HISTORY OF ART AND SOCIAL PRACTICE This course will trace a history of social practice in art and investigate as a group the current critiques, debates and issues surrounding its current state in relation to its historical context. The course will examine social practice from 1920 to present and touch on the key movements and artists including Dada, Neo-Concretism, Situationism, Fluxus, Happenings, Social Sculpture, New Genre Public Art, art and activism, network art, Social Aesthetics, post-studio practices, and Relational Aesthetics. This course will place a strong emphasis on contemporary examples of social practice art and the themes of making things, making things better, making things worse, as connected to the Open Engagement conference. Students will have a direct dialogue to the international conference on Art and Social Practice that will take place at PSU from May 14-17. The students in this class will generate writing that will comprise the conference catalogue, and have direct contact with the artists coming to the conference. Through group activities, discussions, student led seminars and participatory projects the class will work together to address the some of following questions, can socially engaged art do more harm than good? Are there ethical responsibilities for social art? Does socially engaged art have to do civic or public good? Can there be transdisciplinary approaches to contemporary art making that would contribute to issues such as urban planning and sustainability? As both urban planning and contemporary art imagine new worlds, how can art projects be seen as potential models for living?

Cooking with Leif Hedendal

I talked to multiple people who said the meals at Open Engagement were one of their favorite events at the conference.  For starters, I heard some say that they had a chance to discuss panels or discussions or whatever they pleased.  Others said these discussions framed with food yielded better or more open-ended conversations.  These sentiments reinforce Leif Hedendal’s regular practice of cooking dinners for artists to come, eat and talk.  When these happen at his home in the Bay area - they’re called Dinner + Discussion.  At Open Engagement, Leif’s dinner took place at the Pacific Northwest College of Art.  Staying true to form, Leif prepared a delicious meal, people came together, ate with vigor and shared conversations.

I met Leif earlier in the day, at the kitchen where he was preparing dinner with the help of volunteers.  He made a point to show us the herbs and micro-greens, harvested that morning, from the Sellwood Garden Club in Portland.  As he pulled out different varieties of Oregano or Lemon Balm, it was clear that Leif loves the ingredients themselves.  Everything in the meal was based on a locally grown vegetable or fruit.  There is a simplicity to Leif’s culinary practice.  He lets ingredients be tasted without too much preparation.  This seems to reflect his appreciation for the ingredients themselves.  I’m glad - I was able to see Leif’s process of creating a menu based on available ingredients because it informed my experience later that evening when I sat down to eat and eat. 

Menu:

  • radishes w/ butter
  • farro w/ roasted asparagus & turnips
  • nettles w/ morels
  • red lentil soup
  • the world’s largest loaf of bread
  • micro greens w/ herbs
  • strawberries w/ rhubard compote, hazelnuts, lemon balm, snap peas & whip cream                                                                                                                                                                               

Wednesday 6/2/2010

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