Double Taking and Troublemaking: Socially Engaged Practice as Intentionally Disruptive Art

Double Taking and Troublemaking: Socially Engaged Practice as Intentionally Disruptive Art


Ever since I could remember I liked
making stuff. I’d just make things. You know? My backgrounds really pottery is
really ceramics, touching the clay, touching the mud, making things with
clay – so the clay is mixed with about 50% sawdust – dry clay, dry sawdust – but more
and more as I started to do that I also had this little, I don’t know what
it was, this urge, ability, interest for teaching for education. Making stuff and
teaching stuff well actually you can do that, that’s called the being an art
educator or a teacher. The idea was that the making, and the teaching, and the
learning, and the asking of questions – through art, through the visual imagery
that you’re talking about – that was what was so important. To search for the good
and make it matter this is the real challenge of the artist. The kind of
group that has self-assembled today speaks to multiple interests that I have.
Henry felt like singing, but slaves didn’t dare sing in the streets, instead
he hummed all the way home. And trying to weave it into what is an art education
how does one learn through the making of things through cultural production – this
filter has been filtering water – what kind of questions can we ask? Not just about
what someone else has made, but what kind of questions can we ask through the act
of making itself? I’m thrilled that you’re all here you’re thinking about
these ideas I hope you take back even a small bit of what we’ve talked about
what you’ve heard from others into your own teaching experiences and perhaps in
some way our conversation can continue.

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