Public servants : art and the crisis of the common good / edited by Johanna Burton, Shannon Jackson, and Dominic Willsdon.

Enhanced descriptions from Syndetics:

Essays, dialogues, and art projects that illuminate the changing role of art as it responds to radical economic, political, and global shifts. How should we understand the purpose of publicly engaged art in the twenty-first century, when the very term "public art" is largely insufficient to describe such practices?

Concepts such as "new genre public art," "social practice," or "socially engaged art" may imply a synergy between the role of art and the role of government in providing social services. Yet the arts and social services differ crucially in terms of their methods and metrics. Socially engaged artists need not be aligned (and may often be opposed) to the public sector and to institutionalized systems.In many countries, structures of democratic governance and public responsibility are shifting, eroding, and being remade in profound ways-driven by radical economic, political, and global forces. According to what terms and through what means can art engage with these changes?

This volume gathers essays, dialogues, and art projects-some previously published and some newly commissioned-to illuminate the ways the arts shape and reshape a rapidly changing social and governmental landscape. An artist portfolio section presents original statements and projects by some of the key figures grappling with these ideas.

Table of contents provided by Syndetics

• Series Preface (p. ix)
• Director's Foreword (p. xi)
• Plight of the Publics: An Introduction to Public Servants Johanna Burton, Shannon Jackson, and Dominic Willsdon (p. xv)
• Public Works (p. 1)
• "We don't need another hero": War and Public Memory (p. 3)
• Who Owns a Vacant Lot? Orthodoxy vs. Culture Industry (p. 27)
• Art and the Cultural Contradictions of Urban Regeneration, Social Justice, and Sustainability: Transforma Projects and Prospect.1 in Post-Katrina New Orleans (p. 45)
• Latin America and a New Political Leadership: Experimental Acts of Coexistence (p. 71)
• The Destruction of Destruction (p. 91)
• Department of Security (p. 109)
• The Fire This Time: Black Youth and the Spectacle of Postracial Violence (p. 111)
• Photo Requests from Solitary (p. 131)
• Can This Machine Kill Mass Incarceration? (p. 141)
• Squeaky Dolphin to Normcore: Anxiety in a Big-Data Era (p. 159)
• Department of Labor and Economy (p. 173)
• Biopolitics, Identity, and the Public Sphere in the 1970s: Oskar Negt and Alexander Kluge (p. 175)
• W.A.G.E.N.C.Y.: W.A.G.E. (Working Artists and the Greater Economy) (p. 191)
• Indent (to Serve the Debt) (p. 197)
• In Service: Art, Value, Merit, and the Making of Publics (p. 207)
• Portfolio: Organized (p. 221)
• Simone Leigh (p. 222)
• Ashley Hunt (p. 228)
• Pedro Reyes (p. 234)
• Jeanne Van Heeswijk (p. 240)
• Gregg Bordowitz (p. 245)
• Mel Chin (p. 251)
• Pablo Helguera (p. 257)
• Caroline Woolard (p. 263)
• Jonas Staal (p. 269)
• Andrea Fraser (p. 275)
• Department of Education (p. 281)
• Neoliberalized Knowledge (p. 283)
• Back to the Future (of Art School) (p. 299)
• Sliding Scale: Between Art and Education (p. 313)
• Mutual Rehabilitation: Norfolk Prison Recordings of Art Books for Blind Readers (p. 331)
• Department of Health and Environment (p. 341)
• Art After Nature: The Post-Natural Condition (p. 343)
• Dear , I write regarding toxic sovereignties in Windjarrameru (p. 357)
• Embodied Memory: Reimagining and Legislating Sumak Kawsay in the Modern Andes (p. 367)
• Women, Waves, Web (p. 381)
• Department of Culture (p. 405)
• Government Agency (p. 407)
• A critique of social practice art: What does it mean to be a political artist? (p. 423)
• Growing Dialogue: What Is the Effectiveness of Socially Engaged Art? (p. 437)
• Starting in the Middle: NGOs and Emergent Forms for Cultural Institutions (p. 465)
• Publication History (p. 481)
• Contributors (p. 485)
• Board of Trustees (p. 501)
• Index (p. 503)

Author notes provided by Syndetics

Johanna Burton is Keith Haring Director and Curator of Education and Public Engagement at the New Museum in New York and the series editor for the Critical Anthologies in Art and Culture.

Shannon Jackson is Associate Vice Chancellor of the Arts and Design and the Cyrus and Michelle Hadidi Professor at the University of California, Berkeley. Her publications include Social Works- Performing Art, Supporting Publics .

Dominic Willsdon is Leanne and George Roberts Curator of Education and Public Practice at the San Francisco Museum of Modern Art. His publications include Public Intimacy- Art and Other Ordinary Acts in South Africa .

Johanna Burton is Keith Haring Director and Curator of Education and Public Engagement at the New Museum in New York and the series editor for the Critical Anthologies in Art and Culture.

Shannon Jackson is Associate Vice Chancellor of the Arts and Design and the Cyrus and Michelle Hadidi Professor at the University of California, Berkeley. Her publications include Social Works- Performing Art, Supporting Publics .

Dominic Willsdon is Leanne and George Roberts Curator of Education and Public Practice at the San Francisco Museum of Modern Art. His publications include Public Intimacy- Art and Other Ordinary Acts in South Africa .

Eyal Weizman is Professor of Spatial and Visual Cultures at Goldsmiths College, University of London and a Global Scholar at Princeton University. A founder of Forensic Architecture, he is also a founding member of the architectural collective DAAR in Beit Sahour/Palestine. His books include Mengele's Skull, The Least of All Possible Evils, and Hollow Land .

Devin Fore is Associate Professor in the Department of German at Princeton University.

Wendy Brown is Class of 1936 First Chair of Political Science at the University of California, Berkeley, where she is also affiliated with the Department of Rhetoric and the Critical Theory Program and the author of Undoing the Demos- Neoliberalism's Stealth Revolution (Zone Books).

Johanna Burton is Keith Haring Director and Curator of Education and Public Engagement at the New Museum in New York and the series editor for the Critical Anthologies in Art and Culture.

T. J. Demos, an award-winning writer, is Professor of Visual Culture at the University of California, Santa Cruz and Director of its Center for Creative Ecologies. He writes widely about contemporary art, global politics, and ecology, and is the author, most recently, of Against the Anthropocene- Visual Culture and Environment Today (Sternberg Press).

Carrie Lambert-Beatty is Assistant Professor in the Department of History of Art and Architecture and the Department of Visual and Environmental Studies at Harvard University.

Tom Finkelpearl is Program Director of PS 1 Contemporary Art Center in New York City. From 1990 to 1996, he was Director of New York City's Percent for Art Program.

Shannon Jackson is Associate Vice Chancellor of the Arts and Design and the Cyrus and Michelle Hadidi Professor at the University of California, Berkeley. Her publications include Social Works- Performing Art, Supporting Publics .