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art:21
art in the twenty-first century the series the artists education events discuss

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Labor & Craftsmanship

overview

Lesson 3 | Summary

Introduction
Activities
Objectives
Critical Questions
Reflection & Evaluation
Standards
Going Further

Activity Pages
Art Phyla
Biodiversity
Cross Fertilization
Recombinants
Natural Selection
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detail of Chin artwork
Artwork Survey
SLIDESHOW | CHIN
detail of Wodiczko artwork
Artwork Survey
SLIDESHOW | WODICZKO
lesson 3 | converging media
activity | natural selection

Time Period: Three 45 minute sessions plus studio and research time
Materials: Sketchbook, large sheets of paper (newsprint), drawing materials
Online Resources: Public Art Links
Art in the Public Interest
Activist Art
Art:21 Films: Power (Krzysztof Wodiczko segment)
Consumption (Mel Chin segment)
Web Clips: Wodiczko—Hiroshima, Japan
Wodiczko—Tijuana, Mexico
Chin—“S.P.A.W.N.” in Detroit
Chin—“Revival Field” Project
Interviews: Wodiczko—Architecture & Therapy
Chin—“Revival Field”
Slideshows: Chin—Artwork Survey
Wodiczko—Artwork Survey

Successful species evolve over time to adapt to their environments, slowly changing to function efficiently in their surroundings. Similarly, artists often choose their medium or create a hybrid form to fit a specific project, communicate something particular, or solve a real problem. Krzysztof Wodiczko combines architecture and video projection in his site-specific installations in Tijuana, Hiroshima, and St. Louis to give individuals a monumental voice, confronting taboo subjects and bringing local issues to light in important public spaces. Mel Chin employs unconventional media and engages collaborators from fields like ecology and software engineering to intercede in sites as diverse as video games and toxic waste dumps. Use the video segments and artist interviews and slideshows (see links above) to introduce your students to the work of these two artists. Discuss how the hybrid forms chosen by each artist respond to or attempt to solve particular problems. Could Wodiczko and Chin have chosen other media to accomplish their goals? Is each successful? What makes pieces like “Revival Field” and “Tijuana Projection” art?

Tell your students to imagine that have each been commissioned to design a large-scale public art piece for a site in your town. Ask them to research a local issue, either individually or in groups, and draw up plans for a project that gives voice to an under-represented population, serves as a call to action, or actively solves a problem. Their drawings and written plans should be descriptive enough to permit the piece to be constructed in the artist's absence. The piece should involve the community, whether community members help in design and construction, or it is the sight for a public forum, performance, or provides some other means of allowing people to share their experiences with others. Tell your students to think big- they are famous artists! But tell them they must also consider the technicalities involved with undertaking such a project.

Ask them to consider the following questions as they plan their piece:
What media would best communicate your message?
How would the media interact with/change the space and how might the piece facilitate community interaction or encourage activism?
Who would be the best resources to ask for help in conceiving your project?
How would you go about getting something like this approved by the local government? What is your budget?
What would your piece accomplish?
detail of Barney artwork
Art Phyla
Converging Media | Activity
the next activity for this lesson

Art Phyla
This lesson asks students to take stock of the categories that have separated art forms through history, and ultimately become mutable in contemporary art. Matthew Barney’s “CREMASTER” series and Ann Hamilton’s multi-media installations are used as the basis for a discussion about categorization and hybridization in art.

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