1. I think what stands out to me among the resources is the Quarantine Library, just because of the time it was created and the sole purpose of the site. Because of the pandemic, there is a huge lack of intellectual connections or any other artistic exchange, this site works great to connect artists with the artists, and artists with the audience. It really feels like you are physically browsing in a library. There are so many styles and themes in every unique zine. Like Professor Syjuco said, “every zine is like a snapshot of a time period.” There are beautiful poetry, ideas, and even what is it like when your brain started wandering around. It is a great tool to connect with people and I am definitely attempted to download some zines for my personal collection!
Secondly, I want to talk about Thompson Nato’s book- “Living as Form.” It is such an amazing archive of all the meaningful social practice arts. As someone who was not familiar with the concept before, this book is definitely eye-opening. The first-introduced work is already very interesting- Women on Waves. I love how it combines socially engaged art and political advocacy. Action-based, participatory art is what interests me the most. I believe that art should be engaging, not just standing in front of the artwork and simply appreciating it. Since everyone is so drastically different, inviting the viewers to participate in and complete the artwork can generate various results. It is why social practice art is so worth documenting, because it is “timeless” but also temporary.
I wonder what are some fine lines between non-profit organizations related to volunteering and art? Can we call everyone who’s running the good-cause organization part of this evolutionary social art period? Likewise, what distinguishes artists who are doing heroic acts and the people who are getting paid minimum wage but also doing the same job?
2. The Quarantine Public Library (QPL) is one of the resources that stood out to me because of the immediacy of the free material. It shocked me that all of the zines provided can be downloaded and printed with ease. The accessibility of this project made me smile because it’s reaching out for people to engage in this extra communication and commitment to art and self-reflection in a time where we all needed it most. It was also so admirable because not only does this project encourage accessible means of art consumption, but it also encourages its users to donate to “EveryoneOn” which helps low-income families with attaining access to computers and the internet. The donation process is also really cute! They have a library card that you can buy, and you can also purchase their whole catalog of zines, all while 100% of the proceeds go to EveryoneOn. The connection to art, accessibility and non-profit support enhances their commitment to their communities digitally while creating real change outside these spaces. I think the previous sentence encapsulates why I believe this resource is linked to social practice. A question that I have about the QPL is why they don’t place the donation encouragement on their main page?
Printed Matter Inc. is another resource\/company that extends its hands and exists within the art advocacy realm of social change. They do so many things! The company provides consultation services for bookstores\/libraries\/institutions looking to expand and revise their “artist book” section, they also hold tours, and talks for visiting classes. On top of this, they have kept an active and accessible archive and database of artist’s publications. They hold archival exhibits open to the public, and they provide more programs that are curated by artists for everyone. They also make it really easy if you want to submit your own book and have a place to distribute it! With all of this advocacy and talk about access, I was left a bit sad that there aren’t many locations. So I question if they are planning on expanding their process to other locations, cities, and towns that don’t have these types of opportunities. <\/p>\n","protected":false},"excerpt":{"rendered":"
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