cards finished The engagement. constructive, and diverse dynamics es to artworks that visitors could es to artworks that visitors could choose from (in addition to a write- ex- should space and complicated, - es to activate viewers of an exhi be engage and prompt the viewer to original cards were revised, adding original cards were revised, adding

Brianna Harlan Ongoing throughout the exhibition Call and Response Call and Public Programs: Programs: Public Art As Social Action •41 Public Programs Art As Social Action •42 Public Programs Art As Social Action •43 - munity members and creative peo mate solutions research center. So center. research solutions mate tistic projects. My role has been tistic projects. My role has been - thinking about how to bring com them come up with a process that through some of the challenges in through some of the challenges for- their relationship as it moves the project. I’m mediating amongst the institution, public or communi- ty, and the creative team or artist, ty and meaning. rather, the public-facing aspects of residents on the island. They’re residents on the ple together in mutually respectful ple together in mutually respectful - feels right for them to develop proj ward from idea to implementation,or to idea from ward what’s the synergistic mix amongst what’s the synergistic mix amongst In the most plain but not terribly describe myself as a doula for ar- describe myself as a doula for and generativeways. I both help and generativeways. I both help a public park, an artist community, a public park, an artist community, and a research center? I arts administrator. So sometimes and that’s where I find my creativi- amenity, but it’s also now home to amenity, but it’s community who are a huge artistic host a cli- also hoping to eventually exciting or illustrative term I’m an exciting or illustrative term I’m ects, as well as help them work Brianna Harlan (BH): How do you ex- Brianna Harlan (BH): - tricki a That’s (PR): Reddy Prerana being part of the board of Rockaway being part of the board of Rockaway been lucky enough to be a sub-con- been lucky enough to tution, nor am I a social practice tution, nor am I a social practice right now I engage community in a right now I engage community in nization that also engages issues This is really exciting because it plain to community members and plain to community do? partners what you ed. note: formerly the Rocka- uity (ed. note: formerly is both a public park, a city-owned way Waterfront Alliance), which is folks engage public space, soI’ve where I livein the Rockaways, and where I livein the Rockaways, Eq- Initiative for Sustainability and ways. Island to develop a public art plan. I’ve always been interested in how been interested I’ve always depends on when you ask it. So depends on when you - a creative youth development orga - ability and how that impacts differ artist myself. I think that question artist myself. I think that question couple of different ways—one being couple of different ways—one being unequal in communities coastal ent - er question now that I’m not neces - sarily working fulltime for an insti sultant working with the Governors - of social and ecological sustain March 2021 Brianna Harlan Brianna Prerana Reddy Prerana and SPQ student and SPQ An interview between between An interview Art As Social Action •44 Prerana Reddy Interview bor studies. The idea is that if you bor studies. The idea is that if you based in public universities. And based in public universities. And had interdisciplinary connections had interdisciplinary they weren’t coming from the idea they weren’t coming from the idea that there were all these non-arts the west coast) were still coming the west coast) tice that you needed to bring a set a bring to needed you that tice tution, folks that have New York tuition. They would be part of the - nor reached out to us about devel College MFA program, and we were College MFA program, and we were di- College is a place that’s super CUNY system. We felt like the mu- the like We felt system. CUNY practice (that were mostly based on based mostly were (that practice - So Greg Sholette and Maureen Con in the community, but they weren’t in the community, interested in partnering. Queens interested in partnering. Queens whether that’s urban planning or la- whether that’s urban planning or - were really going to do social prac - verse. Because it’s a public insti was going to be broader than what was going to be broader than what an arts school could provide. as through our exhibition-making. skills that were going to be useful, skills that were going to be useful, state residency would have in-state have would residency state seum had so many projects going out of art schools. They may have out of art schools. oping something out of the Queens oping something out of the Queens of tools and a set of knowledge that of tools and a set of knowledge that on, both in the community, as well as community, the in both on, bedded in the community or under- or community the in bedded have built ourselves over time, We how artists who engage in social they were missing in their training. they were missing had good intentions as far as want- had good intentions - have all of the tools that they need tionships. It’s not all on the artist It’s not all on the tionships. that was truly democratic, and that and democratic, truly was that life. At first a lot ters of cultural not. It was the whole setup. So we not. It was the whole setup. So Traditional MFA programs in social in programs MFA Traditional practice are being trained, and what ple to do works in the public, but ple to do works in the public, - idea—that we just commission peo ing to give something back to the ing to give something back to we support them with our community our community with support them we were also thinking about how what to be useful could were learning we whether those projects worked or whether those projects worked were trying to rethink this whole were the problem because we were were the problem because we were - without giving them the resourc And sometimes, we as an institution And sometimes, we as an institution expecting them to produce projects produce to them expecting rela- those develop to time and es organizers and the relationships we organizers and the relationships community, but didn’t necessarily community, but didn’t necessarily em- ed to do work that really felt standing of the community culture. could function as one of the cen- could function as of the artists that we worked with of the artists that munities’ cultural needs and to be- needs and to cultural munities’ bring our educators, designers, art- bring our educators, designers, - having full-time community organiz had as an institution? How could we had as an institution? How could terface with us? terface between them and what we terface between them and what That eventually evolved into us That eventually evolved into On a third level, we asked what On a third level, people coming to the museum to in- to museum the to coming people projects in the community and work- public plaza in Corona. The museum Flushing and Corona neighborhoods, Flushing and Corona neighborhoods, ists and staff to the community as ists and staff to the community ing on public spaces out there. A lot it mean for the institution to take it mean for the institution to take its design, usage, and stewardship. its design, usage, was very much involved in creating which are both hubs for very di- which are both hubs for very but verse immigrant communities, does it mean to be in between the does it mean to a process of making a public plaza an asset, without always requiring an asset, without always requiring - a role in understanding those com - also communities that weren’t nec a greater decision-making role in a greater decision-making ers on staff, developing public art come a welcoming and creative in- come a welcoming and creative essarily museum users? What does What users? museum essarily of the community wanted to create a How have you seen social prac- BH: How have you seen : I worked at the Queens Muse- Queens the at I worked PR: munity that lives closest to the mu- munity that lives closest to the became the Public Programming and Public Programming became the - how what happens inside the muse this museum space for? For the this museum space for? For that space around it mean? How can tionally elsewhere. tice art and Social Practice Queens tice art and Social - not they were recognized institu Community Engagement department. Community Engagement department. Our biggest question was: what is Our biggest question was: what Queens community more generally, understand how this public space um from 2004 to 2016, and my role um from 2004 to 2016, and my role - um’s walls could reflect the cultur Secondly, we wanted to move beyond move wanted to we Secondly, in a flagship public park. What does for cultural producers, whether or for cultural producers, whether we contribute to park users’ cultur- users’ park to contribute we was to build out what eventually was to build out what eventually al experience? And beyond that to that beyond And experience? al have them help to and them, affects - and more particularly for the com al and artistic diversity of Queens, and how we could become resource seum. We were trying to figure out seum. We were trying to figure change in the past 10 years? change in the past our walls. The museum is located our walls. The museum is located Art As Social Action •45 Prerana Reddy Interview : I chose the program for myself myself program for I chose the BH: : What you said reminds me that PR: What you said reminds me that bringing in the theory and the prac- bringing in the theory bringing in students who already bringing in students who already - because I had been doing communi beginning. had that was part of the program had that was part had other careers. They weren’t just had other careers. They weren’t just tice and what does it mean to do ed- tice and what does ty organizing and development work ty organizing and development work me to hear them. So it’s nice for the tional values that were there at together. themselves as human beings out- ucation in social practice. So that ucation in social ing with grown-ups with life and job felt a lot more like we were deal- was the other piece of the three- was the other piece it legged stool that really brought who had had time to kind of develop going straight through from high going straight through from high as a career and art as a career, but as a career and art as a career, - about that history and the founda is another thing I liked about SPQ in also that we were interested experience, and facilitation skills, school to college to grad school. It separately. I wanted to combine separately. I wanted to combine side of academia. might be more involved in terms of might be more involved in terms tunities for developing workshops, tunities for developing workshops, the sharing of community partners. they had a space on-site to meet or on-site they had a space that we were trying to think about that we were trying to think about the two institutions and our work Queens College. I think that was re- Queens became. It meant there was Those are some of the different Those are some practices, and some of them fit very practices, and some of them fit very What happened right before I left in terms of what Social Practice flexibility that came with creating flexibility that came with creating was Chloë Bass coming on board at well with some things that the mu- well with some things that the ways during my time at the museum ways during my where the intersections between the were. We really appreciated - directly. So there might be oppor ally an important piece of the pie artists in the program. For others it others For in the program. artists someone that the students really seum had going on and some not as seum had going on and some not collaborate. - something that didn’t have a prec one edent or that was going to be - size fits all for every MFA certifi cate candidate. They had their own or exhibition opportunities for some for opportunities exhibition or big exhibition with Mel Chin, so Chin, Mel with exhibition big tice Queens artists had access to tice Queens artists things like a major retrospective the cu- my team, to collaborate with - translated the history of her prac in tice into what’s going on now the areas she was concerned about: And that was another opportunity. the same time. We converted some rator, and the artist to develop pro- rator, and the artist to develop That was a project that had its own That was a project that Social Prac- That was one area a had also Queens Museum The call process was an open There Practice Queens so they felt like practice had to do with pedagogy practice had to do with pedagogy interfacing with, especially if their interfacing with, for people to have studio space on les’ work, where students were able les’ work, where students were able at we were expanding our building dence in cities. gramming around her practice that gramming around her practice that a collective workspace for Social space outside in the community. community. the in outside space - exhibition of Mierle Laderman Uke - sanitation, maintenance work, wom - en’s work, peace, artists in resi site, but we reserved one studio as or immigrant rights. We also had or immigrant rights. We also of our older galleries into studios. be. Actually, when we first started, started, we first Actually, when be. there being a conduit between the there being a conduit between two institutions. I think the first their practice directly, as well the their practice directly, trying to figure something out, and trying to figure something out, - rano-McClain became an MFA candi Queens of various sorts. This was Queens of various sorts. This was That would give students some real That would give perience participating in long-term perience participating in long-term who were already doing projects in who were already doing projects ex- work for them.. That was really with Cuban artist Tania Bruguera, in working with. They’d have that ex- that have They’d with. working dis- we both had that openness to It felt like both institutions were It felt like both institutions date. So we really had this sense of date. So we really had this sense grant Movement International proj- already a meaningful place to do already a meaningful place to At the same time, we had the Immi- we had the same time, At the cohort definitely had a lot of artists cohort definitely had a lot of artists citing for us. ect that was just about to start up collaboration with Creative Time. community members that we were community members covering what that curriculum could - under and work community-based standing that dynamic. our community organizer Jose Ser- our community organizer Jose opportunities to engage artists and opportunities to Art As Social Action •46 Prerana Reddy Interview BH: Okay, so what are some essen- much weight to that as “well that’s “well as that to weight much How are they thinking through the How are they thinking through how those have been developed. been have those how tial tools or questions that you de- to evaluate projects, and to give as to evaluate projects, and to give and the relationships on the ground that they’re in now?So I think all of that they’re in now?So I think all those things were things that I took relationship throughout the project relationship throughout the project That’s an important thing for us to That’s an important thing for us pend on throughout your process? people excel at being able to show to able being at excel people press their project in a different press their project perience to the next job. understand as people who are trying understand as people who are trying it’s about who you bring together, it’s about who you bring together, to- is. So how are you bringing folks from my Social Practice Queens ex- what they’re doing visually. So it what they’re doing - way. And B) for other people to real ly think about how the project isn’t gave people that opportunity to ex- gave people that gether? What decision-making roles a really cool concept.” To look at a really cool concept.” To look and that’s what socially engaged art engaged socially what that’s and are folks having in the project? just what you do or what it’s about, what it’s do or what you just scribing things in words, but other but words, in things scribing or at least the phase of the project or at least the phase of the project money? What does it mean to doc- money? What does have this grant application section have this grant application have so that it doesn’t feel like a have so that it doesn’t feel like their project. That came about be- came about That project. their the struggles people were having the struggles people were having the work, or figuring out outcomes at the role of Director of Programs we tion? What kind of dialogue can traditional grant application where really nicely and have a way of de- For example, at A Blade of Grass we ument the work, or to tell the story the tell to or work, the ument ulty were asking themselves, the themselves, asking were ulty - What is the process of the applica finding resources, or articulating resources, finding work? To think about that as real- work? To think material for ly useful educational yes a get you and in it turn just you where people actually had to create a diagram of the relationships in ally useful for me, when I took on ally useful for me, when I took asking people on the application? - artists developing the field. Under ABOG . . . to think, well, what am I ABOG . . . to think, well, what am cause A) a lot of people could write people could A) a lot of cause students were asking themselves, students were asking themselves, standing the questions that the fac- standing the questions that the of what’s actually happening in the of what’s actually or a no without really knowing why? . . . All of those questions were re- . . . All of those questions were that supports socially engaged art- that supports socially engaged is- throughout the country on these took those same artist-centric ques- tions with me, asking, what’s rea- the right ethics or interest in this the right ethics or interest in this tired, can’t figure it out. But think- tired, can’t figure nization, so it wasn’t like moving nization, so it wasn’t like moving ists nationally through an open call, ists nationally through an open call, I But philanthropy. mainstream into it helped having to answer future it helped having ing with another institution about ing with another with other institutions? How do I with other institutions? How do way that maybe I hadn’t before. And before. hadn’t I maybe that way them money? And what we’re giving It allowed me to ask those questions It allowed me to ask those questions we function was a good mirror. And we function was get this done, or how do I interface get this done, or how do I interface get to know curators who may have - and for many years provided unre are the power relationships that automatically comes with giving artists’ questions about how do I artists’ questions about how do so I moved on to working at A Blade so I moved on to working at A Blade stricted funding for artists working orga- non-profit a still was It sues. sonable to ask of an artist because sort of practice? of myself and my colleagues in a of myself and my colleagues in of Grass, which is an organization our own institutionality and how our own institutionality How has your involvement with BH: How has your involvement - PR: I ended up leaving Queens Mu be from an institution that has some be from an institution that has some have any other option. Or we’re just today. A lot of the institutional cri- today. A lot of the institutional ex- tique that was coming out, for that came from popular education, but that have diverse backgrounds, in- there’s still a lot more that our to artists to do the work; and are to artists to do the work; and they fair? Sometimes, institutional- resources we can, and are, bringing resources we can, and are, bringing progressive values, that has staff progressive values, that has staff unique or interesting aspect of So- unique or interesting Social Practice Queens influenced Social Practice ing the envelope in X, Y, Z ways, it comes to other ways we are act- ing because we feel like we don’t lifespan of Social Practice Queens lifespan of Social Practice Queens who have organizing experience, we have to address. What are the we have to address. What are ly, because we feel like we’re push- your work? What do you think is a is think you do What work? your we still can have blinders on when ample with Black Lives Matter, re- ample with Black Lives Matter, ally got me thinking: okay, I may seum in 2016, halfway into the seum in 2016, halfway into lot stitution can do. There’s still a cial Practice Queens? of challenges institutionally that institutionally challenges of Art As Social Action •47 Prerana Reddy Interview - BH: Your response is super interest munity effort for the same reasons munity effort for the same reasons break down these things—I’m feel- through our work? trying to do is difficult. So to hear that you’re outlining. When you’re that you’re outlining. When you’re power mapping in communities. And power mapping in communities. Survival and Beyond talking about Survival and Beyond talking about - ing to me because I just did a work is for us to understand how what we is for us to understand changes the dynam- in the world, or - ics of power. It doesn’t necessar we ily solve everything. But can ing about the dynamics of power ing grateful for being the one inter- ful. We’re engaging in very compli- ful. We’re engaging finding language for what you’re finding language for what you’re I also just wrote into a grant to have I also just wrote into a grant to have - with me to my next creative com viewing you. do creates impact or transformation do creates impact a community psychologist travel a community psychologist travel - and in doing so, what are we learn an early career artist, sometimes an early career artist, sometimes shop with People’s Institute for shop with People’s Institute cated dynamics socially. The point cated dynamics start to break some things down, someone who has more experience me know that I shifted something? something? shifted I that know me have an idea, we’re going to do have an idea, we’re going to this popular education spiral: we this popular education spiral: - to people, we’re going to do some what see happens, what see thing, That’s how I would want to see art- process. We don’t reach abolition process. We don’t reach abolition part of the process. So to think ists or socially engaged projects ing for, you just believe that this ing for, you just of doing something. is the right way function: to think of it as this it- we learn out of it, and then start all we learn out of it, and then start If you don’t know what you’re look- If you don’t know with on that cycle and then we start with on that cycle and then we start did I learn from that?” and “how did I learn from that?” and “how an effect. about whatever project I’m engaged as again. I think of every project And to know that this isn’t the end And to know that this isn’t the All worldbuilding is an iterative erative piece and not just it’s all successful or it’s not all success- can I do it better next time?” That’s time?” That’s next do it better can I some research, we’re going to talk over again. or utopia at the end of it. It’s “what or utopia at the end of it. It’s “what of it. This is an iterative process. of it. This is an iterative process. You don’t quite know if it’s having You don’t quite might change for example. might change for know if it works? This doesn’t mean - to happen here that would only hap tem, what is it that I’m bringing as the signs and the symbols or the or symbols the and signs the the project from the other partners the project no rigor. that doesn’t mean there’s - tool. They call it the AEffect Work I tions: What are my goals? What do relevant to the project? What is the relevant to the project? What is roadmapThere is no timeline. But roadmapThere is That has created a really useful That has created a really useful pen here because I, the artist, am pen here because I, the artist, - part of the collaborative ecosys I part of the intervention? How do - sheet, combining “affect” and “ef it has to look the way a scientific - it is they’re really simple ques from the Center for Artistic Activism. from the Center for Artistic Activism. fect” into one. What’s useful about would I know to look for? What are would I know to look for? What are want to accomplish? Who’s the au- want to accomplish? Who’s the I understand that that there is no I understand that I worked with Stephen Duncombe - dience? What are some of the prin actual intervention? What’s going going What’s intervention? actual study would look, but how would I even know if it worked or not? What ciples that guide my work that are ciples that guide my work that change in dynamics that would help : When I was at A Blade of Grass, PR: When I was at having to work with.The fact is that having to work with.The fact is that that’s always true. You may be do- the variables. Things shift on the the variables. Things shift on that rigor in a loving way that re- way that loving a in rigor that tell the story of what was going on going was what of story the tell no one person is in control of all no one person is in control of project with more of a 360-degree project with in an unprecedented degree. But ing a project, and who’s involved in in any socially engaged project, in any socially engaged project, flects the work and labor and the flects the work and labor and from another perspective, and be and perspective, another from level. What’s going on in the world vulnerability and the challenges vulnerability and the challenges view. What is the methodology that view. What you, but that actually feels like better practice we help make our doesn’t feel like someone from the doesn’t feel like someone from ground. Things shift on a political and the restrictions that people are people and the restrictions that about our relationship to power as about our relationship to power do you do rigorous.How more and able to talk to various people in the able to talk to various people in shifts, as we have seen this year something useful? How do we think something useful? How do we think ed on top of money was a field re- ed on top of money help the artist searcher who would outside with a clipboard is judging outside with a clipboard is judging one of the things that we provid- one of the things Art As Social Action •48 Prerana Reddy Interview : But who can be successful at BH: But who can be successful at : Yes. It’s still an institution an still It’s Yes. PR: museum could be; or that will turn brought together that wouldn’t have brought together That’s the been brought together. that we messed up. There’s a lot of that we messed up. There’s a lot things that we’d hoped to do that this moment in time through the Mu- the through time in moment this that is challenging itself with itself challenging is that those questions. It’s still an insti- tution that will have an exhibition - nally and externally, the relation rethink` what a studio space in a That said, there’s a lot of things That said, there’s a lot of things pass/fail. interesting experiments and people interesting experiments were: there was a decade plus of were: there was to work is more of a journey to get a where we want to go instead of didn’t end up happening, both inter- both happening, up end didn’t - goal. I like what you said earli about the history of real estate; or ships that I couldn’t make continue. the everything? That shouldn’t be er: everything is an iteration. This everybody, by being put together in everybody, by being put together seum, experienced. outcome, is the transformation that outcome, is the hadn’t done this, then Centro Corona hadn’t done this, then Centro Corona ture of departments. I couldn’t stay ture of departments. I also wanted there forever, and I to grow and evolve beyond where then I failed. Immigrant Movement it’s turned into Centro Corona, and that we brought people together, we that we brought people together, nization right now. But I can say I can now. But right nization - relationships. Relationships hap role in the process that you, indi- - Centro Corona is doing as an orga pened that wouldn’t have happened in leadership, changes to the struc- in leadership, changes changed or ended, these things if It is no longer Immigrant Movement. independent of the Museum now. we ing, or I could look at it as if if we hadn’t been part of shepherd- of part been hadn’t we if its It’s years. over project this ing wards the end of my time there, I wards the end of of changes was struggling because as I could look at it as a failure, wouldn’t exist. you have to understand the small the understand have to you vidually, can play. The outcomes I don’t want to take credit for what I don’t want to take credit for what a relationship I couldn’t keep go- a relationship I couldn’t keep could take it. At first I worried that could take it. At first I worried that changed people’s lives, it changed changed people’s lives, it changed own thing now. What I learned is that : Is there an outcome or impact BH: Is there an outcome : I spent the most amount of my amount of most the I spent PR: biggest project: the Museum itself. biggest project: the Museum itself. have those skills from the outset. I have those skills from the outset. has evolved as different community to it and then different communi- ty members started doing different nity. And now there’s a plaza and nity. And now there’s a plaza Corona, but I learned so much my- Corona, but I learned so much projects is that they take on their projects is that they take on their um, like 14 years in one place. In um, like 14 years in one place. What I learned about a lot of the of lot a about learned I What it has its own life and dynamics. It it has its own life and dynamics. from one of your projects that you projects that from one of your learned it through doing it and then learned it through doing it and then living, breathing thing, the same way the museum is. I remember to- - working life at the Queens Muse volved in it and learning about what volved in it and ant for me to be a part of this pro- ant for me to be a part of this - applied those skills in the commu activities there. And so it’s this a weird way I feel like that was my a weird way I feel like that was cess in developing the plaza in cess in developing the plaza self about urban planning. I didn’t still think about often? came before them in the program. came before them - own lives. So yes, it was import organizers brought different things : Oh, thank you! I didn’t know, PR: Oh, thank you! ment in a way that a lot of other ment in a way that a lot of other of them MFA programs haven’t. A lot beginning of SPQ that took that into thing. To see people coming from thing. To see people coming from program has found additional fund- ing from Mellon now, and that you it’s been able to shift in this mo- it’s been able to shift in this is awesome even if the program is awesome even if the program - it survived. It’s grown into some from you. There’s something that from you. There’s looks at this history reflexively and leaving. And there’s a lot of valid of lot a there’s And leaving. was there in the DNA of it from the was there in the DNA of it from looks different that when I was in- looks different that when I was volved.The important thing is that like you, and finding value in that, like you, and finding value in that, when we were embarking on cre- when we were You know, it’s a would last or not. it’s we ever lose Greg or Maureen, going to all fall apart. But somehow going to all fall apart. But somehow account.It’s amazing to see that the that exhibition this doing are all are closing down. Key faculty are are closing down. Key faculty ating Social Practice Queens, if it if Queens, Practice Social ating critically. And that students are in- are students that And critically. criticism about how expensive art criticism about how expensive getting are people what is; school small MFA department. I thought, if thought, I department. MFA small out of it versus what’s been taken out of it versus what’s been taken other places, coming from Kentucky Kentucky coming from places, other Art As Social Action •49 Prerana Reddy Interview biggest problem, our inability to not biggest problem, bers as work either. I’m not saying bers as work either. - ty organizers. Reimagining our sys tems is a big thing. The same thing that’s going to allow us to imagine those things is about the struggle Our struggles on the road towards Our struggles on the road towards it’s the only shortcoming we have it’s the only - what it means to be a cultural work - whole. That’s why we do social to ly engaged work to begin with, as a society, but I think that is the as a society, but - a world without the prison-industri see al complex is going to help us are interrelated. just see things as project-based or just see things - campaign-based, if we’re communi er differently. I think these things show those interconnections. of restructuring our society as a of restructuring our society as my projects, but to me the output is my projects, but - Honestly, the biggest hurdle to mak mercialized objects, primarily. This to modities. They’re not just there their space into a mutual aid cen- a mutual their space into center in a ter or food distribution that I’m proud of even if I wasn’t the problem. II think that’s the big- the problem. II think that’s the really think about projects. We’re really think about projects. We’re pandemic. Those aren’t necessarily pandemic. Those ured out, as a society, how to think - ing social practice artwork is fund ing. Arts institutions and grants ing funded to do life work instead - as com and artists people includes life work, and we still haven’t fig- ven’t thought about people who take deserve that type of support. We ha- do projects that sound good. This is - gest hurdle for the art world in gen about cultural workers, period. They as more unrestricted funds and be- as more unrestricted funds and successful at everything. some openness about what the role some openness output an is That hold? container care of other people and family mem- family and people other of care starting to see some shifts as far some shifts as see to starting - eral, and that’s why it makes com of a museum can be. What can this of a museum can be. What can this of projects, but I think that’s still of projects, but I think that’s still Art As Social Action •50

materials here. - mote a healthy ecosystem and equi table waterfront land use practices. table waterfront land use practices. ner’s in Queens Museum’s Year of ner’s in Queens Museum’s Year ration with community leaders, GoFB with community ration residents advocating for a healthy residents advocating for a healthy - GoFB is one of the Community Part Guardians of Flushing Bay (GoFB) is Bay (GoFB) Guardians of Flushing Uncertainty. - collabo in Creek. Working Bay and Access further reading waterfront programming, hands on waterfront programming, hands accomplishes our goals through accomplishes our goals through - and grassroots advocacy to pro a nonprofit coalition of human-pow- a nonprofit coalition and equitably accessible Flushing stewardship, community visioning, stewardship, community visioning, ered boaters, park users and local users ered boaters, park may impact plans for development may impact plans for development history of Flushing Meadows Coro- Meadows Flushing of history two-mile walk led by Cody Herrmann two-mile walk led na Park, popularized in The Great na Park, popularized in The Great Gatsby. The route traced city-owned Gatsby. The route traced city-owned East Elmhurst, Corona, and College East Elmhurst, Corona, and College Point waterfront in the future. Flushing Bay, took place in “the in place took Bay, Flushing - Flushing Creek. Attendees dis property through Willets Point, un- through property Starting at the Mets–Willets Point Starting at the der the Van Wyck Expressway, to der the Van Wyck Expressway, in collaboration with Guardians of Guardians in collaboration with Valley of Ashes,” a reference to the Valley of Ashes,” a reference to along the Flushing, Willets Point, along the Flushing, Willets Point, and envisioned how climate change and envisioned how climate change subway station, this approximately subway station, cussed water quality, local history, cussed water quality, local history,

Photographs by Jonathan Baron. Photographs by Jonathan Baron. Cody Herrmann

June 19, 2021 How do you get to you get to How do Flushing Creek? Flushing Public Programs: Programs: Public Art As Social Action •51 Public Programs Art As Social Action •52 Public Programs Art As Social Action •53 compilan clips de audio decompilan clips de mo organizadas en el aeropuerto demo organizadas en el aeropuerto historia contemporánea del desarrollo - tes para recrear las propias ensoña tierra local y los planes de desarrollo tos editados, el objetivo de Herrmann resúmenes informales del uso de lade uso del informales resúmenes Estas dos obras de la serie de vídeosEstas dos - Laguardia. A través de estos fragmen ria local ing Bay y Creek. Los videos recuerdan Creek. Bay y ing la Oficina del Presidente del condado de Cody Herrmann Lección de histo- de Cody Herrmann - de Queens, y oradores en las confer del medio ambiente. al de Claire Shulman coordinado poral de Claire Shulman coordinado - eventos de prensa y medios recien laciones de Herrmann centradas en - en los vecindarios que rodean Flush - contados por invitados en un memori - encias de prensa del Gobernador Cuo es sacar a la luz la hipocresía latente en la planificación urbana y el manejo com- Local History Lesson mann’s own daydreams focused on mann’s own daydreams focused mo’s press conferences hosted at mo’s press conferences hosted the contemporary history of devel- of history contemporary the the Queens Borough President’s Of- the Queens Borough President’s The first two works in the video The first two works plans as told by guests at a Claire plans as told by guests at a Claire pile audio clips from recent press recent clips from pile audio Shulman memorial coordinated by Shulman memorial coordinated Laguardia Airport. Through her ed- Laguardia Airport. Through her ing Flushing Bay and Creek. The ing Flushing Bay and Creek. The - its, Herrmann seeks to reveal under - fice, and speakers at Governor Cuo lying hypocrisies in urban planning urban in hypocrisies lying videos recall informal summaries videos recall informal summaries - and media events to recreate Herr and environmental management. series - opment in neighborhoods surround of local land use and development

Local History Lesson Direct Link to video. Courtesy the artist Cortesía de la artista Single-channel video, sound, 4:56 Fragmentos de “Una celebración de - Claire Shulman, & Excerpts From ‘Gov Claire Shulman,” y fragmentos de Excerpts From ‘A Celebration of the la serie Lección de historia local Vídeo monocanal, sonido, 4:56 mins. la vida y el legado de la honorable 2021 2021 series Life and Legacy of The Honorable ernor Cuomo Announces…’ from the “El Gobernador Cuomo anuncia…” de b. Queens, NY, 1993 Cody Herrmann Cody Art As Social Action •54 Cody Herrmann Art As Social Action •55 Cody Herrmann taminados, las orillas en erosión y taminados, las orillas en erosión Point Task Force. plazo de Flushing Bay y Creek, el plazo de Flushing Bay y Creek, uniones del grupo de acción Willets uniones del grupo de acción Willets Bay y Creek, los visitantes pueden Bay y Creek, los visitantes pueden Flushing Creek desde casa ofrece la Flushing Creek desde informe especial de evaluación me- evaluación de especial informe re- ing Waterfront y las actas de las las aguas residuales presentes en las aguas residuales presentes de Flushing Bay y Creek sin entrar sin Creek y Bay Flushing de dioambiental del distrito de Flush- distrito del dioambiental gramación relativos a la zona, in- zona, la a relativos gramación - en contacto con los sedimentos con relajan se Mientras real. entorno el en un cojín con forma de Flushing - consultar los documentos de pro cluyen:los planes de control a largo oportunidad de relajarse en la costa oportunidad de relajarse meeting minutes from the Willets meeting minutes from the Willets - Control Plans, the Special Flush tal Assessment Statement, and the tal Assessment Statement, and the opportunity to lounge along the the opportunity to through planning documents rel- through planning documents Point Task Force. raw sewage that the real creek site raw sewage that the real creek site Flushing Bay and Creek coastline Flushing Bay and Flushing Bay and Creek Long Term Flushing Creek from Home provides Flushing Creek from - ing Waterfront District Environmen without experiencing the polluted without experiencing the polluted ing Bay and Creek-shaped floor pil- ing Bay and Creek-shaped floor low, visitors are welcome to browse low, visitors are welcome to browse sediment, eroding shorelines, and sediment, eroding shorelines, - contains. While relaxing on a Flush the evant to the area, including: Cojín de terciopelo felpudo y espuma, Courtesy the artist Cortesía de la artista tos de programación encuadernados rug, wooden bench, bound planning Plush velvet and foam cushion, area Flushing Creek desde casa Flushing Creek from Home Flushing Creek from documents - alfombra, banco de madera, documen 2020 2020 Art As Social Action •56 Cody Herrmann Art As Social Action •57 bal de lo que están pensando, vi- bal de lo que están pensando, Corona Park y otros lugares que haya recorrido, o que esté recor- tarse a lugares lejanos a los que los a lejanos lugares a tarse riendo en estos momentos. - rural en diferentes lugares del mun nunca han viajado o a sus propias - pantes a grabar la descripción ver en ponen a disposición del público un proyecto participativo en cur- un proyecto participativo www.walkedlandscapes.com, donde www.walkedlandscapes.com, donde invita a aportar su propia grabación invita a aportar su propia grabación - partici invita a los pared, se la dio. Mediante el mapa de viaje de viaje de mapa el Mediante dio. do. Estas grabaciones de audio se do. Estas grabaciones de audio vorito del parque Flushing Meadows vorito del parque Flushing Meadows virtual por un desconocido y, a la virtual por un desconocido y, a les vez, cercano. Camacho-Vargas al pasear por un paisaje urbano o urbano por un paisaje al pasear - quienes escuchan pueden transpor Informes de paisajes paseados es Informes de paisajes en la que documente su rincón fa- en la que documente su rincón so de grabación y escucha de au- so de grabación endo, oyendo, viviendo y sintiendo guía una de compañía en ciudades

made available to the public on the public to available made hearing, living, and feeling while feeling and living, hearing, ticipants are invited to produce a produce to invited are ticipants recording that verbally describes recording that verbally describes places they’ve never traveled to places they’ve never traveled Reports From Walked Landscapes is Reports From Walked what they are thinking, seeing, land- rural or urban an wandering are world. These audio recordings www.walkedlandscapes.com, where - ing the travel map on the wall, par listeners can experience far away listeners can experience far away - yet intimate, company of a strang you to make a recording of your an ongoing participatory audio re- an ongoing participatory cording and listening project. Us- cording and listening locations in the different scape in invites Camacho-Vargas er-guide. or their own cities in the virtual, or their own cities in the virtual, own, documenting a favorite corner of Flushing Meadows Corona Park, or another place you have wandered, or are wandering now. Direct link to the website. - Mapa de viaje, página web y graba Courtesy the artist Cortesía de la artista Travel map, website, and audio re- Reports from Walked Landscapes ables 2021 2021 Informes de paisajes paseados cordings, durations variable ciones de audio, duraciones vari- b. Bogotá, Colombia, 1985 Alix Camacho- Alix Vargas Art As Social Action •58 Alix Camacho-Vargas Art As Social Action •59 Alix Camacho-Vargas Art As Social Action •60 considera varios temas considera varios meseta de gran altitud del Páramo meseta de gran altitud del Páramo to de paseos fue iniciado durante la to de paseos fue iniciado durante tomó lugar en Medellín, Colombia, tar. Turner recorrió toda la longitud tas del Río Bogotá. Este proyecto participación en la residencia que participación en la residencia que presenta la visión del río que tiene presenta la visión del río que tiene Cómo enamorarse de un río: el río Cómo enamorarse - la zona cerca del mar. Este proyec - llamada TIERRA: espacio para habi - las aguas pútridas, negras y muer - cuatro per través de a la artista de poder y intimidad asociados con de poder y intimidad del Río Arzobispo, en Bogotá, desde del Río Arzobispo, a de Cruz Verde hasta que se une el punto en el que nace el río en la el punto en el que nace el río en - spectivas distintas: histórica, lúdi ca, sociopolítica y medioambiental. arzobispo mo de Cruz Verde to where it meets mo de Cruz Verde to where it meets - bia-based residency TIERRA: espa - high altitude plateau of the Pára historic, playful, sociopolitical, - ticipation in the Medellin, Colom the putrid, dead and black waters through four distinct perspectives: How to fall in love with a river: el How to fall in love as associated power and intimacy - project was initiated during par considers themes of río arzobispo considers themes with the waterfront. This walking with the waterfront. This walking in Bogotá, from its birthplace in the in birthplace its from Bogotá, in and environmental. cio para habitar. Turner walked the cio para habitar. Turner walked entire length of the River Arzobispo ents the artist’s view of the river - of River Bogotá. This project pres

Courtesy the artist Cortesía de la artista Photomontage with digitally repro- Fotomontaje con mapas reproducidos How to fall in love with a river: Cómo enamorarse de un río: duced maps and original photographs digitalmente y fotografías originales 2019-2021 2019-2021 el río arzobispo el río arzobispo b. Tulsa, Oklahoma, 1985 Erin Turner Erin Art As Social Action •61 Erin Turner Art As Social Action •62 Erin Turner Art As Social Action •63 mando. Este proyecto de pancartas mando. Este proyecto de pancartas Union of Painters and Allied Trades bajadores de industrias extractivas bajadores de industrias extractivas ha estado presente en los debates ha estado presente en los debates tas: Rebecca Carlton, International tiene como objetivo que el gobierno el que objetivo como tiene ni a las comunidades racializadas. ni a las comunidades racializadas. - Este mensaje contradice la narrati - Diseño y fabricación de las pancar políticos bipartidistas. una “transición justa” a un futuro una “transición justa” a un futuro - Biden de una gran inversión feder La coalición Workers Art Coalition La coalición Workers irá que los sindicatos se pongan al se sindicatos que los irá (IUPAT). de protesta expresa la noción de de protesta expresa la noción dioambiente” que por mucho tiempo de Estados Unidos se responsabilice de Estados Unidos de la promesa de la administración va errónea de “trabajo contra el me- va errónea de “trabajo contra el - y ecológicos, una labor que requer al en puestos de trabajo decentes al en puestos de trabajo decentes con emisiones de carbono bajas en con emisiones de carbono bajas tra- el que no se excluya ni a los movement at the helm. This protest movement at the helm. This protest banner project gives expression to banner project gives expression the behind. This message counters bipartisan political debates. of becca Carlton, International Union hold the United States government hold the United - tration’s promise of a massive fed to the notion of a “just transition” in tive that has long been presented nor communities of color are left nor communities of color are left Painters and Allied Trades (IUPAT). The Workers Art Coalition seeks to The Workers Art Banner design and fabrication: Re- fabrication: and design Banner work that will require the labor work that will require the labor industries extractive from workers - false “jobs vs. environment” narra accountable for the Biden adminis- accountable for a low-carbon future where neither eral investment in good green jobs, eral investment in good green jobs,

Cortesía de los artistas Courtesy the artists protesta Union Workers for a Just Transition, sición justa - Trabajadores sindicales por una tran Acrílico sobre lienzo, carteles de Acrylic on canvas, protest signage 2021 2021 est. New York City, 2014 Coalition Workers Art Art Workers Art As Social Action •64 Workers Art Coalition Art As Social Action •65 Workers Art Coalition Art As Social Action •66 mater, as well as John Jay College mater, as well as monies that support collective up- collective support that monies - by seeding powerful counter hege taught at Hunter College, her alma taught at Hunter - teaches at the CUNY Graduate Cen she College, where ter and Hunter - tudios Puertorriqueños—CUNY facul - ty have actively dismantled oppres done so have They university. the that led to Open Admissions and tion, and Knowledge) in 1969-1970, to the formation of RAFA (Rank and CUNY faculty are transforming the CUNY faculty are transforming File Action), the Kingsborough Com- Kingsborough the Action), File university in concert with stu- SEEK (Search for Education, Eleva- Education, for (Search SEEK lege—to the founder of #PRSyllabus, lege—to the founder of #PRSyllabus, lift through pedagogy, public syl- lift through pedagogy, public labi, participatory action research, dents. From poet Audre Lorde—who dents. From poet dent-led efforts. From the protests anthropologist Yarimar Bonilla—who anthropologist Yarimar Bonilla—who Es- acts as director of El Centro de of reach perceived the beyond and - and arts-based research that bridg and scholarship. strategies of its faculty and stu- strategies of its within from systems and ideas sive es the dichotomy between activism the dichotomy es of Criminal Justice and Lehman Col- of Criminal Justice The City University The City University most public institutions, it is rife most public institutions, it is rife ban, public university in the coun- by and through socially engaged by and through socially engaged try, and has long fed into and fu- and into fed has long and try, the “micro-utopias” made possible the “micro-utopias” made possible ry and sometimes complimentary) real possibilities, alterities, and real possibilities, alterities, nearly 80 percent of CUNY students nearly 80 percent CUNY is a vastly heterogeneous CUNY classrooms, on CUNY campus- on CUNY classrooms, With 25 campuses across the city, With 25 campuses it is also an institution harboring it is also an institution harboring faculty and students. - lic schools and the same percent with real frictions, reproducing with real frictions, reproducing in ways of worlding are graspable

art, and similarly, other worlds and art, and similarly, other worlds are graduates of New York City pub- are graduates of age of graduates stay in NYC. Like suite of (sometimes contradicto- ur- the largest is It ecosystems. eled the lives, ideas, and activist strains of elitism, inequality, and strains of elitism, inequality, state violence; but as importantly, solidarities. In Tom Finkelpearl’s to essay in this catalog, he refers CUNY with encounters in and es, city itself, its mirror and its future: city itself, its mirror of New York is enmeshed within the of New York is enmeshed Humanities, CUNY Graduate Center May 2021 Kendra Sullivan Associate Director, Center for the Associate Director, Center for Hegemonies @ CUNY Hegemonies Humanities: Humanities: and the Public Public and the Seeding Counter Counter Seeding Art, Activism, Activism, Art, Art As Social Action •67 Art, Activism, and the Public Humanities - knowledge practices to flow with - communi and support seek out that ty input in public education. Might teacher-learners, poet-policymakers, ture in ways that allow bidirectional ter, more imaginative, more creative tion and in New York City. CUNY that interrupts, examines, andCUNY that interrupts, examines, Ten years on, SPQ has proven to beTen years on, SPQ has proven to particular chapter in CUNY’s history? ing in tandem with SPQ/SPCUNY anding in tandem with ited to The Futures Initiative, Pub- ited to The Futures stu- in the Humanities, as well as in and beyond the university itself, - farms, and transdisciplinary think futures and cultures in higher educa- and cultures in futures licsLab, and Transformative Learning It is a powerful time to be work- It is a powerful while capaciously providing for bet- providing for while capaciously dent groups and associations, urban across CUNY, including but not lim- but not including CUNY, across artist-leaders, student-organizers, and activist-scholars helm the next - a viable starter kit igniting a coop - adjusts its institutional architec spaces. These initiatives cultivate creative and democratic practices an engagederative, networked CUNY; other like-minded configurationsother like-minded

manities and humanistic social sci- manities and humanistic social metrics of those most intimately been the spring that feeds our cur- been the spring that feeds our bringing people together in spaces to plan and implement artistic, ac- artistic, implement and plan to collaborations tivist, and scholarly rent engagements across the city, public good. product; impact is measured by the - SPQ faculty members—Gregory Sho - in the humanities and social scienc itsinvolved in the Seminar since hu- inception. To say that we in the leagues in the visual and performingvisual and leagues in the lette and Chloë Bass—have been linked to the issues addressed; and wherein expertise and authority are and activities that serve the greater and activities that serve the greater col- our by approaches modeled and thearts would be an understatement: cohort of approximately 20 faculty, cohort of approximately partners students, and community the Seminar come together through es that result in research, teaching, ences have learned from the methods many instancescreative arts have in shared; process is privileged over community uplift, control, and auton- of solidarity and collaboration omy are key goals. - Mellon Seminar on Public Engage ment and Collaborative Research borhoods. Every two years, a new years, a two Every borhoods. that process, Social Practice CUNY that process, Social Practice CUNY re- tices, relationships, tools, and tice CUNY, nourishes such efforts, tice CUNY, nourishes tegrating an understanding of how nar aims to build out institutional out build to aims nar CUNY Graduate Center. The Semi- The ethos of SPQ/SPCUNY has been has SPQ/SPCUNY of ethos The porary societies, with a means of porary societies, with a means and neigh- campuses, partments, placing art praxis in the heart of placing art praxis seeding a public higher education, important to me as director of the important to me as director of - intellectual challenges of contem is part of a rich landscape of CUNY - initiatives that mobilize the prac democratic knowledge making. In- democratic knowledge making. gaged work across disciplines, de- alizing better worlds. at Center for the Humanities at the art can be used toward struggles for art can be used toward struggles supporting students and artists in supporting students and artists sources the humanities uniquely en- publicly for CUNY at capacity culture of care, collaboration, and culture of care, of aspect integral an as creativity and social justice, toward practical - offer toward imagining and materi Having identified engagement, ac- Having identified engagement, munity College’s Urban Farm, and munity College’s - hooks to Paulo Freire, democrat tutional character, the CUNY system toand knowledge, to land tionship tices at senior, community, and ad- newer configuration Social Prac- now include efforts to reinstate openreinstate to efforts include now Studies,Gender and Ethnic resource CUNY students have acted as insti- CUNY students have For education theorists, from bell Free CUNY! in more recent years, Free CUNY! in Social Practice Queens, and its is ideally situated (geographically, - ideologically) to revitalize demo ic civic engagement is one defin- ic universities.public of function ing vanced degree-granting campuses. gators and stewards of progressive gators and stewards advanced by organizers at CUNY rightCUNY at organizers by advanced admissions and secure budgetary and to transform pedagogical prac- - justice, to re-Indigenize the univer - cess, and uplift as key to its insti andeconomically, demographically, on andcratic knowledge practices - sity’s physical and ideological rela change. off campus. Systemic changes being Art As Social Action •68 Art as Social Action. Per- as Social Art matched. Each of them inspired me matched. Each of mundane academia. haps the boldest display of these the maps, data, and court cases of the maps, data, and court cases Hombres - lines . color . texture. - that results from direct interperson race, class, gender, and sexuality. and gender, class, race, recent graduate Brianna Harlan. The recent graduate Brianna Harlan. They inspire me to find humanity in find humanity me to They inspire Pollicino, Connor Henderson, and Henderson, Connor Pollicino, and Demonstrating the same care Pedro Felipe Vintimilla Burneo’s SPQ’s current students, including SPQ’s current students, including When we talked about these 64 por- ing their areas of interest are un- ing their areas of interest are ic method of becoming acquainted ic method of becoming firsthand the richness of dialogue firsthand the richness of dialogue like Brianna, Christy Bencosme, A. like Brianna, Christy Bencosme, with social issues and effecting and effecting social issues with as I felt their passion through the as I felt their passion through artists’ care and compassion is al contact through interviews with al contact through interviews with screen as they discussed issues of screen as they discussed issues compassion and care that students that care and compassion compassion are the alumni in the exhibition court cases to identify and discuss court cases to identify personal, organ- society, this more to me. I learned change was new - discuss when demonstrate others Real New Yorkers Real New Yorkers business districts. The real New business districts. helped solidify art as a form of ac- helped solidify art as a form of know the real New York. It’s not just know the real New ig- homelessness continues to be and what it means their practices taught to look at maps, data, and tion in that list of CUNY’s efforts. efforts. CUNY’s of list that in tion riences and interactions. nored instead of addressed. At CUNY, nored instead of addressed. At CUNY, Science double major who has been - Social Practice Queens, now devel issues came from their lived expe- for art to be action. Through talking for art to be action. Through talking worked with SPQ for the 2020 - 2021 worked with SPQ for the 2020 - 2021 with everyone, I learned that their with everyone, I learned that their we see the real New York and ad- we see the real New York and

drive to form dialog around social dress these characteristics of our dress these characteristics of dents are rent-burdened, one where dents are rent-burdened, one where academic year, I spoke with current academic year, I spoke with current As an Urban Studies and Political As a CUNY Cultural Corps Intern who As a CUNY Cultural Corps Intern who affects residents, and one where one and residents, affects students, alumni, and faculty about students, alumni, and faculty about city through education and action. city through education and action. skyscrapers, luxury apartments, or skyscrapers, luxury environmental racism perpetually environmental racism perpetually oping into Social Practice CUNY, has oping into Social Practice CUNY, York is one where half of its resi- York is one where SPQ CUNY Cultural Corps Intern Anlisa Outar June 2021 and Compassion Social Practice: Practice: Social A Lesson on Care on Care A Lesson Art As Social Action •69 Social Practice: A Lesson on Care and Compassion

prototypes for white flags, for white prototypes ment, at its core, can be about re- ment, at its core, can be about Kasper proposed white flags as a Kasper proposed white flags as - Kasper explained that his work cre tion. The text added to these white these to added text The tion. necessary. Equipping people to do this ness, a topic especially pertinent ness, a topic especially ple through easily digestible and ac- ucational means we can build together. pandemic and the current political pandemic and the posal for urated with social ills, demonstrating is equally important, through all the ed- the all through important, equally is ing of the flags, and is meant to ing of the flags, and is meant in the artworks for Art as Social Action is - flags emphasizes the new mean by Erin Turner, focus Turner, Erin by river a with lationship building (citing Kasper). lationship building (citing Kasper). In a city constantly changing and sat- In a city constantly changing and Instead of symbols of surrender, Instead of symbols of surrender, - engage political that demonstrate at the moment due to the COVID-19 at the moment due pro- atmosphere. In Jeff Kasper’s ates new meanings for white flags. ates new meanings for white flags. of Again, those universal languages - sign of mutual aid and collabora care and compassion can be present care and compassion can be present even in everyday, simple objects. care and compassion and reaching peo- cessible formats like those presented on personal issues of together- on personal issues dis- Tours Art Flushing Notes on (Dis)placement and prototypes for white flags by means of direct connection, have means of direct connection, have Naomi Kuo’s Naomi built environment in NYC either by being displaced from it or investi- has trained a group of artists to artists of group a trained has highlight the care and compassion highlight the care to social ills in our city, country, to social ills in our city, country, traits, Pedro raved about each with traits, Pedro raved that language universal a be to respect. play how people interact with our use their work to bring awareness use their work to bring awareness Studies and Political Science: from Studies and Political Science: from lips’s like displacement and gentrification to displacement and gentrification gender equality. Social practice gender equality. Social practice gating it more deeply. Other works, and world. Returning to the true New and world. Returning to the true New and socially engaged art, with their and socially engaged art, with their an advantage over academia in this an intensity that you only catch an intensity that I a mere viewer. a glimpse of as As seen in Art as Social Action, SPQ climate change to labor rights, to climate change to labor rights, easily communicates the same is- easily communicates the same Urban in on work and study we sues of these artists because it stands of these artists - York, pieces like Julian Louis Phil Jeff Kasper, and How to fall in love Art As Social Action •70 Kuo, Julian Louis Phillips, Erin Turner, Mellon Foundation, Humanities NewMellon Foundation, materially feasible! the Workers Art Coalition, along with the community, and beyond. Cody Herrmann, Jeff Kasper, Naomi Floor Grootenhuis (with Joel Murphy), andPedro Felipe Vintimilla Burneo, Finally, thanks to the amazing Rubin Foundation, the Andrew W.Rubin Foundation, SPQ alumni artists featured in theSPQ alumni artists featured in We have loved working with each andWe have loved working with each socialpracticequeens.org with support from the Shelley & Donaldwith support from and the publication) is made possibleand the publication) and recent graduate Brianna Harlan.Brianna graduate recent and at CUNY Graduate Center. We thankWe Center. Graduate CUNY at exhibition: Alix Camacho-Vargas,Alix exhibition: current MFA candidate Cristina Ferrigno inevery one of you in the classroom, our funders for making these efforts York, and the Center for the Humanities (the exhibitionArt as Social Action Marisa Lucas, and Exhibition andMarisa Lucas, and Exhibition to the support of the CUNY CenterCUNY the of support the to their time, and their words. Curator Hitomi Iwasaki, Assistant Curators Lindsay Berfond and Sophia Connor for lending us their minds, Queens Museum, including ExecutiveQueens Museum, Besher, Administrator and Web Editor Production Manager Brian Balderston, Programs Fellow Xavier Robles-Armas. Director Sally Tallant, CommunityDirector Sally Catherine Grau,Partnership Manager Thank you to Tom Finkelpearl, Prenana particularly: Associate Director Kendra Reddy, and SPQ Co-Founder Maureen Sullivan, Programs Manager Alisa Special thanks to our partners at theSpecial thanks to We are also very much indebted Sampson Starkweather. Lynn Maliszewski, Exhibition andExhibition Maliszewski, Lynn for the Humanities, including andfor Archives and Collections ManagerCollections and Archives Jordan Lord, and Publicity Coordinator

The catalog was designed by virgil b/g taylor (fag tips). This digital catalog was collected This digital catalog was project support from Anlisa Outar, and project support from Anlisa (Chloë Bass and Gregory Sholette) with (Chloë Bass and Gregory Sholette) and edited by Social Practice Queens by Social and edited and Cory Tamler. editorial assistance from Amir Farjoun editorial assistance from Thanks and and Thanks Acknowledgments © Social Practice Queens and the Queens Museum, 2021