A number of collaborative artists are discussed in these chapters-- for each one (listed below), please pick out and share one quote/section of the text that you found most interesting or thought-provoking about that person's work, or about your own thought process for this project.
Share your quotes and observations as a response to this blog entry. You may need to sign in or create a google account to do this.
To make things quicker for you, you can copy and paste the following list of artists and add your quote to it: this is the order they are discussed in the readings and you must take at least one quote from each section of the reading:
DO THIS BEFORE CLASS ON THURSDAY 4/9. This is worth 10 points, and replaces having to write a paper. We will share/discuss our quotes on Thursday.
Chapter 7:
1. Sue Coe
2. something from the introduction paragraphs between Coe and Wodiczko
3. Krzysztof Wodiczko
4. John Malpede/LAPD
5. Tim Rollins/KOS
6. Suzanne Lacy
7. Jonathan Borofsky and Gary Glassman
Chapter 8:
1. something from the introduction paragraphs
2. Dominique Mazeaud
3. Allan McCollum
4. something from the closing paragraphs about art critic Greenberg and the masculine/feminine in modern art
9 comments:
Angi Welsch ------- blog response
1. Sue Coe
"The vision is so oppressive that it is hard to find even the smallest opportunity for opening. From such a vision, how do you build the sane ideogram? The question for me at this time is whether artists can be a positive force in transforming the paradigm of alienation."
i like the authors response to her own question, she talks about how relationships are the key insight of ecology. She talks about how the artist is supposed to be emotionally distanced from his or her work, only focused on the image. collaboration art seems to defy this principle. it incorporates an interaction between the art and subject in a way where emotions and feelings cant be ignored.
2. something from the introduction paragraphs between Coe and Wodiczko
"in order to change the social ills that we see Levin claims we will first need to change our vision"
"vision that is truly engaged with the world is not purely cognitive or purely aesthetic, but is opened up to teh body as a whole and must issue forth in social practices that "take to heart" what is seen."
3. Krzysztof Wodiczko
This is so interesting. I love the unique collaboration that took place between Wodiczko and the homeless people, "they responded to my intial drawing - we designed according to their needs."
I love that Wodiczko chose the most unlikely people to collaborate with in a way that was beneficial for both parties.
4. John Malpede/LAPD
I really like Malpede's process. His performances seem like a series of mini happening that are out of control and chaotic but in a way that reflects the heart of the issue. The art is the chaos that is created by people that have been ignored and rejected by the chaos of everyday life.
5. Tim Rollins/KOS
"Rollins makes it clear that his interest is not in establishing a painting team but in reaching new kids and helping them realize their potential. His goal is to use some of their profits to start his own multicultural art school in the south bronx"
6. Suzanne Lacy
"I think that sometimes society forgets that older women have a lot of knowledge can be helpful - we not being brought out well on television at all,... we're no long sitting home in the rocking chair and knitting"
7. Jonathan Borofsky and Gary Glassman
"Listening to others - getting beyond merely expressing ourselves - is the distinguishing feature of art in the emphatic mode. When we attend to other peoples plight, enter into their emotions, make their conditions our won, identification occurs."
Chapter 8:
1. something from the introduction paragraphs
"these same goals of dominance and mastery which are crucial to our societys notion o success, have also become the formula for global destruction - it is a logic that pervades every experience in contemporary culture"
2. Dominique Mazeaud
"What Mazeaud's project forces us to see is the power operating in our cognitive and institutional structures. Non of us is fully awkae to how much the masculine pursuit of power, production and prestige, and accomplishment impoverishes us and dries the feminie values out of our lives"
3. Allan McCollum
"Through overproduction and excess the system overextends itself, accumulates, sprawls, slide into hypertrophy and obliterates its own purposes leaves behind its own goals and and accelerates in a vacuum."
4. something from the closing paragraphs about art critic Greenberg and the masculine/feminine in modern art
"we have to connect to the repressed finimine because the power that drives the patriacrchy the power behind our social addictions has to be transformed....as Woodman says there has to be a counterbalance to all that frenzy, ambition, competition and materialism. It needs to be said that both men and women become trapped in power drives when womean see themselves from the perspective of patriachy they can often be worse patriarchs than men. "
----------------------------c'est fini.----
Taryn Randall:
1. Coe
"I left her show with a strong impression of the ills of the world," Giffard wrote, "and overwhelmed and frustrated by the enormity of the situation, but no closer to any idea on how to help. If anything, her art created such despondency that it almost suggested the futility of any positive efforts."
2. Between Coe and Wodiczko
"In the modern world, we tend to think of art exclusively in terms of a visual paradigm; modern aesthetics is part of a whole cultural project of objectification that channels perception into modes that are detached and abstract, forcing us to remain in a modality where our gaze is that of the detached observer."
3. Krzysztof Wodiczko
"the projections leave behind a kind of moral echo that would not be available to a permanent installation: their appearance and disappearance make them more haunting, as they seem to emanate from the building themselves, like a secretion, or repressed dream-memory, f the stones."
4. John Malpede/LAPD
"Tired of making art for the purpose of getting reviews and building up his resume....he became the founder and artistic director of a theater group composed of street people from Skid Row....'I didn't' have enough responsibilities, emotional involvements, concerns about others.."
5.Tim Rollins/KOS
"I"m a flag waver,"he says. "What we do is not valuable unless other people start doing it in their communities, in their own way....Everything we do is to build something else-it isn't going into Jacuzzis for out loft."
6. Suzanne Lacy
"The cultivation of listening," writes Levin in The Listening Self, "is imperative if our society is to overcome its traditional system of domination. It is imperative, if an historically new kind of self is ever to emerge from the traditional dualism...Our listening needs to learn receptiveness, responsiveness, and care.
7.Jonathan Borofsky and Gary Glassman
"Listening to others - getting beyond merely expressing ourselves - is the distinguishing feature of art in the emphatic mode. When we attend to other peoples plight, enter into their emotions, make their conditions our won, identification occurs."
Chaper 8
1. Intro paragraphs
"In modern society, artists see themselves as quintessential free agents, pursuing their own ends."
2.Dominique Mazeaud
"Mazeaud's project is equally startling because it isn't based on a transgression of the aesthetic codes at all. It comes from another integrating myth entirely: compassion."
3. Allan McCollum
"Our whole cutlure's co-optation into the growth economy and the codes of consumption. The context of no-context."
4. Last Paragraph
"In thinking through such possibilities," he adds, "we shall find that our visionary being is at stake. Our destiny may depend on our response to the historical challenge."
1. Sue Coe
"If anything, her art created such despondency that it almost suggested the futility of any positive efforts."
2. something from the introduction paragraphs between Coe and Wodiczko
"Lived reality is repressed by the disembodied eye and transformed into spectacle."
3. Krzysztof Wodiczko
"You can always recognize new-comers in New York," says Wodiczko, "because they actually look at the homeless."
I think this quote is important because this is what Wodiczko's piece is focusing the viewer to do.
4. John Malpede/LAPD
"Community, as it is being enacted here, is the ability to touch others in ways that matter to them-to give them a voice."
5. Tim Rollins/KOS
"I'm a flag waver,"he says, "What we do is not valuable unless other people start doing it in their communities, in heir own way..,.everything we do is to build something else-it isn't going into Jacuzzis for our loft."
6. Suzanne Lacy
"The audience is important for Lacy, not so much in terms of number, but in the degree of their engagement and communication."
7. Jonathan Borofsky and Gary Glassman
"Parts of me feel like a prisoner as long as others aren't free."
1. something from the introduction paragraphs
"Most of us "see" art as we have been taught, through the language and concepts of Cartesian aesthetics, a tradition in which individuals and individual art works are the basic element."
2. Dominique Mazeaud
"What Mazeaud's project forces us to see is the power operating in our cognitive and institutional structures. Non of us is fully awake to how much the masculine pursuit of power, production and prestige, and accomplishment impoverishes us and dries the feminine values out of our lives."
3. Allan McCollum
"Vision premised on empathy rather than on mastery is released from its reifying tendencies and is cognitively geared to the achievement of very different goals."
4. something from the closing paragraphs about art critic Greenberg and the masculine/feminine in modern art
"In thinking through such possibilities," he adds, "we shall find that our visionary being is at sake. Our destiny may depend on our response to the historical challenge."
Chapter 7
1. Sue Coe
“...overwhelmed and frustrated by the enormity of the situation, but no closer to any idea on how to help.If anything, her art created such despondency that it almost suggested the futility of any positive efforts...it has been difficult for individuals to feel responsible for conditions in the world over which they feel they have no control.”
2. something from the introduction paragraphs between Coe and Wodiczko
“We need an art that transcends the distanced formality of aesthetics and dares to respond to the cries of the world.”
3. Krzysztof Wodiczko
“It is not Wodiczko’s intentiont hat the vehicles be mass produced, as a way of involuntarily institutionalizing homelessness.” – if mass production is institutionalizing, then we are all way more institutionalized than we thought. Wodiczko says that he wants his homeless vehicle to serve as a practical object and help close the gap of communication between the middle class and the homeless, and how is that going to happen if only one person gets to use the Homeless Vehicle at a time? Won’t that create dissention among the homeless community as well?
4. John Malpede/LAPD
“Gradually, the monologues changed into dialogues between people relating to each other about issues. ‘We didn’t know it, but doing performances in a group turned out to be exactly what isolated and mistrustful people need. It has helped them develop skills for relating to others, like how to argue, for example. In the beginning people didn’t know how to relate to each other at all—which reflected the reality of Skid Row, where things happen on top of each other, not in an organized way.’”
5. Tim Rollins/KOS
“I would read to them...”
“When did it happen,” he says, “that working with ids became a saintly, do-gooder thing? It’s a basic duty of society. The reason that kids are running wild is that noe one is there for them.”
6. Suzanne Lacy
“For Lacy, the ‘success’ of the work is measured by whether or not the process of networking among the women continues once the performance itself is finished.”
7. Jonathan Borofsky and Gary Glassman
“[The prisoners] tell about how much they miss real living, and about how the system breaks you down—because it is designed to break you down rather than to help you. What you se with the prisoners, according to Borofsky, is that they’ve never been shown a better way.”
Chapter 8
1. something from the introduction paragraphs
“These same goals of dominance and mastery, which are crucial to our society’s notion of success, have also become the formula for global destruction—it is a logic that pervades every experience in contemporary culture.”
2. Dominique Mazeaud
“This feeling function—the reawakening of our capacity to be compassionate—is crucial to finding our way out of the evolutionary mess we’re in.”
3. Allan McCollum
“The bottom line is that McCollum’s ‘fake’ paintings pass more easily as ‘real’ art than Mazeaud’s project of picking up the garbage, because McCollum still retains a relationship, although a negative one, with the tradition of Cartesian aesthetics, which rests on the subject-object dualism.”
4. something from the closing paragraphs about art critic Greenberg and the masculine/feminine in modern art
“Life, in Hartigan’s view, was clearly a finite quantity that one “used up” rather than a process of growth.”
“Our destiny may depend on our response to the historical challenge.”
“If modernism developed around the notions of radical autonomy and art for art’s sake, the politics of a connective aesthetics is very different.”
Dannielle Legaspi------------
(1). Sue Coe
"In the modern world, we tend to think of art exclusively in terms of a visual paradigm; modern aesthetics is part of a whole cultural project of objectification that channels perception into modes that are detached and abstract, forcing us to remain in a modality where our gaze is that of the detached observer."
I like Sue Coe a lot! I think it is interesting how right after this quote there was a quote that said "Art evokes aesthetic, not real, emotions." I think Coe is right in her perception and so is the person that rebutted her vision. I think that art can be more than aesthetic and I can see Coe's collaboration with society through truth in her work.
(2)
"The vision we need to develop is not one that observes and reports, that objectifies and enframes, but one released from these reifying tendencies and rooted instead in a responsiveness that ultimately expresses itself in action."
I see eye to eye with this quote because it parallels why I do the art i do. I think that thought provoking art does demand a response.
(3). Wodiczko
"You can always recognize new comers in New York."
This quote is so true. Just with the work that they did with the homeless makes us wonder why is it that we only see the ill wills of the world outside of our own. I think that it was great that this artists portrays that!
Dustin Giallanza:
1. Coe "The question for me at this time is whether artist can be a positive force in transforming the paradigm of alienation.”
2. Between Coe and Wodiczko "The arstist is supposed to be emotionally distanced form the event he is portraying.” And “Art evokes aesthetic, not real, emotions."
3. Krzysztof Wodiczko "You can always recognize new comers in New York, decause thy actually look at the homeless."
4. John Malpede/LAPD “Many of our cases have been won by direct testimony form the homeless. My Job has been to go around and get those statements. I think of it a bit like an art form-collection improvisational stories form, maybe, a hundred of so people.”
5.Tim Rollins/KOS "I’m a flag waver. What we do is not valuable unless other people start doing it in their communities, in their own way…Everything we do is to build something else-it isn’t going into Jacuzzis for our loft.”
6. Suzanne Lacy "the audience is important for Lacy not so much in terms of number, but in the degree of their engagement and communication.”
7.Jonathan Borofsky and Gary Glassman "I use my art as a tool to work out what’s going on in my life. I’m working with an inner politices here, and what’s going on in these prisons has to be worked out in my life too…What can I learn form these people?
8 1. Intro paragraphs "Cultural myths do not die easily, especially when our personal commitment to them is so strong that it is difficult even to entertain explanations or possibilities based upon different premises.”
2.Dominique Mazeaud "We have so little experience with making art on this basis (compassion) that we are not likely to fell at ease with it. In fact, we actively avoid it in our art in the fast lane, based on chronic hyperactivity and jock-eying for positional importance."
3. Allan McCollum "Vision premised on empathy rather than on mastery is released form its reifying tendencies and is cognitively geared to the achievement of very different goals."
4. Last Paragraph "Our destiny may depend on our response to the historical challenge."
Josiah Pham
Chapter 7:
1. Sue Coe
“By now we are all disenchanted enough to know that no work of art, however much it may fortify the spirit or nourish the eye and mind, has the slightest power to save a life.”
2. something from the introduction paragraphs between Coe and Wodiczko
“Instead of shutting the homeless out of view, it heightens their visibility and legitimizes their otherwise unrecognized status as members of the urban community.
3. Krzysztof Wodiczko
“The projections are catalysts for dialogue with the public about certain social conditions.”
4. John Malpede/LAPD
Its interesting to know that many number of problems among homeless people stem from the fact that they do not know how to act in normal society and the LAPD program helps them do that.
5. Tim Rollins/KOS
“The kids got into that---they started looking at different typefaces to represent the ‘A’.”
6. Suzanne Lacy
It is kind of sad to see how our society treats our elders whereas before elders were treated as sources of experience and were respected they are now forgotten and pushed awa.
7. Jonathan Borofsky and Gary Glassman
“They tell about how much they miss real living, and about how the system breaks you down—because it designed to break you down rather than help you.”
Chapter 8:
1. something from the introduction paragraphs
“Bullshit!”
2. Dominique Mazeaud
“Artists no longer worry about moving art history forward”
Linnea LeBreton
1. Sue Coe
“Sue Coe’s paintings is a call to heal, but it is a call that Kantian Cartesian aesthetics can never answer. For that, we need an art that transcends the distanced formality of aesthetics and dares to respond to the cries of the world “ (100).
2. something from the introduction paragraphs between Coe and Wodiczko:
“The Vision we need to develop is not one that observes and reports, the objectifies and enframes, but one released from these reifying tendencies and rooted instead in a responsiveness that ultimately expresses itself in action.”
3. Krzyszof Wodiczko
“It is important to Wodiczko that proposed design not be put forward as a finished product but as a starting point for further collaboration between the designers and potential users.”
“A designed object addresses their needs as well. Because the middle class is trained to se the word in terms of designed objects, they begin to consider ‘what is the object?’ and ‘who is it for?’ This gives hope for communication, which is my aim.”
4. John Malpede/ LAPD
“When art is rooted in the responsive heart, rather than the disembodies eye, it may even come to be seen, not as the solitary process it has been since the Renaissance, but as something we do with others.”
5. Tim Rollins/ Kos
“In the context of a sustaining environment, within a network of social and mutual respect, things can be learned, close working relationships are formed, shared goals can develop; and I think it is not farfetched to sat that in the journey from powerlessness to authentic empowerment, lives may even be saved.”
6. Suzanne Lacy
“The Success of the work is measured by whether or not the process of networking among the women continues once the performance itself is finished.”
7. Jonathan Borofsky and Gary Glassman
“When we attend to other people’s plight, enter into their emotions, make their conditions our own, identification occurs. Then we cannot remain neutral or detached observers: responsibility is felt and we are summoned to action.”
Chapter 8:
1.Something from the introduction paragraphs
“Art that is totally the product of the way of thinking of this society is unlikely to reorient it in any way. Our only hope is to construct a very different sort of integrating mythology.”
2.Dominique Mazeaud
“This feeling function—the reawakening of our capacity to be compassionate—is crucial to finding our way out of the evolutionary mess we’re in.”
3. Allan McCollum
“Our present models, which until recently have been focused on notions of autonomy and mastery, have been notably or connective, that emphasizes the importance of relationship and harmonizes social interaction. This sense of deep affiliation, which breaks through the illusion of separateness and dualism, is the highest principle of the feminine.”
Chapter 7:
"that it is only art, and therefore powerless in the real world.
"Relationship is the key insight of ecology."
"A designed object addresses their needs well. Because the middle class is trained to see the world in terms of designed objects, they begin to consider 'what is this object?' and 'who is it for?'"
Chapter 8:
"Bullshit! If you're saying this is supposed to be something 'new,' some big change that's happening in our culture - we've always had the missionary tradition of people who wish to engage the world's suffering and help bring about relief."
"In modern society, artists see themselves as quintessential free agents, pursuing their own ends."
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