Download Community Art: An Anthropological Perspective by Kate Crehan PDF

By Kate Crehan

This attention-grabbing textual content offers the 1st in-depth research of group artwork from an anthropological perspective, using the instance of the unfastened shape Arts belief whose founders have been made up our minds to take advantage of their tremendous arts visual services to hook up with working-class humans via collaborate paintings tasks. In trying to supply the citizens of terrible groups, who've generally been excluded from the area of gallery art, a better position in shaping their outfitted surroundings, the artists' aesthetic perform itself was once significantly transformed. of their thirty-five 12 months background the unfastened shape Arts belief performed a major role within the fight to set up group arts in nice Britain and Community Art supplies their tale all over the world relevance. It examines how this experiment reimagined where of the artist within the making of artwork and demanding situations universal understandings of the kinds of  "art", "expertise", and "community" besides as the position of the individualized perform of the gallery artist.

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Extra resources for Community Art: An Anthropological Perspective

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Anthropology as a discipline may have arisen out of the colonizing global North’s concern to understand the unfamiliar worlds with which it was coming into contact—all too often with a view to their domination—but at least it has taken those other worlds seriously and genuinely tried to understand how things might look from perspectives other than those of the hegemonic North. And, from such a vantage point, certain categories, such as art, which in the North are taken as timeless and universal, begin to look rather parochial and limiting.

11 For Gramsci, common sense (which does not have the same connotations of down-to-earth, practical good sense in Italian as it does in English) is that hodgepodge of accepted ideas to be found in any given milieu which those who grow up in that milieu absorb unthinkingly through a kind of osmosis so that they appear simply to reflect the way the world is. The power of common sense is that it is ‘knowledge’ we inhabit; the common sense of our particular time and place is so deeply embedded in who we are that it is almost impossible for us to disinter its assumptions about the world and see them as indeed assumptions rather than facts.

It is worth noting that the judgement of the curatoriat and that of common sense share the assumption that, whether for the consumer or the producer of art, ‘good’ art is difficult. For the expert, ‘good’ art should be challenging; art that is too easy to like is immediately suspect. ’ Where hegemony comes in is in the very different weight these judgements have. If the art world is, as Danto claims, a particular ‘discourse of reasons institutionalized’, those who produce this discourse are the experts entrusted by society with the task of classifying and explaining art: the art critics and theorists, those who teach in arts schools, and the artists themselves, who through their practice define art.

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