What is socially engaged art history? Art history is typically understood as a discipline in which academics produce scholarship for consumption by other academics. Today however, an increasing number of art historians are seeking to broaden their understanding of art historical praxis and look beyond the academy and towards socially engaged art history. This is the first book-length study to focus on these growing and significant trends. It presents various arguments for the social, pedagogical, and scholarly benefits of alternative, community-engaged, public-facing, applied, and socially engaged art history. The international line up of contributors includes academics, museum and gallery curators as well as arts workers. The first two sections of the book look at socially engaged art history from theoretical, pedagogical, and contextual perspectives. The concluding part offers a range of provocative case studies that highlight the varied and rigorous work that is being done in this area and provide a variety of inspiring models. Taken together the chapters in this book provide much-needed disciplinary recognition to socially engaged art history, while also serving as a springboard to further theoretical and practical work.
Cindy Persinger is Associate Professor of Art History in the Department of Communication, Design, and Culture at California University of Pennsylvania, USA.
Azar Rejaie is Associate Professor of Art History in and Chair of the Department of Arts and Communication at the University of Houston Downtown, USA.
Introduction (Azar Rejaie).- Part 1 Envisioning.- 1 What is Socially Engaged Art History? (Cindy Persinger).- 2 Cultivating an Engaged Art History from Interdisciplinary Roots (Laura Holzman).- 3 Art History and its Publics: Weighing the Pedagogical and Research Benefits ofCommunity-Engagement (Julia Sienkowicz).- 4 Educating the 21st-century Renaissance 'citizen' in Theory and Practice (Jennifer andTimothy Webb).- Part 2 Pedagogy.- 5 Visual Critical Pedagogy (Ya'ara Gil-Glazer).- 6 Applied Art History: Theory and Praxis (Jenna Ann Altomonte).- 7 The Course Has Left the Classroom: Community Engagement, Consensus Building and Experiential Learning as Socially Engaged Art History (Jonathan Wallis).- 8 Observing Light and Catching Reflections: Experiential Art Historical Practice In and Outside the Classroom (Kelly A. Wacker).- 9 Arts-driven Urban Revitalization and Social Practice (Part 1): Designing and Implementing Public Sculpture Exhibitions in Neighbourhoods (Hilary A. Braysmith).- Part 3 Engaging Art Histories.- 10 Culture as Laboratory and Curating as Making: Social Imagination and Public Space in Madrid Between the Acampada Sol and the Institutional Take-Over (Olga Fernández López Azucena Klett, and Zoe López Mediero).- 11 Feminist Curating: What Does It Mean and Why Bother? (Sally Deskins).- 12 Making Worlds: Normative and Other Art Histories of Visually Impaired Photographers (Vendela Grundell).- Part 4 Practical Applications.- 13 The Power of Silence: Ahmet Ögüt's The Silent University (Luisa Santos).- 14 Curating to Remember Injustice: Exhibitions on Toyo Miyatake and Roger Shimomura(Aileen June Wang).- 15 L in gLam: Libraries as Strategic Venues (Sally Deskins).- 16 HAIR CLUB: Toward a Hair Studies Discipline (Hairclub).- 17 Building Community (Art) History in "Standing Together: the Selma Burke Project (Terri Baltimore and Julia Sienkowicz).- 18 Student Docent Curricula as Socially Engaged Art History (Rebecka A. Black and Carissa DiCindio).- 19 Arts-driven Community Development and Social Practice (Part 2): Turning Community Members into Project Participants and Partners and Students into Engaged Citizens (Hilary A. Braysmith).- 20 Art History as Public Scholarship: Structuring Academic Jobs for Engaged Art History (Laura Holzman).- 21 The Art Historian Next Door: Using Our Degree Outside the Ivory Tower (Tiffany Elena Washington)
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