Art Ed 5105 @marina-ablogamovic - Tumblr Blog

Socially Engaged Contemporary Art

Week 12

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Nato Thompson wrote this article in 2011 and Socially Engaged art has only gained more traction since then. It's a form of contemporary art that needs a constant critique to maintain it's integrity. Socially Engaged art faces obstacles that studio practices do not, although maintaining a studio practice is no less difficult or conceptually challenging, Socially Engaged art seeks an end goal beyond personal expression or aesthetic critique. Recently Nato wrote about a ethical dilemma of socially engaged art (SEA) in which the attempt to label SEA as only art that moves toward productive work in social justice may limit the art form - especially since Nato is hoping this work begins to function outside the incubator of the art world. That SEA is often assumed as progressive, which may not always be the case, is troublesome once community stakes become part of the equation. The translation that all SEA is good or productive would be to say the same of any other art form - as Nato says "FOR all painting" and no one ever says this, no one likes and supports all painting - exposes the tension of this new art form in relation to art and politics.

Writing like this is important for artists looking to engage in this type of work who may not be engaged in community based work or discussions of working in communities, like this particular class is. Nato's usage of thinking through the art as "tactical" or "strategic" highlights this work as project based, requiring a decent amount of planning and structure to be executed. This work cannot be approached lightly, especially if an artist hopes it to be sustainable. He also highlights how most of this work is created through partnerships with institutions - either academic or museum - which is imposing a new role on such institutions, asking them to engage the cultural capital they have to help artists on the ground.

It concerns me though, especially since this practice has still not completely launched itself outside of the art realm (and I would say, especially projects tied to Creative Time) that like other art forms, they will fall out of style. The danger of the avant garde is it becomes passé, although this might not happen anytime soon, I fear it will and the momentum created in the art community will be swallowed again by auction house capitalism. Not that the art world isn't reigned by the creation of purchasable objects or what sales make the Style section of the NYT thanks to Sotheby's but it is important to keep this dialogue on sustainability alive, so that perhaps systems are put in place and the idea of the teaching artist is transformed and elevated.

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How can we shift from holding work to an aesthetic critique to a political critique? Is there still room for aesthetic in this type of work? How can we press SEA artist's to maintain a goal of sustainability?

#assignment #blog #critresponse #week12

Mexican artist Pedro Reyes has a thing or two to say about global diplomacy and the state of human affairs across the world.

Spiral Curriculum and Aesthetic Education

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What a pleasant surprise to open up this weeks texts and see a reference to an art historian, Bourriaud's concept of "relational aesthetics" no less. It's too easy to demean and shrug off relational aesthetics, it seems to really fan the flames of "Well I could do that!" (But you didn't did you?) Relational Aesthetics is the new Abstract Expressionism, you're just sharing stories/sprinkling paint - anyone can do it. It vexes me that people think art is simple, in the same way people have a cousin that can take "good" photographs because they own an SLR. It always leads me in a weird dog chasing a tail circle to try to cherish art and art practice, but still teach it as accessible and doable.

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Something that is always repeated as a mantra in women's studies classes is "unlearning what you have learned." It came up in Adam's class via an old professor of his and seems to be appearing in the Spiral Workshop. It seems unfair, and smacks of privilege, that those of us in higher education are afforded the opportunity to unlearn and meet the weird space described by Gude in Cultural Conversations. This is why non project based art exploration can be so impactful at a young age, and her reference demonstrates that Spiral Curriculum has achieved that in this particular class. Instead of attempting to teach kids to unlearn later, farther down their path of social institutionalization, it might benefit social movements to implement this curriculum at a younger age. It also allows more alternative art forms to be explored at a younger age, when these practices can be approached with less skepticism and inherent fear of misinterpretation. Not yet engrained with "what art is," as Gude says it can allow for a "new shared cultural beliefs that form communities of understanding and care" as well as "constructing personal meaning" which is important in reading art. Art historians love to argue for formalistic readings of art, that it is still possible not to impose one's personal feelings or experiences into a work of art, but as we progress post-studio, art is asking more and more to reflect on the inner self. It seems incorrect to disprove of such a practice when artists themselves are facilitating the conversation.

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How do we maintain relevance in contemporary art education? What is considered relevant? Does it derive itself from the art or from society? Or are those mutually exclusive.

#readings #write up #assignment

On Unpacking.

"Although students of this advanced stage are shown the fallacy of race superiority and the folly of social distinctions, they nevertheless continue to do the illogical thing of still looking upon these despised groups as less worthy than themselves and persist in treating them accordingly."

- Carter Godwin Woodson (1933)

So much of what was expressed in Woodson's writing in the Mis-Education of the Negro I felt reflected the sentiment of contemporary society that I found myself writing "1933 or 2013?" next to multiple lines in the reading. It was also the first line I thought of while reading McIntosh's Unpacking the Invisible Knapsack. It is enraging and unfortunate that oppressed people's seek to become more like the oppressor class (a point Woodson makes and points as a failure, one which harms communities) when in reality, we must do as Bishop implores us to do and ask why are there different values to human beings?

It is the nasty outcome of a capitalist society and neo-liberal thinking that values the individual success, competition amongst equal and unequal beings, which in turn keeps in place institutionalized oppression. It is hardly competition when others have a head start based on the color of their skin, gender, sexual preference and other factors. As McIntosh puts it, it is the realization that meritocracy doesn't truly exist in our democratic society which preaches equality. It reminds me of the outrage over a particular line in an Obama campaign speech where he claimed that "You didn't build it alone!" referring to small or large businesses. The truth is no one does it alone, large companies profit on the backs of others and small business function on the assistance of small business loans, some of them funded by the government as incentive. It goes beyond these incentives as well, it is the mandatory education paid for by tax payers of America, it is the roads, the urban infrastructures that were there before most of us were born that allow for success and breed competition. It is also institutionalized privilege that allows for this success, and which McIntosh aptly notes, no individual who does find benefits in the broken ideology, really wants to admit they have. Racism is not only about obvious exclusion, so what do we do with this knowledge and how do you take micro aggressions and turn them into a larger understanding of systems?

#readings #critresponse #blog #writing

femfreq

The PBS webseries Game/Show hosted by Jamin Warren just published a new episode called “Do Gamers Need Anita Sarkeesian’s Feminism?” focusing on the negative backlash to Tropes vs Women in Video Games and to Carolyn Petit’s GTA V review at Gamespot.

theonlymagicleftisart

Self-education is, I firmly believe, the only kind of education there is.

Isaac Asimov (via theonlymagicleftisart)

Week 4 Reading Response

Something that came to mind while completing the readings this week was the idea of fatigue. Jessica Valenti wrote an article saying we should be thankful for "feminist fatigue." This exhaustion from having to continually explain constructed ideas of gender, institutionalized sexism, and fight patriarchal structures built into policy/political aspects of institutions when the majority or the "oppressors" constantly derail these conversations. Reality to those that Freire refers to as the "oppressed" is tangible in their every day lives, it affects their success, how they move through the world and how they are perceived by others. To have society and the "oppressors" negate these experiences, when many of them are either written into law (anti-choice legislation, the removal of the voting rights act, issues with native parental birth rights etc. etc. etc.) is insulting and infuriating.

This fatigue, also addressed in What is Critical Pedagogy?, with the idea that one must continually unpack educational rhetoric and practices. Constant engagement is key to recognizing failing structures, but larger mechanisms than the individual are pushing back - as the reading states, even critical pedagogy is often misunderstood.

But what I find interesting is the idea of common culture, something brought up by Leistyna and Woodrum, but also addressed by Freire when he notes the oppressed want "at any cost to resemble the oppressors, to imitate them, to follow them." (pg. 44) This constantly rising standard of living in the United States creates an environment that leads to maxed out credit cards, and "keeping up with the jones's" attitude where you are failing if you don't have an iphone or a flat screen tv when those are not what truly enriches a persons life. It also homogenizes, as Leistyna and Woodrum note, which is dangerous to those seeking to eradicate racism - America is not one culture, we are a melting pot of cultures that has been influenced by waves of immigration over the years our nation has had open ports for those seeking greener pastures. I am curious as to what a democratic multiculturalism actually looks like, one that does more than affirm diversity using group-based methodologies.

#assignment #week4

What seemed most prevalent during the course of the readings was that teaching or instigating the call of social justice and equality is a never-ending journey. Educators must continue to struggle against in themselves to be successful, always checking their triggers, their processes, and what informs them as they grow. This results in having to acknowledge that it is impossible to have all the answers or being comfortable admitting there truly is no answer or at least, not a singular one.

My favorite point came from Knowing Ourselves as Instructors in regards to language. Due to the time we as students spend ingesting knowledge at the higher ed level, our vocabulary develops and can become exclusionary. As educators, it is important to not let that detract and interfere with classroom dialogue, or even dialogue amongst peers. The less we do, as individuals with heightened awareness about social identities and development, to demean or exclude, the better democratic environment we can create in our individual classrooms. This also helps debunk the idea that enlightenment comes at the expense of higher education, one that is out of reach of some individuals. This is in fact this is universal information, created by the identities of the population in social communities. It is stated so succinctly in Opening the Classroom Door: "To prevent people from naming their situations, entanglements, and predicaments is a form of violence." (pg. 30)

However, the studies presented in Knowing Ourselves as Instructors brings peace of mind, as there is a universal concern amongst educators. Whether in regards to their doubts, biases, or a range of fears in losing their classroom control or worse their jobs, there is a community sharing the weight of how to deal with teaching social justice.

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How can one base an educational experience heavily influenced by personal identity without making it all about himself or herself or perpetuating a close minded dialogue? Is it not dangerous to believe that all educators are enlightened in the same way? In regards to such progressive thought - what if a teachers personal identity is exclusionary?

How can one integrate a democratic classroom, one with time for exploration, when societal structures have worked against this model (i.e. standardized testing, state based curriculum, shortage of funding)? Is this a model of the privileged?

#week3 #response #readings

Week 2 Readings

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Ideology, Confrontation and Political Self-Awareness - Adrian Piper

Mapping Identity for Curriculum Work - Congdon, Stewart, & White

The Cycle of Socialization - Bobbie Harro

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The trio of readings this week all address the notion of the self. Together, they outline how one’s social identity profile is created outside of personal control, dissected and then re-created by the individual. It is only later, when one must confront dogmas in ideological beliefs, that self-identity can be used to produce interruptions in social constructs.

Harro addresses how the construction of self is for the majority, outside of ones control, cheekily observing that one is not handed a survey in the womb to request a life they would prefer to be born into. Society, over time, has developed a stratified classification of what is considered valuable in a person. These individuals have the easiest access to the metaphorical ladder of success, while others, Harro identifies them as “targets,” are constrained by lack of privilege and personal autonomy.

Congdon, Stewart and White take the concept of ones constructed identity and push for actualization based on a hierarchy of one’s personal relationship to gender, religion, family, and political communities among others. Although large swaths of people may identify with a particular community, does not instinctually mean those individuals all see that group as their defining community. This alters the way people interpret the world around them, including art.

Finally, Piper requests the confrontation of constructed ideology. Whether this ideology has been hammered into a person as a result of upbringing or it has developed unknowingly due to pervasive stereotyping in media, culture and society, it must be questioned to move forward. Piper suggests the easiest way to unveil absurdity in ones ideologies is to state them as facts. This creates a disconnect when ideologies are not necessarily truths. To turn away from this absurdity does not only harm the individual but everyone affected by blind ignorance.

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How can we integrate better systems of disruptions to produce actualization of dogma earlier?

How can conceptual art/performance work/work of a non-narrative genre addressing social concepts reach a community that is not already self-examining on a level they can relate to?

#readings #response #assignment1

Recommendation #3

Miss Representation was recently made available via Netflix streaming.

It is an award-winning documentary about how mainstream media constructs images of women, how that affects women and it also addresses how that affects men who view these images as well. It illustrates very succinctly how society's limited construction of the ideal woman under represents the majority of actual living, breathing women on this planet. Since the media and culture are so pervasive to society and what is deemed acceptable, it is imperative to realize the impact this has on children reaching their full potential as empowered adults.

#assignment1 #recommendation #documentary

Recommendation #2

This article about the conflict in Syria

I think this article is a good example that even complicated issues can be broken down and explained in a simplistic way, nothing is beyond explanation nor should anyone be afraid to ask - especially in regards to . This just happened to be extremely topical since Congress is in fact voting on whether to authorize a military strike, something that is in fact being rushed to the Senate floor.

#assignment1 #recommendation

Recommendation #1

Amy Cuddy: Your Body Language Shapes Who You Are

This is one of my favorite Ted Talks and I feel it's so appropriate for the general insecurities/anxieties we are feeling as a group about starting graduate school (at least I know I am and it seems others share it based on class introductions/discussions from the first week). Wait until the end, it'll speak to you.

#reflection1 #recommendation #video #tedtalk

Influence #3

(above - my old workstation monitor back at CSUF)

Upon reflection, I think most of my empowerment comes from an expansive group of ladies that have inspired me to pursue what makes me happy and know that I have a voice because they have demonstrated that a myriad of voices are valid.

They come from all fields whether it's comedians/writers/actresses like Tina Fey, Amy Poehler, Maya Rudolph, Julie Delpy to public figures like Michelle Obama, Hillary Clinton, Ruth Bader Ginsburg, Jane Addams, Susan B. Anthony, to authors/theorists bell hooks, Audre Lorde, Virgina Woolf, Octavia Butler, Jane Austen, Charlotte Bronte, Nora Ephron, Courtney Martin to artists Regina Jose Galindo, Georgia O’Keeffe, Judy Chicago, Kara Walker, Suzanne Lacey, Marina Abramovic, Guerrilla Girls, Eva Hesse, Helen Frankenthaler (my queen!), Mary Blair - this list could span pages. Sometimes these ladies aren’t even real: Lisa Simpson, Buffy Summers and Agent Scully.

And sometimes, it’s just Beyonce 24/7.

These ladies were leaning in before it was cool to lean in.

All of them - through action, through performance, through art - are questioning and critiquing the structure of society. It is through their example, the concept of visibility as motivation and seeing is believing is validated in my own life.

*I may have forgotten some important ladies and apologies - the list could go on, it’s a living thing.

Influence #2

I spent so much time in Mark Bradford’s solo show at SFMOMA that my friends left me behind at the museum. Not only is his work extraordinary, Bradford conceived and initiated the Open Studio program at the Getty. Open Studio seeks to make contemporary art and artists more accessible to teachers and classrooms as well as re-defining the traditional concept of “artist.”

In the video for Open Studio featuring Mark Bradford he notes the countless times he’s heard children say that they can’t be artists since they don’t know how to draw and that he seeks to dismantle that definition. It is something I’ve heard so many times, as alternative processes aren’t embraced and only the canon is taught so that representational paintings are what constitutes art.

My friend was a Getty intern this past Summer and heard him speak, he passed along one of my favorite quotes:

"Don’t surround yourself with people who bring your party down"

- Mark Bradford

Open Studio site & videos

#assignment1 #influence

Influence #1

My mother has been a teacher since she was in her early 20's. For years she ran the G.A.T.E. program in her school district that saw kids bused in from all the surround schools in grades 1st-6th to participate in co-curricular activities in her classroom. Curriculum she wrote would revolve around specialized units in all subjects varying from environmental justice, to crime scene investigation, Greek theater, Shakespeare, our universe, architecture and so on. Our house was filled with boxes stuffed with curriculum she wrote and all the corresponding references, books upon books. She has been a teacher on special assignment, identifying gifted children, writing curriculum for the

My mom taught me how to be an independent person, via the way she has moved through life. She started taking me to museums before I could speak so art has always been a part of my vocabulary, something I didn't realize was unique until my classes started going on museum field trips, where not everyone had been to places like Bowers, LACMA, MOCA and the Norton Simon with their families before. Our family travel albums have photos in them of people eavesdropping while my mom explains the significance of monuments we're standing at, or reading a wall text at a museum.

I've watched my mom struggle creatively and intellectually in an impacted district, severely underfunded and plagued by furlough days due to the California budget crisis. I've always watched how money has been mis-handled in budgets and those with less experience gain higher access and more responsibility. She is my number one connection to education and I seek to make change because of her.

#assignment1 #reflection1 #influence

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