Interviewees. Naomi Beckwith, Claire Bishop, Tania Bruguera, Brett Cook, Teddy Cruz, Jay Dykeman, Wendy Ewald, Sondra Farganis, Harrell Fletcher, David Henry, Gregg Horowitz, Grant Kester, Mierle Laderman Ukeles, Pedro Lasch, Rick Lowe, Daniel Martinez, Lee Mingwei, Jonah Peretti, Ernesto Pujol, Evan Roth, Ethan Seltzer, and Mark Stern.

Includes bibliographical references (pages [371]-379) and index.

The art of social cooperation : an American framework -- Consequences of a gesture and 100 victories / 10,000 tears: interview, Daniel Joseph Martinez, artist, and Gregg M. Horowitz, philosophy professor -- Chicago Urban Ecology Action Group: follow-up interview, Naomi Beckwith, participant -- Memory of surfaces: interview, Ernesto Pujol, artist, and David Henry, museum educator -- Temporary coalitions, mobilized communities, and dialogue as art: interview, Grant Kester, art historian -- Project row houses: interview, Rick Lowe, artist, and Mark Stern, professor of social history and urban studies -- Blot out the sun: interview, Harrell Fletcher, artist, and Ethan Seltzer, professor of urban studies and planning -- Blot out the sun: follow-up interview, Jay Dykeman, collaborator -- Cátedra Arte de Conducta: interview, Tania Bruguera, artist -- Cátedra Arte de Conducta: follow-up interview, Claire Bishop, art historian -- Arabic alphabet: interview, Wendy Ewald, artist, and Sondra Farganis, political scientist -- Transnational, community-based production, cooperative art, and informal trade networks: interview, Pedro Lasch, artist, and Teddy Cruz, architect -- Unburning Freedom Hall and The Packer School project: interview, Brett Cook, artist, and Mierle Laderman Ukeles, artist -- The Seer Project: interview, Lee Mingwei, artist -- White Glove Tracking: interview, Evan Roth, artist -- White Glove Tracking: follow-up interview, Jonah Peretti, contagious media pioneer -- Conclusion: pragmatism and social cooperation.

"In What We Made, Tom Finkelpearl examines the activist, participatory, coauthored aesthetic experiences being created in contemporary art. He suggests social cooperation as a meaningful way to think about this work and provides a framework for understanding its emergence and acceptance. In a series of fifteen conversations, artists comment on their experiences working cooperatively, joined at times by colleagues from related fields, including social policy, architecture, art history, urban planning, and new media. Issues discussed include the experiences of working in public and of working with museums and libraries, opportunities for social change, the lines between education and art, spirituality, collaborative opportunities made available by new media, and the elusive criteria for evaluating cooperative art. Finkelpearl engages the art historians Grant Kester and Claire Bishop in conversation on the challenges of writing critically about this work and the aesthetic status of the dialogical encounter. He also interviews the often overlooked co-creators of cooperative art, "expert participants" who have worked with artists. In his conclusion, Finkelpearl argues that pragmatism offers a useful critical platform for understanding the experiential nature of social cooperation, and he brings pragmatism to bear in a discussion of Houston's Project Row Houses." - publisher's description.

MTU CORK Module ARTS 9018 - Core reading