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This essay offers an analysis of three art projects from the 1960s--the Situationist International, Artist Placement Group, and Art Workers' Coalition--that all tried to mobilize avant-garde art as a political tool to address social issues and bring about social transformation. The Situationists tried to leave behind the art world and turned toward ultraleft politics. Artist Placement Group sought to use the creativity of art in contexts outside the traditional barriers of the institution of art. Art Workers' Coalition put pressure on the art establishment in New York, trying to force it into implementing a more open and less exclusive exhibition policy as well as taking a moral stance on the Vietnam War. The three projects present us with different models of how art can be engaged in politics. Adapted from the source document.

Mit der Entwicklung des Kunstwerks zum Konsumobjekt in den 1960er-Jahren nutzten Künstler_innen zunehmend Gesprächsformate, um die Ausrichtung der Gegenwartskunst auf das Konsument_innenverhältnis und die Kunstinstitution als Ort der bürgerlichen Öffentlichkeit zu unterlaufen. So suchten Künstler_innen während der politischen Organisierung um 1968 das direkte Gespräch mit Museen, Kunsthochschulen und mit ihren nicht-institutionalisierten Rezipient_innen, dem Publikum, um politische und soziale Inhalte zu diskutieren. In diesen Gesprächsformaten manifestiert sich der für die betreffenden Kunstpraktiken so zentrale Begriff der Öffentlichkeit, der auch zentral für die gesellschaftlichen Proteste um 1968 war. Die Demokratisierungsbestrebungen und öffentlichen Diskussionen der 1969 in New York entstandenen Künstler_innenvereinigung Art Workers Coalition prägten Künstler_innen, die im Laufe der 1970er-Jahre Formen der Zusammenarbeit in der Kunst erprobten. Gesprächsformate und das damit einhergehende Verständnis von Öffentlichkeit in kollektiven Kunstpraktiken, Performances und künstlerischen Interventionen sind Gegenstand dieser Untersuchung, die sich mit Beispielen aus den USA und Westeuropa von Group Material, Iñigo Manglano-Ovalle, Suzanne Lacy und WochenKlausur befasst. Den Höhepunkt der untersuchten Entwicklung bildet die ,collective conversation' als künstlerisch-kuratorische Praxis von Group Material, die in ihren Ausstellungen "The People's Choice" (1981) und "Democracy" (1988/1989) das Gespräch als entgrenzendes Format an der Verbindungslinie von Kunst und Gesellschaft nutzte. Group Material entwickelte ihre Ausstellungen ausgehend von Gesprächen mit Nachbar_innen oder Diskussionen mit Expert_innen und integrierte Gesprächsformate auch für den Austausch mit Ausstellungsbesucher_innen. Die Gruppe bereitete einer gesellschaftskritischen Kunst in den USA und auch in Westeuropa den Weg, die sich kritisch mit ihrer Produktion und Präsentation auseinandersetzte. Die Ausstellung "Culture in Action" (1993) in ...

Front matter -- Contents -- Figures -- Acknowledgements -- Introduction -- Clubhouses and guild halls -- Exhibiting the Arts and Crafts -- 'At Home' in artistic houses and studios -- 'Artistic' businesses and 'medieval' workshops -- Out of the guild hall and into the city -- Epilogue -- Select bibliography -- Index

Cover -- Half Title -- Series -- Title -- Copyright -- Contents -- List of figures -- List of tables -- List of contributors -- Introduction -- 1 Social action art therapy. An Israel context -- 2 Applied storytelling and picture talk as a tool for system intervention, behavioural change and diminishing polarization -- 3 Using arts as a contact method in group work with latency age Arab and Jewish youth in Israel -- 4 Art in society at a time of political and cultural transformation: The Polish case -- 5 Future IDs at Alcatraz: Transforming lives in immediate and necessary ways

The politics, art and culture of Perth's Workers Art Guild are detailed in this comprehensive history, as well as the personal and professional lives of some of the movement's key figures. The Workers' Art Guild was a left-leaning political force and influential cultural movement of the 1930s and 1940s in Perth. Police and intelligence arms kept close tabs on the Guild and its members, jailing some and intimidating many others prior to and during the period of the banning of the Communist Party in Australia. The book covers the personal and professional lives of key figures such as writer Katharine Susannah Prichard and theatre maverick Keith George, while charting the influence of the Communist Party on Western Australian artists.

The outbreak of Covid-19 pandemic has thrown a spotlight on the arts sector worldwide. In Portugal, art workers immediately responded to provide access to culture and citizenship in unconventional places and to adapt to an online presence performing mostly free work. Simultaneously, the sector's structural precarity, that had always existed, has been chronically exposed, also raising the visibility of non- creative professionals in the art worlds (mediators, operators, technicians). On the private sector side, some reference cultural institutions took advantage of the crisis to advance neoliberal agendas of cuts and dismissals. Before the absence of government response to a sector comprised mainly by independent and informal workers, arts professionals started an unprecedented and persistent process of organizing for claiming urgency measures addressing their basic survival needs, but also a consistent policy and statute for the sector. This paper will discuss the changes happening in the Portuguese art worlds from two main standpoints: (1) the role of the State in the (de)regulation and (de)professionalization of the sector, when great responsibility should be exercised in the definition of public policies guaranteeing access to adequate labour rights and social protection to all workers; and (2) the ways arts professionals have been organizing to cope with precarity and crisis, through different forms of collective organization (worker collectives, shared service cooperatives, mutual support systems, inter- organizational collaboration, protest and collective action). The Portuguese case is taken as a case study of a reality that is affecting arts professionals worldwide, demanding a discussion at national and supranational levels.