Project To-Do List
Soundslides Presentation (Armory Square vs. Projects in relation to class disparity). Integration or intervention/ disrupt or fit in, and three-dimensional model of sculpture in Armory Square: Lauren
Timeline A (History of Armory Square) and Timeline B (future of Armory Square post-monument)/ creating a logical blueprint for materials we would use to create monument: Jordan
Computer generated model of monument, inspiration from other artists, goals and objectives for project powerpoint/ how to measure our project’s success: Max
Intended audience and intended reaction: Deanna
_______
Lauren, Max, Jordan and Deanna
Project Proposal
This project was primarily developed as a parody that mocks, and somewhat condemns, the spending habits of people in Armory Square and how these people represent something more than just frivolous shoppers or satisfied stomachs: they represent the upper class in a city whose class disparity is alarming. While Armory Square hosts some of the best restaurants and boutiques in the Syracuse area, just ten minutes away stands housing projects of an impoverished, dilapidated city. Lauren will create a “soundslides” presentation that will present pictures, dialogue and statistics in order to give background information on the class disparity and why this project became of interest to the group. For example, it will discuss demographic maps that were provided by the Syracuse Hunger Project, which demonstrate statistics, such as the majority of families who make anywhere from zero to just $13,000 per year resides in the heart of Syracuse, surrounding the University. Meanwhile, in the outskirts of the the University, nearly zero percent of people living in suburban areas, such as DeWitt, live below the federal poverty line (SU Community Geographer). Such a disparity snowballs into other social inequities, such as teenage pregnancy, inadequate schooling and decreased homeownership rates. For this reason, our group chose Armory Square as a prime location to satirize the upper class, as this area illustrates several of the social divides found within the Syracuse community.
Jordan will continue the presentation by discussing the history and future of Armory Square. Once a hubbub for industry, Armory Square was first settled in 1804. As the nineteenth century progressed, Armory Square became more populous and many of today's historic buildings were constructed during this time period. Because of its proximity to the Erie Canal, Armory Square became a center of commerce, as hotels and other architecture were created. In the twentieth century, many of the historic buildings were demolished, as Armory Square has been spiraling downward for quite some time. Recently, it has been revitalized. Numerous stores, bars and other establishments have been opened, as Armory Square has become a renowned commercial area again. Through all of this time, class disparity has continued to exist. Poor people continue to surround the outskirts of Armory Square, as poor neighborhoods still exist into the 21st century.
In order to show the class examples of what our monument will look like, the group will create two models. Lauren will present a three-dimensional model of the project entitled Money, which will show the cube and its surroundings. To supplement this, Max will make a computer generated version of the same area. It will be a powerpoint presentation that condenses this graphic with information about Damali Ayo and the AREA project so that the discussion can move fluidly. Damali Ayo was especially important to our project because her work “Panhandling for Reparations” was a parody on race, just as ours is a parody on class. She uses satire in her art when she panhandles on the street for reparation money due to slavery. From this project, we decided to adopt a satirical attitude for Money. In addition to Ayo, we found inspiration in the ball of trash from the AREA project. This project in physical form is very similar to our cube of molded money.
One of the main objectives for the project is to successfully commentate on how the upper and middle class people of Syracuse visit Armory Square and waste their money on consumer goods when they could be donating a portion of this money to the less fortunate within their own community. The monument will make donations possible, as the cube will have a slot for people to donate money. Such funds will be dedicated to the low income neighborhoods. The goal is to bring awareness and money to the low-income areas in Syracuse. We hope to improve these residential areas by building new playgrounds, safehouses where community members can go when frightened and improved educational standards that promote the importance of schooling.
Moreover, because this sculpture is satirical, a certain audience is required. Deanna will discuss how we are aiming towards the wealthier, upper class that frequents Armory Square as a place of leisure. The target audience therefore needs to be both educated and philanthropic, as it is our ultimate goal to raise money for impoverished areas in the city of Syracuse. When people see the monument, we want them to be surprised, yet intrigued. The audience must question the monument and what it represents in order to recognize its overall significance. More importantly, we hope that this monument will spark change in the Syracuse area, thus people must be willing to donate both their time and money to improve current conditions.
Next, Lauren will talk about how Money will act as an intervention piece as opposed to integration. Similar to Tilted Arc, this sculpture will not blend in with Armory Square’s architectural aesthetic. Instead, our monument will contrast starkly with its surroundings. Moreover, this project seeks to disrupt the community. In order for such a well- known, yet generally ignored social problem to re-emerge as a pressing issue, we think that our sculpture must disarm the upper class. They must recognize the severity of the impoverished city and make an equally dramatic difference.
Max will conclude, discussing how we will measure the success of this project, which will be through the amount of money received from the public. We will consider the quantity of people that visit our sculpture and the quality of received commentary. We will use the feedback from our audience to base further plans on our project and the topic that we endeavor to discuss. We want to see the impoverished community regain hope in their fellow members of society.
Sunday, December 2, 2007
Thursday, November 29, 2007
Short Answers about Project
What is the project about?
This project idea was designed as a satirical monument. It is a commentary on the class disparity within the Syracuse community.
Describe what FORM the project will take.
The project will essentially be a three-dimensional monument that is made out of fused money: pennies, quarters, dollars, etc. Whether the shape of the monument is arbitrary or distinct, the idea the money is “wasted” is key to the project. Whatever shape the monument becomes, it will be large, demanding attention from everyone who passes it.
Why do you want to work in the location you have chosen?
I want to work in Armory Square because it is one of the most high-class areas in Syracuse. The idea that people “waste” their money on frivolous, unnecessary things is prevalent in Armory Square where meals are expensive and clothes are over-priced. Perhaps placing a monument in such an area will influence those who regularly shop and dine here, making these people aware of the class disparity that they are likely not educated about.
Why is this site particularly appropriate for the project?
As said before, I think that people spend money regularly on fine restaurants and expensive clothing in Armory Square. Even though people are entitled to spend their money however they please, people sometimes get distracted and become unaware of those around them who are less fortunate. I think that by placing this monument in Armory Square, my group can call attention to a prevalent social problem within the Syracuse community.
Is this project an integration or an intervention, and why?
This project is definitely intervention and not integration. As a group, we are going to place a satirical monument in the heart of Armory Square that disturbs society and interferes with people’s normal expectations.
Will you get permission to work in the site?
I think that for the success of this project, we will need to get approval and permission to conduct this project. Because it is a monument that will stand in Armory Square for an extended amount of time, it will be crucial to carry this project out legally so that the art work can stand without breaking laws.
How does the piece disrupt OR fit in with the surroundings?
Ironically, I think this project both fits in and disrupts its surroundings. On a subconscious level, Armory Square is filled with money and wealth. People spend money on lavish dinners and expensive clothing. Even though money is not literally on the streets of Armory Square, I think that on a certain level, it is an implied factor that is either accepted or overlooked. In terms of being a disruption, this monument calls for attention. Also, because the monument is made out of something as unconventional as money, this project will undoubtedly steal people’s attention.
Name at least one artist project that we have looked at this semester that inspired your
project and explain why your project is related.
There were two artists that influenced the idea for this project. The concept of creating a satirical piece primarily stemmed from Damali Ayo’s satirical website. The main project that influenced this monument was the ball of trash the class saw. It was part of the AREA project, yet we were given no specific project name.
What are the goals & objectives of the project?
The goal of this project is to ultimately raise money for the poor people living in the Syracuse community. This project is supposed to call attention to the class disparity that people either overlook or simply do not know about.
How will you measure success for your project?
I think that by seeing a change within the poor community and seeing impoverished community improve in terms of better schooling, facilities, etc. (all funded by the donated money), the project can ultimately be called a success. I do not think that this project can end poverty within Syracuse, yet I think that it can begin a movement where people care more about the less fortunate people within the community.
Profile the target audience. Who are they? What do they care about? What are their expected reactions.
The target audience is middle to upper class residents of the Syracuse area who regularly shop and eat in Armory Square and spend a significant amount of money here. While these people care about designer clothing and good meals, they also need to be somewhat philanthropic. The target audience needs to be willing to see this monument and be willing to donate their money. Moreover, they also must be intelligent since this is a satirical monument, not a literal one. As with Damali Ayo’s project, some people got confused and thought her website was real. These people do not benefit these projects, which seek to highlight social problems and demand a change.
How do you want your audience to interact with your project?
I want the audience to be surprised, yet intrigued. I want them to question the monument and recognize its significance. More importantly, I want people to donate either their time or their money to this cause to help the poor community.
This project idea was designed as a satirical monument. It is a commentary on the class disparity within the Syracuse community.
Describe what FORM the project will take.
The project will essentially be a three-dimensional monument that is made out of fused money: pennies, quarters, dollars, etc. Whether the shape of the monument is arbitrary or distinct, the idea the money is “wasted” is key to the project. Whatever shape the monument becomes, it will be large, demanding attention from everyone who passes it.
Why do you want to work in the location you have chosen?
I want to work in Armory Square because it is one of the most high-class areas in Syracuse. The idea that people “waste” their money on frivolous, unnecessary things is prevalent in Armory Square where meals are expensive and clothes are over-priced. Perhaps placing a monument in such an area will influence those who regularly shop and dine here, making these people aware of the class disparity that they are likely not educated about.
Why is this site particularly appropriate for the project?
As said before, I think that people spend money regularly on fine restaurants and expensive clothing in Armory Square. Even though people are entitled to spend their money however they please, people sometimes get distracted and become unaware of those around them who are less fortunate. I think that by placing this monument in Armory Square, my group can call attention to a prevalent social problem within the Syracuse community.
Is this project an integration or an intervention, and why?
This project is definitely intervention and not integration. As a group, we are going to place a satirical monument in the heart of Armory Square that disturbs society and interferes with people’s normal expectations.
Will you get permission to work in the site?
I think that for the success of this project, we will need to get approval and permission to conduct this project. Because it is a monument that will stand in Armory Square for an extended amount of time, it will be crucial to carry this project out legally so that the art work can stand without breaking laws.
How does the piece disrupt OR fit in with the surroundings?
Ironically, I think this project both fits in and disrupts its surroundings. On a subconscious level, Armory Square is filled with money and wealth. People spend money on lavish dinners and expensive clothing. Even though money is not literally on the streets of Armory Square, I think that on a certain level, it is an implied factor that is either accepted or overlooked. In terms of being a disruption, this monument calls for attention. Also, because the monument is made out of something as unconventional as money, this project will undoubtedly steal people’s attention.
Name at least one artist project that we have looked at this semester that inspired your
project and explain why your project is related.
There were two artists that influenced the idea for this project. The concept of creating a satirical piece primarily stemmed from Damali Ayo’s satirical website. The main project that influenced this monument was the ball of trash the class saw. It was part of the AREA project, yet we were given no specific project name.
What are the goals & objectives of the project?
The goal of this project is to ultimately raise money for the poor people living in the Syracuse community. This project is supposed to call attention to the class disparity that people either overlook or simply do not know about.
How will you measure success for your project?
I think that by seeing a change within the poor community and seeing impoverished community improve in terms of better schooling, facilities, etc. (all funded by the donated money), the project can ultimately be called a success. I do not think that this project can end poverty within Syracuse, yet I think that it can begin a movement where people care more about the less fortunate people within the community.
Profile the target audience. Who are they? What do they care about? What are their expected reactions.
The target audience is middle to upper class residents of the Syracuse area who regularly shop and eat in Armory Square and spend a significant amount of money here. While these people care about designer clothing and good meals, they also need to be somewhat philanthropic. The target audience needs to be willing to see this monument and be willing to donate their money. Moreover, they also must be intelligent since this is a satirical monument, not a literal one. As with Damali Ayo’s project, some people got confused and thought her website was real. These people do not benefit these projects, which seek to highlight social problems and demand a change.
How do you want your audience to interact with your project?
I want the audience to be surprised, yet intrigued. I want them to question the monument and recognize its significance. More importantly, I want people to donate either their time or their money to this cause to help the poor community.
Short Answers about Project
What is the project about?
This project idea was designed as a satirical monument. It is a commentary on the class disparity within the Syracuse community.
Describe what FORM the project will take.
The project will essentially be a three-dimensional monument that is made out of fused money: pennies, quarters, dollars, etc. Whether the shape of the monument is arbitrary or distinct, the idea the money is “wasted” is key to the project. Whatever shape the monument becomes, it will be large, demanding attention from everyone who passes it.
Why do you want to work in the location you have chosen?
I want to work in Armory Square because it is one of the most high-class areas in Syracuse. The idea that people “waste” their money on frivolous, unnecessary things is prevalent in Armory Square where meals are expensive and clothes are over-priced. Perhaps placing a monument in such an area will influence those who regularly shop and dine here, making these people aware of the class disparity that they are likely not educated about.
Why is this site particularly appropriate for the project?
As said before, I think that people spend money regularly on fine restaurants and expensive clothing in Armory Square. Even though people are entitled to spend their money however they please, people sometimes get distracted and become unaware of those around them who are less fortunate. I think that by placing this monument in Armory Square, my group can call attention to a prevalent social problem within the Syracuse community.
Is this project an integration or an intervention, and why?
This project is definitely intervention and not integration. As a group, we are going to place a satirical monument in the heart of Armory Square that disturbs society and interferes with people’s normal expectations.
Will you get permission to work in the site?
I think that for the success of this project, we will need to get approval and permission to conduct this project. Because it is a monument that will stand in Armory Square for an extended amount of time, it will be crucial to carry this project out legally so that the art work can stand without breaking laws.
How does the piece disrupt OR fit in with the surroundings?
Ironically, I think this project both fits in and disrupts its surroundings. On a subconscious level, Armory Square is filled with money and wealth. People spend money on lavish dinners and expensive clothing. Even though money is not literally on the streets of Armory Square, I think that on a certain level, it is an implied factor that is either accepted or overlooked. In terms of being a disruption, this monument calls for attention. Also, because the monument is made out of something as unconventional as money, this project will undoubtedly steal people’s attention.
Name at least one artist project that we have looked at this semester that inspired your
project and explain why your project is related.
There were two artists that influenced the idea for this project. The concept of creating a satirical piece primarily stemmed from Damali Ayo’s satirical website. The main project that influenced this monument was the ball of trash the class saw. It was part of the AREA project, yet we were given no specific project name.
What are the goals & objectives of the project?
The goal of this project is to ultimately raise money for the poor people living in the Syracuse community. This project is supposed to call attention to the class disparity that people either overlook or simply do not know about.
How will you measure success for your project?
I think that by seeing a change within the poor community and seeing impoverished community improve in terms of better schooling, facilities, etc. (all funded by the donated money), the project can ultimately be called a success. I do not think that this project can end poverty within Syracuse, yet I think that it can begin a movement where people care more about the less fortunate people within the community.
Profile the target audience. Who are they? What do they care about? What are their expected reactions.
The target audience is middle to upper class residents of the Syracuse area who regularly shop and eat in Armory Square and spend a significant amount of money here. While these people care about designer clothing and good meals, they also need to be somewhat philanthropic. The target audience needs to be willing to see this monument and be willing to donate their money. Moreover, they also must be intelligent since this is a satirical monument, not a literal one. As with Damali Ayo’s project, some people got confused and thought her website was real. These people do not benefit these projects, which seek to highlight social problems and demand a change.
How do you want your audience to interact with your project?
I want the audience to be surprised, yet intrigued. I want them to question the monument and recognize its significance. More importantly, I want people to donate either their time or their money to this cause to help the poor community.
This project idea was designed as a satirical monument. It is a commentary on the class disparity within the Syracuse community.
Describe what FORM the project will take.
The project will essentially be a three-dimensional monument that is made out of fused money: pennies, quarters, dollars, etc. Whether the shape of the monument is arbitrary or distinct, the idea the money is “wasted” is key to the project. Whatever shape the monument becomes, it will be large, demanding attention from everyone who passes it.
Why do you want to work in the location you have chosen?
I want to work in Armory Square because it is one of the most high-class areas in Syracuse. The idea that people “waste” their money on frivolous, unnecessary things is prevalent in Armory Square where meals are expensive and clothes are over-priced. Perhaps placing a monument in such an area will influence those who regularly shop and dine here, making these people aware of the class disparity that they are likely not educated about.
Why is this site particularly appropriate for the project?
As said before, I think that people spend money regularly on fine restaurants and expensive clothing in Armory Square. Even though people are entitled to spend their money however they please, people sometimes get distracted and become unaware of those around them who are less fortunate. I think that by placing this monument in Armory Square, my group can call attention to a prevalent social problem within the Syracuse community.
Is this project an integration or an intervention, and why?
This project is definitely intervention and not integration. As a group, we are going to place a satirical monument in the heart of Armory Square that disturbs society and interferes with people’s normal expectations.
Will you get permission to work in the site?
I think that for the success of this project, we will need to get approval and permission to conduct this project. Because it is a monument that will stand in Armory Square for an extended amount of time, it will be crucial to carry this project out legally so that the art work can stand without breaking laws.
How does the piece disrupt OR fit in with the surroundings?
Ironically, I think this project both fits in and disrupts its surroundings. On a subconscious level, Armory Square is filled with money and wealth. People spend money on lavish dinners and expensive clothing. Even though money is not literally on the streets of Armory Square, I think that on a certain level, it is an implied factor that is either accepted or overlooked. In terms of being a disruption, this monument calls for attention. Also, because the monument is made out of something as unconventional as money, this project will undoubtedly steal people’s attention.
Name at least one artist project that we have looked at this semester that inspired your
project and explain why your project is related.
There were two artists that influenced the idea for this project. The concept of creating a satirical piece primarily stemmed from Damali Ayo’s satirical website. The main project that influenced this monument was the ball of trash the class saw. It was part of the AREA project, yet we were given no specific project name.
What are the goals & objectives of the project?
The goal of this project is to ultimately raise money for the poor people living in the Syracuse community. This project is supposed to call attention to the class disparity that people either overlook or simply do not know about.
How will you measure success for your project?
I think that by seeing a change within the poor community and seeing impoverished community improve in terms of better schooling, facilities, etc. (all funded by the donated money), the project can ultimately be called a success. I do not think that this project can end poverty within Syracuse, yet I think that it can begin a movement where people care more about the less fortunate people within the community.
Profile the target audience. Who are they? What do they care about? What are their expected reactions.
The target audience is middle to upper class residents of the Syracuse area who regularly shop and eat in Armory Square and spend a significant amount of money here. While these people care about designer clothing and good meals, they also need to be somewhat philanthropic. The target audience needs to be willing to see this monument and be willing to donate their money. Moreover, they also must be intelligent since this is a satirical monument, not a literal one. As with Damali Ayo’s project, some people got confused and thought her website was real. These people do not benefit these projects, which seek to highlight social problems and demand a change.
How do you want your audience to interact with your project?
I want the audience to be surprised, yet intrigued. I want them to question the monument and recognize its significance. More importantly, I want people to donate either their time or their money to this cause to help the poor community.
Sunday, November 4, 2007
Adrian Piper's Funk Lessons
Heads nods, shoulders pop and bottoms shake to funk music—all of which artist Adrian Piper believes will slowly guide the racist world to one of greater appreciation and understanding. Since discrimination results largely from fear, the artist aims to eliminate this feeling by opening discussion through music and dance. Piper’s film project entitled “Funk Lessons” shows the artist teaching white men and women how to listen to culturally “black” music and move to the beats, as would any other African American. Unlike conventional artwork that simply calls upon the viewer’s eyes, Piper’s work is participatory, meaning it not only commands attention, but also demands action from those engaged in the film. Piper’s “Funk Lessons” aims to bridge racial gaps between people of all ethnicities, primarily to show the undeserved tension stemming from fear of another’s unknown culture. She tries to use the somewhat universal language of music and of movement in order to relate to all people, regardless of their race.
A significant factor contributing to Piper’s desire to ease tension between the black and white worlds can be attributed to her multi-racial background, as she uses her rare ethnic roots to identify with both blacks and whites. Children of mixed-races often find trouble aligning themselves with one particular community because they are naturally “different” than each standardized group. Instead of officially choosing what race she would like to associate with, Piper uses “the fact that both her parents were of mixed-race heritage as a strategic point from which to attack essentialist concepts of race herself” (Cotter 2). She looks at race as a social construct, meaning it is something sociologically created, not biologically determined. Piper is able to come to this conclusion because of her seemingly outsider status, as she culturally feels black, but has light skin. Her background innately thrusts her into the racist world where there is a significant discrepancy between black and white cultures. Moreover, Piper can relate easier to both races, whereas a single-raced artist might find it difficult, or nearly impossible, to relate to those of another race, especially in an educational setting. In her notes on funk, Piper directly says that “Funk Lessons” allows her to “overcome [her] own sense of alienation, both from white and black culture (Bishop134). As a piece of art as well as a commentary on race, “Funk Lessons” demonstrates Piper’s ability as a multi-racial woman to connect with her white students and teach them about popular black culture in a non-threatening setting; this is the most important factor, which eventually opens dialogue between the opposing races.
The role of funk in Piper’s “Funk Lessons” primarily seeks to break down pre-conceived fears held by the white upper- class, trying to educate whites on the music itself as well as what it contributes to black society. Before Piper’s film, funk music “sometimes elicited anxiety, anger or contempt from middle-class, college-educated whites” (Piper 133). On the other hand, funk serves as the “beacon of youth culture” (Tillotson 1) for the black community, just as Madonna or Molly Ringwald are iconic to white popular culture. However, to this alternate white, seemingly high-standing society, funk merely sounds mindless and monotonous (Piper 133). Since whites have yet to ignore their judgments about this music genre, a fence is immediately placed between the two races; it is this fence that “Funk Lessons” aims to eliminate. However, Piper’s primary downfall is that she enters this film regarding music as a universal language. She does not recognize that while everyone can relate to rhythms and beats, funk is more than just music; it is black popular culture. This inevitably limits a number of participants from the white community. Countering this argument, Piper claims that she only aims to teach those willing to learn (Mapping Mindsets 2), for she knows it if futile to alter the attitudes of those not willing to listen. Examining the racial gap today, Rap music elicits the exact response from the older, upper- class white society. There is only a select group of people from each race that are willing to openly accept an alternative music genre. Just as funk music sings about controversial topics that appear “sexually threatening” (Piper 133) and “culturally intrusive” (Piper 133), Rap music today speaks of violence, drug abuse and female objectification. Piper’s “Funk Lessons” illustrates the gradual movement towards further understanding, as Rap music holds the attention of not only the black community, but the young white community as well.
Whereas funk music limits the audience willing to learn about black culture, movement serves as an all-together universal form of expression that Piper ultimately hopes can unify the races. “Funk Lessons” uses white participants, showing them culturally black movements. This film hopes also to evoke greater understanding from the black community. In the video, Piper highlights the importance of self-expression and education, noting “it is so important, not only for African Americans but also for European America. If African Americans can find constructive outlets of their ‘racialized experiences,’ they will be less damaged and less dangerous” (Mapping Mindsets 2). An unknown or unfamiliar culture undoubtedly scares those who are not apart of it, as ignorance causes racism and discrimination. If blacks and whites shed their judgments about the opposing race, society might see a decrease the hate violence and segregation Piper speaks about. According to Piper, full body movement can create a cohesive society because everyone, regardless of race, can participate in her artwork. Dance acts as an outlet where blacks and whites can express their own culture while simultaneously experiencing another. Once again, race is portrayed merely a social construct that is “learned, and learnable, behavior” (Cotter 1). This foundation of thought promotes appreciation of other cultures, affording blacks and whites the ability as outsiders to participate in the other’s culture through movement.
Even though “Funk Lessons” aims to bridge racial gaps, Piper’s own covert racism contributes to others being offended by her art. Piper wrongly assumes that because she is both black and white, she is exempt from exhibiting racist beliefs. She somewhat offends white culture by deeming its dance rituals as mainly achievement oriented. On the other hand, she attributes black movement with deeper meaning, saying it unifies the entire community through a distinct set of symbols (Piper 130). While Piper does not realize her own biased beliefs, participants in the project as well as viewers see the project as condescending. Many feel “patronized and react aggressively by dismissing the work” (Mapping Mindsets 2), which ultimately hinders the goal of the film to eliminate such tension. Because whites feel offended, they ignore Piper’s message and “Funk Lessons” becomes a futile attempt to eliminate racism. However, Piper counters this feeling, saying “My work targets particular attitudes through humor [and] mimicry… and allows different individual viewers to situate themselves in relation to those attitudes” (Mapping Mindsets 3). She tries to create an unconventional, relaxed environment that is open to mockery. However, the tension between the races seems too vast for this approach. The original mission of “Funk Lessons” was to reveal inherent racist attitudes, especially since most people are not aware that they possess such beliefs. It is unclear as to whether Piper herself is racist or merely uses herself as a model that seeks to create awareness of society’s underlying racism through mockery. Nevertheless, for Piper’s film to be more successful, she should have approached the project with more sensitivity. Her failure to understand white mentality and culture proves equally as harmful as her negative commentary on white culture’s close-mindedness.
Piper’s intention to weaken barriers between black and white cultures in “Funk Lessons” appears noble, yet quixotic. While the film promotes multi-racial unification by means of a “shared physical language” (Piper 131), engaging a broad range of people who vary in ethnicity and ideology is too simplistic. Despite its potential failure to bridge the racial gap, the piece serves to move aesthetic practices closer to social services (Kwon 117); this means that Piper utilizes and somewhat exploits art’s ability to speak to a community by directing attention towards societal issues that need repair, such as race. Her video implies that racism and discrimination can be obliterated through raising consciousness within both communities. If whites learn to appreciate and appropriate aspects of black culture, and if the black community makes the same, conscious effort in relation to white culture, both races can eventually progress towards harmony with one another. Eliminating the fear present in both societies is the primary factor influencing a future change, and education serves as the remedy for this very misunderstanding. Ultimately, Piper’s “Funk Lessons” examines race as a social problem that has the potential to be fixed with the communication, cooperation and above all, the participation from all peoples of every race.
A significant factor contributing to Piper’s desire to ease tension between the black and white worlds can be attributed to her multi-racial background, as she uses her rare ethnic roots to identify with both blacks and whites. Children of mixed-races often find trouble aligning themselves with one particular community because they are naturally “different” than each standardized group. Instead of officially choosing what race she would like to associate with, Piper uses “the fact that both her parents were of mixed-race heritage as a strategic point from which to attack essentialist concepts of race herself” (Cotter 2). She looks at race as a social construct, meaning it is something sociologically created, not biologically determined. Piper is able to come to this conclusion because of her seemingly outsider status, as she culturally feels black, but has light skin. Her background innately thrusts her into the racist world where there is a significant discrepancy between black and white cultures. Moreover, Piper can relate easier to both races, whereas a single-raced artist might find it difficult, or nearly impossible, to relate to those of another race, especially in an educational setting. In her notes on funk, Piper directly says that “Funk Lessons” allows her to “overcome [her] own sense of alienation, both from white and black culture (Bishop134). As a piece of art as well as a commentary on race, “Funk Lessons” demonstrates Piper’s ability as a multi-racial woman to connect with her white students and teach them about popular black culture in a non-threatening setting; this is the most important factor, which eventually opens dialogue between the opposing races.
The role of funk in Piper’s “Funk Lessons” primarily seeks to break down pre-conceived fears held by the white upper- class, trying to educate whites on the music itself as well as what it contributes to black society. Before Piper’s film, funk music “sometimes elicited anxiety, anger or contempt from middle-class, college-educated whites” (Piper 133). On the other hand, funk serves as the “beacon of youth culture” (Tillotson 1) for the black community, just as Madonna or Molly Ringwald are iconic to white popular culture. However, to this alternate white, seemingly high-standing society, funk merely sounds mindless and monotonous (Piper 133). Since whites have yet to ignore their judgments about this music genre, a fence is immediately placed between the two races; it is this fence that “Funk Lessons” aims to eliminate. However, Piper’s primary downfall is that she enters this film regarding music as a universal language. She does not recognize that while everyone can relate to rhythms and beats, funk is more than just music; it is black popular culture. This inevitably limits a number of participants from the white community. Countering this argument, Piper claims that she only aims to teach those willing to learn (Mapping Mindsets 2), for she knows it if futile to alter the attitudes of those not willing to listen. Examining the racial gap today, Rap music elicits the exact response from the older, upper- class white society. There is only a select group of people from each race that are willing to openly accept an alternative music genre. Just as funk music sings about controversial topics that appear “sexually threatening” (Piper 133) and “culturally intrusive” (Piper 133), Rap music today speaks of violence, drug abuse and female objectification. Piper’s “Funk Lessons” illustrates the gradual movement towards further understanding, as Rap music holds the attention of not only the black community, but the young white community as well.
Whereas funk music limits the audience willing to learn about black culture, movement serves as an all-together universal form of expression that Piper ultimately hopes can unify the races. “Funk Lessons” uses white participants, showing them culturally black movements. This film hopes also to evoke greater understanding from the black community. In the video, Piper highlights the importance of self-expression and education, noting “it is so important, not only for African Americans but also for European America. If African Americans can find constructive outlets of their ‘racialized experiences,’ they will be less damaged and less dangerous” (Mapping Mindsets 2). An unknown or unfamiliar culture undoubtedly scares those who are not apart of it, as ignorance causes racism and discrimination. If blacks and whites shed their judgments about the opposing race, society might see a decrease the hate violence and segregation Piper speaks about. According to Piper, full body movement can create a cohesive society because everyone, regardless of race, can participate in her artwork. Dance acts as an outlet where blacks and whites can express their own culture while simultaneously experiencing another. Once again, race is portrayed merely a social construct that is “learned, and learnable, behavior” (Cotter 1). This foundation of thought promotes appreciation of other cultures, affording blacks and whites the ability as outsiders to participate in the other’s culture through movement.
Even though “Funk Lessons” aims to bridge racial gaps, Piper’s own covert racism contributes to others being offended by her art. Piper wrongly assumes that because she is both black and white, she is exempt from exhibiting racist beliefs. She somewhat offends white culture by deeming its dance rituals as mainly achievement oriented. On the other hand, she attributes black movement with deeper meaning, saying it unifies the entire community through a distinct set of symbols (Piper 130). While Piper does not realize her own biased beliefs, participants in the project as well as viewers see the project as condescending. Many feel “patronized and react aggressively by dismissing the work” (Mapping Mindsets 2), which ultimately hinders the goal of the film to eliminate such tension. Because whites feel offended, they ignore Piper’s message and “Funk Lessons” becomes a futile attempt to eliminate racism. However, Piper counters this feeling, saying “My work targets particular attitudes through humor [and] mimicry… and allows different individual viewers to situate themselves in relation to those attitudes” (Mapping Mindsets 3). She tries to create an unconventional, relaxed environment that is open to mockery. However, the tension between the races seems too vast for this approach. The original mission of “Funk Lessons” was to reveal inherent racist attitudes, especially since most people are not aware that they possess such beliefs. It is unclear as to whether Piper herself is racist or merely uses herself as a model that seeks to create awareness of society’s underlying racism through mockery. Nevertheless, for Piper’s film to be more successful, she should have approached the project with more sensitivity. Her failure to understand white mentality and culture proves equally as harmful as her negative commentary on white culture’s close-mindedness.
Piper’s intention to weaken barriers between black and white cultures in “Funk Lessons” appears noble, yet quixotic. While the film promotes multi-racial unification by means of a “shared physical language” (Piper 131), engaging a broad range of people who vary in ethnicity and ideology is too simplistic. Despite its potential failure to bridge the racial gap, the piece serves to move aesthetic practices closer to social services (Kwon 117); this means that Piper utilizes and somewhat exploits art’s ability to speak to a community by directing attention towards societal issues that need repair, such as race. Her video implies that racism and discrimination can be obliterated through raising consciousness within both communities. If whites learn to appreciate and appropriate aspects of black culture, and if the black community makes the same, conscious effort in relation to white culture, both races can eventually progress towards harmony with one another. Eliminating the fear present in both societies is the primary factor influencing a future change, and education serves as the remedy for this very misunderstanding. Ultimately, Piper’s “Funk Lessons” examines race as a social problem that has the potential to be fixed with the communication, cooperation and above all, the participation from all peoples of every race.
Thursday, November 1, 2007
Outline for Essay
Thesis: Adrian Piper’s “Funk Lessons” aims to bridge the racial gaps between people of all ethnicities primarily to show the undeserved tension created by the fear of another’s unknown culture. She uses the global language of music and of movement in order to relate to all people, regardless of their race.
Quotes:
“Education and self-expression is so important, not only for African Americans but for European America. If African Americans can find constructive outlets of their ‘racialized experiences,’ they will be less damaged and less dangerous.” – Mapping Mindsets
“My work doesn’t address any particular audience, or race of audience. Nor does it seek to ‘disturb of enlighten them about forms of injustice.’ It targets particular attitudes through humor, mimicry and/or the use of the grammatical second person; and allows different individual viewers to situate themselves in relation to those attitudes.” – Mapping Mindsets
“Piper’s outsider status was complicated by her light skin and intellect, factors that would inform her work about racism.” – Warhol Illustrates Piper’s Lure
“… Paralleling the conundrum of why something—race, gender—that is not a big deal is a big deal.” –Warhol Illustrates Piper’s Lure
“[It] seems to begin as a mokumentary, as she teaches a group of mostly white students how to dance by separating movements into easy steps. Her underlying subject is the murky boundary between white appreciation of black culture and white appropriation of it.” –Sampling Hip hop
“Her work is about consciousness-raising. Her primary subjects are race, racism and their links to class and gender. Sugar coating isn’t her style.” –A canvas of concerns
“The artist uses the fact that both her parents were of mixed-race heritage as a strategic point from which to attack essentialist concepts of race itself.” – A Canvas of concerns
“She earnestly uses diagrams and personal demonstrations to instruct students in the how-to’s of popular music and dance, generating lively class participation in the process.” – A canvas of concerns
“Her mission is to reveal racist attitudes and behavior and call them by their right name.”—Canvas
Quotes:
“Education and self-expression is so important, not only for African Americans but for European America. If African Americans can find constructive outlets of their ‘racialized experiences,’ they will be less damaged and less dangerous.” – Mapping Mindsets
“My work doesn’t address any particular audience, or race of audience. Nor does it seek to ‘disturb of enlighten them about forms of injustice.’ It targets particular attitudes through humor, mimicry and/or the use of the grammatical second person; and allows different individual viewers to situate themselves in relation to those attitudes.” – Mapping Mindsets
“Piper’s outsider status was complicated by her light skin and intellect, factors that would inform her work about racism.” – Warhol Illustrates Piper’s Lure
“… Paralleling the conundrum of why something—race, gender—that is not a big deal is a big deal.” –Warhol Illustrates Piper’s Lure
“[It] seems to begin as a mokumentary, as she teaches a group of mostly white students how to dance by separating movements into easy steps. Her underlying subject is the murky boundary between white appreciation of black culture and white appropriation of it.” –Sampling Hip hop
“Her work is about consciousness-raising. Her primary subjects are race, racism and their links to class and gender. Sugar coating isn’t her style.” –A canvas of concerns
“The artist uses the fact that both her parents were of mixed-race heritage as a strategic point from which to attack essentialist concepts of race itself.” – A Canvas of concerns
“She earnestly uses diagrams and personal demonstrations to instruct students in the how-to’s of popular music and dance, generating lively class participation in the process.” – A canvas of concerns
“Her mission is to reveal racist attitudes and behavior and call them by their right name.”—Canvas
Wednesday, October 31, 2007
Mary Jane Jacob in relation to Miwon Kwan
“These artists eschew the constricting limitations not only of artistic conventions but of the traditional institutional spaces of their production, such as studios, museums and galleries.” -- page 106-107
Mary Jane Jacob focussed the beginning part of her lecture on “making space.” This space she refers to deals with the location and setting of the art work. It contributes to the viewer’s overall art experience, which Jacob finds particularly thought-provoking. She asserted that museums are considered conventional spaces, or more specifically, gatekeepers. Since an art piece or installation resides in such an institutional space, a museum’s own identity is thus reflected in the art it features. According to Jacob, museums reflect cultural status, and a museum’s own interests might be placed before those of the art piece. This factor causes one to ask, “who is the show actually for?” One of Jacob’s primary goals is to eliminate the middle man-- in this case-- the museum. By doing so, there is no buffer zone between art and the people; there is pure, natural interaction between the two entities. Both the viewer and the artist must start with art at the raw, forcing both parties to find a safe space for the art. The people and the art must coexist and make conversational with one another for such dialogic art to be successful.
Mary Jane Jacob focussed the beginning part of her lecture on “making space.” This space she refers to deals with the location and setting of the art work. It contributes to the viewer’s overall art experience, which Jacob finds particularly thought-provoking. She asserted that museums are considered conventional spaces, or more specifically, gatekeepers. Since an art piece or installation resides in such an institutional space, a museum’s own identity is thus reflected in the art it features. According to Jacob, museums reflect cultural status, and a museum’s own interests might be placed before those of the art piece. This factor causes one to ask, “who is the show actually for?” One of Jacob’s primary goals is to eliminate the middle man-- in this case-- the museum. By doing so, there is no buffer zone between art and the people; there is pure, natural interaction between the two entities. Both the viewer and the artist must start with art at the raw, forcing both parties to find a safe space for the art. The people and the art must coexist and make conversational with one another for such dialogic art to be successful.
Tuesday, October 30, 2007
Adrian Piper's Funk Lessons
Sources:
Title: Mapping Mindsets
from Art Papers, Volume 28, no. 5 (sept/oct 2004)
Title: Adrian Piper: A canvas of concerns- Race, Racism and Class
from The New York Times
Title: Adrian Piper
from Artforum International, Oct. 2002
Title: Adrian Piper
from New York Times, Jan. 12, 2002
Title: Warhol Museum illustrates Piper's lure
from Pittsburgh Post- Gazette, Apr. 26, 2001
Title: A traveling exhibit on the 30-year old youth culture explosion lends street cred to the mainstream art world
from Star Tribune, July 12, 2002
Questions:
1. In what ways can modern day citizens of all colors and ethnicities use Piper's Funk Lessons to bridge racial gaps still prevelant in our culture today?
2. How do members of society act in terms of responding to Piper's project (and those like it) that either advance or hinder her mission to enhance inter-racial communication?
Title: Mapping Mindsets
from Art Papers, Volume 28, no. 5 (sept/oct 2004)
Title: Adrian Piper: A canvas of concerns- Race, Racism and Class
from The New York Times
Title: Adrian Piper
from Artforum International, Oct. 2002
Title: Adrian Piper
from New York Times, Jan. 12, 2002
Title: Warhol Museum illustrates Piper's lure
from Pittsburgh Post- Gazette, Apr. 26, 2001
Title: A traveling exhibit on the 30-year old youth culture explosion lends street cred to the mainstream art world
from Star Tribune, July 12, 2002
Questions:
1. In what ways can modern day citizens of all colors and ethnicities use Piper's Funk Lessons to bridge racial gaps still prevelant in our culture today?
2. How do members of society act in terms of responding to Piper's project (and those like it) that either advance or hinder her mission to enhance inter-racial communication?
Friday, October 26, 2007
A close look at the bottom surface of the lake near the shore.
A goose skims the waters of Onondaga Lake on a brisk, drizzly fall day.
This is a glance down the shoreline of Onondaga Lake from the historic park. This is
certainly a majestic image to capture the beauty of upstate New York in autumn; however,
it contrasts greatly with the dark horrors that lie beneath the surface of the lake.
Sunday, October 21, 2007
Video and Resistance
This article primarily warns viewers against accepting documentary film as truth. While documentaries act as a means of communication, a specific narration created the by the documentary creators eliminates the opportunity for personal interpretation. Documentaries create a causality between each frame and the succeeding one, thereby legitimizing the film while making it interesting for the viewers. This creates a pre-packaged, biased view, falsifying what the piece deems as “absolute truth.” In comparison to Sontag, this article views documentary as a manipulative form of art, whereas Sontag believes photography inaccurately replaces reality through a warped, subjective lens.
Sunday, October 14, 2007
Funding Onondaga Lake Clean-up
As a result of factories, mines, military bases and other pollutant sources of the like, a federal program called Superfund was developed in 1980 as a program that would pay nearly $1 billion per year towards cleaning toxic areas of the environment. Now, Superfund is bankrupt. Although Superfund intends to continue in its mission to clean-up toxic areas, the question remains as to how the federal program can afford these extensive projects. Thus, when Onondaga Lake, the nation’s most polluted lake, was added to the Superfund priority list in 1994 (Landers 65), the $380 million, 15-year plan to clean the water was deemed “the most expensive public works project in county history” (Weiner B1). With the Superfund trust now empty, the burden has been placed upon taxpayers instead of the companies at fault. Yet with most of the attention devoted to determining who will actually fund this project, scientists have carelessly misinterpreted data about the lake and its toxins. This illustrates that in order for the lake to be successfully cleaned, the government must decide exactly who will be responsible for the bill so that de-polluting Onondaga Lake can be its first, and only, priority. Moreover, the financial obligation should not be placed upon the taxpayers of Onondaga County, as they could not prevent the factories’ pollution; instead, the factories and other lead pollutant contributors should take responsibility and pay the remainder of the bill of which Superfund cannot afford.
According to Reporter Mark Weiner of the Post Standard, flawed scientists’ reviews of the lake pose long-term risks, one being a multiple decade long battle trying to de-pollute Onodaga Lake (Weiner B1). Because the analysis until 2001 was flawed, Superfund scientists needed to re-evaluate the lake’s progress and status. More specifically, scientists over-estimated the amount of phosphorous entering the lake (Weiner B1), thus also miscalculating the amount of phosphorous entering from the sewage treatment plant. Simply, phosphorous, when present in water, promotes the growth of algae (Weiner B1), causing a poor odor and uninhabitable environment for fish and other creatures. Because phosphorous is one of the lead causes of the pollution, one wonders how such a necessary detail could be overlooked by professionals. Although the scientists themselves are not responsible for funding the project, perhaps their superiors were too busy focussing on the financial aspect as opposed to insuring scientific data was correct. Mistaking the phosphorous amounts in Onondaga Lake will ironically cost Superfund even more money, as scientists must return to the beginning and re-evaluate their calculations. Had Superfund and the federal government been more aware of the hands-on research being conducted on a daily basis, perhaps their would be no flawed records.
One step towards eliminating this confusion includes deciding exactly who will pay for Superfund projects. In the past, the source of such pollution was required to finance these clean-up sites. Recently, however, owners of the companies polluting the environment have gone bankrupt and therefore, cannot afford to pay for the massive clean-up. With the Superfund trust continually shrinking, the burden has been placed upon taxpayers of the given community. However, taxpayers, who essentially are not at fault for such polluted areas, should not have to bare the burden and pay out-of-pocket for a factory’s environmentally harmful actions. According to Onondaga County, the main contributers to the lake’s pollution include the Solvay Process Company Facility and its succeeder Honeywell Incorporated. Even though the Syracuse Metropolitan Wastewater Plant (Metro) was created to upgrade the sewage treatment, the lake “still does not meet water quality standards” (Onondaga Lake Partnership). In fact, Metro “is currently the lake’s main phosphorous and ammonia contributor” (Onondaga Lake Partnership). Once again, the Onondaga Lake clean-up makes little, if any, progress. Metro, similar to the scientists, aims to fight against pollution, yet ironically makes the situation worse. Moreover, with the project now currently estimated at $380 million, it makes little sense that Metro should deflect the payments onto taxpayers. There is no logical reason for taxpayers to finance the clean-up project when Metro, unlike other factories in the past, is not bankrupt. Moreover, since it is not the fault of Onondaga residents, it is not their responsibility to spend their hard-earned money on factories’ careless disposal of pollutants into a water source.
Some may argue that the lake is part of Onondaga County, therefore county residents are decidedly responsible for the clean-up, despite whether they were the source of the lake’s toxins. However, by defaulting payments to taxpayers, the county hurts its own real estate value. For one, contractors and other urban developers, who would bring more housing (and therefore revenue) to the area, are discouraged from building in Onondaga County. Primarily, they are fearful that as taxpayers, they will need to contribute to the funds necessary to clean the lake. Thus, such a high property tax makes developers less willing to invest in land owned by Onondaga County. Those who believe taxpayers should finance the project might argue that Metro and Honeywell should not hold the sole responsibility for cleaning the water source, as they were not the only causes of such pollution. Moreover, these companies have no incentive to clean the lake, while the taxpayers are the primary advocates who will benefit from the clean-up. This perspective fails to recognize that Metro and Honeywell’s personal interest play no factor in this debate; Onondaga residents ultimately had no control over toxins entering the lake, while these factories could have prevented phosphorous contamination.
Even though taxpayers are inevitably more concerned about the pollution in comparison to the factories, residents of Onondaga County should not fund Onondaga Lake’s clean-up project. Because there is no clear benefactor, confusion inevitably erupts, leading to scientific miscalculations that cost even more money than originally expected. The federal government should appoint the party who will ultimately join Superfund in financing the de-pollution of the lake so that a more efficient clean-up process can get underway. With a secure benefactor in place, Onondaga Lake will quickly restore itself so it is no longer considered the most polluted lake in the county.
According to Reporter Mark Weiner of the Post Standard, flawed scientists’ reviews of the lake pose long-term risks, one being a multiple decade long battle trying to de-pollute Onodaga Lake (Weiner B1). Because the analysis until 2001 was flawed, Superfund scientists needed to re-evaluate the lake’s progress and status. More specifically, scientists over-estimated the amount of phosphorous entering the lake (Weiner B1), thus also miscalculating the amount of phosphorous entering from the sewage treatment plant. Simply, phosphorous, when present in water, promotes the growth of algae (Weiner B1), causing a poor odor and uninhabitable environment for fish and other creatures. Because phosphorous is one of the lead causes of the pollution, one wonders how such a necessary detail could be overlooked by professionals. Although the scientists themselves are not responsible for funding the project, perhaps their superiors were too busy focussing on the financial aspect as opposed to insuring scientific data was correct. Mistaking the phosphorous amounts in Onondaga Lake will ironically cost Superfund even more money, as scientists must return to the beginning and re-evaluate their calculations. Had Superfund and the federal government been more aware of the hands-on research being conducted on a daily basis, perhaps their would be no flawed records.
One step towards eliminating this confusion includes deciding exactly who will pay for Superfund projects. In the past, the source of such pollution was required to finance these clean-up sites. Recently, however, owners of the companies polluting the environment have gone bankrupt and therefore, cannot afford to pay for the massive clean-up. With the Superfund trust continually shrinking, the burden has been placed upon taxpayers of the given community. However, taxpayers, who essentially are not at fault for such polluted areas, should not have to bare the burden and pay out-of-pocket for a factory’s environmentally harmful actions. According to Onondaga County, the main contributers to the lake’s pollution include the Solvay Process Company Facility and its succeeder Honeywell Incorporated. Even though the Syracuse Metropolitan Wastewater Plant (Metro) was created to upgrade the sewage treatment, the lake “still does not meet water quality standards” (Onondaga Lake Partnership). In fact, Metro “is currently the lake’s main phosphorous and ammonia contributor” (Onondaga Lake Partnership). Once again, the Onondaga Lake clean-up makes little, if any, progress. Metro, similar to the scientists, aims to fight against pollution, yet ironically makes the situation worse. Moreover, with the project now currently estimated at $380 million, it makes little sense that Metro should deflect the payments onto taxpayers. There is no logical reason for taxpayers to finance the clean-up project when Metro, unlike other factories in the past, is not bankrupt. Moreover, since it is not the fault of Onondaga residents, it is not their responsibility to spend their hard-earned money on factories’ careless disposal of pollutants into a water source.
Some may argue that the lake is part of Onondaga County, therefore county residents are decidedly responsible for the clean-up, despite whether they were the source of the lake’s toxins. However, by defaulting payments to taxpayers, the county hurts its own real estate value. For one, contractors and other urban developers, who would bring more housing (and therefore revenue) to the area, are discouraged from building in Onondaga County. Primarily, they are fearful that as taxpayers, they will need to contribute to the funds necessary to clean the lake. Thus, such a high property tax makes developers less willing to invest in land owned by Onondaga County. Those who believe taxpayers should finance the project might argue that Metro and Honeywell should not hold the sole responsibility for cleaning the water source, as they were not the only causes of such pollution. Moreover, these companies have no incentive to clean the lake, while the taxpayers are the primary advocates who will benefit from the clean-up. This perspective fails to recognize that Metro and Honeywell’s personal interest play no factor in this debate; Onondaga residents ultimately had no control over toxins entering the lake, while these factories could have prevented phosphorous contamination.
Even though taxpayers are inevitably more concerned about the pollution in comparison to the factories, residents of Onondaga County should not fund Onondaga Lake’s clean-up project. Because there is no clear benefactor, confusion inevitably erupts, leading to scientific miscalculations that cost even more money than originally expected. The federal government should appoint the party who will ultimately join Superfund in financing the de-pollution of the lake so that a more efficient clean-up process can get underway. With a secure benefactor in place, Onondaga Lake will quickly restore itself so it is no longer considered the most polluted lake in the county.
Tuesday, October 2, 2007
CSM Article- Superfund
As a result of factories, mines, military bases and other pollutant sources of the like, a federal program called Superfund was developed in 1980. When originally founded, the program paid nearly $1 billion per year towards cleaning toxic areas of the environment; yet now, Superfund is nearly bankrupt. The number of sites cleaned-up annually has primarily declined because sites are so large and polluted, the cost is too immense. Superfund now questions where it will get its financing from, as in the past, the source of such pollution was required to pay. Recently, however, owners of these companies have gone bankrupt and therefore, cannot afford to pay for the massive clean-up. With the Superfund trust continually shrinking, the burden has been placed upon taxpayers of the given community. Another ill effect of these large projects includes the discouragement of potential urban developers, as when they look into purchasing a piece of polluted land, buyers learn they might carry the burden of paying for the project. Although Superfund intends to continue in its mission to clean-up toxic areas, the question remains as to how the federal program can afford these extensive projects.
Additional Article
Additional Article
Saturday, September 29, 2007
Fear
Sean Quimby stood upright in a tailored black suit, walking firmly to the podium as he was introduced as a librarian scheduled to teach a new class next year on fear at Syracuse University. Though his stature and humor both exuded a marked feeling of confidence, his presentation, entitled “American Phobia: Collecting in the History of Fear,” lacked coherence, absent of the single most important aspect a lecture can have: a thesis. Quimby began the lecture referring to Edvard Munch’s famous piece, “The Scream” with a notable clarity and articulate tongue. The piece, noted for its ability to evoke fear in the viewer, allowed the audience to also experience fear on a very minute level, personalizing the lecture on a small scale. Quimby quickly digressed to the larger, overall concept of fear, simply stating “everyone knows it.” He attributed the almost debilitating emotion to both an emotional and physical origin. In terms of the physical aspect, he noted Charles Darwin as a key scholar who recognized that people along with animals have the innate emotion society deems fear. Quimby comments that “fear is deeply woven into the inner fabric of our landscapes,” which adequately supports Darwin’s theory that man naturally feels such emotion. Fear is in the genetic makeup of each person, something which man and animal alike cannot escape.
Quimby digressed once again to pose the question, “Why are Americans scared of the wrong thing?” He further questioned why Americans are scared of terrorist attacks, plane crashes and cancer, while dying in a car crash is more likely than any of the aforementioned fatalities. He attributed the 9-11 tragedies with solidifying this long term theme of fear in American life. According to Joanna Bourke, author of Fear: A Cultural History, fear is the most pervasive emotion in everyday life. Ultimately, she affirms, there is no “American” way of fear. Interrupting the flow of the lecture, Quimby paused for a moment to share the official Oxford Dictionary’s definition of fear as an emotion of pain or uneasiness causes by a sense of impending danger of by prospect of some evil. Somewhat out of place, Quimby undoubtedly should have provided the audience with this definition at the beginning of the lecture. The definition included no personal findings from the research and provided the audience with a very narrow explanation.
Quimby moved back into the rhythm of the speech, telling the audience that two trends persist in the presence of fear: the “dogged invasion fantasy” and the “gradual emergence of therapeutic culture.” This idea of invasion stems from the American fear of an internal threat, whether being immigrants, communists or terrorists. He relates this to Sacco and Venzetti, two dark skin Italians accused of being communists. This threat of communism snow balls into the Red Scare and Senator Joseph McCarthy who furthered these invasion fantasies. Ultimately, people lack the fundamental ability to differentiate reality from fiction. In terms of the emergence of a reparative community, the goal is to eliminate fear from day to day life, or as Quimby says, “[Cripple] the effects of fear.” Concluding the lecture, Quimby notes that he is especially partial to John Vassos’ theory that fear is ultimately psychotic. A follower of Sigmund Freud, Vassos claims that the root of all fear is selfish, sexual desire, which inevitably leads to materialism.
While the lecture centered around fear as an emotion and ever-prevalent issue in society, Quimby’s speech failed to focus in on a particular aspect of fear that could be exploited and explored. Fear is too broad of a topic, to which he only devoted thirty-six minutes of time. Because his focus was much too general, it felt as an audience member that he just skimmed the surface of such a captivating topic. Looking back, Quimby might have intentionally done this to lure people to his class on this very topic that he will teach in Fall 2008.
Quimby digressed once again to pose the question, “Why are Americans scared of the wrong thing?” He further questioned why Americans are scared of terrorist attacks, plane crashes and cancer, while dying in a car crash is more likely than any of the aforementioned fatalities. He attributed the 9-11 tragedies with solidifying this long term theme of fear in American life. According to Joanna Bourke, author of Fear: A Cultural History, fear is the most pervasive emotion in everyday life. Ultimately, she affirms, there is no “American” way of fear. Interrupting the flow of the lecture, Quimby paused for a moment to share the official Oxford Dictionary’s definition of fear as an emotion of pain or uneasiness causes by a sense of impending danger of by prospect of some evil. Somewhat out of place, Quimby undoubtedly should have provided the audience with this definition at the beginning of the lecture. The definition included no personal findings from the research and provided the audience with a very narrow explanation.
Quimby moved back into the rhythm of the speech, telling the audience that two trends persist in the presence of fear: the “dogged invasion fantasy” and the “gradual emergence of therapeutic culture.” This idea of invasion stems from the American fear of an internal threat, whether being immigrants, communists or terrorists. He relates this to Sacco and Venzetti, two dark skin Italians accused of being communists. This threat of communism snow balls into the Red Scare and Senator Joseph McCarthy who furthered these invasion fantasies. Ultimately, people lack the fundamental ability to differentiate reality from fiction. In terms of the emergence of a reparative community, the goal is to eliminate fear from day to day life, or as Quimby says, “[Cripple] the effects of fear.” Concluding the lecture, Quimby notes that he is especially partial to John Vassos’ theory that fear is ultimately psychotic. A follower of Sigmund Freud, Vassos claims that the root of all fear is selfish, sexual desire, which inevitably leads to materialism.
While the lecture centered around fear as an emotion and ever-prevalent issue in society, Quimby’s speech failed to focus in on a particular aspect of fear that could be exploited and explored. Fear is too broad of a topic, to which he only devoted thirty-six minutes of time. Because his focus was much too general, it felt as an audience member that he just skimmed the surface of such a captivating topic. Looking back, Quimby might have intentionally done this to lure people to his class on this very topic that he will teach in Fall 2008.
Saturday, September 8, 2007
September 9, 2007
How does the Binh Danh exhibit function as a testimony about the Viet Nam war and as a reflection of our current times? How does your impression of this exhibit compare to the views from Sontag?
Bin Danh’s exhibit pays homage to the Vietnam war, ultimately leaving a lasting legacy of pain and suffering on today’s aesthetic world. The photographs are naturally imprinted into the landscape, creating an almost organic account of those lost in the war. According to Danh, the process is an “elemental transmigration,” transforming ordinary leaves into a resurrection of lost souls. In his research, Danh thought about atoms and the concept of matter regenerating itself; for Danh, recognizing that matter never escaped the Earth allowed him to reach a “oneness” with nature, saying “the blood, sweat and urine become part of the landscape.” Every time one breathes, he breathes in the smoke and dust particles still lingering from war. In essence, this faded quality mirrors the faded memories of each fallen man. He uses the organic nature of the leaves and grass to reflect the similarly organic nature of death. While examining Danh’s work, the ambiguity of the grass prints conveys a sense of unity; the viewer’s inability to identify a specific man in these works symbolizes that the featured subjects can be any man-- any son-- lost at war. These pieces are a testament to everyone killed, whether white, black or Asian. As a reflection of our current times, these pieces try to de-emphasize the importance of the individual and instead, allow the viewer to feel the pain of every fallen man. In Danh’s speech reflecting upon his life and his artwork, he said that Americans, and society as a whole, often overlook death, not wanting to experience its pain. His creations counter this trend and force each person to look inside themselves and how the war affected the greater community. The exhibit has an even greater affect because it is reminiscent of the war being fought in Iraq, some even calling this war a “modern Vietnam.”
In Susan Sontag’s “The Image World,” she writes, “A photograph is not only an image..., an interpretation of the real; it is also a trace, something directly stenciled off the real, like a footprint or a death mask” (Pg. 350). Relating this quote to Danh’s exhibit, both Sontag and Danh believe photography extends past the black and white shades imprinted onto a paper, or for Danh, a leaf or blade of grass. Danh uses these organic materials in conjunction with photography because the images erected from Vietnam act just as a “footprint” from the past. When one imagines a footprint in the sand, he sees a specific design, a print that while unique, is universally classified as just a footprint. Like Danh’s works, his images are imprinted into the landscape of the natural earth; and, similar to the footprint, while every fallen man was unique, he ultimately represents a larger being. According to Sontag, a photograph confirms that something existed. Danh uses similar theology while creating his artwork, as he collects bona-fide artifacts and pictures used in his final product. Sontag writes, “And like all credible forms of lust, [photography] can not be satisfied” (Pg. 367). While listening to Danh’s explanation as to the meaning and motives behind his work, the audience understands that his craving for more artifacts will never cease to exist. Even though an exhibit shows at Lightwork, this is by no means an end to Danh’s aspirations that will likely continue through the rest of his artistic career. Both Danh and Sontag understand the importance of photography as an art form, for as Danh explores Vietnam through all different angles of this media, Sontag affirms that photography is merely “note taking on potentially everything in the world, from every possible angle” (Pg. 364).
Bin Danh’s exhibit pays homage to the Vietnam war, ultimately leaving a lasting legacy of pain and suffering on today’s aesthetic world. The photographs are naturally imprinted into the landscape, creating an almost organic account of those lost in the war. According to Danh, the process is an “elemental transmigration,” transforming ordinary leaves into a resurrection of lost souls. In his research, Danh thought about atoms and the concept of matter regenerating itself; for Danh, recognizing that matter never escaped the Earth allowed him to reach a “oneness” with nature, saying “the blood, sweat and urine become part of the landscape.” Every time one breathes, he breathes in the smoke and dust particles still lingering from war. In essence, this faded quality mirrors the faded memories of each fallen man. He uses the organic nature of the leaves and grass to reflect the similarly organic nature of death. While examining Danh’s work, the ambiguity of the grass prints conveys a sense of unity; the viewer’s inability to identify a specific man in these works symbolizes that the featured subjects can be any man-- any son-- lost at war. These pieces are a testament to everyone killed, whether white, black or Asian. As a reflection of our current times, these pieces try to de-emphasize the importance of the individual and instead, allow the viewer to feel the pain of every fallen man. In Danh’s speech reflecting upon his life and his artwork, he said that Americans, and society as a whole, often overlook death, not wanting to experience its pain. His creations counter this trend and force each person to look inside themselves and how the war affected the greater community. The exhibit has an even greater affect because it is reminiscent of the war being fought in Iraq, some even calling this war a “modern Vietnam.”
In Susan Sontag’s “The Image World,” she writes, “A photograph is not only an image..., an interpretation of the real; it is also a trace, something directly stenciled off the real, like a footprint or a death mask” (Pg. 350). Relating this quote to Danh’s exhibit, both Sontag and Danh believe photography extends past the black and white shades imprinted onto a paper, or for Danh, a leaf or blade of grass. Danh uses these organic materials in conjunction with photography because the images erected from Vietnam act just as a “footprint” from the past. When one imagines a footprint in the sand, he sees a specific design, a print that while unique, is universally classified as just a footprint. Like Danh’s works, his images are imprinted into the landscape of the natural earth; and, similar to the footprint, while every fallen man was unique, he ultimately represents a larger being. According to Sontag, a photograph confirms that something existed. Danh uses similar theology while creating his artwork, as he collects bona-fide artifacts and pictures used in his final product. Sontag writes, “And like all credible forms of lust, [photography] can not be satisfied” (Pg. 367). While listening to Danh’s explanation as to the meaning and motives behind his work, the audience understands that his craving for more artifacts will never cease to exist. Even though an exhibit shows at Lightwork, this is by no means an end to Danh’s aspirations that will likely continue through the rest of his artistic career. Both Danh and Sontag understand the importance of photography as an art form, for as Danh explores Vietnam through all different angles of this media, Sontag affirms that photography is merely “note taking on potentially everything in the world, from every possible angle” (Pg. 364).
Monday, September 3, 2007
September 3, 2007
What is art?
Art is any form of creative expression that evokes an emotional response in either the viewer, the artist or both, whether being sculpture, painting, literature, photography or another medium of the like.
The Andy Warhol Museum in Pittsburgh, Pennsylvania captures Warhol’s finest art pieces, affirming his position in the modern art world, whether being forty years ago or today. After taking and art history class in high school, the Warhol Museum ranked high on my itinerary of sites to visit while in Pittsburgh last spring. Each of Warhol’s pieces hung with prestige, yet one of his famous series of screen prints “Shoes” magnetically drew me into the piece. The print’s black base melted into the distance, as the diamond dust hypnotically removed my conscious mind from the very place I stood. Unknowingly, I spent approximately five minutes merely standing in what felt like the twilight zone. Mesmerized by the glitter particles, which seemed to jump of the print and surround my entire body, I unconsciously planted my feet, refusing to look away, afraid that this magical effect would disappear. Perhaps what most intrigued me was that I felt part of this painting. Even Baroque art, which characteristically engages and participates with the viewer, never affected me as did this Warhol piece. Simply standing in front of this screen print, the entire world evaporated, leaving only me and the artwork in a seemingly endless tunnel of nothing. While unsure of Warhol’s original intention for this print, it appeared very commercial, maybe an advertisement for a company. However, based on my previous knowledge of Warhol, I believe his work provides the audience with a different viewing lens, which in turn forces the viewer to respond to average images in different way. Such tactics range from alternating color palettes to repetition of the same, humdrum object. Thus, Warhol was successful in his attempt for the audience to look at a mundane object, such as shoes, and experience an entirely new emotion.
Discuss de Duve’s essay in relation to my definition.
De Duve’s central argument in “Art was a Proper Name” concludes that art essentially has no definition. Instead, the idea of art snowballs into several other definitions based upon one’s own feelings about the particular subject. De Duve proclaims that every piece of art builds upon a foundation, changing and evolving the definition of art into something new. As art renews itself, one struggles even more to set certain boundaries. De Duve uses Marcel Duchamp’s The Fountain to prove that art is ultimately what one deems art to be; what essentially matters is what art means to the viewer. He questions the undeserved disparity between Duchamp’s urinal the famous marble Aphrodite. De Duve also affirms that art must evoke an emotion already present within the viewer. One’s identity drives one’s personal understanding of art as a whole. However, while he believes that everyone loves art to some extent, “No one falls in love with Art in general” (31). Thus, this subjective view as to what qualifies as art allows everyone to be somewhat correct in his own definition.
Art is any form of creative expression that evokes an emotional response in either the viewer, the artist or both, whether being sculpture, painting, literature, photography or another medium of the like.
The Andy Warhol Museum in Pittsburgh, Pennsylvania captures Warhol’s finest art pieces, affirming his position in the modern art world, whether being forty years ago or today. After taking and art history class in high school, the Warhol Museum ranked high on my itinerary of sites to visit while in Pittsburgh last spring. Each of Warhol’s pieces hung with prestige, yet one of his famous series of screen prints “Shoes” magnetically drew me into the piece. The print’s black base melted into the distance, as the diamond dust hypnotically removed my conscious mind from the very place I stood. Unknowingly, I spent approximately five minutes merely standing in what felt like the twilight zone. Mesmerized by the glitter particles, which seemed to jump of the print and surround my entire body, I unconsciously planted my feet, refusing to look away, afraid that this magical effect would disappear. Perhaps what most intrigued me was that I felt part of this painting. Even Baroque art, which characteristically engages and participates with the viewer, never affected me as did this Warhol piece. Simply standing in front of this screen print, the entire world evaporated, leaving only me and the artwork in a seemingly endless tunnel of nothing. While unsure of Warhol’s original intention for this print, it appeared very commercial, maybe an advertisement for a company. However, based on my previous knowledge of Warhol, I believe his work provides the audience with a different viewing lens, which in turn forces the viewer to respond to average images in different way. Such tactics range from alternating color palettes to repetition of the same, humdrum object. Thus, Warhol was successful in his attempt for the audience to look at a mundane object, such as shoes, and experience an entirely new emotion.
Discuss de Duve’s essay in relation to my definition.
De Duve’s central argument in “Art was a Proper Name” concludes that art essentially has no definition. Instead, the idea of art snowballs into several other definitions based upon one’s own feelings about the particular subject. De Duve proclaims that every piece of art builds upon a foundation, changing and evolving the definition of art into something new. As art renews itself, one struggles even more to set certain boundaries. De Duve uses Marcel Duchamp’s The Fountain to prove that art is ultimately what one deems art to be; what essentially matters is what art means to the viewer. He questions the undeserved disparity between Duchamp’s urinal the famous marble Aphrodite. De Duve also affirms that art must evoke an emotion already present within the viewer. One’s identity drives one’s personal understanding of art as a whole. However, while he believes that everyone loves art to some extent, “No one falls in love with Art in general” (31). Thus, this subjective view as to what qualifies as art allows everyone to be somewhat correct in his own definition.
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