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A R T a S S O C I a L a C T I Art As Social Action •1 Art As Social Action 10 Years of Social Practice Queens Queens College CUNY and the Queens Museum March 24—August 29, 2021 Art As Social Action •2 Art As Social Action •3 An interview between Maureen Connor, Social Practice Queens Co-Founder, and SPQ student Brianna Harlan 29 Table of Public Programs: All Things Must Pass 36 Contents Public Programs: Call and Response 40 An interview between Prerana Reddy A Decade of Teaching and SPQ student Brianna Harlan 43 Art As Social Action 5 Public Programs: A Curatorial Note: How do you get to Flushing Creek? 50 Movement as Social Action and Double Digits for Social Practice Queens 7 Cody Herrmann 53 Jeff Kasper 9 Alix Camacho-Vargas 57 El Pedro Felipe (Vintimilla) 12 Erin Turner 60 One Amazing Seminar 15 Workers Art Coalition 63 Floor Grootenhuis and Joel Murphy 18 Art, Activism, and the Public Humanities: Seeding Counter Hegemonies @ CUNY 66 Naomi Kuo 21 Social Practice: Julian Louis Phillips 25 A Lesson on Care and Compassion 68 Thanks and Acknowledgments 70 Art As Social Action •4 Art As Social Action •5 In the middle of a tiative. Tania established Immi- now forgotten art event in the Sum- grant Movement International (IMI), mer of 2010, Tom Finkelpearl, then transforming a Corona neighbor- A Decade of Teaching the Director of the Queens Museum, hood storefront into a combination asked me a question: Did I think community learning center and the the Queens College Art Department headquarters for the Cuban artist’s Art As Social Action might be interested in working on creatively invented pro-immigrant a grant with his museum that would campaign. As Tom details in his en- establish a new education-related try for this catalog, IMI’s multi-pur- residency program? Tom and I had pose space would soon come to an- known each other for many years, chor our interdisciplinary art and Gregory Sholette we were friendly associates with- urban studies seminar with Prerana Co-Founder and Co-Director, SPCUNY/SPQ in the “socially engaged” strata of Reddy and Tarry Hum: Transform- April 2021 the New York City art scene. And ing Corona Plaza. Meanwhile, back although I had only just completed at Queens College, Maureen and I my first few semesters of teaching launched a new graduate level con- at CUNY, my colleague Maureen Con- centration in social practice art, nor and I came back to Tom with the first of its kind in the New York our thumbs up. It was a seemingly City region. This is not to ignore straightforward answer to a seem- the fact that many people were al- ingly straightforward question that ready teaching art as social justice would substantially reshape my en- in area colleges and universities. tire teaching experience for the de- however, what officially became cade ahead. Social Practice Queens (SPQ) in the summer of 2011, helped to anchor The grant—from the Rockefeller a broader recognition for this area Foundation—was a success, and of study. As of now, a decade lat- with additional collaborative sup- er, there exist several other similar port from Creative Time, we wel- programs at neighboring New York comed Tania Bruguera as our first City colleges and universities. resident artist for this new ini- Art As Social Action •6 Our first cohort of MFA graduates— Meanwhile, as SPQ turns ten, it is Prerana Reddy. And second, mark Barrie Cline, Seth Aylmer, Jose Ser- also turning into something differ- the year 2030 on your calendar, so rano McClain and Sol Aramendi—also ent: Social Practice CUNY, a new, that we might gather again to visit served as co-developers of SPQ in interdisciplinary cultural learning the outcome of SPQ’s ambitious new so far as they helped Maureen and program that pivots on social jus- journey as SPCUNY. myself test and explore various tice and community collaboration, possibilities and forms of study and while cultivating leadership skills community outreach. Now, two doz- within a diverse group of emerg- en remarkable MFA graduates later, ing contemporary artists (the stu- including those who have work in dent body of the City University of this exhibition, and with a series New York). Thanks to a substantial of successful projects carried out three-year grant from the Andrew at Queens Museum, in Venice, Italy W. Mellon Foundation, we are ex- and San Juan, Puerto Rico, as well panding our existing programming as on Governors Island, along with to encompass faculty and MFA stu- the creation of a couple of under- dents from other CUNY campuses graduate classes, and with several (including Brooklyn College, Hunter years of sustained financial sup- College, and City College), while A Decade of Teaching Art as Social Action port from The Shelley and Donald providing funding for student and Rubin Foundation, SPQ has turned faculty art and research, creating ten. For this special occasion the new seminars at the CUNY Graduate artist Chloë Bass, who came on Center, and amplifying financial and board as the co-director of SPQ in ongoing support for the SPQ cohort 2016, curated Art As Social Action, at Queens College. It is with this a selection of new projects by nine in mind that I encourage you to do alumni, and hosted by our long-time two things. First enjoy and engage collaborative partner Queens Muse- with the excellent projects created um, now under the erudite direction by SPQ alumni documented in this of Sally Tallant. catalog along with writings and in- terviews featuring Chloë Bass, Tom Finkelpearl, Maureen Connor and Art As Social Action •7 In 2017, in my essay the classroom (a particular kind of for Social Practice Queens’ text- institution) to the museum (a dif- book (with which this exhibition ferent, but no less particular kind A Curatorial Note: shares a name), I posed the follow- of institution), these questions re- ing questions as core to my meth- main pertinent to me. Social Prac- ods of teaching socially engaged tice Queens (Gregory Sholette and I) Movement as Social art and my understanding of peda- began envisioning the Art As So- gogical practice: cial Action exhibition before the COVID-19 pandemic, and worked with Action and Double What happens if we take the our partners at the Queens Museum same care with our relation- through the uncertainty of institu- ships as we invest in our prac- tional closure, physical distancing, Digits for Social tice? and prohibitions against gathering. When we came together, in 2021, we What happens if we take the opened something that had become Practice Queens same care with our practice unthinkable: an indoor exhibition that we demonstrate in our re- in a public museum during an un- lationships? certain moment, when the vaccine rollout was only beginning. Con- These twinned questions are loose sidering care, whether for objects, Chloë Bass poles that ask us to consider the as a museum does, for ideas, as a Co-Director, SPCUNY/SPQ arenas that encourage us to do school does, or for people, as both June 2021 our best: do we do better at work, museums and schools do, has felt or away from work? Do we do our more overwhelming than usual. We best when we know we’re yoked to have felt very keenly where we’re others, or when we imagine we’re unable to move towards tending, alone? and all that has held us, individu- ally and societally, in our places. Now, despite the passage of time and the changes that inevitably I come to all of my work (artistic, arise out of moving one’s work from pedagogical, written, and curatori- Art As Social Action •8 al) through movement. An unrepen- Murphy’s inPulse, which measures Transition, or the beauty and com- This anniversary exhibition is not tant and unrecovered theater person, exhibition participants’ heart and plexity of group identity in Pedro just a marker of time and achieve- I have long maintained that sitting breath rates, or Jeff Kasper’s pro- Felipe Vintimilla Burneo’s Hombres ments past, but an invitation to- still and thinking is for other peo- totypes for white flags, which imag- - lines . color . texture series, which wards a new question: ple. I learn through the movement ine different attitudes towards ac- lines the Queens Museum’s atrium. of my body, through the movement cessibility. Some projects, like What happens if we take the and flow of human beings through Alix Camacho’s Reports from Walked At its best, socially engaged art same care with our present public and private spaces, through Landscapes and Naomi Kuo’s Flush- helps us to break out beyond the that we imagine we might the movement of language on a page ing Art Tours #1 - 3, take a literal boundaries of our own everyday need in the future? as I research, edit, and revise. I am meander. Others, like Erin Turner’s lives: to consider the world around informed by the labor that is move- How to fall in love with a river: us differently, or to engage with, re- Thanks for celebrating our double ment work: the political necessi- el río arzobispo or Cody Ann Herr- imagine, or even simply notice the digits. ty of constantly and consistently mann’s Flushing Creek from Home, people we encounter in new and vi- pushing against the marginalizing opt to walk the walk more meta- brant ways. The works in Art As So- forces of dominant culture, while phorically, as they consider water cial Action ask us to keep moving, also embedding ourselves in insti- and fluidity as a both a body and and leave us with the promise that tutions that may or may not hold us.
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