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 This reading completely encompassed the very fresh and evolving movement of social practice art. According to Tom Finkelpearl, the author of What We Made: Conversations on Art and Social Cooperation, social practice art is “art that’s socially engaged, where the social interaction is at some level the art.” This type of artwork is incredibly broad, and this reading really elaborated on just how diverse and overarching these practices truly are. An example of this is one of the largest modern social practice art pieces, Project Row House. This project, started by artist Rick Lowe, completely transformed a stretch small abandoned houses in Houston Texas and created an environment for the housing of those in the community who desperately needed it.
Initially after we briefly discussed social practice art in class I was very skeptical to say the least, as it just sounded like community volunteering or other completely non-art related things. However reading all about what can be labeled as social practice art, I saw that no matter what shape it took, all of the applications were presented almost as exhibits, and done with stylistic appreciation. This appeals to the more stereotypical form of art. I found backing to this with a quote from Miranda Lash, curator of modern and contemporary art at NOMA, “The esthetic component is key.” To me social practice art is art with a plan. For example Mierle Laderman Ukeles’s pieces that literally incorporated people working at the New York City Department of Sanitation. Use of a population helps to communicate ideals of social and political views, often in an effort to draw attention to social ills and conditions. One person who really struck my interest was Mel Chin who had the piece “Operation Paydirt/Fundred Dollar Bill Project” in this reading. In this project he attempted to educate children on the importance of keeping the environment healthy and of the affects of contaminated soil. Social practice art is probably something I would love to be a part of in the future, however may be out of my reach currently as a high school student. However reading so in depth about it really helps to understand the importance of art with a plan or at least a message. I hope to incorporate this in my further artwork when addressing the constant issue of theme and purpose, as the purpose of art may be its most important feature.
Wright is a painter of 15 years, focusing primarily on the oil painting of faces. In his artist statement he says that he wants to develop a “painterly language.” Instead of accurately depicting his subjects in a realism-lied mannor, Wright seeks to establish a “likenes” of the subject. His exact words are “they are glimpsed rather than exposed, their inner selves hinted at but ultimately inscrutable.” While to me he seems a bit overly confident in his own work, I am definitely do appreciate the intense use of color and stroke in his depiction of faces. After painting the face in a boisterous way, he then further abstracts it by smearing certain parts of using a palette knife. I can learn from Wright’s technique in class by incorporating super defined and interesting marks as well as his bold composition.
Mark Demsteader is a British figurative artist. According to The Daily Telegraph, he is "one of Britain's best-selling figurative painters,” most well known for his series of 34 portraits of Emma Watson. He took a short course at the Slade School of Fine Art, and then shortly after acquired his first studio space in Blackheath. In 1997 he became a founder member of the Neomodern Art Group founded by Guy Denning. This group seeks simplicity in response to modern and complex art and architecture. Demsteader’s work is almost exclusively portraiture, some of only the face while others are more figurative. He paints with a grey scale, occasionally adding subtle blues. His style uses smooth yet visible strokes to paint incredibly realistic faces, often fading or dripping out into rough lines melting into the negative space. The reason Demsteader stood out to me so strongly is that his work is essentially where I want to get with my own. His expert use of mark and negative space, uniquely combining abstracted marks with realism. And his use of shadows and light on the planes of the face are so beautiful.
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