Convenings

Past Learning Exchange Reports:
Seattle, May 5–7, 2002

Andrea Assaf
2002
Henry Art Gallery Debriefs: Dialogic Art Model
Dialogue exists in many forms, and it is recognized that much artwork can function as a catalyst for dialogue. However, there exists a range of practices in 20th century art history that blurs the distinction between the categories of “art” and “dialogue.” Dialogic art uses dialogue as an artistic medium, in a variety of forms including, but not limited to speaking, writing, and physical participation. Examples of artwork that include dialogue as a central component can be found in the work of Joseph Beuys and his notion of “social sculpture,” Suzanne Lacy, Mierle Laderman Ukeles, Christo and Jeanne-Claude, Lee-Ming Wei and Rirkrit Tiravania, among others.

Gene(sis): Contemporary Art Explores Human Genomics  provides contemporary examples of dialogic art, including Critical Art Ensemble’s “tactical media” performances and Eduardo Kac’s transgenic artwork GFP Bunny. This session explores the intertwined relationship of art and dialogue, using artwork in the exhibition as a focal point for discussing how some forms of contemporary art incorporate dialogue as a medium.

Led by Robin Held, Assistant Curator and Julie Johnson, Curatorial Research Associate, Henry Art Gallery

Debrief:  Key Questions/Concepts

  • Dialogue with the self that is inherent in experiencing art and grappling with the ideas/content of the work. The tension between what is real and unreal as dialogue in and of itself.  To what extent is this validated by the models currently put forth through ADI?  What is its place in or relation to civic dialogue?
  • Is ADI’s working definition of dialogue too time-specific?  Is it only seen as valid at the moment you see and respond to the work?  (Abel Lopez)
  • Question of “civic” dialogue and the artist’s role—Should the art maker or a representative be present?  Degrees of mediation and overabundance of written material standing in for the artist.  What is direct dialogue with an artist through an artwork? 

Understanding Intent or Content:  A discussion of Critical Art Ensemble

  • Artifacts vs. actual performance. 
  • Issues of “ownership” of information.
  • Engaging in the implications.  Public safety:  What is the obligation of the artist?  If the role of art is to “infect” culture not to regulate, then there may be a perception that scientists are held to safety standards and artists are not—however, this exhibition registered as lab activity and has been held to those standards.  What does this teach other institutions, particularly in the aftermath of September 11th?