Konstfacks bibliotek

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*24500$aPublic servants :$bart and the crisis of the common good /$cedited by Johanna Burton, Shannon Jackson, and Dominic Willsdon.
*260  $aCambridge, Mass. :$bThe MIT Press,$c[2016]
*300  $axxvi, 515 pages ;$c25 cm.
*504  $aIncludes bibliographical references and index.
*599  $aImported from: voyprod.pitt.edu:7090/voyager (Do not remove)
*650 7$aKonst och samhälle$2sao
*650 0$aArts and society.
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*7001 $aJackson, Shannon,$d1967-$4edt
*7001 $aWillsdon, Dominic$4edt
*830 0$aCritical anthologies in art and culture.
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*950  $aKonst och politik$wh$uKonst och samhälle
*950  $aKonstpolitik$uKonst och samhälle
^

Essays, dialogues, and art projects that illuminate the changing role of art as it responds to radical economic, political, and global shifts. How should we understand the purpose of publicly engaged art in the twenty-first century, when the very term "public art" is largely insufficient to describe such practices?

Concepts such as "new genre public art," "social practice," or "socially engaged art" may imply a synergy between the role of art and the role of government in providing social services. Yet the arts and social services differ crucially in terms of their methods and metrics. Socially engaged artists need not be aligned (and may often be opposed) to the public sector and to institutionalized systems.In many countries, structures of democratic governance and public responsibility are shifting, eroding, and being remade in profound ways-driven by radical economic, political, and global forces. According to what terms and through what means can art engage with these changes?

This volume gathers essays, dialogues, and art projects-some previously published and some newly commissioned-to illuminate the ways the arts shape and reshape a rapidly changing social and governmental landscape. An artist portfolio section presents original statements and projects by some of the key figures grappling with these ideas.

• Series Prefacep. ix
• Director's Forewordp. xi
• Plight of the Publics: An Introduction to Public Servants Johanna Burton, Shannon Jackson, and Dominic Willsdonp. xv
• Public Worksp. 1
• "We don't need another hero": War and Public Memoryp. 3
• Who Owns a Vacant Lot? Orthodoxy vs. Culture Industryp. 27
• Art and the Cultural Contradictions of Urban Regeneration, Social Justice, and Sustainability: Transforma Projects and Prospect.1 in Post-Katrina New Orleansp. 45
• Latin America and a New Political Leadership: Experimental Acts of Coexistencep. 71
• The Destruction of Destructionp. 91
• Department of Securityp. 109
• The Fire This Time: Black Youth and the Spectacle of Postracial Violencep. 111
• Photo Requests from Solitaryp. 131
• Can This Machine Kill Mass Incarceration?p. 141
• Squeaky Dolphin to Normcore: Anxiety in a Big-Data Erap. 159
• Department of Labor and Economyp. 173
• Biopolitics, Identity, and the Public Sphere in the 1970s: Oskar Negt and Alexander Klugep. 175
• W.A.G.E.N.C.Y.: W.A.G.E. (Working Artists and the Greater Economy)p. 191
• Indent (to Serve the Debt)p. 197
• In Service: Art, Value, Merit, and the Making of Publicsp. 207
• Portfolio: Organizedp. 221
• Simone Leighp. 222
• Ashley Huntp. 228
• Pedro Reyesp. 234
• Jeanne Van Heeswijkp. 240
• Gregg Bordowitzp. 245
• Mel Chinp. 251
• Pablo Helguerap. 257
• Caroline Woolardp. 263
• Jonas Staalp. 269
• Andrea Fraserp. 275
• Department of Educationp. 281
• Neoliberalized Knowledgep. 283
• Back to the Future (of Art School)p. 299
• Sliding Scale: Between Art and Educationp. 313
• Mutual Rehabilitation: Norfolk Prison Recordings of Art Books for Blind Readersp. 331
• Department of Health and Environmentp. 341
• Art After Nature: The Post-Natural Conditionp. 343
• Dear , I write regarding toxic sovereignties in Windjarramerup. 357
• Embodied Memory: Reimagining and Legislating Sumak Kawsay in the Modern Andesp. 367
• Women, Waves, Webp. 381
• Department of Culturep. 405
• Government Agencyp. 407
• A critique of social practice art: What does it mean to be a political artist?p. 423
• Growing Dialogue: What Is the Effectiveness of Socially Engaged Art?p. 437
• Starting in the Middle: NGOs and Emergent Forms for Cultural Institutionsp. 465
• Publication Historyp. 481
• Contributorsp. 485
• Board of Trusteesp. 501
• Indexp. 503