The most engaging artist nation state is Elgaland/Vargaland, or KREV, established in 1992 when the Swedish artists Carl Michael von Hausswolff and Leif Elggren laid claim to all the borders of the world.
At Victoria and Albert Museum, London, 24 September until 15 January 2012 Graham Fagen This serious and engaging artist has made a film about the experiences of people who go missing, and those who lose them, to complement Tramway's current drama The Missing.
How fascinating to see China's most engaging artist, Ai Weiwei, commenting on the contrast between the social and political sub-texts of the London and Beijing Games, stressing that what Danny Boyle has given us is a celebration of "a civil society".
This project is made possible by public support, engaging artists, activists and individuals through a Kickstarter campaign that will fund the production of 3 exhibitions in Kabul.
MAS: I would look at the theme of separation in order to get the point of unity across by blurring boundaries of borders by engaging artists in producing works that look at division.
Portraiture fascinated him; it was, after all, part of that "sacred science which requires so much study" and his portraits reveal a fully engaged artist.
Meanwhile, Mr. Tek next month will showcase an Indonesian artist, a first for his private museum, presenting the work of Dadang Christanto, a politically engaged artist, now based in Australia.
The second volume, "Hello Americans," which appeared in 2006 and covered the years 1941 to 1947, highlighted Welles's predicament as an engaged artist in an increasingly hostile environment.
Pettibon used to be contemporary art's answer to disaffected So Cal surf-punk culture; these days he's looking more like a full-on engaged artist — Otto Dix, Max Beckmann, and George Grosz rolled into one.
This one approaches it by casting Pissarro as a socially engaged artist, an armchair anarchist who focussed on the plight of people, not just on their placement within his compositions.
Welles wasn't blacklisted, but, as Alex Ross writes in "The Shadow," his essay about Welles that's in The New Yorker this week, Welles had reason to worry, because he had been, in the nineteen-forties, "an engaged artist in an increasingly hostile environment".
