Creating art and reflecting on artwork is often a cooperative experience that supports empathic responses to lived experiences. Both the artist and the viewer put effort into formulating understandings of issues affecting the cultural environment. In this respect, art informs us about the lives of others and raises our consciousness regarding how we view ourselves and others within the culture at large.
Making art is a labor of love that employs a combination of social, emotional and cognitive actions. Artists make art because they care about expressing themes that impact the human experience. Art is a wonderful methodology for experiential learning, because it allows the artist and viewer to engage in a cooperative dialogue. The artist makes the artwork around a theme of their interest, and then it is left to the viewer to find value within the work and make their own unique connections to it.
I advocate throughout this blog that art doesn’t have to be realized within the traditional ‘art world’ (see: Danto, 1964). I disagree with the idea that something is only defined as art if it is established by art academics, critics and institutional professionals. While not everyone who makes art is going to be recognized in the field of fine arts, everyone has the ability to live artfully. Living artfully means translating the studio habits of mind that we learn from the arts (see: Educating Through Art) into everyday actions. Contemporary artists like Sol Aramendi, are making an important contribution to both the institutional art world and the larger world outside of the creative sector.
Aramendi immigrated from Argentina 17 years ago and collaborates with local immigrant populations to realize socially engaged artworks. Her recent creative partnerships include the Workers’ Studio, an ongoing project with women day laborers who come from diverse backgrounds. The common thread between Aramendi and the women laborers is their advocacy for workers’ to reverse the exploitation of labor, which includes wage theft and unsafe working conditions. Under the auspices of the Workers’ Studio, art making is the vehicle for raising awareness in support of equal, equitable and justice driven labor systems.
Aramendi’s artistic initiative is a form of social sculpture (see: Everybody is an Artist), where the act of making art reflects social conditions such as immigration and the right to a living wage. The Workers’ Studio is nomadic, meaning that it can be successfully implemented in all sorts of environments. This element is important both functionally and symbolically for addressing themes of labor and immigration. Because the project can move from place to place, it is easily accessible to a wide group of participants, whose narratives signify a vibrant tapestry of experience and creativity. The artistic contributions, which are on display in an exhibition at the Queens Museum titled Workers’ Studio: El Co-op (curated by Eva Mayhabal Davis), come from women who have organized into co-op businesses, where each worker owns a share in the company. The co-ops who have artworks featured in the exhibition are: Love & Learn Childcare Cooperative, Apple Eco Cleaning, Brightly Port Richmond Cleaning Cooperative, and Mirror Beauty Cooperative. The work created by the workers of these co-ops include photographs, writings and mixed-media objects. There are several workshops and events throughout the course of the exhibition (on view until January 12, 2020) that support creative discourse and action around the issues of labor and worker organization.
One of the benefits of participatory art projects, is the collaborative/cooperative learning aspect that comes from sharing and relating experiences. Collaborative/cooperative learning expands our ability to understand and express ourselves through scaffolding and building upon each other’s skills and resources. In the educational realm, this pedagogical approach “promotes interaction among students and shared responsibility for academic achievement” (Stein and Hurd, 2000). Similarly, the work created through the Workers’ Studio supports the reciprocity of ideas, resources and authority, in order to benefit all members of the collective. The personal stories that are expressed via the creative process inform us about the power of coming together and raise our consciousness towards advocating for worker’s rights, and human rights. You can see the labor of love within the imagery and materials on display.
References, Notes, Suggested Reading:
Danto, Arthur C. “The Artworld” (1964) Journal of Philosophy LXI, 571-584.
Stein, Ruth Federman & Hurd, Sandra. Using Student Teams in the Classroom. Bolton MA: Anker Publishing Company, Inc. 2000. admin.leeuniversity.edu/Media/Website%20Resources/pdf/cte/SteinHurd_UsingStudentTeams.pdf.