Socially Engaged Art History and Beyond

What is socially engaged art history? Art history is typically understood as a discipline in which academics produce scholarship for consumption by other academics. Today however, an increasing number of art historians are seeking to broaden their understanding of art historical praxis and look beyond the academy and towards socially engaged art history. This is the first book-length study to focus on these growing and significant trends. It presents various arguments for the social, pedagogical, and scholarly benefits of alternative, community-engaged, public-facing, applied, and socially engaged art history. The international line up of contributors includes academics, museum and gallery curators as well as arts workers. The first two sections of the book look at socially engaged art history from theoretical, pedagogical, and contextual perspectives. The concluding part offers a range of provocative case studies that highlight the varied and rigorous work that is being done in this area and provide a variety of inspiring models. Taken together the chapters in this book provide much-needed disciplinary recognition to socially engaged art history, while also serving as a springboard to further theoretical and practical work.

Seeks to broaden understanding of art historical praxis to look beyond academic publication towards alternative approaches Includes contributions from individuals who play various roles in the art world, including university professors, museum or gallery curators, and arts organizers Addresses the theoretical frameworks from which engaged practices emerge, as well as exploring the practicalities of art history through specific case studies

Autorentext

Cindy Persinger is Associate Professor of Art History in the Department of Communication, Design, and Culture at California University of Pennsylvania, USA.

Azar Rejaie is Associate Professor of Art History in and Chair of the Department of Arts and Communication at the University of Houston Downtown, USA.

Inhalt

1. Introduction (Azar Rejaie).- Part 1 Envisioning.- 2 Introduction to Envisioning (Cindy Persinger).- 3 What is Socially Engaged Art History? (Cindy Persinger).- 4 Cultivating an Engaged Art History from Interdisciplinary Roots (Laura Holzman).- 5 Art History and its Publics: Weighing the Pedagogical and Research Benefits ofCommunity-Engagement (Julia Sienkowicz).- 6 Visual Critical Pedagogy in High School: Students Offer an Alternative to the Official Art Curriculum (Ya'ara Gil-Glazer).- Part 2 Intersections.- 7 Introduction to Intersections (Azar Rejaie).- 8 Applied Art History: Theory and Praxis (Jenna Ann Altomonte).- 9 The Course Has Left the Classroom: Community Engagement, Consensus Building and Experiential Learning as Socially Engaged Art History (Jonathan Wallis).- 10 ObservingLight and Catching Reflections: Experiential Environmentally Centered Art Historical Practice In and Outside the Classroom (Kelly A. Wacker).- 11 Public Sculpture Exhibitions in Neighborhoods: Arts-Driven, Heritage-Based, Urban Revitalization, and Social Practice (Part 1) (Hilary A. Braysmith).- 12 Curatorial Practice as (Place) Making: Social Imagination, Cultural Laboratories, and Public Space in Madrid (20082015) (Olga Fernández López, Azucena Klett, andZoe López Mediero).- 13 Making Worlds: Normative and Other Art Histories of Visually Impaired Photographers (Vendela Grundell Gachoud).- Part 3 Implementation.- 14 Introduction to Implementation (Cindy Persinger).- 15 The Power of Silence: Ahmet Ögüt's The Silent University (2012Ongoing) (Luisa Santos).- 16 Curating to Remember Injustice: Exhibitions on Toyo Miyatake and Roger Shimomura (Aileen June Wang).- 17 HAIR CLUB: A Case Study for Socially Engaged Art History (Suzanne Gold, Kelly Lloyd, and Michal Lynn Shumate).- 18 The Running Fence Corporation, LLC and Sociality (John-Michael H. Warner).- 19 Turning Students into Social Practitioners and Neighborhood Youths and Young Adults into Project Assistants: Arts-Driven, Heritage-Based, Urban Revitalization, and Social Practice (Part 2) (Hilary A. Braysmith).- 20 Building Community (Art) History in Standing Together: the Selma Burke Project (Terri Baltimore and Julia Sienkowicz).- 21 Student Docent Projects as Socially Engaged Art History (Rebecka A. Black and Carissa DiCindio).- 22 Structuring Academic Jobs for Engaged Art History (Laura M. Holzman).- 23 Reflections on Socially Engaged History (Cindy Persinger).