To-Do List and Project Proposal: Group Authorized

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.

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.

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.

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.

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

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.

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?