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COMMUNITY-ENGAGED ART: NO LONGER A FORM OF RESISTANCE?
by
Sharon Elizabeth Danjuma
____________________________________________
A Thesis Presented to the
FACULTY OF THE USC ROSKI SCHOOL OF FINE ARTS
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTERS OF PUBLIC ART STUDIES
May 2010
Copyright 2010 Sharon Elizabeth Danjuma
Object Description
| Title | Community engaged art: no longer a form of resistance? |
| Author | Danjuma, Sharon Elizabeth |
| Author email | danjuma@usc.edu; sharondanjuma@hotmail.com |
| Degree | Master of Public Art Studies |
| Document type | Thesis |
| Degree program | Public Art Studies |
| School | School of Fine Arts |
| Date defended/completed | 2010-02-14 |
| Date submitted | 2010 |
| Restricted until | Unrestricted |
| Date published | 2010-04-19 |
| Advisor (committee chair) | Ulke, Christina |
| Advisor (committee member) |
Outterbridge, John Decter, Joshua |
| Abstract | During the 1960s and 1970s, African American artists created site-specific community engaged projects that were narrations of the social-cultural context of their communities. Within this milieu, the art works became powerful communicative tools, as was the case in John Outterbridge's collaborative project Oh, Speak Speak and Noah Purifoy's 66 Signs of Neon. However, in recent years, a proliferation of community engaged site-specific arts have emerged in various forms. These projects are appearing in the discourse of mainstream texts, discussions, museum exhibitions and commissioned public art works in the urban environment. Once looked upon with little regard by the art world, community engaged art is now canonized in the academy and elite art circles by a professional class of critics, curators, art historians and urban planners. This co-optation and assimilation of the aesthetic has weakened the criticality of the practice creating a disembodied commodification and a form of social work. |
| Keyword | community art; John Outterbridge; Noah Purifoy; Oh, speak speak; 66 signs of neon; Watts rebellion; Elliott Pinkney |
| Geographic subject (city or populated place) | Los Angeles; Watts |
| Geographic subject (state) | California |
| Coverage date | 1960/1979 |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m2938 |
| Rights | Danjuma, Sharon Elizabeth |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | http://www.usc.edu/isd/libraries/services/ask_a_librarian/email/ |
| Filename | etd-Danjuma-3565 |
| Archival file | uscthesesreloadpub_Volume17/etd-Danjuma-3565.pdf |
Description
| Title | Page 1 |
| Full text | COMMUNITY-ENGAGED ART: NO LONGER A FORM OF RESISTANCE? by Sharon Elizabeth Danjuma ____________________________________________ A Thesis Presented to the FACULTY OF THE USC ROSKI SCHOOL OF FINE ARTS UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree MASTERS OF PUBLIC ART STUDIES May 2010 Copyright 2010 Sharon Elizabeth Danjuma |
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