Social Sculpture's American Contradictions: From Beuys to DIY Art Schools

The March 2017 edition of ArtReview features an essay that explores the conflict between American mythology and the concept of social sculpture, beginning with a Professional Bull Riders event held at Madison Square Garden. This event underscores a national identity tied to rugged individualism, showcasing participants from Brazil, Argentina, Mexico, and U.S. states such as Montana and Texas. It stands in contrast to Joseph Beuys's 1974 performances in the U.S. and his Energy Plan for the Western Man lecture series, which advocated for social sculpture as a form of democratic art. The discussion includes artists like Mierle Laderman Ukeles, Ishmael Reed, and the 1980s collective Group Material, while also addressing contemporary issues like gentrification and the Precipice Fund's backing of micro-projects. Social sculpture continues to thrive in the U.S. through various informal groups.