PDF Ebook The Work of Art in the World: Civic Agency and Public Humanities, by Doris Sommer
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The Work of Art in the World: Civic Agency and Public Humanities, by Doris Sommer
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Celebrating art and interpretation that take on social challenges, Doris Sommer steers the humanities back to engagement with the world. The reformist projects that focus her attention develop momentum and meaning as they circulate through society to inspire faith in the possible. Among the cases that she covers are top-down initiatives of political leaders, such as those launched by Antanas Mockus, former mayor of Bogotá, Colombia, and also bottom-up movements like the Theatre of the Oppressed created by the Brazilian director, writer, and educator Augusto Boal. Alleging that we are all cultural agents, Sommer also takes herself to task and creates Pre-Texts, an international arts-literacy project that translates high literary theory through popular creative practices. The Work of Art in the World is informed by many writers and theorists. Foremost among them is the eighteenth-century German poet and philosopher Friedrich Schiller, who remains an eloquent defender of art-making and humanistic interpretation in the construction of political freedom. Schiller's thinking runs throughout Sommer's modern-day call for citizens to collaborate in the endless co-creation of a more just and more beautiful world.
- Sales Rank: #100872 in Books
- Published on: 2014-01-08
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 6.00" w x .50" l, .70 pounds
- Binding: Paperback
- 232 pages
Review
“This inspiring book is filled with models, sources, and ideas that can be adapted and adopted to inform teaching and research about activist art and creativity.” (Anna Upchurch LSE Review of Books 2014-03-21)
"The Work of Art in the World is a ringing manifesto for public art as an agent of democratic change. Doris Sommer traces the connections between art, activism, and social transformation in communities from Buenos Aires to the South Bronx, framing the surprising and stirring art practices that she describes in relation to the vital traditions of aesthetics and democratic political theory. Her aim is to stimulate civic discussion and communicative action; her book is revelatory, alive, and inspiring." (Kathleen Woodward, author of Statistical Panic: Cultural Politics and Poetics of the Emotions)
"This remarkable book is both a unique introduction to, and an informed and passionate argument for, socially engaged art. Doris Sommer not only illuminates the objectives, methods, forms, effects, and context of civic art but also radically expands the ways we see and think about art in general." (Krzysztof Wodiczko, artist and Professor of Art, Design, and the Public Domain at the Graduate School of Design, Harvard University)
"Its celebration of the difference that art can make in a world that kills what is human in man by preventing people to discover real freedom and to find their way between personal well-being and social and political commitment is a very welcome and timely one." (Jan Baetens Leonardo Reviews)
"Sommer breaks down the barrier between those who create artworks and those who analyze them, between cultural 'producers' and cultural critics, but also the barrier between institutional figures and those excluded from spaces of high art. She calls for socially engaged humanistic studies to encourage imaginative work in both artistic interpretation and creation. . . . Sommer’s book is filled with examples of how to leave the ivory tower and take to the streets." (Patrícia Vieira Los Angeles Review of Books)
“Pragmatic and purpose-driven, this book speaks directly to the defunding and devaluing of the humanities at all levels and will awaken even those grown weary of calls to action. This book will excite anyone seeking evidence of the successes of collaborative, public humanities initiatives. Buy a copy for your dean. Recommend it for a faculty study group or a community read. Sommer can puncture apathy with hope and motivation to act.” (Robin Becker Academe)
“The book will speak to readers on many levels. Scholars will ponder its philosophical arguments crafted with passion and wit, while artists inclined to social engagement will interpret its urgent call to expand the dialogue about art and political freedom. Sommer achieves a remarkable feat: to surprise artists and citizens anew into being co-creators of new paths to promote beauty and action. No small thing in these trying times." (Pedro Reina Perez ReVista)
About the Author
Doris Sommer is the Ira and Jewell Williams Jr. Professor of Romance Languages and Literatures and of African and African American Studies at Harvard University, where she is Founder and Director of Cultural Agents: Arts and Humanities in Civic Engagement. She is the author of Bilingual Aesthetics: A New Sentimental Education and editor of Cultural Agency in the Americas, both also published by Duke University Press.
Most helpful customer reviews
7 of 7 people found the following review helpful.
Brilliant Analysis, Moving, Inspiring, and Energizing!
By George Lipsitz
In this extraordinary book Sommer connects the most noble traditions of the humanities to the democratic work being done everyday in the world by creative artists to increase our collective capacity for discernment, judgment, wisdom and reciprocal respect. THE WORK OF ART IN THE WORLD is guide to creating a new and better world.
1 of 1 people found the following review helpful.
This is academic activism at its very best.
By Elizabeth Garrels
This book represents an extraordinary career choice on the part of a major critic in the field of
Latin American literature. This is academic activism at its very best.
0 of 0 people found the following review helpful.
How would a similar project be able to boast a similar impact in a country like the United States
By Meyer Katsoufis
The aims of the book are admirable and essential, given the plight of the arts and humanities in higher education. However, the stories offered as potential models for an engaged arts or humanities initiative are so situationally-dependent as to be of limited value for practitioners. For instance, the public art initiative in Colombia was successful precisely because of the lack of any other kind of option, including government action. True, art complemented and even took over some of the functions ordinarily attributed to government, but that was only because of the crippling of that government's influence after decades of violence. How would a similar project be able to boast a similar impact in a country like the United States?
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