For the fourth in my series of interviews with socially-engaged contemporary artists, organizers, writers and thinkers as part of the SOCiAL: Art + People events, I sat down with artists Mike Blockstein and Reanne Estrada, co-founders and collaborators in the artist-run interdisciplinary organization called Public Matters.
My second interview as part of the SOCiAL: Art + People series went live on KCET Artbound this morning, and I felt so fortunate to have witnessed this...
Sue Bell Yank, Elizabeth Currid-Halkett, and Sarah Schrank sit down to discuss both tired stereotypes and surprising realities about the L.A. art scene as part of SOCiAL: Art + People.
I feel a resonant sadness at the passing of this platform, one of the few dependable spaces for rigorous socially-engaged practice within a major art museum in this city. Perhaps the work was not always so rigorous, and the structure was problematic, the collectives were not always collectives, the "social practice" looked more like straight-up performance at times, and MOCA itself became increasingly unstable territory for experimental work to find purchase. But Engagement Party mirrored my own love affair with social practice, way back when I saw the backwards lettering of the Finishing School poster suddenly clarify in the mirror of the USC IFT building's women's bathroom.
All through the non-profit arts sector, this notion is rumbling the foundation of culture and widening the cracks in the walls of the ivory tower. It is not that Americans are not engaging in artistic activity – much to the contrary. They are simply choosing to participate in ways that do not include museums.
As an advocate for social practice and a former staff and board member of the Watts House Project, I feel a responsibility to respond to the recent LA Times article lambasting the Watts House Project and the character of its founder, Edgar Arceneaux.