This document provides an overview of social media and how artists can leverage social platforms. It begins by contrasting the traditional "anti-social artist" stereotype with the concept of a "social artist" who actively engages with audiences. The document then examines case studies of artists like Shepard Fairey who use social media to promote their work and causes. It challenges attendees to develop their own social media positioning and presence through exercises like creating a blog and social news release. The goal is to help artists communicate effectively using modern media tools.
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#Art #Photos #Popart This the artwork my teacher gave me thats very incredible. It tells you everything about Pop Art and how its created or the history of it.
Art for change It is often taken for granted that art f.docxrossskuddershamus
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the.
Art for change It is often taken for granted that art fBetseyCalderon89
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the ...
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In this webinar, we won't focus on the research methods for discovering user-needs. We will focus on synthesis of the needs we discover, communication and alignment tools, and how we operationalize addressing those needs.
Industry expert Scott Sehlhorst will:
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Editable Toolkit to help you reuse our content: 700 Powerpoint slides | 35 Excel sheets | 84 minutes of Video training
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FIA officials brutally tortured innocent and snatched 200 Bitcoins of worth 4...jamalseoexpert1978
Farman Ayaz Khattak and Ehtesham Matloob are government officials in CTW Counter terrorism wing Islamabad, in Federal Investigation Agency FIA Headquarters. CTW and FIA kidnapped crypto currency owner from Islamabad and snatched 200 Bitcoins those worth of 4 billion rupees in Pakistan currency. There is not Cryptocurrency Regulations in Pakistan & CTW is official dacoit and stealing digital assets from the innocent crypto holders and making fake cases of terrorism to keep them silent.
Training my puppy and implementation in this story
The social artist v04 25-11
1.
2. 15 years in Corporate
Communications
Industries: Music to IT; start-ups
to MNCs
Avid blogger
Bachelors of Journalism
MA, Media and
Communications
MBA
Get you to think critically about how you communicate
Introduce concepts around social networks, why they are relevant
3. The Anti Social Artist
You: The Social Artist
Positioning
Media Choices
Case Study: Obey
Assignment: Creating Your Social Presence
4. Painter
Born: January 28, 1912
Died: August 11, 1956
Rarely talked about his work
Would only talk about painting
after a few (too many) drinks
5. Filmmaker
Born: July 26, 1928
Died: March 7, 1999
American, but rarely left his
English estate
Rumored (rightly or wrongly) to
be anything from a reclusive
genius to megalomaniacal
lunatic shut off from the world
6. Writer
Born: January 1, 1919
Died: January 27, 2010
Legendary recluse
Published his last work in 1965
Gave last interview in 1980
Repeatedly denied offers to
turn his books into movies
7. Stereotype
Romanticized figure who shuns society
Relentless pursuit of excellence causes them
to withdraw
Doesn’t talk about their work, lets work
speak on its own
Antiquated concept in the social age
9. Facebook: 1 in every 13 people alive
Twitter: 1 billion Tweets/week- Lady Gaga 9.5 million followers
YouTube: NigaHiga UNLV film student 3.5M subs
10. Just as changed music
Just as transformed video
The art gallery is being re-visualized…
11.
12. The Anti Social Artist
You: The Social Artist
Positioning
Media Choices
Case Study: Obey
Assignment: Creating Your Social Presence
13. Promotes interactions with art
Actively defines herself/himself to the public
Constantly seeks and provides feedback
Sees media as a tool for engagement, not a
tool for publicity
Social Artist not only communicates through their work
Seeks two-way conversation with audience, the art market
14. Positioning
Artist/designer knows who he/she is
Puts work into context
Rises above the noise of the art market
Media
Art media
Creating your own media
Uses social tools to communicate positioning
15. Key concepts, simply explained, that:
Describe who you are
What you do
What makes you unique
Use comparisons or analogies
Need to help your potential audience quickly
understand you
Positioning will inform everything you do
Will give you a consistent language to describe yourself,
regardless of medium
16. Are you conventional or avant garde?
In what way?
Do you have a cause: political, social?
How do you compare to other artists?
17. An Explanation A Conversation
• Press releases • Social press
• Rely on release
mainstream • Create own
media media
• Teach • Talk to
audience audience
about your about your
work work
18. Headline
Headline
Narrative 1
Narratives
Narrative
2 Quotes Links
Only the top is important The entire release is consumed
Edit the release further down you go Audience determines what is important
19. SFMOMA PRESENTS BILL FONTANA’S SONIC SHADOWS
New Sound Sculpture Transforms Museum Space into Acoustic Experience
Release date: September 16, 2010
On November 20, 2010, SFMOMA debuts a new site-specific sound sculpture by San Francisco–
based artist Bill Fontana.
Entitled Sonic Shadows, the work transforms the museum's dramatic circular skylight and fifth-floor
steel truss pedestrian bridge into musical instruments. Exploring both visible and invisible
architectural features of the museum, the work creates an acoustic translation of the physical space.
Commissioned as part of SFMOMA's 75th anniversary celebration, Sonic Shadows is Fontana's first
truly kinetic and interactive sound sculpture. While Fontana's past works typically relocated
environmental sounds to a remote location such as a museum, he is now exploring ambient and live
sounds generated by specific spaces in response to the energy of weather, visitors, or a building's
infrastructure. The artist's concept for Sonic Shadows grew out of these recent investigations into
how architectural structures resonate. Sonic Shadows is organized by Rudolf Frieling, SFMOMA
curator of media arts, and will run through October 16, 2011.
20. SFMOMA PRESENTS BILL FONTANA’S SONIC SHADOWS
New Sound Sculpture Transforms Museum Space into Acoustic Experience
November 20, 2010, SFMOMA debuts a new site-specific sound sculpture by San Francisco–
based artist Bill Fontana called Sonic Shadows
It will transform the museum's dramatic circular skylight and fifth-floor steel truss pedestrian
bridge into musical instruments.
Sonic Shadows explores explored the architectural features of the museum, to create an
acoustic translation of the physical space.
Quote: Rudolf Frieling, SFMOMA curator of media arts,
"What Bill Fontana has achieved is a truly hybrid and reactive sculpture of sound in time. We can
listen to the three dimensions of a spatial arrangement inside the architectural setting of our
museum based on a new technology of hypersonic speakers.
Links:
Bill Fontan: http://www.resoundings.org/
Bill Fontana: Caught by the river
http://www.guardian.co.uk/music/2010/apr/15/bill-fontana-interview
21. The Anti Social Artist
You: The Social Artist
Positioning
Media Choices
Case Study: Obey
Assignment: Creating Your Social Presence
22.
23. Work linked
to message
Engages
audience on
important causes
24. E-
Commerce
Highlights work
of other artists
Used to promote work, discussion causes, open a conversation
26. What is Shepard Fairey’s positioning?
Commercial art techniques for a dissident political
agenda
Street and pop art: Cross between a graffiti artist
and Andy Warhol
An “alternative” figure for the mainstream
Not exact descriptions, but help audience
create a mental image
27. Blog acts as social news release
Constantly updated
Updates are syndicated across Twitter
Modular, you are invited to enter and explore
Not linear; mixture of political messages,
personal messages, commerce
Positioning remains constant
28. The Anti Social Artist
You: The Social Artist
Positioning
Media Choices
Case Study: Obey
Assignment: Creating Your Social Presence
29. Build your positioning
How are you going to communicate to the rest of
the world?
▪ Who are you?
▪ What do you do?
▪ What makes you unique?
Use comparisons or analogies
30. Write your social news release
Prepare a 3-5 slide pitch