Teaching and learning at its best is one of the most ancient and elemental of all human exchanges. It has been going on ever since our primordial progenitors tried to pass the good news about fire. Tips, tricks, and techniques are not the heart of education - fire is. I mean finding light in the darkness, staying warm in a cold world, avoiding being burned if you can, and knowing what brings healing if you cannot. That is the knowledge that our students really want, and that is the knowledge we owe them. Not merely the facts, not merely the theories, but a deep knowing of what it means to kindle the gift of life in ourselves, in others, and in the world.
'contemporary forms of art-making could benefit from this same slowness of attention. '
"Because, outside of sexual assault, there is little critique of sex. Young feminists have adopted an exuberant, raunchy, confident, righteously unapologetic, slut-walking ideology that sees sex — as long as it’s consensual — as an expression of feminist liberation. The result is a neatly halved sexual universe, in which there is either assault or there is sex positivity. Which means a vast expanse of bad sex — joyless, exploitative encounters that reflect a persistently sexist culture and can be hard to acknowledge without sounding prudish — has gone largely uninterrogated, leaving some young women wondering why they feel so fucked by fucking."
"Male attention and approval remain the validating metric of female worth, and women are still (perhaps increasingly) expected to look and fuck like porn stars..."
"A woman in pursuit is loose or hard up; a man in pursuit is healthy and horny. A woman who says no is a prude or a cock tease; a man who says no is rejecting the woman in question. And now these sexual judgments cut in two directions: Young women feel that they are being judged either for having too much sex, or for not having enough, or enough good, sex. "
" The new nude calls for authenticity and participation."
"People, especially white people, do not like talking about race," she says. "It's uncomfortable for everyone. Luckily, if you are white, you get to avoid talking about race as much as you want, because you don't have to. But as someone who is minority, race is an everyday part of their life. Not having a single person inside of a company to ever express any of those feelings, pain, questions, anything, it's extremely difficult." - Angelica Coleman
This is a Bikini Kill tour flier.
Red nailpolish, a red purse, a form fitting dress and heavy make-up to symbolize feminity. Aggression, anger, smoking and tattoos are part of the masculine persona. At both ends she's still performing gender stereotypes.
my thoughts in [ ]. other text below is directly quoted from the book.
[Socially engaged art uses poetry and symbolism. Some actual, statistically measurable change may happen as a result of the project, but it's more about affecting social consciousness than acheiving the measurable results sought by non-profit activist organizaions. The playfulness and poetry of social practice art comes from the freedom from having to report statistically-measurable change to funders.] p. 18
Tania Bruguera - "I don't want an art that points at a thing, I want an art that is the thing."..."It is time to put Duchamp's urinal back in the resstroom." p.21
Isolated artists must focus on speaking, while groups of people coming together must focus on listening. p.26
"If I was an artist, he said, why didn't I come up with some kind of creative solution to issues instead of just telling people like him what they already knew. That was the defining moment that pushed me out of the studio." - Rick Lowe p. 26
And in an era in which the production of culture is often used as an advertisement, artists too can be guilty of projects wherein the production of art is simply advertising for the ultimate product: themselves. p.31
...borrowing from french theorist Michel de Certeau's terms the 'tactical' and the 'strategic' – notions that explore how aesthetics are produced in space. If the tactical is temporary, interventionist form of trespass, the strategic is the long-term insvestment in space. p.31
[ tactical = how an artist makes the work. medium, action, site.
strategic = why they make the work. what the big-picture goal of the work is. ]
For some, there were too many similarities between a VIP cocktail party and the intimate personal experiences advocated by much of the work gathered under the heading of relational aesthetics...
Josh MacPhee, "I am tired of artists fetishizing activist culture and shoiwng it to the world as though it were their invention." p.31
These are projects [Lowe's Project Row Houses, Reynold's Tamms Year Ten and Park Fiction's activism to create a public park in Hamburg] that are deelpy routed in community relations and motivated by a commitment to political change. They also gain community traction by committing to an idea over time. [as opposed to the hit-and-run model] p. 32
The concept of affect derives from the understanding that how things make one feel is substantively different than how things make one think... Socially engaged art may, in fact, be a misnomer. Defying discursive boundaries, its very flexible nature reflects an interst in producing effects and affects in the world rather than focusing on the form itself. in doing so, this work has produced new forms of living that force a reconsideration and perhaps new laguage altogether. p.32
This evidence leads me to conclude the obvious: we white liberals want racial justice as long as we’re not inconvenienced by it.
You see, if racism in this country were only a matter of white people being mean and consciously believing people to be inferior, I truly believe it would’ve ended long ago. Sure there are white people who actively believe foolish things like those, but it seems to me that those people are few and far between.
But worst of all, my fellow liberal white Americans, I’ve seen those of us who disagree be silent. And recently, our silence has been deafening.
Our sense of urgency is off because we have isolated ourselves both accidentally and on purpose from the African American community. Studies show the vast majority of us live in predominantly white communities and have relatively few African American friends. Those of us who do have African American friends often have them in white space–meaning our friendship takes place in schools, parks and communities that are predominantly white.
...we have isolated ourselves from the conversation–we literally don’t know what’s going on. We don’t see it. We don’t hear about it.