Before my comments on this section of the book I wanted to share something about "Sentipensante'. As the book mentions this word is taken from a book by Eduardo Galeano, "The Book of Embraces", and I was curious. So I found the book and want to share the entire quote with you all.
from page 121 CELEBRATION OF THE MARRIAGE OF HEART AND MIND Why does one write, if not to put one's pieces together? From the moment we enter school or church, education chops us into pieces; it teaches us to divorce soul from body and mind from hear.The fishermen of the Colombian coast must be learned doctors of ethics and morality, for they invented the work 'sentipensante", feeling-thinking to define language that speaks the truth.
On to the pages.
I feel much of this writing is about curating and/or is in a very real sense curators talking about curators. Image you had the power to be a large scale curator. What or whom would you show? Would you include yourself? What is your intent? Who do you want to come to the exhibition? What is the title of your show?
When I had this responsibility I quickly learned I needed to leave the museum, to literally leave my office and go out into the city. To see studios, and because my larges exhibits were on the history of West Texas music I had to go out and listen to music, learn the history and respect the unwritten rules of that society. How do you leave your classroom?
Describe your tribe.
I am a military brat. A very loose yet exact group of kids who grew up moving from base to base. We were always the outsiders, yet at instantly at home on the base. Our language is of other places we have lived and what was 'cool' then /there. I could and still can quickly some up the social standing of a group of people. I have learned to make friends easily and say good bye just as easily. These traits are not shared by all but by most or so the books tell me. It is the name I call myself.
I found this part of the book such a breeze to read through. I had one quote that stuck with me on page 88 "If you do not exhibit, you do not exist" I guess it made me think if I do not exhibit does that mean I am not an artist? does that mean that as an artist I am not important? does that mean my art is not important to me? or those around me? I have so many questions that only I, myself can answer. My art is important to me and right now I am working on pieces that are so incredibly raw and from my soul that it is extremely important! It may not be to some random person, but it may touch and relate to one of my students and it is helping me through all of this personal stuff I am going through, so just because it may not ever exhibit does not mean I do not exist! I DO EXIST! we all do!
ReplyDeleteFuture, at first your question as to who I would have show I jumped to some of my favorite "famous" pieces and then I said to myself "WHY?" why not make a show for those local artists that struggle and why not let those local artists that other don't let in, be let into my space. The stuff that others reject but that we feel is important. Why not let the non famous people in? Why not let the hardworking single mom's who this may be their only escape get a chance to show their work? Or those that are troubled and this is the only way to let all those troubling issues go show their work? Why not let all sorts of things in that may not be a gallery of the highest standards but spread the news for all to bring one piece and cover the walls with work that means something to that one person and let that one person feel special and appreciated and feel loved even if for only one night??? Why not? Why must it be so hard to show our artwork? Our artwork that means something to us? Someone out there will get something from it! Someone will relate to it or feel something. Why not let kids enter and have a place for them to hang their artwork? Give them a chance to feel special and to feel honored that their work matters? Let's throw out all the rules for hanging artwork in a gallery or exhibit and hang it EVERYWHERE! Lets plaster the walls completely with art and let everyone join in until the space is filled with all those pieces that get rejected from those uppity places. I think we would touch so many more people and inspire so many more people to continue creating. What about having a space in there that they create something right then that they get to start and take home??? How many times have we left a gallery or museum or exhibit inspired and never act on it. Why not have a place where you can at least start on it right then! How awesome would this place be?? NOT BIG ENOUGH! definitely not BIG enough! But it could change and we can do this again, all over again each month. Now that would be AWESOME!
Andrea, I loved reading the part about you doing your art from your soul. Recently, I asked myself the question of why I did art. For me it’s about being true to myself and it is an integral part of who I am and how I best express my emotions. It is like breathing, I need to do it to be fully alive and I am not worried about what anybody else thinks. It is total meditative/creative freedom from worry or care.
DeleteLately I have been reflecting on the title of the book and what is means to me. I love the word “Vision” because holds a lot of mystery for me. To create a piece of art work that has its roots formed around vision is exciting and it calls for exploration. I found that my art sometimes comes from words I hear or have read.
"If you do not exhibit, you do not exist." Yeah, not just for the artists we read about in this reading, but for us too here in this class. We may not always have the time or the access to show as frequently as others, but our work is real and we are real. A coworker last week said, referring to herself and me, "We're not artists." I was a little insulted. So yes, my profession is teacher--that's how I make my living. And yes, the majority of my time-during August thru May-is devoted to curriculum and instruction. But I am an artist. I make work, even when my hands aren't creating my mind is fast at work building in my mental spaces. So is an artist only one who makes their living from their art? Only someone who is displayed in shows/biennales/galleries?
DeleteDavid, I would agree, I definitely need to be creating to feel alive! When I am not creating I feel as if something is missing from my life! Right now the series I am working on have consumed my brain, which is probably a really good thing right now, because I am dealing with some things personally and this has been a great release for me. I too will find an image or a word that strikes me and will then strike something in me to create something that relates to it.
DeleteEmily, I too find that insulting. Just because we are teaching doesn't mean we are not artists! We are art teachers and passing on our passion for art and creating, to me we have the greatest job of all!
That same quote stuck out to me as well, "If you don't exhibit, you don't exist." It really is a catch 22 for the minorities that can't get gallery space because of their indigineity. They question is to whom do they not exist to? They don't exist to the elitists. These artists are creating, and may very well be exhibiting at certain venues, but are not exhibiting at the elite places, so therefore they are no one. It is pretty sad. The good thing is that social media these days does wonders.
DeleteAndrea,
DeleteI infer that the statement "if you do not exhibit, you do not exist" to mean that contributions to society of historicity have become absolute as means of existence. I disagree with Hassan's statement because there are many histories of people, culture and art that are unknown or misleading to actual context. Misinterpretations of people and their art have muddied the waters of enlightenment.
It shouldn't be difficult to show our artwork. We all have stories to tell and graphic presentations of those stories however fractured they may be. I agree that exposure is key. When one represents themself, they are authentic to their ideals by simply "being".
Beautiful thoughts. Art does belong to a few, nor is it meant to only be celebrated by a few.
DeleteIf I was to curate an exhibition, I’m not sure what I would show? Knowing how I appreciate all mediums and I am “all over the place” I would probably just go with a theme that any medium could represent. Some themes that currently come to mind would be acts of courage, the effects of love, a definition of forgiveness, or even how one see’s spirituality. I would really enjoy seeing all of the different ways artists interpret or handle one of these daily life situations, and feel the impact of all the artists’ emotions in one gallery. If I was invited to add a piece to the show I was curating, I would love to have a piece of my own art showcased. I would not want just artists, buyers, or historians to attend this show, I would want everyday people who live, love, and fear the emotional theme that I set the exhibition around to be my main audience. I would probably look up some kind of poetry to find the basis of my title?
ReplyDeleteI do not have my own classroom. However I have been in numerous classrooms that I work out of. I usually just do a quick scan of the room, and if nothing sticks out, then I walk out. I do not know why I scan the room before I leave? Especially since it is not my own room? I feel that I might be taking pride or a little co-ownership of the room, and looking out for it? As if it was my responsibility?
My tribe is close knit. My father is a very hard worker, and always made sure that my sister and I were happy and well taken care of. My mother is our number one fan. She is gentle and loving. She too always made sure that we were true to whom we are and that we are happy. My parents have always been actively involved in everything my sister and I have done. We cry together, we laugh together… a lot; and we learn together. I cannot imagine being where I am in life without the support and love of my tribe. They are my foundation, and they are my home.
Jason, I would enjoy viewing an art show on spirituality that you curate. I can also imagine all the exciting concepts relating to spirituality the artists would convey. As for me, I would love to curate a show that displayed art work of those who might be considered the weakest members of our society. This art show would include the mentally ill, the homeless, those with special needs, children, and those individuals struggling with addiction. I want the show to allow their voices to heard. I read a quote that has always stuck with me: “A community is as strong as it’s weakest member.”I find that when we don’t see the weak within our society, we cannot witness their struggle and we become apathetic to their needs.
DeleteJayson, I love when you speak of your family. I too am very blessed with supportive parents. Somewhere in my personality...or my upbringing?...I value my relationships, especially family relationships, above most everything. Time invested in my sister, brother, nephews, parents is a priority.
DeleteWhen you speak of putting together a show that is for everyone--art people and everyday normal folks--I cheer! As artists, we can navigate the two worlds "normal world" and "art world" but many people who don't identify as artists have a hard time entering into the art realm, due to fear? Confusion? So to hear that you would make your show accessible to everyone encourages me. You see the value in opening up art to all people...not just an "elite" group in the know.
maybe on the list of your exhibitions would be one titled passion and creation
DeleteJayson,
DeleteWhat I like about your response is that you'd love to have your "own" art showcased. You are authentic to yourself. Art should be showcased to present authenticity rather than any other agenda or political issues (that the media or otherwise) that cause contaminations of presenting art. Issues of representation are complex and are sometimes misunderstood. Even that in itself has merit. But in conveying those complexities, the "essence" must be extracted.
Jayson, can you expand on the poetry you would have at your show?
DeleteI would really like something simple. Some kind of poetry that would invite people to come into the show and feel a sense of contentment with the art around them. Nothing in particular comes to mind, but now I really want to try and find something. I think incorporating poetry into this "show" would be a great addition.
DeleteOn the topic of my tribe, I reflect that growing up on an Island leads itself to unique communal circumstances. On the Island my tribe would fall under all those related to the last name “Bondt” who emigrated from Holland in the 50’s. Growing up, people would always ask who I was and when I answered they would almost always reply: “oh, they are hard working people.” Also being the son of a Dutch immigrant, my tribe consists of the Dutch community on the island where we get together and celebrate Dutch customs, food, language, and shared faith. On my mother side, I have a Scotch-Irish connection which runs deep in the east coast culture of Canada. I remember watching the Scottish Highland games and listening to the bagpipes growing up. On this side of the family we belong to the Barclay clan who were known for their warrior mentality.
ReplyDeleteMy oldest boy's history teacher always says when people need help and salvation they call the dutch. He must be from a nearby tribe.
DeleteVery interesting background. It must be an honor to be referred to as the hard working people.
DeleteDavid,
DeleteFascinating! Thanks for sharing. The experiences from those contextual environments of your tribe will weave nicely into the fabric of your artwork. The hard working ideal, warrior mentality and Scottish, Dutch customs (and their ways) give you roots of pride and dignity of character.
I asked the question about your tribe because I am curious as to how we hold on to tradition(s) as we grow and seek new pathways away from home. What were we "handed down"? What did we accept and what do we reject? Is it enough to only continue the good parts and slowly let go of the bad parts. In my family there is a undertow of depression and addition. A grandfather who believed the world was flat no matter his son, my father, was a jet pilot. The sadness of poverty became stories of survival.
DeleteThese are not meant as questions to answer but are simply my wonderings.
I reflect sometimes on the pieces of family tradition I hold on to that maybe weren't seen as important at the time it was established, but now means a lot to myself/my siblings. Because my parents' families are both in Nebraska, a Brown family tradition became observing Christmas as a family on Christmas Eve so we could travel to NE on Christmas Day and open presents/observe Christmas with those families that evening and the next day. So it is really weird for me to wait until Christmas morning to start Christmas observances. The act of traveling to NE has also become ingrained in me; I am able to last a whole 10 hour drive contented by music and cornfields. Years that I don't make the trip, something feels off. The flow to my year always involves winter/summer trips north.
DeleteWhen developing exhibitions, I like balance. I like to balance living:dead, painting:sculpture, history:science, local:international. I want the show to be interactive and engaging. I choose experience rather than simple reading for the displays.
ReplyDeleteWith the intention of showing the scarce—time married with design, this exhibition would include transitory things—from firework displays to drawings on bar napkins. The title would be Without a trace, transitory images.
I would not include myself.
My tribe: I come from the Spaghetti Western tribe. It can be very insular but most of the time is warm and welcoming. We cook as part of our ritual and then, we eat the same way. We attached, sometimes we get attached to things that are not healthy or approved and the whole tribe steps in
The Native costume would include shoes. My tribe loves shoes. Shoes of all sorts: high heels to Birkenstocks.
Vision, Space, Desire
I read the 3rd bank of the River. I remember feeling a little confused at the time. It’s very symbolic. Much of the reading relies on enough awareness of the cultural norms to react against it.
Pg 151
The commercial aspect of the art fair is interesting. As the biennials become more commercial the role of the academic curatorial tastemaker decreases.
On 115, How to build Cathedrals, used symbolism to convey its purpose. Made of coins, bones and communion wafers, the “Catholic missions could be seen as ideological pathways to the colonial conquest.”
I have enjoyed this book very much.
Lynn, I appreciate that you mention not including yourself in the show you curate. I didn't mention this, but I agree--a curator is a facilitator for others. And your show sounds awesome. I'm intrigued to see it fulfilled.
DeleteI love that you see your tribe as spaghetti! I think it makes us think differently then it just being described but described with food only makes it more interesting. I want to be apart of that tribe! I love food and love to cook and eat!
DeleteIvo Mesquita writes, "contemporary artists turn theses museums into ideological trenches instead of seeking new spaces for confrontation, shock, and friction." (82) Regarding ideologies, it depends on whose ideologies.
DeleteLynn, I love the title of your show. It could be ongoing and simply replace items one at a time waiting for someone to notice.As I read your response on aspects of your tribe I suddenly thought of a wonderful large meal with all of us in attendance...laughter and stories and love. Maybe it is why I so love Junction. It has become home for my art tribe.
DeleteCorina, thank you for pointing out a very interesting point. My cause may not be your cause. My art may not be what you even consider art.
VSD Part 2
ReplyDeleteSylvie Fortin asks the question "is the work by non-Western contemporary artists still being reduced to ethnic or racial lines?" If so, who is doing it? I posit that what confines artists into a stereotype and flattens their work into an ethnic narrative of presupposed ethnic themes is our desire, or need, to label everyone. Rather than meeting each artist with open eyes and an open mind we have to categorize everyone: black artist, Western artist, gay artist, first generation feminist, etc. While these labels help to form the contextual framework for an artist's work, many times they cause the viewer to stop thinking and accept preformed ideas based on these labels. "A gay artist says 'x'" or "Native artists always create 'x'."
Future mentioned "I" language in last week's blog post. I completely agree when we make art/talk about art we need to unitize 'I" language. I spent many years in individual and group therapy stemming from my personal experience with sexual violence. In this therapy time, especially group, it became evident quickly how valuable this type of speaking is in navigating difficult conversations. Artists are speaking many times about bigger human themes from their personal experiences and viewpoints. We lose those complexities and authenticities with the generalizing or stereotyping of a artisan people group or type of artmaking. When someone is regarding my work, I want them to see me, my life, my particular experience--not to group me into "feminist artist" or "victim of violence" and leave my work at that generalized, flat, superficial level. I've put more thought and more depth into my work. . . what a sad thing if no one stops to look that deeply. In fact, because I know how the art world generalizes an artist, I never speak specifically about how my work fits into my narrative as survivor. I do not want to succeed or fail because of a label--I want to succeed people see something in my work that speaks to THEIR life, their walk.
Tamati-Quennell talks of Maori artists Fraser and Robinson pushing forward to create their own paths. It is important for an artist to push forward with what they know they need to make. Yes, it is hard to speak in was that may be unexpected for a group or condemned by a group, but an artist needs to be genuine in what he or she says. Otherwise the art isn't true. I'll speak more of this when I address my tribe.
the art that I am creating right now, is from my soul, it is from the period of domestic abuse and it is raw, for me. So many of my students relate and so many are a little scared that I am creating such dark artwork, a posed to what they have seen me do in the past. for me I agree I hope that my art will touch someone and that those that just think its weird or creepy will just keep walking and for those that relate will somehow find a peace and know that it will be ok, that we are no longer victims but SURVIVORS! I am a survivor and I refuse to be put under the victim column. I think that's part of this artwork that I am working on.
DeleteI agree with you Emily about labels. At the same time, everyone has an identity. Most of these identities especially those that are minorities involve social activism. Immigrant, Muslim, black, brown, LGBT etc. Some of the labels are tacked on by others, but some of these labels are a person's roots to their home land, culture and heritage. It is their spirituality, religion, music, and customs.
DeleteEmily, first and foremost, thank you for trusting us with your story.
DeleteLabels are good and bad depending I believe on the intent. Is it a label that excludes or dismisses? Or is a a self proclaimed label of purpose and pride. One of the long standing arguments is do we need specialized museums..The National Museum for Women in the Arts is an example. My response is that as long as we have museums for everything from baseball to bras it is OK to honor women. Just as it necessary to create shows that not only invite but put at the forefront marginalized groups. Ed Check helped organized a powerful show on LGBTQ artist in Texas. For some this was their first opportunity to be fully acknowledged and celebrated. My curator friends are always talking about a show of X lovers. Literally to have a show of all the various relationships and how they are interconnected. It would be a good show with one insane opening.
It's like a Catch 22, labels help us to understand and process the world. But when we stop at that label and don't look further...ugh so frustrating! I see so much variety, so many unique facets to people that it makes me sad to see us miss out on individuals due to a desire to place labels on people/artwork. So, the way I teach is for us to continually look and consider. Ha---and that opening to the show of X Lovers. Wow, that's a mind-blowing idea...
DeleteCurating:
ReplyDeleteSylvie Fortin mentions a "curatorial yellow pages"--the same list of accepted non-Western artists being called up for shows. Either the curators are lazy in seeking out new artists or an artist's representative isn't doing his or her due diligence to push forward the artist/artist's work. Then an effort needs to be put forth by BOTH curators and artists/art reps to bridge this info gap. We live in a time of ridiculous access--this can both be an asset and a detriment. An asset for those with access to the global internet community, but what about those without access? Also, with such a flooding of great art on a global internet forum, it makes seeing individuals harder.
If I were to curate, I'd like to think that I'd look past labels. I'd desire to see artists submitting their work without a lot of demographic context. I want to see the work--not where you live, how much money you make, who your parents are or aren't, what color your skin is. Maybe that's idealistic? I'd like to put together shows that explore themes that I find interesting--whether the "art world" believes the theme needs exploring or not--yes, female artists, or injured artists, folk artists, small town artist. For example, I have a huge interest in people with artistic gifts that pursue random careers far from professional art. (Perhaps this falls under "naive art"). Lately I've found the "Painting with a Twist" world an interesting space--kitschy and intriguing. MFA painters instructing groups of drunk women to paint essentially by number. I'd find a "Twisted Painting" show intriguing, curating the work of inebriated non-artists. Yes, I just finally attended a twisted painting night; I debated whether I'd follow along and end up with a painting just like everyone, or freak everyone out and paint my own thing. Halfway through my reisling my painted took a sharp swerve away from "misty lovers in the lamp light" to "dark and drippy rendition of the late night pool activities in Junction, TX.." I am considering submitting it into the next open call for art for 500X gallery here in Dallas.
I have been debating about going to one of those painting with a twist. But I think I would end up annoyed and pissed off and either want to leave or paint my own thing. I agree paint by number not so much..............
DeleteEmily,
DeleteI think your perspective on curating is on point. All of the conditions you mentioned (where you live, how much money you make, what color your skin is, etc.) are insignificant to the crux of art for art sake. I'll never understand why some curators choose to deliberately not do their due dilligence or be lazy. Unconscionable. I suppose some curators get used to a "routine or agenda" where they are comfortable inside their box. We all lose with that attitude when great art becomes unnoticed and unrecognized. Labels present context, good and bad. To remove demographic context would allow objectivity to be significant in the discovery process.
Post an image for us. I had never heard of a "twisted painting party". I do know that for me I NEVER do art after a glass of wine or a drink. I may bore you to death with ramblings on art and I may cover page after page in my sketch book but after my first year in grad school and attempting to pull a serigraph print after a lengthy lunch which ended in me ripping the screen I knew that I can not take my work lightly. I wonder if the purpose of these parties is try and tap into what each of us have within ourselves/our art. Or do you think the general public still holds on to some movie version of an artist's life.
DeleteRick, sometimes I think of labels as small windows to the work/show. A slight reference. When Terry Allen was showing his work on Viet Nam he would often include a book list you advised the viewer to read before attempting to understand his art. Really. I love the idea and have stolen it for a few of my shows.
I'll post an image of the craziness! It certainly isn't a "good" painting...but in my humble opinion--it is much better than all the same, same, same paintings. Haha, but I guess that's the point of "Painting with a Twist."
DeleteMy Tribe:
ReplyDeleteI was raised in a Christian home and still hold firmly to my faith. My faith has been extremely important to how I navigated--and will navigate--devastating periods in my life. This context I grew up in has shaped both my persona and my world-view, and therefore the way I make art/say what I need to say. Many times a faith or an ethnicity might prevent artists from speaking in ways they need to speak. Again, due to labels. "Christian women artists say 'x', always." Or "Native artists always make 'x'." And we, as a Christian artist, or Native artist/artist of color/rural artist, find that we are placed in a box of what we can and cannot say. Many times I know that if I were to create some of the pieces I still carry in my head and sketchbooks it'd cause issues with both the non-Christian art world and the Christian world. So often times I find myself in a no-(wo)man's land, stuck somewhere between artist and Christian. I get irritated with how the art world treats outspoken Christians and I get irritated with how Christians treat art/artists. I find though, as a facet of my personality, that I am very open to people and art, never filling in the "blanks" with preconceived stereotypes or narratives. I always allow people to show me who they are, through words and actions. Because I operate in this manner, I assume that is how I am regarded. I am sadly constantly reminded this is not the case.
Earlier I mentioned that artists need to make the art they need to say--regardless of how their group (in my case Christians) or the art world says they need to make/communicate--otherwise the art isn't true. Or, the art lacks the depth and authenticity of that artist's voice. For example, my work is so much of my conversations with God stemming from my life, specifically my journey through sexual assault. If I leave out God or my spirituality because I'm afraid the art world will shun me or mock me, then my art lacks that depth and anchor/strength. Or if I make art about God without the grit and discomfort of my experience, because I don't want to offend faith-based spiritual people with the ugliness of that reality, then my work doesn't ring true or seems trite. I make the art that my soul needs to make. The art world and Christian world can approach it how they like; my hope is with open eyes and an open mind.
Side note (does Emily ever stop typing??!): In reading through my two entries about VSD 2 and Tribes, I see I could be saying two opposing things in the same blog post. LOL. Let me clarify. I never label in submitting my work or titling my work or talking about my work to those outside of this graduate work I'm doing-- as a Christian survivor of s.a. BUT I always include in my work text from my writings, imagery from my experiences. If people take the time to look that deeply and read and think--then BRAVO, they figure out who I am/what specifically I am saying. Otherwise, those aspects of my work remain hidden and my work stays face value--rats, grackles, squirrels and twigs. I leave it up to how much the viewer wants to invest in their dialogue with my work. Eventually, perhaps I'll need to be more upfront, but until that time I balk against labels.
DeleteI do not think we are or ware just one label. I am a military brat, which means everything to another brat and nothing really to anyone who had not live near or been associated with the military. I am an Adult Child of an Alcoholic. Again this is from a 12 step program that for most is useless information. I have been widowed, divorced and divorced again. Now this is a wonderful soap opera. I am a feminist married to a marine. Try making sense using only those two labels. And I am self described studio hermit. I do not believe in a world of either /or. I am interested in all the layers.
DeleteMy tribe...... I come from hard working parents, that did their best to instill responsibilities in us, morals and values. My father was always more supportive of us in he was the listener of the family, where my mother was the slave driver, always asking questions, pushing us to be better than we were, not always giving us the approval we wanted, but supportive I think non the less, just showed it in a different kind of way. A family of always eating dinner together and watching Friday night TV to supporting each other in whatever extra curricular activity we were in, and expected to attend (still to this day). We have had our differences, but still love each other, drive each other crazy and support each other and our new families. We are all here for each other when times get tough and need a hand, which I am grateful for, but will also go too long without talking and catching up. My new tribe of my son and boyfriend, is a lot more close knit and we have a good strong foundation started, this will only continue to grow and become stronger as the years pass by.
ReplyDeleteIf I was a large scale curator I would show a variety of local, national, and international artists. I don’t think I would include myself as a one person show, but perhaps in a group show. If I was at a gallery, I would definitely want clientele that will buy as well as to reach out to the community. My intent would be to push boundaries of the art community in the area. My show would be called, “Mestizaje in the New Millenium."
ReplyDeleteHow do I leave my classroom? I love it when I have a chance to get out of town and attend a conference. I usually go to about two or three every year. One of course is TAEA, Texas Art Education Association, and the others are literary conferences. I feel like the tables turn and I get to be the learner. It gives me such great perspective on how I perceive my classroom. I always become aware of things that I would like to try in my classroom or avoid. Connecting with others, listening to their ideas seeing how things are done differently is regenerative.
My tribe is modest and free thinking. Growing up in tough place didn’t make our hearts crystallize. Being raised around drug dealers and addicts didn’t make up lose hope that we could do something with our lives. Living in a decrepit home and neighborhood didn’t make us ashamed of where we came from. Our dreams, our education, and our art are the things we work hard at in our tribe. We make them our reality for the greater good.
Corina,
DeleteI like your context and conclusions regarding a large scale curator's position. "Mestizo" (what I understand is a person of mixed European and American Indian ancestry) is a wonderful representation of the architecture, literature, music and art that references local sensibilities. Many factors are in unison: politics, social activity and cultural ideals sum to create globalization in a just sense.
Attending TAEA is a great example of considering ideals outside of our typical realms. We all benefit from our shared experiences.
Corina, will you be at TAEA this year? I plan to attend...unless I travel up to see my Grandma Brown, who had a major stroke three weeks ago. If I'm there, I'll look around for you. I plan to attend the things Ed and Future have on the schedule.
DeleteI live now in a neighborhood that many might call decrepit; it's safe and mostly clean, but the homes were built 50+ years ago and are small by "new Allen" standards. Recently, my city opened a discussion board for citizens to suggest plans for future city growth...I felt the pressure to step up and represent the "oldies" lest we be silent and bulldozed in the next few years for being a blight. And, I always comment on beige...same, same. sameness to my students. I hope they will rise up against HOAs and allow house paint colors other than grey-beige and yellow-beige.
I couldn't help but get offended when Ivo Mesquita warned that "we need to be careful to avoid converting theses institutions (minority museums) into ghettos where these groups exist and present themselves." I'm offended, and I am from a pretty ghetto town. The two museums he was referring to was the National Museum of the American Indian and the National Museum of Women in the Arts. Being a woman artist is not "ghetto." A comment like that is certainly from the mouth of an elitist.
ReplyDelete"right on, sister"....what an arrogant thing to say. I was offended also when I read it.
DeleteI enjoyed the 3 readings from the different cultures of people and the curator's role to represent those cultures, art and it's people. For me, all the readings tie back into "Sentipensante" as common threads.
ReplyDeleteIf I were a large scale Curator, I would seek to know the true identity (by obtaining knowledge), the true "essence" of the people, cultures and art that I am presenting of their historicity. To me, it would be absolutely essential to present their ideals, histories and things they can teach us, as authentically as possible. Presently, there exists an enormity of inaccuracies, falsehoods, misconceptions and wrongs when people and their cultures and depictions of their art are presented to the public by various interest groups. There exists so many personal and political agendas today that corrupt the entirety of the system. I simply could not and would not present that way. I think you struck a chord Future when you said you'd leave the museum and get out into the city. I completely agree. I believe that you must consume yourself, immerse yourself as much as possible into the context to attempt to grasp the pedagogy of cultures, it's art and it's people. I believe as Mignolo stated "knowledge reveals a determination, desire and rationality in it's implementation" (Walter Mignolo, NMAI 2006 p. 80). As you stated, "go listen to the music, learn the history and Respect the societal "unwritten rules". I would include myself in a show if and only if there were immediate and significant contributions that I could offer to strengthen and fortify the show of authenticity. Unless the show were about my personal histories and interrelationships of my experiences, the possibility of misunderstandings or misrepresentations of that context are considerable. I believe to be Honest, sincere in your intentions of authenticity.
In the section "Give, give, giving..." Mithlo explains that Biennale curator Hassan declares that "if you do not exhibit, you do not exist" ( Hassan, NMAI p.89). Yes, I believe that's true, but be as honest to the context as much as possible. You have to connect the stories, it's people and their emotional outpourings of themselves to immerse yourself into "their" culture, ways and ideals. I never before knew of the Australian aboriginal indigenous people that founded Australia.
When proper context is revealed in a show, exotic or primitive ideals may be "pieces to the whole". I try to remember that "teaching" is "knowing" first. If you don't "know", how can you realistically "teach"? My question is, could that be possible and if so, what is the criteria? When I leave my classroom,it is an opportunity to learn and absorb. I place any preconceptions I may have aside, and let the stories tell. Much can be learned with unbiased principles of learning.
My tribe... I am 1 of 4 children in the Kincheloe family that has chosen to attend college and gain higher evolution of learning through graduate school. 1 of my 3 sisters went to cosmetology school, the other 2 are presently in working class jobs. Education is not as important to them as it is to me. My dad was a petroleum engineer, and performed like an engineer. To his loss, he had little regard for the arts or it's value. My mom and I have the same drawing and painting art bent. Teaching is an important, respectful ideal that I considered when I coached baseball to young boys and men years ago.
I Love producing art and learning about my ideals of self-expression daily. Although I am not an engineer, accountant or salesman as several of my friends are, I take a liking to explore art and it's integrity and contributions to society. I want to teach from my learnings.
I think including yourself in a show is ok if you let everyone know from the beginning that you are doing so. Especially if it is a non funded event. Things get trickier when the curator is paid to be fair and above board. Which in itself is silly. It does not take long working for museums or galleries to learn that deals are made daily that have nothing to do with great art or good intentions.
ReplyDeleteIf I was a curator in an ideal world I would pick the best content that is important and relevant to share with my community. I will identify the theme that best fits the community. I would then provide the context and then decide which artworks to hang on the wall, how they should be annotated, and how they should be displayed for the public. As the curator I would not be included me in the show. I am not one for the spot light so I show others before myself. I would put the artist artwork into a context with organization, annotation, and presentation.
ReplyDeleteIf I had to pick a theme my ideal theme would be heritage. I would pick artist and artworks that show that are proud of where they come from; whether they are Australian, European, Native American, etc. The intent would be “Pride and loving the skin you are in”. I am person that is proud of where I come from and my heritage. I think that not enough people are proud of where they come from or their family background so my goal would be to show, even though we come from different places we are all the same inside. We have the same ideas, same mannerisms and even think the same. I would want the whole community to come out and check out the museum. Change the views of others that are ignorant to other cultures.
My Tribe: I am the younger of two children and live with tons of pride. I grew up a trouble maker and my outlet was to draw. I grew up with a single mother so my method of thinking has always been different from my peers. Everything always has to have function. I’m always wanting and willing to learn.