WEEK 2 Aesthetic Evangelists

 

First, their authority is understood to derive from the process of a pedagogically-based "collaboration". This is an "exchange," in which the artist, by surrendering some degree of their creative autonomy in negotiations with a given group over the production of a project is understood to have gained in return some authority to speak from the group's position or on their behalf. The second point of anchorage is founded on a moment of transference (usually some event in the artists' past), that establishes a moral equivalence between their position and that of the community.(Kester,8)

In exploring how artists become involved and “collaborate” with a community or group, as he says it has these anchors that really differentiate community-based art from something different. How the relationship is a give and take, a symbiotic relationship between artist and community where they both help each other to grow.  Also that the artist has a basis or background of relatability to find a common ground with the people or idea they are trying represent.

The terms "public" and "community" imply two very different relationships between the artist and the administrative apparatus of the city. The public artist most commonly interacts with urban planners, architects, and city agencies concerned with the administration of public buildings and spaces, while the community-based public artist more commonly interacts with social service agencies and social workers (women's shelters, homeless advocates, neighborhood groups, etc.). (Kester,2)

This really looks at and defines the underlying driving force of the art and who it is really for/benefiting. The art might be beautiful for the community, or have a picture of the communities idol, or be an attraction because it was made by some famous artist. Does it represent the community or the artist? Is it providing anything lasting for the community? Did the artist grow and identify with the piece or the people?

This examination must begin with an understanding of the current moral economy of capitalism, and the history of liberal reform. More specifically, this outpouring of compassion and concern over "community" must be understood in relation to the successful assimilation in the U.S. of conservative arguments about the underlying causes of poverty, social and cultural inequality, and disenfranchisement.(Kester,12)

Being aware of the lens at which larger organizations than the individual calculate decisions and make theories. It brings an understanding as to why community based art is so important and why there is an increasing divide. As artist as a community member, as people we to understand this and understand the power of creating for the community.