My mind is still sorting through the compounded collection of ideas sparked by spending time at the Grantmakers in the Arts conference the past several days. I’m still in the process of sorting through my notes and figuring out the best way to utilize, share and build from all the information I gathered. The two overarching threads that ran through the conference were: 1) artists building new participatory and community building models, whether through creative community development or finding ways to build out respectful partnerships between artists and social movement folk; and 2) the changing demographics of the country, the inequities, blind spots, assets and opportunities that have arisen from that.

As I mentioned, I’m still mulling over where this information needs to be directed, but after hearing from artists like the amazing Theaster Gates, I’m struck by the ways in which artists are building upon their many roles within their community. I’ve often talked with my colleague and occasional collaborator Michele Carlson about what it means to have a dual-practice since we went through CCA’s Fine Arts and Visual & Critical Studies programs together and she teaches and founded the current dual-degree seminar. I haven’t quite found a way to articulate the way this past week’s conversations have reframed the multiplicity of practice for me, but there’s something there that needs to be communicated yet is also a very individualized come-to-Jesus moment. In part, it’s a collection of thoughts from over the past several years that have been building off of one another. There’s the dual-degree thing. It also comes from working at the Arts Commission and hearing my boss, San San Wong, talk about the Arts & Communities: Innovative Partnerships grant as being at least in part about supporting artists as creative leaders in the community, even outside of what might be legible as ‘art practice’. It also ties back to what it seemed YBCA was trying to do earlier this year with the conversations leading up to BAN6, where they wanted artists to have opportunities to engage with innovators in fields outside of the arts. That broader role of artist has long been discussed in frameworks like community artist, social practitioner, artist as conceptual practitioner-slash-intentional community builder, etc. But as an artist working fairly traditionally (object-based studio practice), it has been easy to create silos. Putting language to this revelation is difficult at least in part because it’s a bit of a psychological dance, finding words to ease the transitions between these different roles. But I’m putting this out there now, to ensure that it’s something that doesn’t just fall away.

On a somewhat different note, I’m very happy to be working with Carlos Ramirez for the upcoming Working Conditions exhibition at SoEx. Carlos will be creating a process-based installation entitled “Digital Dirt” where gallery visitors will be able to help shape the clay tiles for the sculpture or play Super Mario Brothers in the middle of the piece.

Working Conditions
November 11, 2011 – January 7, 2012

A process-based project with 9 artists selected by the SoEx Curatorial Committee:
Steven Barich
Elysa Lozano
Jennie Ottinger
Nathaniel Parsons
Carlos Ramirez
Zachary Royer Scholz
Charlene Tan
Ethan Worden
Wafaa Yasin

Opening Reception: Friday, November 11, 2011, 7:00 pm – 9:00 pm
Closing Recaption: Friday, January 6, 2011 7:00 pm – 9:00 pm
Gallery Hours: Tuesday – Saturday, 12:00 – 6:00 pm
Holiday Closures: November 21-27, 2011, December 19, 2011- January 2, 2012