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.
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.
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
Subscribe to:
Posts (Atom)