Saturday, April 26, 2008
Something I noticed...
As I was volunteering for Elon Service Day today, I was placed at Sedalia Elementary School. I was able to walk around the classrooms to see the daily schedules of the students. One thing that I noticed was that (in a 3rd grader's weekely schedule) students are only given 35 minutes of art and music a week. I was completely shocked. This is exactly what we were covering in Issues the other day...people are willing to cut arts programs from schools because they do not want their taxes to go towards paying for such "nonsense" "hobbies" in schools. I find this to be absolutely ridiculous. A friend and I were talking about numerous studies that have come out supporting continued education in the arts for better overall skills. I have enough fights while at school over the merit of art and art history. I see now that the problem is more serious than I ever thought. It stems from issues beginning at the foundations of the education system. This reminds me of class discussion the other day about Jesse Helms and the NEA. This issues opens up an entirely new can of worms, but I cannot believe that the amount of support that the NEA can offer has been sliced down to hardly anything because of an emphasis on this supposed "moral" and "virtuous" society. Controversy exists at the very core of our existence. It cannot be censored by anyone like what Helms was proposing. I have become more passionate about how political candidates choose to respond to these issues although clearly this importance is not on everyone's radars. I just think that it is ridiculous that children in the North Carolina school systems spend 450 minutes on math a week and only 35 minutes on art, music, and even p.e. a week. What are these children being raised to learn and know? There is such an emphasis on the "end of year" tests that perhaps dictate the amount of funding these public schools receive. I have gone to private school all my life where the true quality of academics has been placed at the forefront. We were not solely interested in passing tests on certain material at the end of the year. Public schools in the area seem to be only focused on these tests at the detriment of all artistic forms of expression. If these children are not exposed to these things at their age, I don't know what kind of children will be raised over the next few years. Clearly ones with fantastic math skills with no ways to form a sense of individual expression within school. This is just frustrating...
Wednesday, April 16, 2008
Role of the Curator
One of the problems that I am currently facing is the role of the curator in creating an art exhibition. In my Issues in Contemporary Art class, we are looking at the increasing role of the curator becoming a powerhouse in the art world and how problematic that has become. In the 1980s, there is a radical shift is seeing art as a means of gaining extreme wealth. The art market is becoming flooded with very rich people buying up works of art as an investment that will eventually make them even more money. During this time, the role of the critic is important in promoting the reputation and the professions of many artists. Artists can become overnight successes with their works being of no value one day and the next day worthy of a million dollar paycheck. I find this problematic because as an art history major, I think that works should be seen instead of locked up in a freezer closet until it appreciated in value. I think that the term value is incredibly problematic in the art world. But even more importantly, I am beginning to question my role as a kind of “curator” for the re-hanging of the library.
I know that this is one of the only ways to make the art collection more visible on campus, but I also think that since only a select portion of Elon’s population is making all the decisions about what and how things should be displayed is troublesome. As many of those dealing hands-on with the art collection have noticed, many of the pieces are not of the greatest quality. In fact, there are a number of pieces that will not be accessioned into the collection because we (as the university) must establish some sort of policy for collecting to avoid ending up with boxes of “junk” from the attic of a former Elon alum. While I do think there are pieces of more importance and significance to go up on the walls of the library, why am I the one making the decisions of what people should and should not see? I know that I have been working with the collection for about a year now, but I don’t think that I am well versed enough on the collection to know exactly what is worthy of being shown, what should be left in the storage closet, and what should be silently disposed of whenever possible. Much of this collection is dealt with based on personal preference. I just don’t know if I agree with the idea of being a “curator” (in a sense) and controlling the accessibility of certain pieces of art over others.
In the book Contemporary Art by Brandon Taylor, chapter 5 is titled “In and Beyond the Museum: 1984-1998.” In this chapter, Taylor looks at the role of the curator in the art world of the 1980s and 1990s. He argues that these “new” curators assemble concepts. “’Concept’ exhibitions comprising small numbers of works by dozens of artists have made the contemporary art museum a showcase and a spectacle, yet one in which the individual philosophy can become obscured by the wider and more marketable agenda,” (138). Granted, I am not out to make money off of these works (not other than getting funds to pay for proper storage facilities and maybe even to begin collecting works of better value so we can begin building a solid art collection), but this is exactly what we are doing with this project. We are assembling works of art from the University’s art collection to fit in themes that have been chosen based on what we have and specific areas of individual interest. Is this not exactly what some artists in the 80s and 90s were protesting in their own ways in their art? Since I have been studying contemporary art, I have noticed that the museum setting and even formal exhibitions have been rejected at certain times. I just don’t want what I am doing to become problematic to me. I really don’t think that there is a way of completely altering the concept of an exhibition (especially at this point for the re-hanging), but I do think that I may take a more radical approach to my own exhibition for fellows. I don’t want to be the sole curator of a show that represents exactly what I want it to stand for. Instead, there needs to be more than that. I think that it should be more than just making sure people see it as more than just stuff on the wall and much more than just a summary of sorts of the art collection. I don’t know what the next step or level will be yet, but I am hoping that this idea can be developed and cultivated into something more powerful than I originally anticipated.
I know that this is one of the only ways to make the art collection more visible on campus, but I also think that since only a select portion of Elon’s population is making all the decisions about what and how things should be displayed is troublesome. As many of those dealing hands-on with the art collection have noticed, many of the pieces are not of the greatest quality. In fact, there are a number of pieces that will not be accessioned into the collection because we (as the university) must establish some sort of policy for collecting to avoid ending up with boxes of “junk” from the attic of a former Elon alum. While I do think there are pieces of more importance and significance to go up on the walls of the library, why am I the one making the decisions of what people should and should not see? I know that I have been working with the collection for about a year now, but I don’t think that I am well versed enough on the collection to know exactly what is worthy of being shown, what should be left in the storage closet, and what should be silently disposed of whenever possible. Much of this collection is dealt with based on personal preference. I just don’t know if I agree with the idea of being a “curator” (in a sense) and controlling the accessibility of certain pieces of art over others.
In the book Contemporary Art by Brandon Taylor, chapter 5 is titled “In and Beyond the Museum: 1984-1998.” In this chapter, Taylor looks at the role of the curator in the art world of the 1980s and 1990s. He argues that these “new” curators assemble concepts. “’Concept’ exhibitions comprising small numbers of works by dozens of artists have made the contemporary art museum a showcase and a spectacle, yet one in which the individual philosophy can become obscured by the wider and more marketable agenda,” (138). Granted, I am not out to make money off of these works (not other than getting funds to pay for proper storage facilities and maybe even to begin collecting works of better value so we can begin building a solid art collection), but this is exactly what we are doing with this project. We are assembling works of art from the University’s art collection to fit in themes that have been chosen based on what we have and specific areas of individual interest. Is this not exactly what some artists in the 80s and 90s were protesting in their own ways in their art? Since I have been studying contemporary art, I have noticed that the museum setting and even formal exhibitions have been rejected at certain times. I just don’t want what I am doing to become problematic to me. I really don’t think that there is a way of completely altering the concept of an exhibition (especially at this point for the re-hanging), but I do think that I may take a more radical approach to my own exhibition for fellows. I don’t want to be the sole curator of a show that represents exactly what I want it to stand for. Instead, there needs to be more than that. I think that it should be more than just making sure people see it as more than just stuff on the wall and much more than just a summary of sorts of the art collection. I don’t know what the next step or level will be yet, but I am hoping that this idea can be developed and cultivated into something more powerful than I originally anticipated.
Sunday, March 9, 2008
Numero Uno
In preparation for meeting with the group of students working on the re-hanging of the library, I re-read Looking to Learn about a 1996 student-curated exhibition at the University of Chicago. One of the main focuses of this exhibition was to incorporate art with books, objects, and papers relating to the art, making the viewer re-think traditional expectations of art and its functions. The works were not left isolated in a museum space where art is usually “enjoyed.” Instead, “Looking to Learn challenged such a decontextualized approach to images and to learning by setting ritual, functional, and intentionally aesthetic objects side by side, together with inventories, technical viewing devices, photographs of ceremonial practices deploying the objects, printed materials representing them, and records and fragments of some of the environments in which they belonged,” (10). This show incorporated a larger range of materials to showcase the interdisciplinary quality of art. I feel that it aimed to reach a larger target audience, drawing in more than just the art and art history students.
I have a similar aim, to make people notice the art. As I have noted before, there are many students and faculty on campus that do not realize we have an art collection. There are also those who believe that the sole purpose of art is to decorate empty walls. I still feel certain that this is the approach of the University in general, but they appear to be shifting their philosophy to see the art as more than decoration. This exhibition at the University of Chicago has been my inspiration for pushing passed these superficial boundaries. I want people to arrive at a greater understanding of art as a means of accessing the past instead of just something pretty to occupy empty or even “boring” space. Art should be noticed and be more than just appreciated. The Looking to Learn text also outlines a tradition of the University to loan out art from the Art to Live With Collection to “acquaint students with the experience of having an original work of art to live with,” (46). Elon does not have the means of establishing a program like this one, but the accessibility of the art gave the students a better understanding of the “complexity of art” (47) and an unforgettable experience of living everyday life with art, instead of having to make the effort to find it in a museum. This power of the art to affect the students stems from its ability to communicate without words and drive an emotional connection with the viewer. My goal is for people to see the art as more than just stuff on the wall- thus my project title.
The first meeting of the group went well. We de-installed the African art shows from last semester and placed a few of the objects back in the library. The African collection, since it is the strongest that we have at Elon, should be a large part of the re-hanging. Right now, many of the pieces are randomly placed in the cases with no rhyme or reason. This is exactly what this project is looking to counteract, so these cases must be re-fashioned with themes and text before the opening in April. This group of students was very active in the execution of the African shows in the fall. I feel confident that they can develop ideas and follow through with them. They were given a brief synopsis of the entire collection to start thinking about the artworks and issues that they wish to address in the mini-exhibitions. The next step is finding time to meet again and explore these ideas to begin piecing together the exhibition as a cohesive whole. I do not want to dictate exactly what needs to be “created” in terms of the exhibitions, but they do need too all revolve around the idea of my Elon College Fellows project as a whole.
Numero Dos
Email the group to start a list of collection and theme interests to start them brainstorming on more details for their mini-exhibitions.
Start making some of the art available for the group, so they can begin to form a plan of what will go in their exhibitions.
Tour the library to learn what art needs to come down and what spaces appear promising for the mini-exhibitions.
Establish what needs to be done in terms of inventorying and organizing before spring break or really at all for this project.
Start doing things.
In preparation for meeting with the group of students working on the re-hanging of the library, I re-read Looking to Learn about a 1996 student-curated exhibition at the University of Chicago. One of the main focuses of this exhibition was to incorporate art with books, objects, and papers relating to the art, making the viewer re-think traditional expectations of art and its functions. The works were not left isolated in a museum space where art is usually “enjoyed.” Instead, “Looking to Learn challenged such a decontextualized approach to images and to learning by setting ritual, functional, and intentionally aesthetic objects side by side, together with inventories, technical viewing devices, photographs of ceremonial practices deploying the objects, printed materials representing them, and records and fragments of some of the environments in which they belonged,” (10). This show incorporated a larger range of materials to showcase the interdisciplinary quality of art. I feel that it aimed to reach a larger target audience, drawing in more than just the art and art history students.
I have a similar aim, to make people notice the art. As I have noted before, there are many students and faculty on campus that do not realize we have an art collection. There are also those who believe that the sole purpose of art is to decorate empty walls. I still feel certain that this is the approach of the University in general, but they appear to be shifting their philosophy to see the art as more than decoration. This exhibition at the University of Chicago has been my inspiration for pushing passed these superficial boundaries. I want people to arrive at a greater understanding of art as a means of accessing the past instead of just something pretty to occupy empty or even “boring” space. Art should be noticed and be more than just appreciated. The Looking to Learn text also outlines a tradition of the University to loan out art from the Art to Live With Collection to “acquaint students with the experience of having an original work of art to live with,” (46). Elon does not have the means of establishing a program like this one, but the accessibility of the art gave the students a better understanding of the “complexity of art” (47) and an unforgettable experience of living everyday life with art, instead of having to make the effort to find it in a museum. This power of the art to affect the students stems from its ability to communicate without words and drive an emotional connection with the viewer. My goal is for people to see the art as more than just stuff on the wall- thus my project title.
The first meeting of the group went well. We de-installed the African art shows from last semester and placed a few of the objects back in the library. The African collection, since it is the strongest that we have at Elon, should be a large part of the re-hanging. Right now, many of the pieces are randomly placed in the cases with no rhyme or reason. This is exactly what this project is looking to counteract, so these cases must be re-fashioned with themes and text before the opening in April. This group of students was very active in the execution of the African shows in the fall. I feel confident that they can develop ideas and follow through with them. They were given a brief synopsis of the entire collection to start thinking about the artworks and issues that they wish to address in the mini-exhibitions. The next step is finding time to meet again and explore these ideas to begin piecing together the exhibition as a cohesive whole. I do not want to dictate exactly what needs to be “created” in terms of the exhibitions, but they do need too all revolve around the idea of my Elon College Fellows project as a whole.
Numero Dos
Email the group to start a list of collection and theme interests to start them brainstorming on more details for their mini-exhibitions.
Start making some of the art available for the group, so they can begin to form a plan of what will go in their exhibitions.
Tour the library to learn what art needs to come down and what spaces appear promising for the mini-exhibitions.
Establish what needs to be done in terms of inventorying and organizing before spring break or really at all for this project.
Start doing things.
Wednesday, February 20, 2008
My First Post
I would like to say that I put together this blog while on vacation in France, but instead I had to wait until arriving back in my apartment because internet was either unavailable or 20 euros a day. So here I am back in North Carolina with my new blog dedicated to the art collection and my ECF Research-Expression Project. I hope that ya'll we be entertained by my researched commentary and random (somewhat emotional at times) thoughts about re-hanging Belk Library for CELEBRATE! Week in April and my ECF Project in general.
Enjoy!!!
Enjoy!!!
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