Anne Elizabeth Moore joins 127 Prince as a regular contributor with a series of writings focused on labor, intellectual property, and gender issues inherent in social practice art forms. Her writings will be posted monthly, often highlighting a specific project, program, or event.
Midway through 1996, I found myself in hot, hot Georgia, seated at an elaborate table with the most brilliant minds cultural production then had on offer, as well as the most successful. Steven Durland, Maureen Sherlock, Mel Chin, Michael Brenson, Jacquelynn Baas, David Levi-Strauss, Anne Pasternak, Bill Cleveland, Mary Jane Jacob, Jeffrey Kastner, Susan Vogel, Homi K. Bhabha, Mary Ellen Strom, Doug Ashford. The food people were flown in from Italy; they were to be referred to as artists. Each meal was conceptually attuned to the intended topic of conversation, each ingredient mulled over, considered amongst the others, and arranged to draw out a unique realization reserved, usually, for the domain of art. Arguments erupted, as they do at dinner tables: opinions clashed, voices were raised, questions put forth or ignored in service of a more important point. Declarations were lost to grappa, others raised only because of it. Guests continued to eat heartily, praising the food artists anew with each course. Or, sometimes—because occasional dishes were not meant to be delicious—praising instead the aesthetic choices, emotional impact, or bold statements made vie the chosen medium of food. But always: the guests ate. Continue reading
The creation of a journal, such as 127 Prince, on social art practice speaks to some larger issues not only about art but also about its presentation. For the inaugural issue of 127 Prince, I interviewed Nato Thompson, Chief Curator at Creative Time in New York City, NY. Via email, we discussed the issues as he sees them, specifically his views on the field and its relationship to larger cultural production, and focusing on The Creative Time Summit: Revolutions in Public Practice, which Thompson organized October 23-24, 2009. This interview is set against a backdrop of inquiry about how we, as arts practitioners, claim legitimacy in the academic and artistic fields while also trying to build a sense of community?
– Chelsea Haines Continue reading