ABSTRACT

Increasingly in recent years painters, filmmakers, writers, and performers have abandoned conventional galleries, journals, and theaters to work in education contexts. To popularize their efforts, these well-meaning artists have taken their expertise into schools, community centers, hospitals, and other nonart venues, thereby rejecting notions of art as a substance set apart from daily life. This exodus from the gallery is more than a sociological exercise, for it implicitly challenges established economies of knowledge, cultural worth, and the institutions that support them. Moreover, it is almost always directed toward some disempowered group (young people, the poor, the infirm, the aged), thus suggesting a redistribution of cultural capital.