Wasteland: Reciprocal Art Processes

           As an undergraduate student, I had watched Wasteland through the lens of an environmentalist. I watched with horror as I learned about what was one of the largest garbage and recycling dumps on the planet. We talked about the resiliency of the people, but were more focused on the lack of awareness we shared about large scale dumps, and what it looked like for those living there, particularly in other countries, where recycling was done by hand. The content of the film stayed with me, and last semester, when we watched a similar film in our Human Behavior course about a similar dump in Guatemala, the images came flooding back to me, but again, not through a community art practice lens.

            It was awesome to watch this again, in combination with the community practice content we have learned about in this course. It holds such a different meaning with me now.

            When we talk about engaging in community art projects, leaders (Paula, those involved in Ted Talks, guest speakers, and otherwise) – there is a sense of love and awe among leaders that I’ve noticed as artists and innovators reflect on their practice. Creating art for others and with others does not solely leave the recipients as beneficiaries, but it seems like artists, too, tend to experience unexpected gains from the process as well.

            Vik Muniz seemed like he entered Gramacho with an altruistic vision, and hopes of maintaining an identity at an arm’s distance from “fine art.” Not only did he succeed in his mission, what he took away was life and career altering. As a Brazilian man, entering Gramacho and building relationships with its workers and residents granted him a greater sense of place, and understanding of the culture in which he grew up. The extent of connection that grew with the individuals engaging in his project altered him morally as well. He learned to question not only the content of his work, but also whether or not he had the right to enter this community, and expose certain members to a realm of the world that was previously entirely out of the scope of possibility. Reflecting on the project, it was clear that involvement did more “good than harm” for participants, and that the endeavor forced Muniz to question his identity in positive ways.

            The more I learn about the ties to art in social work and community practice the more I recognize it as a reciprocal process of benefit. Vik Muniz is an extreme scale example of this. Art provides a way for practitioners to reflect on their learning and experiences in a meaningful, sharable, way. Consumers and onlookers of community art can feel appreciation and recognition in this public forum.

            The more I learn about community art practice, the more legitimacy it gains, and the more enthusiastic I feel about giving some of this a try in Portland for personal reflection and public benefit.