Monday, April 19, 2010
Art and Identity
why have there not been any great women artists?
"The problem lies not so much with some feminists' concept of what femininity is, but rather with their misconception-shared with the public at large-of what art is: with the naive idea that art is the direct, personal expression of individual emotional experience, a translation of personal life into visual terms. Art is almost never that, great art never is. The making of art involves a self-consistent language of form, more or less dependent upon, or free from, given temporally defined conventions, schemata, or systems of notation, which have to be learned or worked out, either through teaching, apprenticeship, or a long period of individual experimentation."
(Linda Nochlin)
This author is pretty audacious in her claims about what art is. The definition of art is always changing throughout history. . .and therefore what constitutes a great work of art.
Identity Questions Comments
"If there actually were large numbers of "hidden" great women artists, or if there really, should be different standards for women's art as opposed to men's--and one can't have it both ways--then what are feminists fighting for? If women have in fact achieved the same status as men in the arts, then the status quo is fine as it is".
Saturday, April 17, 2010
Shirin Neshat (Identity)
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RobbinsBecher (Identity)
Global Village "The Global Village and Discovery Center in Americus, Georgia is a small "poverty theme park" intended to educate visitors about the living conditions of the world's poorest populations. The Global Village was built in 2003 by the nonprofit organization Habitat for Humanity—an ecumenical Christian ministry dedicated to eliminating substandard housing worldwide. In 1976, Millard and Linda Fuller chose Americus, a city of 18,000 residents in Sumter County, Georgia, for the headquarters of Habitat for Humanity. The organization has been extremely successful at building affordable shelters around the world and is considered a model charity. This success is due in part to the Fullers's vision to educate and reform public opinion through a combination of tourism and volunteerism. Stated Millard: "People like to see what their money is paying for. It's been said that Americans will support anything they can take a picture of." In the 1930s and 40s, social documentary photographers such as Walker Evans and Dorothea Lange photographed impoverished living conditions as a means of “making real” the situations endured by communities otherwise invisible to the mainstream public. Today, individuals or organizations wishing to draw attention to such conditions have gone to further extremes to try to explain what it might be like to live in poverty.” One of the exhibits at the Center is the “Living in Poverty Area,” is a collage of some of the worst slum dwellings from Latin America, Africa, and Asia. Connected by a meandering path, each dwelling represents a different communal function—a school, a store, or a home—and is based on careful research and photographs. The reconstructions refer to specific slums, but also involve a combination of objects—both imported and locally available. Because the exhibit is intended as an appeal to a public rather than an exposé; it treads lightly on public sentiments, and mostly places blame for global poverty on regional corruption and mismanagement. Overall, Global Village generally avoids a discussion of American responsibility, economic policy, and the historic role of Christian missionaries in the process of Colonialism. Ironically enough, according to the 2000 census. 44% of those under the age of 18 and 20% of those 65 and older are living below the poverty line in Americus Georgia. Global Village has plans to include an example of poverty housing from America in the near future." text taken from the website of Andrea Robbins and Max Becher - 2003 - 2005 http://www.robbinsbecher.com/RBworks.html |
