1. Practice
2. Finish website
3. Coordinate costumes
4. Write written report
Sam, Cristina, Nick and Lauren- Practice
Cristina- finish graphics
Sam- find corny music
Lauren- add more to written report
Nick- look for corny music and figure out whether to switch slides or have them side by side
Proposal:
Lauren: Hi and thank you for joining us in celebrating the launch of Onondaga Lake’s new fun filled attraction, Lights on the Lake.
Sam: This family orientated project highlights the history of one of Onondaga county’s most famous landmarks.
Cristina: By combining history and beauty, the 2 mile long sparkling display attracts audiences of all ages.
Nick: Lights on the lake is all year round. Viewers are able to take night time drives through the festive atmosphere or relaxing strolls along the shoreline. The scenic walk is a great way shed those extra holiday pounds.
Lauren: As our fabulous website points out, it only costs $8 per car or $6 on Monday and Tuesday with a Wegmen’s shopping card. This show cannot be missed. You can even have your companies name be part of the unique experience.
Sam: That’s right, Lauren. Companies such as Allied Signal and Solvay Process Company have jumped on board to help share Onondaga Lake’s history with all of Syracuse. There is so much fun to had that you must experience it for yourselves.
Cristina: The Towering light displays, animals, amazing animations, flying fish, beautiful beach displays and breath taking architecture can only be enjoyed by those willing to fully immerse themselves in the lake’s culture.
Nick: If you visit our website, www.lightsonthelake.org, you are able to view pieces of the multi faceted, stunning production. Here (point to fish) we have two deceased fish that have entirely absorbed all that Onondaga Lake has to offer.
Lauren: Look how gorgeous they appear. Almost breath-taking. The beautiful beaches are represented by the 12 foot “no swimming” and “no fishing” signs that flash in different colors as you pass. When you can do everything on a play station who actually goes out and swims nowadays?
Sam: Very True. And speaking of fun toys like play station, Lights on the lake gift certificates make great presents for the holidays and you don’t want to miss the virtual tours that are now available to view on the website.
Cristina: We hope that you all come out to experience the sheer brilliance of all that Onondaga Lake has to offer. During the holidays Santa is known to stop by and give out gifts to the young children. These gifts include packets with safety warnings and precautions for the kiddies to take when playing near the lake. Safety is always our number one concern.
Nick: Thank you all for coming out and listening to our presentation. We hope that you attend the show. It is mounds of fun and should not be missed!
Sunday, December 2, 2007
Sunday, November 4, 2007
Funk Lessons and Race Relations
Adrian Piper’s Funk Lessons sought to reveal the inner-feelings and tensions that divided certain cultures and ease those tensions through an integration of one culture into another culture. She used the rhythms, songs, and dances of lower class African- American funk music and taught them to middle or upper class white people in order to reveal and ease the racial tensions between the two distinctly different cultures. White culture and black culture remains two very different cultures and the exposure to these cultures to people of the other culture can sometimes cause interesting results. From tension to agitation, to anger and even outrage, the mixing of different cultures and the way in which Adrian Piper has presented these events has always produced interesting reactions. Piper’s work has involved members of both races and was geared towards confronting racial inequalities and culture and beginning to integrate parts of black culture, such as funk rhythm and music, into upper class white culture.
Adrian Piper began Funk Lessons in 1982 by inviting groups of people, sometimes as small as a single person and some as large as seven people, over to her house for dinner or cocktails, which is comfortable to most middle class people. This site and situation was chosen specifically because it was a place that most white middle class citizens can identify with and where most of those citizens can find themselves fairly comfortable. The participants involved in Funk Lessons were generally middle class citizens, either black or white and who generally didn’t have any experience with the funk culture that Piper would be introducing to them. After the participants arrived, Piper would play music from a group she termed “the Usual Gang of Idiots”, which included classical artists such as Bach and Beethoven, artists that the participants are most likely to be familiar with (Participation 133). Piper would then integrate funk into the music and gauge the participant’s reactions. She found that the participants were generally confused, or annoyed by the change, and this lead to the lessons on funk. She would introduce samples of funk music to the participants and delved deeper into the meanings and connotations associated with the different rhythms and songs. Piper also invites the participants to join in on learning various dances that go along with the music and helps the middle class participants learn the movements that go along with lower class black culture. The integration of black culture into the participant’s lives may seem simple and harmless enough but it sometimes produced negative reactions by some of the white, middle or upper class participants. Piper describes their reactions as having “elicited anxiety, anger or contempt from middle-class, college-educated whites: anxiety because its association with black, working-class culture engenders unresolved racist feelings that are then repressed or denied rather than examined” (Participation p.133). In Piper’s eyes, this reaction and other negative reactions from the educated and wealthy white social group are the product of underdeveloped interracial relations combined with white feelings of racism that are not often confronted in the every day lives of the white middle class participant. She believes that this participatory work of art can be seen as a means to alter or diminish the divide between the two cultures and make both sides more accepting of the other.
This piece fits the mold of a dialogical or participatory work of art because the reactions of the participants, or the middle class subjects learning the rhythms and motions of funk music, is what the focus of the artwork is on. Their reactions tell the different stories of white-black relations, middle or upper class and lower class relations, and educated and uneducated relations. The participant’s acceptance of the funk music, or refusal to accept the music showed Piper and the viewers of her art that interracial relations have much farther to go in our society. Piper states in an interview titled Mapping Mindsets that “American racism is frozen at the stage of denial and I don’t think American society is capable of moving beyond that stage.” (Mapping Mindsets p.). The participant’s annoyed or agitated reactions to the lessons are the stage of denial that Piper discusses in this interview. White culture still holds racist attitudes towards black culture, especially in the area of music where different rhythms, sounds, movements, or even lyrics are seen as obscene or unacceptable to mainstream white culture. Piper’s purpose for these lessons is not only to see the integration process of black culture into white culture but also primarily expose the “stage of denial” that current white culture is stuck in. She hopes that if people can surpass this stage of denial, they can take the next step of integrating different cultures into their own and developing better interracial relationships.
Piper’s work is one that seeks to engage the audience by getting them to look at their own racial attitudes and abilities to accept different cultures. She uses the idea of cultural integration between white and black culture only has a side note in her piece as the primary point of the piece is to make the viewer or participant to look at themselves and ask themselves if they would react the same way as the participants, thus questioning their own racist attitudes. This validates her piece as a true functioning piece of new genre public or dialogical art because she makes the true art form the audience as well as the actual lessons. The consequences of this work are yet to be seen, however. To say that this artwork will revolutionize race relations in the United States is vastly overreaching but it does serve the public and Piper’s purpose by bringing up the point. It makes people question themselves and take the step past the denial stage. Piper’s work will not have an immediate impact in today’s world because racism and discrimination is something ingrained in cultures across the nation, but it may have made the participants and the audience of the work change their attitudes if only slightly.
Adrian Piper’s Funk Lessons sought to reveal the inner-feelings and tensions that divided certain cultures and ease those tensions through an integration of one culture into another culture. She used the rhythms, songs, and dances of lower class African- American funk music and taught them to middle or upper class white people in order to reveal and ease the racial tensions between the two distinctly different cultures. White culture and black culture remains two very different cultures and the exposure to these cultures to people of the other culture can sometimes cause interesting results. From tension to agitation, to anger and even outrage, the mixing of different cultures and the way in which Adrian Piper has presented these events has always produced interesting reactions. Piper’s work has involved members of both races and was geared towards confronting racial inequalities and culture and beginning to integrate parts of black culture, such as funk rhythm and music, into upper class white culture.
Adrian Piper began Funk Lessons in 1982 by inviting groups of people, sometimes as small as a single person and some as large as seven people, over to her house for dinner or cocktails, which is comfortable to most middle class people. This site and situation was chosen specifically because it was a place that most white middle class citizens can identify with and where most of those citizens can find themselves fairly comfortable. The participants involved in Funk Lessons were generally middle class citizens, either black or white and who generally didn’t have any experience with the funk culture that Piper would be introducing to them. After the participants arrived, Piper would play music from a group she termed “the Usual Gang of Idiots”, which included classical artists such as Bach and Beethoven, artists that the participants are most likely to be familiar with (Participation 133). Piper would then integrate funk into the music and gauge the participant’s reactions. She found that the participants were generally confused, or annoyed by the change, and this lead to the lessons on funk. She would introduce samples of funk music to the participants and delved deeper into the meanings and connotations associated with the different rhythms and songs. Piper also invites the participants to join in on learning various dances that go along with the music and helps the middle class participants learn the movements that go along with lower class black culture. The integration of black culture into the participant’s lives may seem simple and harmless enough but it sometimes produced negative reactions by some of the white, middle or upper class participants. Piper describes their reactions as having “elicited anxiety, anger or contempt from middle-class, college-educated whites: anxiety because its association with black, working-class culture engenders unresolved racist feelings that are then repressed or denied rather than examined” (Participation p.133). In Piper’s eyes, this reaction and other negative reactions from the educated and wealthy white social group are the product of underdeveloped interracial relations combined with white feelings of racism that are not often confronted in the every day lives of the white middle class participant. She believes that this participatory work of art can be seen as a means to alter or diminish the divide between the two cultures and make both sides more accepting of the other.
This piece fits the mold of a dialogical or participatory work of art because the reactions of the participants, or the middle class subjects learning the rhythms and motions of funk music, is what the focus of the artwork is on. Their reactions tell the different stories of white-black relations, middle or upper class and lower class relations, and educated and uneducated relations. The participant’s acceptance of the funk music, or refusal to accept the music showed Piper and the viewers of her art that interracial relations have much farther to go in our society. Piper states in an interview titled Mapping Mindsets that “American racism is frozen at the stage of denial and I don’t think American society is capable of moving beyond that stage.” (Mapping Mindsets p.). The participant’s annoyed or agitated reactions to the lessons are the stage of denial that Piper discusses in this interview. White culture still holds racist attitudes towards black culture, especially in the area of music where different rhythms, sounds, movements, or even lyrics are seen as obscene or unacceptable to mainstream white culture. Piper’s purpose for these lessons is not only to see the integration process of black culture into white culture but also primarily expose the “stage of denial” that current white culture is stuck in. She hopes that if people can surpass this stage of denial, they can take the next step of integrating different cultures into their own and developing better interracial relationships.
Piper’s work is one that seeks to engage the audience by getting them to look at their own racial attitudes and abilities to accept different cultures. She uses the idea of cultural integration between white and black culture only has a side note in her piece as the primary point of the piece is to make the viewer or participant to look at themselves and ask themselves if they would react the same way as the participants, thus questioning their own racist attitudes. This validates her piece as a true functioning piece of new genre public or dialogical art because she makes the true art form the audience as well as the actual lessons. The consequences of this work are yet to be seen, however. To say that this artwork will revolutionize race relations in the United States is vastly overreaching but it does serve the public and Piper’s purpose by bringing up the point. It makes people question themselves and take the step past the denial stage. Piper’s work will not have an immediate impact in today’s world because racism and discrimination is something ingrained in cultures across the nation, but it may have made the participants and the audience of the work change their attitudes if only slightly.
Friday, November 2, 2007
Adrian Piper’s Funk Lessons sought to reveal the inner-feelings and tensions that divided certain cultures and ease those tensions through an integration of one culture into another culture. She used the rhythms, songs, and dances of lower class African- American funk music and tought them to middle or upper class white people in order to reveal and ease the racial tensions between the two distinctly different cultures.
“In my experience, people who think “race is over” are either European American, rich, young, or some combination of the above, I know of no ordinary African American over the age of 30 who holds this view.” Adrian Piper Interview Mapping Mindsets.
“ American racism is frozen at the stage of denial and I don’t think American society is capable of moving beyond that stage.” Adrian Piper Interview Mapping Mindsets.
“My work doesn’t address any particular audience, or race of audience. Nor does it seek to “disturb or enlighten them about forms of injustice.” It targets particular attitudes through humor, mimicry and/or the use of grammatical second person; and allows different individual viewers to sitiuate themselves in relation to those attitudes.” Mapping Mindsets.
“The Integrity in Piper’s work is this: unlike many artists whose concepts are endpoints in themselves, she understands art as an expedient vehicle to a reality beyond, to questions of existence, relations, and self-knowledge” Adrian Piper: Goodbye to Easy Listening. Diana C. Stoll.
'The union of the personal with the political often makes such work seem excessively confrontational or didactic to some viewers. I think this is because art functions for me as not only a medium of exploration but also a medium of communication between me and the viewer” Adrian Piper in Adrian Piper: Generali Foundation, Vienna.
“She answers the question herself in the piece by saying that it is an absurd question, that being able to dance isn't connected to race, but the point is the discussion, of course, and the gentle inversion of something: what is it that these people lack, and can we help them?” David Lillington in Adrian Piper: Generali Foundation, Vienna.
“In my experience, people who think “race is over” are either European American, rich, young, or some combination of the above, I know of no ordinary African American over the age of 30 who holds this view.” Adrian Piper Interview Mapping Mindsets.
“ American racism is frozen at the stage of denial and I don’t think American society is capable of moving beyond that stage.” Adrian Piper Interview Mapping Mindsets.
“My work doesn’t address any particular audience, or race of audience. Nor does it seek to “disturb or enlighten them about forms of injustice.” It targets particular attitudes through humor, mimicry and/or the use of grammatical second person; and allows different individual viewers to sitiuate themselves in relation to those attitudes.” Mapping Mindsets.
“The Integrity in Piper’s work is this: unlike many artists whose concepts are endpoints in themselves, she understands art as an expedient vehicle to a reality beyond, to questions of existence, relations, and self-knowledge” Adrian Piper: Goodbye to Easy Listening. Diana C. Stoll.
'The union of the personal with the political often makes such work seem excessively confrontational or didactic to some viewers. I think this is because art functions for me as not only a medium of exploration but also a medium of communication between me and the viewer” Adrian Piper in Adrian Piper: Generali Foundation, Vienna.
“She answers the question herself in the piece by saying that it is an absurd question, that being able to dance isn't connected to race, but the point is the discussion, of course, and the gentle inversion of something: what is it that these people lack, and can we help them?” David Lillington in Adrian Piper: Generali Foundation, Vienna.
Thursday, November 1, 2007
" what exists in the space between the words public and art is an unknown relationship between artist and audience, a relationship that may itself be the artwork" One Place After Another by Miwon Kwan page 105
The lecture by Mary Jane Jacob discussed the idea of bringing art to the masses. Art in the past seems to have been separated from the general public and has been immune to the "man on the streets" criticism and only could be viewed and criticized by other artists of the same prestige and caliber. New Genre Public Art, however, challenges that notion and brings about a new idea of art for everyone, regardless of social class, race, religion, or status as an artist. This new art form begins to serve more purposes socially than previous art forms. Art can now have an effect on race relations, politics, environmental issues, and other prominent social issues of our time. These new art forms can now effect the way the general public lives their lives and can bring about an era of change amongst social relations and politics in the communities the art seeks to serve. An public work of art must seek to engage its audience and provoke progress towards changing something. When this happens the relation between the audience and the form become the art rather than the form being the art. Public art has the potential to change norms and engage the masses which will certainly lead to even more progress artistically and lead to progress in the fight against recism and discrimination and politically
The lecture by Mary Jane Jacob discussed the idea of bringing art to the masses. Art in the past seems to have been separated from the general public and has been immune to the "man on the streets" criticism and only could be viewed and criticized by other artists of the same prestige and caliber. New Genre Public Art, however, challenges that notion and brings about a new idea of art for everyone, regardless of social class, race, religion, or status as an artist. This new art form begins to serve more purposes socially than previous art forms. Art can now have an effect on race relations, politics, environmental issues, and other prominent social issues of our time. These new art forms can now effect the way the general public lives their lives and can bring about an era of change amongst social relations and politics in the communities the art seeks to serve. An public work of art must seek to engage its audience and provoke progress towards changing something. When this happens the relation between the audience and the form become the art rather than the form being the art. Public art has the potential to change norms and engage the masses which will certainly lead to even more progress artistically and lead to progress in the fight against recism and discrimination and politically
Tuesday, October 30, 2007
I have chosen Adrian Piper's Funk Lessons as my topic for the third essay.
Do you know any other installations or projects done by Piper that might help me better understand Funk Lessons or would be nice to mention and discuss in my essay?
Would a comparison to another artist who focuses on racial issues such as Damali Ayo and how they differ be a good direction to go in with my essay?
"Class, Conflict, Race and Remembrance: Adrian Piper's Black Box." Francis Frascina. Oxford Art Journal.
"Adrian Piper: a retrospective: The New Museum of Contemporary Art, New York." Kathy Battista. Make, The Magazine of Women’s Art.
"Adrian Piper: Goodbye to Easy Listening” Diana C. Stoll. Aperture
"Mapping Mindsets” in Art Papers. an interview with Adrian Piper
Do you know any other installations or projects done by Piper that might help me better understand Funk Lessons or would be nice to mention and discuss in my essay?
Would a comparison to another artist who focuses on racial issues such as Damali Ayo and how they differ be a good direction to go in with my essay?
"Class, Conflict, Race and Remembrance: Adrian Piper's Black Box." Francis Frascina. Oxford Art Journal.
"Adrian Piper: a retrospective: The New Museum of Contemporary Art, New York." Kathy Battista. Make, The Magazine of Women’s Art.
"Adrian Piper: Goodbye to Easy Listening” Diana C. Stoll. Aperture
"Mapping Mindsets” in Art Papers. an interview with Adrian Piper
Sunday, October 21, 2007
Video and Resistance
This article discusses art's role in a technologically advanced world. It talks about how artists have abandoned the traditions of art and have fallen into a "role of mechanical production. with the production of photographs and documentaries as art. The author goes over the requiem for documentaries and shows how the producers and directors of these documentaries can force the viewer to believe what the director wants them to believe while hiding from them the whole truth. This is true to most documentaries as they are seeking to further their cause and not allow for any sympathy whatsoever in the opposing viewpoint.
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