Those boring lenses and frames

Certainly, the lens and the frame are useful as metaphors, but as used, they are also quite limited. As an experiment, the next time you see one used, replace “frame” or “lens” with “context,” adjust the necessary conjunctions, and see if any meaning is lost. If in a given piece of writing, “seen through a queer lens” could just as easily be “seen in a queer context,” then the optical device isn’t living up to its potential as metaphor.

The chief ways in which optical metaphors can be improved in our writing are through diversity and specificity. imagesThese go hand-in-hand: the more diverse our optical metaphors become, the more specific they are able to be. Lenses, for example, can be convex-convex (the usual “lenticular” shape, which incidentally I suspect of being where lentils got their name, though I’ve done no research on this), but they can also be flat or concave on one or both sides. So, some lenses are plano-convex, others are convex-concave. These lenses behave differently and have different applications, and so could be employed in a diverse range of metaphorical applications.

“Lens” and “frame” get used a lot in theory writing. A recent post on Bad-at-Sports i getting cranky about this:

“The difference between a lens of any type and a frame is that we are directly aware of the ways in which lenses alter the image we are seeing. A biconvex lens held at the right distance from the eye will magnify the image. (At this distance, the image is not inverted; held out further, the image inverts, but the reason why is beyond my ability to explain from memory, so go Google a diagram.) This is the classic magnifying glass. Other types of lenses, such as eyeglasses, subtly alter the focal distance of our eyes (or rather, adjust the image to account for a flawed focal distance). Multiple-lens apparatuses like binoculars and microscopes magnify and can be focused. The point is that we are immediately aware of this alteration of the image we are seeing, because it is inherent to the function of the lens-based device. Continue reading “Those boring lenses and frames”

Art and tragic events

imagesThe Economist gave the United States a whole weekend to mourn the victims of the Sandy Hook Elementary massacre before telling the entire nation to suck it up. “Those of us who view the events remotely … unless we start to evince a newfound appetite for gun-control measures to prevent future mass slayings, are doing little more than displaying and enjoying our own exalted strickenness,” writes one M.S. “This is an activity at which we, as a culture, excel.”

Why, thanks, anonymous writer, for telling an entire nation its feelings are unproductive. I am reminded of Eddie Izzard’s bit about St. Paul’s letters to the Corinthians—and the Corinthians’ response: “Dear Paul, fuck off. Who are you? Why do you keep sending us letters? You arrogant bastard, writing a letter to an entire city! What do you want us to do, put this on a board or something? Just fuck off!… Love and kisses, The Corinthians.”

On the other end of the spectrum, there was the Washington Post‘s Style section, which, earlier this week, asked its arts critics to “meditate on the role of the arts in coping with grief” and “share works that have resonated with them in such times.” Theodor Adorno once said that poetry after Auschwitz was barbaric. The Post appears to be asking its critics to hand out artworks as antidepressants. Continue reading “Art and tragic events”

Rethinking art education

“In arts education, something profound is happening that will force us to rethink what and how we teach,”  writes Sean Buffington in the Chronicle of Higher Educationimgres

“Art making has changed radically in recent years. Artists have become increasingly interested in crossing disciplinary boundaries—choreographers use video, sculpture, and text; photographers create “paintings” with repurposed textiles. New technologies enable new kinds of work, like interactive performances with both live and Web-based components. International collaboration has become de rigueur. Art and design pervade the culture—witness popular television programs like Top Design, Ink Master, and—the granddaddy of them all—Project Runway.And policy makers and businesspeople have embraced at least the idea of the so-called creative economy, with cities rushing to establish arts districts, and business schools collaborating with design schools.

“Those developments are already affecting how the arts are taught: Curricula are becoming more flexible, with students encouraged to reach outside their departments to master whatever tools they need to make the art they want to make.

“But there is another shift occurring that is more subtle and more destabilizing to art colleges: Suddenly, everyone is—or can be—an artist. Continue reading “Rethinking art education”

Early indicators of creativity

A gift for spatial reasoning — the kind that may inspire an imaginative child to dismantle a clock or the family refrigerator — may be a greater predictor of future creativity or innovation than math or verbal skills, particularly in math, science and related fields, according to a study published Monday in the journal Psychological Science.images-2

As discussed in today’s New York Times, “the study looked at the professional success of people who, as 13-year-olds, had taken both the SAT, because they had been flagged as particularly gifted, as well as the Differential Aptitude Test. That exam measures spatial relations skills, the ability to visualize and manipulate two-and three-dimensional objects. While math and verbal scores proved to be an accurate predictor of the students’ later accomplishments, adding spatial ability scores significantly increased the accuracy.

“The researchers, from Vanderbilt University in Nashville, said their findings make a strong case for rewriting standardized tests like the SAT and ACT to focus more on spatial ability, to help identify children who excel in this area and foster their talents.

“Evidence has been mounting over several decades that spatial ability gives us something that we don’t capture with traditional measures used in educational selection,” said David Lubinski, the lead author of the study and a psychologist at Vanderbilt. “We could be losing some modern-day Edisons and Fords.” Continue reading “Early indicators of creativity”

Does artistic talent matter?

The cost of an education at an art school or in a college art department has gotten too expensive for merely learning how to express oneself in the likes of painting, sculpture, and printmaking. But as Peter Plagens writes in the Chronicle of Higher Ed,images

“Who wants to go tens of thousands of dollars into debt just to become another starving artist? Today’s art students now look to the commercial specialties—graphic design, fashion, comic strips and graphic novels, industrial design, textiles, video, filmmaking—to provide them with postgraduate employment and, in the bargain, status as hip young determiners of society’s style.

“This is why the Savannah College of Art and Design awards degrees in more than 40 majors. The school—founded by the hard-driving Paula Wallace in 1979 with just a handful of students—offers courses as varied as figure drawing and marine-vehicle design, with several 3D printers available for student use. The college has about 11,000 students, in Savannah (where it owns more than 60 buildings, including a first-rate contemporary-art museum in a beautifully renovated train station) and at new branches in Atlanta and Hong Kong. Wallace, as president and CEO, reportedly earns about $2-million a year. Continue reading “Does artistic talent matter?”

Arts feminism considered

Sometimes people claim that we don’t need feminism any more. Women have rights, they argue, so what more could they possibly want or need?

A recent post from the UK office of Huffington Posts carries an essay saying: “One only needs to look around the world at the terrible situation for many girls and women to realise that feminism is still necessary and vital. But even once females have better living conditions and more rights, feminism still has a role to play as women try to shape careers.images-7

“Several recent news stories have made it clear that women are way behind when it comes to careers in the arts.

“VIDA’s overview of who got published in literary magazines in 2012 suggests that it is still – no surprise – overwhelmingly men. Not only is it men who more often get their literary work published, but it is also primarily men who get their work reviewed and who are the reviewers, too. Continue reading “Arts feminism considered”

Pedagogical Vaudeville Revisited: Yvonne Rainer

yvonne_0Pedagogical Vaudeville Revisited: Yvonne Rainer at UC Irvine

A celebration of Yvonne Rainer at UC Irvine and beyond, Monday, April 29, 2013 | 7 – 9 PM, UC Irvine, Claire Trevor School of the Arts, Contemporary Arts Center , Experimental Media Performance Lab (xMPL)

With performances and contributions by:  Yvonne Rainer, Ben Boatright, Maura Brewer, Pat Catterson, Marcus Civin, Heather Delaney, Aaron Guerrero, Maya Gurantz, Natilee Herren, Patricia Hoffbauer, Kuan Hwa, David Kelley, Simon Leung, Monica Majoli, Lyle Massey, Lara Odell, and Sara Wookey.

Art and Queer Culture

Recently released with book launches in Los Angeles and New, Art and Queer Culture by Catherine Lord and Richard Meyer is now available. As the authors write:

“Spanning 125 years, Art and Queer Culture is the first major historical survey to consider the ways in which the codes and cultures of homosexuality have provided a creative resource for visual artists. Attempts to trouble the conventions of gender and sexuality, to highlight the performative aspects of identity and to oppose the tyranny of the normal are all woven into the historical fabric of homosexuality and its representation. images-1“From Oscar Wilde to Ryan Trecartin, from the molly houses of eighteenth-century London to the Harlem drag balls of the 1920s, the flamboyant refusal of social and sexual norms has fuelled the creation of queer art and life throughout the modern period.

“Although the book proceeds in a chronological fashion, it does not propose a progressive narrative in which homosexuals become increasingly adept at negotiating the circumstances of censorship and overcoming the terms of stigma and invisibility. The dialogue between art and queer culture does not move towards ever more affirmative images of equality and dignity. Rather than countering homophobia with ‘positive’ images of assimilation, many of the artists and photographers featured in this book draw upon, and even draw out, the deviant force of homosexuality.  Continue reading “Art and Queer Culture”

Check out “Recaps”

RECAPS is a wonderful online magazine, bearing the subtitle: “Reclaim Culture Art Politics Sexuality.” As editor Martabell Wasserman (among others) writes in the “about” page:

“RECAPS Magazine is a forum for conversation. Our mission is to explore what emerges when content from different historical, geographical, methodological, aesthetic and political vantage points is brought together. The magazine includes work that ranges from the canonical to the provisional, the abstract to the polemical, the timely to the archival. RECAPS explores the relationship between virtual community and embodied activism. The (re)print section is the most literal example but this line of inquiry structures the entire project.

RECAPS attaches uses the prefix “re” in categorizing the content because the magazine is built on the ideas that resistance is a process of repeating ideas, reworking strategies and reimaging what seems possible. “Re” reflects the belief that ideas are collectively produced and an engagement with the political present requires looking backward”. Continue reading “Check out “Recaps””

How the brain “sees” art

This month, President Obama unveiled a breathtakingly ambitious initiative to map the human brain, the ultimate goal of which is to understand the workings of the human mind in biological terms.Unknown

Many of the insights that have brought us to this point arose from the merger over the past 50 years of cognitive psychology, the science of mind, and neuroscience, the science of the brain, the New Yorktimes reports: “The discipline that has emerged now seeks to understand the human mind as a set of functions carried out by the brain.

“This new approach to the science of mind not only promises to offer a deeper understanding of what makes us who we are, but also opens dialogues with other areas of study — conversations that may help make science part of our common cultural experience.

“Consider what we can learn about the mind by examining how we view figurative art. In a recently published book, I tried to explore this question by focusing on portraiture, because we are now beginning to understand how our brains respond to the facial expressions and bodily postures of others. Continue reading “How the brain “sees” art”

Museum merger mania in Los Angeles

This has been a rough couple of years in the Los Angeles musuem world, replete wiht power struggles, board rebellions, curators euphemistically resigning, and the public wondering what the hell is going on. At least the city gained one very huge rock. From outside the LA bubble, the New York Tmes put it this way:imgres-1

“The Museum of Contemporary Art in Los Angeles, which has been battered in recent months with defections of board members, criticism of its direction and precarious finances, would merge with the Los Angeles County Museum of Art under a proposal by the latter museum.

“Lacma’s director, Michael Govan, and its board’s co-chairmen, Terry Semel and Andrew Gordon, proposed the union in a letter dated Feb. 24,according to The Los Angeles Times. Were the two institutions to merge, it said, it envisioned Lacma’s keeping its two downtown locations and operating under MOCA’s name. Continue reading “Museum merger mania in Los Angeles”

Art and the economy explained

Experts agree that arts and culture are an important part of the economy – but the precise relationship is complicated.

As governments and organizations increasingly have to justify spending, the big question remains: does investment in the arts stimulate growth, or are the arts the product of economic development? These questions were posed in today’s edition of The Guardian in a story that continues below:imgres-1

“Few people think of the economic impact of visiting a gallery or buying a ticket to the theatre. But arts and culture in the US generated $135.2 billion (£87 billion) and supported 4.1 million jobs in 2010, according to the latest economic snapshot from the non-profit advocacy group, Americans for the Arts. It would seem that the case for continued arts funding is clear cut – enjoying the arts boosts the economy. But experts say the link between arts investment and economic output is tenuous. Continue reading “Art and the economy explained”

And now, fees to apply for art teaching jobs

“A tenure-track job is surely a valuable commodity, but would you pay for a shot at one?” Inside Higher Education reports that  “A listing for a faculty painting position at Colorado State University attracted some heat on Twitter when several academics noticed the $15 fee attached to the position.

“The job ad states simply: ‘In lieu of postage and duplication costs you will be charged a fee of $15.’ Gary Voss, chair of Colorado State’s art department, confirmed in an e-mail to Inside Higher Ed that there is a fee for applying for the position. The fee, he said, is paid to SlideRoom.com, the site that hosts the job listing and that applicants use to submit their portfolio. SlideRoom, which is used by a number of colleges and universities, is an applicant management system that allows for the transmission and organization of forms, references, creative materials Continue reading “And now, fees to apply for art teaching jobs”

Art history versus the internet

“Keeping up with the pace of change in the digital world is challenging, and harnessing its potential can be frustrating,” says the Getty Trust’s James Cuno. As presented in an essay entitled “Art History is Failing at the Internet” by Cuno carried in DailyDot,  “the biggest mistake many of us in the arts and humanities academy can make is thinking of that potential only in terms of how we can use the new technology to more quickly and broadly disseminate information. The promise of the digital age is far greater than that. It offers an opportunity to rethink the way we do, as well as to deliver new research in the arts.

“The history of art as practiced in museums and the academy is sluggish in its embrace of the new technology. Of course we have technology in our galleries and classrooms and information on the Web; of course we are exploiting social media to reach and grow our audiences, by tweeting about our books, our articles, including links to our career accomplishments on Facebook and chatting with our students online

Continue reading “Art history versus the internet”

Educators nationwide respond to Emory arts closure

Arts educators were stunned by the news in September that Emory University would eliminate its Visual Arts Department as part of a cost-cutting effort favoring science and engineering programs. Many observers cited the move as further evidence of a creeping corporatization of the American university. As reported by the College Art Association (CAA),  “Since the economic downturn in 2008, liberal arts colleges and universities across the country have reshaped their curriculums. They have narrowed the fields of study to prepare students for vocational work quantified by employment and statistical analysis, shearing the visual arts––in part or whole––from the intellectual mold that has underpinned students’ critical thinking in the United States over the past century.”

In response to the Emory decision, the American Association of University Professors (AAUP) noted the authoritarian and anti-democratic character of Emory’s actions in suspending a range of programs in art, education, journalism, and Spanish––all with out faculty consultation. An excerpt of “An Open Letter from AAUP” appears below.

“On Sept. 14, 2012, Dean Robin Forman announced a number of changes to the curriculum, including the closing of the Department of Visual Arts, the Division of Educational Studies, the Program in Journalism and the Department of Physical Education (the last already in progress at the time of his letter). He also announced the suspension of admissions to the graduate programs in economics, Spanish, and the Institute of Liberal Arts (ILA). The ILA, he wrote, will be restructured as an “institute without permanent faculty.”

“Owing to these cuts, a number of lecture track faculty will not have their contracts renewed, two tenure-track assistant professors hired in educational studies last spring will be let go in advance of any formal review of their work and a number of tenured faculty will be relocated to other departments. Dean Forman has made it clear, in his letter and elsewhere, that he made the decisions in consultation with what he called the “Faculty Financial Advisory Committee,” a small (seven-to-eight person) group of appointed faculty; Lisa Tedesco, the dean of the Laney Graduate School; and Earl Lewis, the provost.

“On behalf of the Emory Chapter of the American Association of University Professors (AAUP), we want to remind the deans, the provost, the president, the Board of Trustees and, most importantly, Emory’s faculty and students of AAUP guidelines. These state that primary responsibility for decision-making concerning curriculum resides in the hands of the faculty. AAUP guidelines make it clear that this responsibility covers not only the determination of those areas of study to be offered by a college or university, but extends to “appointments, reappointments, decisions not to reappoint, promotions, the granting of tenure, and dismissal” (from Section five of AAUP’s “Statement on Government of Colleges and Universities”).

“We understand that restructurings and reallocation of funds are sometimes necessary to ensure that an institution remains strong. In this instance, however, the University failed to undertake that process of reallocation through properly constituted faculty deliberative bodies and to understand that important decisions having to do with these matters must come from those bodies to the deans, provost, president and Board of Trustees.

“Moreover, we are dismayed that a small committee, initially appointed to advise Dean Robert Paul informally on financial matters in the wake of the economic crisis of 2008, became a subcommittee of the College Governance Committee that advised the dean on curricular matters. Given the impact of the dean’s decisions on graduate education, we are also concerned that the Executive Council of the Laney Graduate School (LGS) — an elected body of faculty representatives — was not consulted in advance about these changes in accordance with stated practices. The LGS website states that “[t]he Executive Council reviews proposals … for changes in existing courses and programs on a rolling basis.” No proposals in this matter were brought before this council for deliberation. The fact that a College subcommittee seems to have issued recommendations to close programs in another unit, the Graduate School, also raises questions of purview.”

For the complete text of the letter, see “An Open Letter from AAUP”

 

http://www.emorywheel.com/an-open-letter-from-the-aaup/

 

http://www.artandeducation.net/paper/emory-university-eradicates-its-visual-arts-department-portending-an-ominous-trend-in-university-education/

Becoming transreal

Here is the scenario. You find yourself in a virtual game-world where you can be anything you want––say, a princess, a superhero, or maybe a dragon. Enter Micha Cárdenas.  The question is this: in assuming a new identity, are you really leaving behind the actual “you”? Nearly two decades ago, a now-famous New Yorker cartoon made popular the adage, “On the internet, no one knows you are a dog,” referencing the presumed demarcation between virtual and real personas. But this begs the question of where the expression of the self resides, inasmuch as identity is a largely mental process. Continue reading “Becoming transreal”