F405i Session 04

As part of the Guide for Session 04 — and in preparation for Presentations on Session 05 — here are some examples of potential or actual “exploitation” that I mentioned that I would share, for discussion and reflection.

The examples are on artists working in various types of Social Engagement practices. And when it can cease to be (or never becomes) a real Collaboration.

The first example took place in London and can be especially important for Catherine’s project. The critique is from to point of view of a community centre organizer.

https://peacenews.info/blog/6433/famous-artist-exploits-vulnerable 

The second example is a project by Omer Fast in New York’s Chinatown in 2017. The first 3 links are the critique (in fact, protest) of the community. The fourth link is a review that gives an idea of the project itself, and the artist’s response to the critique.

https://wagingnonviolence.org/2017/11/nyc-art-galleries-gentrification-protest/ 

https://www.boweryboogie.com/2017/10/controversial-chinatown-gallery-exhibit-forges-despite-accusations-poverty-porn/

Watch the video on this one:
https://www.boweryboogie.com/2017/10/chinatown-art-brigade-protests-racially-insensitive-poverty-porn-james-cohan-gallery/

https://www.nytimes.com/2017/10/19/arts/artists-chinatown-depiction-ignites-protests.html
https://www.jamescohan.com/exhibitions/omer-fast2

The third example is of a series of works by the Brazilian artist Vik Muniz who lives in New York.

Vik created what he calls “masterpieces” out of garbage with communities who work with garbage. He sets up the photos with actual community members in them. He does contribute some money back to the community. I critique his approach.

Beyond the artworks, he did a documentary on this called “Waste Land”, where he is the main “actor” and script writer of the film, portraying himself as a collaborator with the community.

The film and the approach to the film is another layer to reflect upon, whether there is exploitation happening or not, whether it is made even worse.

https://www.nytimes.com/2010/10/24/arts/design/24muniz.html?
http://www.wastelandmovie.com/index.html

I personally worked in a project at Duggal (high-scale large format photo print shop in Manhattan) at the same time that he was printing some of these original photos in very high end material and formats some larger than 5 meters high by 3 meters wide (15 ft x 9ft). Knowing the cost, knowing the places where he photographed this, the vulnerability of the communities, seeing the film, and knowing the market value of the works are some of the elements that frame my critique and considerations.