Visiting Lecture #6: Curator Paola Antonelli

Paola Antonelli

Trained as an architect and thinks that it contributes to her curating position. MOMa. Brought up in Italy.

“Secret is to build teams and know who to ask for help when needed.”

Secret Strength- also biggest weakness. Get lost in details and lack retention. (lard and honey…)

--Changed fifteen professions. Can’t be an astronaut with cavities… Different ideas of what she wanted to do. Organic path and keeping your mind opening and following the things you like to do. The right direction for her was to be a writer.

·      2 years of economics

·      moved to architecture to be free

·      realized she wasn’t great at this and moved to writing

o   Worked for Domus magazine.. which started as a house wives magazine..

o   Also freelanced exhibitions

--Came to NYC in 1994. Found her job already set up for her. Design is not only something that comes from Europe. She realized that there were established institutions within the US that don’t have design critics.

-Mutant Materials in Contemporary Design first show. (1995)

80% of audience is @ MOMA to see Picasso’s etc. She tries to design the shows to draw people in and check out the design.

Make due with what you get. Juxtapositions of designers. 

Achille Castiglioni: Design! (1997)—explain very clearly the process behind products. Arch lamp.

Thematic shows allow for more authorship. Designers need to find their own narratives.

Tricks

·      make exhibitions manageable for children. They aren’t insecure and are best at critiquing. Show is good if children enjoy.

Projects 66: Campana/Maurer (1998)

·      Furniture vs lighting

·      Campana—

·      Maurer—Luccilino. 

Campana brothers. Vermelha chair

Workspheres (99-2001) beginning of wireless technology. Ready to be in the future but the future was resisting and they weren’t ready.

Humble Masterpieces (2003)—masterpieces are everywhere. Try to look at things differently. Book was published once they realized that people liked it.

SAFE: Design Takes On Risk (2005)—design that had nothing to do with aesthetics and more to do with function. Original idea (emergency) was to happen around the time of 9/11. Renewed and increased optimism among New Yorkers.

Objects of Design @ MOMA – vast collections that reflects progress. Objects that always push you a little forward. Idea of forward motion.. Need to stick to your own story in order to have a presence. MOMA is writing their own history of design.

Design and the Elastic Mind @ MOMA—only two design and architecture people on committee. Collaborations between scientists and designers/architects. . . Lesson-scale has changed. More about quality of image/complexity. Micro/nano-scale…human scale… intangible large scale

·      Sperma zoe

Nanotopia- Future Farm. Michael Burton. –critical design

 http://www.michael-burton.co.uk/HTML/nanotopia4.htm

Smell+

James Augner

Front

Sketch Furniture 2006

Contest: Photographer's Forum

I have entered enough contests to suffice but this one is one of the best opportunities. After today its a dollar more per entry as well.

4/8/10: Idea #10: Racial Slurs

Racial Slur Database

I never knew there were so many racial slurs. Some of them are funny but they probably shouldn't be because someone is offended by them. I think it is interesting that some slurs are actually used as self identification. For example, I know many Filipino people who all themselves flip. Apparently this is not acceptable.

You can search certain words too. I decided to look up mud because I have a piece with dirt/mud:

Mud Duck	Blacks	Dark skin. See Mud People.
Mud People	Blacks	Sentiment that only Wasps are born with souls, everyone else God made from mud. Also suggests life without meaning, value or worth. Used by the church that was attended by Mr. Smith - the hate killer that shot up a bunch of Jews and Blacks in the summer of '99.
Mud Turtle	Blacks	Being bottom-feeders; Mud "musk" turtles have a distinct odor and are mud-colored
Blackfoot	French	Possible reference to French-Indian War and/or WW1 and the general sense of French cowardess during wars. Since they had no boots due to the trenches eating them away, when they ran their feet became all covered in mud. Or French born in North Africa.
Muckadoo	Blacks	Shawnee, Native American term for "Mud person"
Mud	Mixed Races	Black/White mix, or white women who date black men
Mud Flaps	Blacks	Black people who have large lips.
Mud Shark	Whites	White girls who date black men.

When you put in the term "mixed" the list is really long for racial slurs that are used against various races. I have heard of several black/white mixed people referring to themselves as "mulatto". It directly translates to Mule, offspring of a donkey and a horse. Racial/ethnic slurs are also called ethnophaulisms

Bumblebee Mixed Races Black/Oriental couple or mixed child. Halfro Mixed Races White/Black Mixed Race McSpic Mixed Races Mixed race of Irish and Hispanics Mullato Mixed Races Black/White mix, usually. The Spanish "Mullato" translates to "like a mule." Could refer to any mixed breed. Mutt Mixed Races Any mix of races. The regular use of 'mutt' refers to dogs of mixed breed. Race-Traitor Mixed Races White/Any other race mix. Term used by whites for any person of mixed race or who marries a non-white..

4/4/10: Artist #10: Lynette Mager

I found this artist when researching black face.

Lynette Mager studied Photography and Art Therapy at the University of the Arts Philadelphia where she received her BFA. She lives and works in Philadelphia. "My studies and brief work in art therapy have greatly influenced my attitude towards the work I create. I will embark on a project with a conscious intent, knowing the work will take on a life of its own and the larger meaning of the work will become apparent after completion. Creativity is not a wholly conscious endeavor, art is not a vehicle to aggrandize the artist's personal psychology, but rather the artist is a vehicle to interpret larger cultural, spiritual or philosophical questions."

"Black Face" 2002

"White Goggles"

"Levitation"

"Moon"

"Skull"

She doesn't say much about her work. I agree that a viewer can get what they wish from a piece but... I feel like the work could be racially charged. I wonder if she is aware of what some of it looks like.

Like this one:

4/1/10: Idea #9: Blackface

A closer look into blackface. Just to have some historical grounding and understanding since my work can fall into this perception.

Wiki:
Blackface is theatrical makeup used in the United States in minstrel shows, and later vaudeville, and around the world, where the practice became popular during the 19th century

A more contemporary depiction:

Lynette Mager "Black face" 2002

This picture is interesting. I wonder what they were thinking. Apparently it wasn't that this would be offensive. It is harmless enough, right? They want to save the little black kids in Africa since they can't go to school. Quote from a blog post about it: "I was encountered with a picture of a German child whose face was smeared in what looked like mud, and the headline translated as "I’m waiting for my last day in school, the children in Africa still for their first one." The second headline said that “This Ad-campaign is developed pro bono by the agency Jung von Matt/Alster shows four German kids who appeal for solidarity with their contemporaries in Afrika”. So, basically UNICEF is stating that all African children are un-educated, and they are using this to "save Africa".... blog

Or what about when Tyra Banks put her models through black face and other depictions of races/cultures they did not belong in.

I think that it can be utilized to make a certain statement but it needs to be one with awareness.

Meeting w/ Tom 3/30

My meeting with Tom was very helpful. We talked about how my midterm crit went and that I need to focus my vision of my final portfolio and run with it. He said that I should consider other cultural touchstones, like the celebration/persecution within popculture relating to race. We talked about how my newer artist statement was attempting to make a bigger more universal statement and that my work is really about me. Making it inclusive and subjective makes it more my own. Two of my pieces that I showed I now consider side-pieces that are research. They weren't different enough not to echo what artists have done in the past (marker piece and sign piece).

I have decided that I need to find a happy medium between my two artist statements. The first was about biraciality and the second about othering. The work is about me and my struggle with identity. The fact that I don't fully identify with one thing. Tom told me to look up Karl Jung's research on the "shadow self". Dealing with what one identifies with versus the opposite of that definition.

The two images above are from a recent shoot using flour. I am going to experiment with different white/light and black/dark materials in performances. We discussed considering emotion and facial communication.

Michael Magin did the image above. It really puzzles me as to why he is smiling. Does he consider what the image might be communicating? Tom said that questioning this piece is a good thing and I should consider what smiling or other emotive expressions may do for my image.

Im also going to try to use different colors and see what happens. I don't want my work to be easily dismissable because its cut and dry. What would happen if I did a shoot with feathers, reference to tar and feathering...but used purple feathers? Or used pink and blue feathers? I like the idea of gender/sexuality seeping into my piece.

3/29/10 Artist #9: Michael G. Magin

 Michael G. Magin is a photographer based in Mannheim, Germany. He shoots virtually everything with a hasselblad. While his work is not hard to find, information about him is. He doesn't even have a biography on his website.

Artist Website
Flickr

This is the first image of his I came across when trying to see how flour has been used in photography. I have already researched Nigel Rolfe so I wanted to branch out:

Flour Power 2008

When researching the artist I found another flour image. He commented that this was a better version. I think the one above leaves more for me to investigate. Looking at his other work I notice a theme.... Nude women. Oh well.

Blood Printed 

This is saying something completely different. I am not quite sure what was intended though. 

Other work I liked aesthetically:

Mirror, Mirror

B

Black Curtain

La Venezian

3/25/10: Idea #8: Materials

After critique, peer discussion and self evaluation I have decided that the most successful approach I have done was with the black and white paint. How can I vary this approach? I am interested in the materials and different ways of shooting/presenting.

Bernie Searle covered herself in spices.

Nayland Blake used frosting.

Bruce Nauman used paint

 These are artists Ive researched in the past and its important to know what others have done and why. Searle's was most relevant to her own culture, referring to the spice trade as a south african. I am not sure if I really relate to any one material.

Black/dark Materials

•  black tape/electric tape
•  chocolate frosting
• coffee grounds?
• dirt/mud
• fur/hair
• paint? (different approach)
• chocolate syrup

White/light Materials

• milk
• flour
• vanilla frosting
• powder
• cotton (interesting reference to slavery)
• feathers
• paint? (different approach)
• toilet paper

What other materials would be interesting? What about the background/setting?

Contest: Focal Press: Faces

http://www.focalpress.com/contest_item.aspx?category=57&id=4658

http://www.focalpress.com/contest_item.aspx?id=4657&category=57

Contest: Anderson Gallery Juried Art Show 2010

3/22/10: Author #8: Andrew Jolivétte

I decided to focus on a writer today since I am trying to narrow down and make my work more concise. When I research biracial artists all that comes up is stock imagery of interracial families and attractive light skinned people. Its interesting and a bit irritating. In a way it sort of confirms how I feel. Feeling apart from my general peer group... Feeling other. There are limited resources.

Andrew Jolivétte is an author and lecturer that is an associate professor at San Francisco State University in American Indian Studies. He also teaches Ethnic Studies, Educational Leadership and Race and Resistance Studies. He is the board president for iPride and Speak Out which is part of the Institute for Democratic Education and Culture.

Part of his iPride bio: "Professor Jolivétte is a mixed-race studies specialist with a particular interest in Comparative Race Relations, Creole studies, Black-Indians, and mixed-race health disparities. Andrew is the author of, Cultural Representation in Native America (AltaMira Press, July 2006) which is a part of the Contemporary Native American Communities Series. Dr. Jolivette also recently received an advance book contract for his second book, “Louisiana Creoles: Cultural Recovery and Mixed Race Native American Identity” to be published sometime in 2007. Andrew will begin work on a third book, “Mixed Race Gay Men and HIV: A Community History” in the fall of 2006."

iPride is a really interesting organization. I wish that I knew about things like this. There definitely needs to be more advertising and networking. Their mission is: "We envision a cohesive multiethnic society based on justice, inclusion, and respect for all human diversity. We actively seek to build and foster broad coalitions that will result in an environment that supports the right of every person to be recognized as whole and complete."


He identifies as French Creole, a combination of French, American Indian, African and Spanish. He is committed to working within colored communities.

 

I read a good portion of this book online. I could relate to him immediately and it was an amazing feeling. Chapter One was an introduction titled, "Who is White?". He talked about questioning what white is and who identifies that way. "For people of mixed decent, questions of race and ethnicity are compounded by the question of choice." Choice. You choose how you identify, but you cannot choose where you came from. His book focuses on the experience of the Creole. While I am not Creole, I feel like it gives good dialogue for my work. "Questioning who is white subverts the typical power dynamic in racial classification that usually marks as other those who are not white." Now he is really speaking my language.

Interracial, Intercultural Pride 

3/11/10: 5th Visiting Artist: Sanford Biggers

"The only limits are those you impose on yourself." Sanford

Sanford Biggers was introduced as a former professor at VCU and is currently teaching at Columbia. He is a sculpture and installation artist. After seeing his work I would say he is definitely a multi/mixed-media artist interested in collaboration. His work considers cultural and race relations as well as adding a bit of spirituality and african heritage.

At first I was very suspicious of Biggers because he didn't seem very organized. He started off by showing a compilation that I thought would never end. I sort of wish he had shown it last and used the first section of time just to talk and show individual pieces. I had to leave before he was done because I had a test to take. I could tell once he started to talk that his work is very important for me to take a deeper look into. He was very excited about his work though, which is refreshing.
 

"Beyond the floating smile of the Cheshire cat, this image makes reference to the “raced” body, racial stereotypes organized around a set of symbols profoundly anchored in white discourse as if the white observer was presuming to speak for all without the slightest mention of his or her own "raced" identity. It evokes overtly racist images such as the early advertising of Banania chocolate and Darkie toothpaste, but also the complex fact that several black performers from early minstrelsy to current hip-hop have embraced and exploited racial stereotypes as a tacit acceptance to benefit from the social and financial ascension that entertainment offers to African Americans."

Artist's Website

Midterm crit

 *cross-posted in senior port crit blog

Sitting through the first set of crits and seeing their personal responses I definitely expected a similar outcome. Everyone was happy with their crit and what happened.

Personally, the critique did nothing for me. My classmates barely had anything to say and once they started to speak up, it was about my previous work. While there wasn't a whole lot of silence, the speaking was mainly me, and not my peers. The feedback about my previous work was positive but not what I was looking for. I included them as context, not as my main focus. They talked about how they were aesthetically pleasing and what I could do to make more sequences. This was frustrating. I would like to do other pieces like this with different materials but I was stepping away from it.

Last semester pieces I showed:

Artist Statement--Othering

I have come to the realization that the parts of my identity that I take pride and comfort in set me apart from what is considered normal and acceptable in our society. I never really felt as if I was part of any particular culture and would rather stay neutral and be different. In the simplest of terms, the "other" is one who is different. People are often dehumanized in situations where certain aspects of their identity are not the majority and are seen as opposite or even inferior. Society puts these pressures on minority groups and further marginalizes them daily. I am interested in who these "others" are and how discrimination affects their lives.

 Even though I was disappointed with the response, or lack of, I felt very confident in my speaking. I look forward to reviewing the tape from the crit.

  I showed two pieces similar the the one above. I just wanted some feedback as to what people were thinking. I do not see them functioning as actual photographs in my final work. I was more interested to see what people had to say and compiling their responses. Most of the responses were that it has been done before and doesn't relate to my work. I feel as if they were missing the point. The picture is documentation, not a product. Anyway, I want to continue these portraits because they fuel my concept.

I also showed the previous two pieces. The grid includes stills from a video I did writing on myself and the other image is a shot done after wards.  

Right now I just have decisions to make. I changed my artist statement to be less limiting and now it is too broad. I would like to find a happy medium that includes my idea of othering and also biraciality. By keeping my original concept in some form I feel more connected to it. While the response was little I found that people could still relate to my work. This is an important observation because I still exist as a minority within my class.

 

3/11/10: Idea #7: Rally

I have been very fortunate to have so much material relating to discrimination as of late. Not that it is a positive thing that so many ill events are happening. It is fueling my senior thesis. Today we held an anti-discrimination rally at VCU in response to Cuccinelli's "advice" to rescind policies protecting homosexuals, gender identity and gender expression. He was ridiculous to think that there wouldn't be a booming response from the students and the community. I will use this to my advantage. The ironic thing is that just last week we had a peace rally in response to the crazy Westboro Baptist group. We didn't think that we would be back so soon to sound out for our rights.

ral·ly ¹ (rl)

v. ral·lied, ral·ly·ing, ral·lies

v.tr.

1. To call together for a common purpose; assemble: rally troops at a parade ground.

2. To reassemble and restore to order: rally scattered forces.

3. To rouse or revive from inactivity or decline: paused to refresh themselves and rally their strength.

v.intr.

1. To come together for a common purpose.

2. To join in an effort for a common cause: "In the terror and confusion of change, society rallied round the kings" (Garrett Mattingly).

3. To recover abruptly from a setback or disadvantage: The stock market declined, then rallied. The home team rallied in the ninth inning to win the game.

4. To show sudden improvement in health or spirits.

5. Sports To exchange several strokes before a point is won, as in tennis. (freedictionary.com)

For my purposes, a rally is a demonstration. "A demonstration is a form of nonviolent action by groups of people in favor of a political or other cause, normally consisting of walking in a march and a meeting (rally) to hear speakers. Actions such as blockades and sit-ins may also be referred to as demonstrations" (Wikipedia). What is particularly important to me is that it is a form of activism and maybe even a performance art. As Americans, we have the right to assemble peacefully, as stated in our first amendment.I came across this idea of protest art as well, dealing with the signs that are made for these rallies and marches.

 Copyright Cassie Mulheron. VCU Counter protest to Westboro Group, Anti-hate Rally 3/2/2010

3/8/10: Artist #7: Sigalit Landau

 

Sigalit Landau. Barbed Hula (from Cycle Spun, 2007). 

2000. Video (color, sound), 2 min.  

Sigalit Landau: internationally acclaimed Sigalit Landau represented Israel in the 1997 Venice Biennale. She has shown at prestigious international art institutions, including solo exhibitions at MOMA, the Tel Aviv Museum of Art, Ikon Gallery and group shows at PS1, The Brooklyn Museum, The Pompidou Centre. Work currently on show in elles@pompidou. Sigalit Landau gained acclaim for her provocative video Barbed Hula, 2000, in which the artist hula’ed naked with barbed wire, using her body in a ritualistic manner to explore transformations, history, memory, politics, borders, which will be shown in the Body in Women’s Art Now.

 

Sigalit Landau .|. Barbed Hula + Barbed Salt Lamps .|. 2001-07 from reel aesthete on Vimeo.

3/4/10: Idea #6: Artist Statement

The mere idea of writing an artist statement brings me anxiety. You have to find a really concise way to explain what you are doing that, A) Explains your concept, B) Is mildly intelligent and C) Isn't too short or too long.... Yeah. 

Last Semesters artist statement:

In general, my work focuses on different aspects of my personal identity, whether racial, sexual or gender.   This body of work focuses specifically on my experience and critique of being multi-racial, more specifically as “mulatto”. I do not feel as if I am drawn to any particular culture and am interested what expectations are placed on being culturally black or white. There are social pressures to choose a side when one is multi-racial. To explore what biracialism means to me, I explore performance art, still photography and the ideas of racial binaries and images in sequence.

I began realizing a while ago that it was more than just self portraiture or self identity that I was interested in. My work ties together but I don't feel as if my older artist statement really grasps where I am going with everything. The statement is relevant because everything stated is true and affects how I function daily, but is missing something. I think the lightbulb sort of turned on when I started talking with Tom and my peers about this idea of othering. I don't want to get too technical in my artist statement because I don't want to lose any of my audience that may not be familiar with the research. 

Othering

I have come to the realization that the parts of my identity that I take pride and comfort in set me apart from what is considered normal and acceptable in our society. I never really felt as if I was part of any particular culture and would rather stay neutral and be different. In the simplest of terms, the "other" is one who is different. People are often dehumanized in situations where certain aspects of their identity are not the majority and are seen as opposite or even inferior. Society puts these pressures on minority groups and further marginalizes them day by day. I am interested in who these "others" are and how discrimination affects their lives. 

I feel like I have come a long way from last semester. I feel more comfortable with explaining my concept. I am interested to present at midterm critique because Tom records our "performances". I think its important as an artist to be able to speak to your audience clearly and be aware of your actions. I have a feeling that it will be odd watching the video afterwards but look forward to it.