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Out of Place: Artists, Pedagogy, and Purpose

  • Edited by Tim Doud, Zoë Charlton

Published on October 28, 2021 by punctum books

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Pages
432 pages
Languages
English
Dimensions
7⤫10 in.
ISBN (Paperback)
ISBN: 978-1-68571-004-0 (Paperback)
ISBN (PDF)
ISBN: 978-1-68571-005-7 (PDF)
LCCN
LCCN: 2021949029
BISAC subject codes
BISAC: ART027000, ART037000
Thema subject codes
THEMA: AGB, AGT, AKB

Broad in scope, Out of Place: Artists, Pedagogy, and Purpose presents an overview of the different paths taken by artists and artist collectives as they navigate their way from formative experiences into pedagogy. Focusing on the realms inside and outside the academy (the places and persons involved in post-secondary education) and the multiple forms and functions of pedagogy (practices of learning and instruction), the contributors in this volume engage individual and collective artistic practices as they adapt to meet the factors and historical conditions of the people and communities they serve through solidarity, equity, and creativity.

With this critically, historicist approach in mind, the contributions in Out of Place historicize, study, critique, revise, reframe, and question the academy, its operations, and exclusions. The extensive range of contributions, emphasizing community-oriented projects both inside and outside the United States, is grouped into three overarching categories: artists who work in academic institutions but whose social and pedagogical engagement extends beyond those walls; artists who engage in pedagogical initiatives or forms of institutional critique that were established outside of an art school or university setting; and artist–scholars who are doing transformative and inter/transdisciplinary work within their respective institutions.

Collectives and projects represented in Out of Place comprise Art Practical, Axis Lab, BFAMFAPhD, Beta-Local, Black Lunch Table Project, The Black School, The Center for Undisciplined Research, Devening Projects, ds4si, Elsewhere, Ghana ThinkTank, Gudskul, The Icebox Project Space, Las Hermanas Iglesias, The Laundromat Project, Occupy Museums, Peebls, PlantBot Genetics, Queer Conversations on Culture and the Arts, Related Tactics, Side by Side, ‘sindikit, Sustainable Native Communities Collaborative, and Tiger Strikes Asteriod.

Contents

  1. Frontmatter (1–13)

    Tim Doud, Zoë Charlton

  2. Foreword (15–18)

    Jordan Amirkhani

  3. Introduction (21–28)

    Tim Doud, Zoë Charlton

  4. Alexandria Smith (31–37)

    Alexandra Smith

  5. Ken Gonzales-Day (39–46)

    Ken Gonzales-Day

  6. Lauren Frances Adams (47–57)

    Lauren Frances Adams

  7. Lisi Raskin (59–71)

    Lisi Raskin

  8. Michael Ray Charles (73–82)

    Michael Ray Charles

  9. Patricia Nguyễn (83–92)

    Patricia Nguyễn

  10. Rudy Lemcke + Tina Takemoto (93–102)

    Rudy Lemcke, Tina Takemoto

  11. BFAMFAPhD (105–124)

    Caroline Woolard, Susan Jahoda

  12. Devening Projects

    Dan Devening

  13. Extrapolation Factory (139–146)

    Elliott P. Montgomery

  14. Open Engagement + Side by Side (147–152)

    Jen Delos Reyes

  15. Las Hermanas Iglesias

    Janelle Iglesias, Lisa Iglesias

  16. The Center for Undisciplined Research (169–178)

    Roz Crews

  17. PlantBot Genetics (179–188)

    Wendy DesChene, Jeff Schmuki

  18. Stephanie Dinkins (189–198)

    Stephanie Dinkins

  19. Tiger Strikes Asteroid (201–210)

    Alexis Granwell

  20. Beta-Local (211–219)

    Pablo Guardiola, Tony Cruz

  21. Black Lunch Table (221–231)

    Heather Hart, Jina Valentine

  22. Carmen Papalia + Whitney Mashburn (233–241)

    Carmen Papalia, Whitney Mashburn

  23. ds4si (243–249)

    Kenneth Bailey

  24. Elsewhere (251–263)

    Antoine Williams, Daniel Coleman, George Scheer

  25. Ghana ThinkTank (265–279)

    Christopher Robbins, Maria del Carmen Montoya

  26. Gudskul (281–296)

    farid rakun, Leonhard Bartolomeus, Marcellina Dwi Kencana Putri

  27. Jaimes Mayhew (297–303)

    Jaimes Mayhew

  28. Sustainable Native Communities Collaborative (305–314)

    Joseph Kunkel

  29. Related Tactics + Art Practical (315–324)

    Michele Carlson

  30. Occupy Museums (325–338)

    Noah Fischer

  31. The Laundromat Project (339–348)

    Risë Wilson

  32. The Icebox Project Space (349–357)

    Ryan McCartney

  33. The Black School (359–371)

    Shani Peters, Joseph Cuillier III

  34. Conclusion (375–384)

    Bill Gaskins

  35. Afterwords (385–397)

    George Cicsle, Tim Doud, Zoë Charlton

  36. Contributor Biographies (399–413)

    Tim Doud, Zoë Charlton

  37. Project Biographies (415–421)

    Tim Doud, Zoë Charlton

  38. Figures (423–425)

    Tim Doud, Zoë Charlton

Biographies

  • Tim Doud

    (Editor)

    American University

    Tim Doud received his MFA from The School of the Art Institute of Chicago. Exhibitions include Curator’s Office (Washington, DC), Tacoma Art Museum (Tacoma, WA), Kemper Contemporary Art Museum (Kansas City, MO), the Smithsonian’s National Portrait Gallery, PS1 Museum of Modern Art (New York City), Artists Space (New York City), the Frye Art Gallery (Seattle, WA), Art Basel, Galerie Brusberg (Berlin), MC Magma (Milan), and the Corcoran Gallery of Art (Washington, DC). He has received grants from The National Endowment for the Arts and The Pollock Krasner Art Foundation, and the DC Commission for the Arts and Humanities. He participated in residencies at Skowhegan School of Painting and Sculpture, the Banff Centre (Alberta, Canada), and the Sharpe/Walentas Studio Program (Brooklyn, NY). Doud is currently a Professor of Art at American University in Washington, DC and is co-founder of 'sindikit, a collaborative, research-centered art initiative.

  • Zoë Charlton

    (Editor)

    American University

    Zoë Charlton creates figure drawings, collages, installations, and animations that depict her subjects' relationship to culturally loaded objects and landscapes. Charlton received her MFA from the University of Texas at Austin and participated in residencies at Artpace (Texas), McColl Center for Art + Innovation (North Carolina), and the Skowhegan School of Painting in Maine. Museum collections include The Phillips Collection in Washington, DC, Crystal Bridges Museum of American Art (Arkansas), Birmingham Museum of Art (Alabama), and Studio Museum (Harlem, NY). Charlton is a Professor of Art at American University in Washington, DC. She holds a seat on the Maryland State Arts Council, is a board member at the Washington Project for the Arts in Washington, DC, and is co-founder of 'sindikit, a collaborative, research-centered, art initiative.

Reviews

Tension and Endurance: The Year in Books from Baltimore/DC(opens in new tab)

Rebekah Kirkman

This weekend, my alma mater’s Open Studies division’s tweet got ratioed to hell for advertising an “intro to NFTs” workshop. As one person (out of hundreds) replying to the tweet put it, “Good to know that my tuition went to teaching future generations how to join a pyramid scheme and support the acceleration of the destruction of the planet for funny money.” (Criticism led to the workshop being canceled.) Universities and colleges are always changing things up, but never really in the ways that we want them to. Thank god for the good people and professors in art colleges who struggle against their institution’s dysfunction to actually prepare students for the real world. Out of Place, edited by Zoë Charlton and Tim Doud, lets artists and collectives working both within and outside of art academia examine the ways they teach and have been taught and how this informs their own practice. People familiar to BmoreArt readers, such as Charlton, Doud, Jordan Amirkhani, and George Ciscle, join a wide-ranging discussion about art and pedagogy in our present moment with other artists and scholars such as BFAMFAPhD’s Caroline Woolard and Susan Jahoda, Tiger Strikes Asteroid’s Alexis Granwell, and dozens more. Amirkhani sets the scene marvelously in the book’s foreword: “the state of our world is in a kind of emergency, and it is the university itself that connects to many of our social and public crises, specifically, white supremacy and capitalism. Universities are now million-dollar businesses, students are now customers, and aggressive marketing strategies and branding campaigns that continue to espouse the university as a common good, accessible and available to everyone, functions now more as mythos than fact.”

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Genres

  • Art+Aesthetics
  • Pedagogies

Keywords

  • art collectives
  • art curation
  • art education
  • exhibition spaces
  • galleries
  • pedagogy