What is Gillian Wearing?

Haha that sounded corny as a title so I decided to keep it.

Right now, I'm still on-campus and on my way home. Apparently the cable guy was there and messed up the Internet and therefore I will not have a hefty post until a day or two. I did read about Gillian Wearing through Wikipedia and the other class blogs and she seems interesting. She reminds of the man who does the "PostSecret" exhibitions and books. I believe it was Frank Warren who collects all these postcards from people. I think that's a cool concept where you can be artistic and truthful at the same time.

I remember an exhibit here at the FAB gallery awhile ago where the artist had large transparent curtains hanging from the ceiling in the room. In each curtain, were a bunch of little pockets and next to the display was a podium with leaves and pens. We were all invited to participate and discuss someone or something that we miss. Some of the responses I read were funny and I guess I was feeling somber that day because I wrote something sad.

Still, it was a great work and it was interesting to see who would participate if any. Also, if people look away when they write their true emotions is intriguing as well.

Food for thought, eh?

What can be done?

I, too, get extremely sad when AIDS is brought up, especially in reference to those countries suffering from it in Africa. It is truly heartbreaking to see those specials on television that feature broken and dying families. I think the saddest part of it all is in relation to the children. I have heard that so many adults have died of the disease, that whole villages are nothing but children. :(

This brings me to the chapter, which had much to say about the topic of AIDS and the many misconceptions or myths that were made up about it. I wasn't around when AIDS was first discovered, but it was not all that long ago. The text tells of how it was first noticed in homosexual men and how that factor contributed to the association with homosexuals to the disease. Many non-scientific assumptions were made, such as AIDS being able to casually travel from person to person. This was such an accepted belief that when some gay activists were being arrested, policemen wore yellow gloves to 'protect' themselves from their 'AIDS.'

It is interested that you brought Torrez up, Asma, as his project involving the candy goes along EXACTLY with this chapter. The artist's stack of chocolate questioned the viewer whether or not he would take a piece of candy from a gay man, all the way up to a kiss. It was a very interesting concept, and I can see why he came up with such an idea, as people during his time thought that he would infect them just by being friendly, or even, shall I say, just being human.

I need to wake up.

Whenever I hear or read about AIDS, I get extremely sad. It's a problem that won't seem to go away. Also, it's important to realize that anyone is vulnerable to getting AIDS and it's not because of the stereotypes society has placed on gays and dirty needles. Also, I get reminded of the AIDS blanket as well as works from Felix Gonzalez-Torres.

It's also important to understand that AIDS has existed for a long time and people die all over the world from it. The problem is not only in countries with extreme poverty, which cannot afford the proper medication and it is important to care.

One activist and humanist that I fully adore and support is Oprah Winfrey. It is like the world relies on her to make a difference and to spread the message to others. If you ever get a chance, go watch her 20th Anniversary DVD Collection, it will make you cry!

Someday, if I have the resources to travel, I will try to do some humanitarian work and volunteer my time to those who need it most. It's just like that Melissa Etheridge song, "I Need to Wake Up" featured at the end of the film, An Inconvenient Truth and so far with this semester, that's what I've been trying to do.

I need to wake up. I need others to wake up. But exactly how?

I'm still trying to refine my final project. I feel like there are so many issues I want to address at once and it's a little overwhelming. I'm definitely considering the impact of the two works I had mentioned above.

CFL tree + then back to the readings

So how did everyone enjoy The Sustainability Project last week?

If there are still petition pages, please hand them over to me so I can keep them all in one folder for safekeeping, especially away from the rain!

From what I glanced at, our station by the tree had close to 70 signatures! I'm so proud of everyone involved. I'm going to print out more copies and spread the word during my classes. I'll have copies also to hand out during our ASA class if anyone wants to help out.

People are still asking about it and I'm happy that they care :) I'll probably light up the CFL later this week, maybe Tues + Thurs, because that's when I have sculpture...so from like 5 to 7 p.m., make sure to check it out! Also, our ArtsBus trip was really cool! I'll find a good photo to post of that as well. Chelsea never disappoints whenever I go! :)

My Own Movement Prejudice

Right now I'm only half way through chapter 7 in The Art of Protest: Acting Up Against AIDS and I can already feel inspired by the ACT UP groups' passion and influence. At the same time I'm thinking about how I would have responded in those times, had I been older than 5 years old. Reed is discussing the advantages and disadvantages the group faced. The first disadvantage was that ACT UP was defending a group almost viewed as second-class citizens. The defendants were poor, minorities, gay (or lesbian), protitutes, drug users, you name it they fought for them. I think about the family and community I was raised in, even in the wake of liberal growth, and I wonder if I would have supported ACT UP. AIDS is bad. I learned that as a child, but were the people who got it bad? When the disease was stigmatized as a gay, or druggie, or prostitutes only sickness, I'm almost positive that I would have shunned away from supporters of those people. And I find that I have this attitude with a lot of protestors and movements now. Even things I agree with I walk faster in the opposite direciton. On campus there are booths and people handing out flyers, pamphlets, posters, and unless I force myself to walk up and listen, or I'm participating on my own, do I fully empathize and grasp what's being talked about. Looking up information and pictures on the ACT UP revolution, I know that they were hard to avoid. I think that, in that, there is art and inspiration.

Now further along in the chapter the semantics impact on AIDS brings on a new insight. There are certain words that will always make a divide in social relationships whether it is with one person or a whole group. Racial slurs (that need not be named), AIDS or HIV, homosexual, poor, alcoholic, all words except maybe prepositions are "infected with cultural assumptions" that affect how you feel about something automatically. Its as if there's a button that is pushed when some words are said. Our brain biologically recognizes the words and places them in the boxes they belong: immoral, funny, disgusting, acceptable. And from there relationships can change in one second. I think the same applies to images and groups of people. ACT UP alone (through the images I've seen) was on its own a formiddable "culturually infected" group that when mentioned (I'm sure at the time) or watched changed how someone felt whether in a postive or negative way.

I'm in a bind with the ACT UP methods however, like I or anybody could be with interpretation of art or organizantions' techniques. For something to reach me, and most people, it has to steal my attention, hold it, and make me think. Sometimes I need to be offended, or shocked, or sadded, or sickened, or so made to laugh. I need to be able to talk about it later, in a good way or a bad way. And while these things are necessary I can see how too much of something can turn people away. ACT UP targeted and probably embarrassed, insulted, and pissed off a lot of people. I'm glad they did this. It got attention and if bad publicity is still good publicity than its mission was accomplished regardless, but I can't help but think that maybe they would have gotten politcal, FDA, and media flies faster with honey than with vinegar. For some causes I see how you could get over one groups feelings for another cause's success. World hunger, war, and yes AIDS, need to be attacked but at the same time full force without balance can come back to bite you in butt. Immediate reward does not always equal long run gratification. And I think movements, and art, need to be eternal.

But in the end cultural infection is change and adaptation. Communities, goals, ideas, and beliefs change as much as the AIDS virus and only new forms of medicine and methods will succeed in healing our differences and the disease.

Woooah...Rikrit is pretty awe-some :D

I have been writing about the other text a lot lately, so I think it's time to switch it up and share my thoughts on "In the Making." This week's article about Rikrit Tiravanija was so interesting. I'm not sure I quite understood everything about this artist's creations, but I did think they were pretty cool. This artist worked with familiar, everyday activities (p.102) such as sharing a meal. He would set up an exhibit in a museum, and leave food or maybe just ingredients to entice people to sit, eat, and talk. This was most interesting as the article mentioned that such things are not allowed in a museum. It was also mentioned in reference to the exhibit that the silverware made available to his subjects was disposable. Rikrit said this is because he did not want normal people to be intimidated by his works; he didn't want them to feel it was too sophisticated for them. I also liked the fact that Rikrit was not pressured into producing new work; it was mentioned that he ran the same exhibit for three years.

However, the dining setup was not the only exhibit of its kind from Rikrit. He also had an exhibit featuring people living in the museum. People were encouraged to eat, sleep, and possibly even bath inside the museum. It was a nice thought, but it made the museum remain open 24 hours a day, which is certainly not a normal practice. I also found it interesting that Rikrit cared little whether his exhibit was ruined by his subjects. He seemed not to care about rules or consequences. Rikrit has reproduced these exhibits in many major cities and has broken many barriers in the art world in doing so.

GREEN WEEK!

Facebook Group: The Sustainability Project

GREEN WEEK

Everyone should join!

Who: The Sustainability Project Group - Fall 2007

What: Get a green dot. Stamp your pride. Sign the petition. Light the tree! :)

When: November 12th - 15th

Where: Everywhere! (Mostly Fairfax, Va.)

Why: We need to be eco-friendly!

President Merten Commits to 'Climate Neutral' Campus - The Mason Gazette - August 20, 2007

Going Green Gets Easier at Mason - The Mason Gazette - October 8, 2007

Reading rainbow

I just realized that I wrote about Tiravanija instead of Daniel Martinez for my last post. Oh well, I guess I will discuss him for the post due next week!

Hopefully people will see this:

The Sustainability Project 2007
November 12-16
Go green dots!

Free dinners to free citizenship

From In the Making, I enjoyed reading about Rikrit Tiravanija because I vaguely remember an artist who made a personal space within a gallery. From what I remember, the artist was interacting with the viewers and engaging in dialogue. The concept of free food, beds and music studios is interesting because I think these services should be free to the general public. Not only for those down on their luck, but also to create an inviting atmosphere and to make friends among strangers.

Although Tiravanija works appear endearing, I cannot help comparing him to other performance artists like Vito Acconci and his controversial work, Seedbed. Is Tiravanija simply creating a quaint atmosphere? Or is he being too passive by waiting for his audience to visit rather to reach out beyond the confines of a gallery space? I am brought to this questioning based on the text, which reads: "he capitalizes on the liberty granted to artists to be non-conformists and explore zones outside the normal matrix of art and culture." By continuing to read the text, I felt relieved with the 1996 piece in the forest with the bicycle and tableware.

I felt as though the piles of leftover food were effective and played on the viewer's perception of sight and smell. By reading his interview responses, it is almost like the artist randomly chooses the performance pieces, similar to a light's on-off switch. I am curious to this approach and question whether it is conceptual enough. Besides verbal dialogue and providing some Thai food, I don't feel like the artist "owns" the piece enough. Maybe I would suggest he create some of the pieces used or that he uses items he has collected through his travels? Just a thought.

With the chapter on immigration and the Chicano culture, The Art of Protest discusses the community formed from "la familia." Personally, I see the culture as hardworking and misunderstood. I know that there are legalities behind everything, but I feel as though Mexicans have done a lot for our country despite being a legal citizen or not. I keep on flash backing to moments on the news when I see Cubans floating on rafts in hope of obtaining a better opportunity.

For a country that provides so much and attempts to embrace all, I feel like immigration is a tough issue. Many Hispanics take on jobs that many Americans choose not to do, and they do it well. Now, I find that endearing. There should a process for illegal immigrants to obtain citizenship and residency in the U.S. by stating their benefit (economic career) to the country and to pledge allegiance like other citizens do. Why push out people? I mean, we all came from somewhere a long time ago.

This is a bad joke I heard awhile ago but I think it may have been from Jay Leno:
"In order to stop illegal immigrants from coming in, President Bush wants to build a 370-mile wall along the border between the U.S. and Mexico. Do you know who is going to build it? The Mexicans."

I've learned something new AND made some connections!!!

Chapter 4 in "The Art of Protest" brought forth a lot of new information to me, almost too much at once. I had always wondered what else was going on during the the time of segregation and protest. The African-Americans were not the only minority being discriminated against, but I had heard little or no information on the subject. This chapter offered a wealth of information about the discrimination of the Chicanos/as.

The most interesting bits that I took away from the chapter were the many connections between this movement and Civil Rights movement. Several areas of the text made allusions to the similarities between the two.

An important aspect of the Chicano/a movement was its integration of art. The three Mexican muralists that had the biggest effect on the movement, "three greats", were Diego Rivera, Jose Clemente Orozco, and David Alfaro Siquieros. I had heard previously of Rivera and Orozco, as we studied them in Unit 3 of NCC's First Year, but I never really made the connection between them and this movement. Pulqueria art, or art that featured landscapes and familiar scenes was also mentioned in the text and connected with the Civil Rights movement.

"Just as the adaption of the black church music for the purposes of the civil rights movement allowed a radical new content to enter through a familiar, nonthreatening mode, the existence of pulqueria art probably lessened the shock of the radical new messages being conveyed by community murals." (p. 106)

The next connection was the inclusion of faith in both movements and how it was integral.

"And when they marched, the UFW members carried a statue of the Virgen de Guadeloupe, patron saint of the Mexican poor, thus linking the Catholic faith of the majority of the union members to the struggle, as black Christianity helped form a base for the civil rights movement." (p. 109)

There were also similarities between the leaders. the strategies, the groups, and the nationalism of the two movements.

"The nonviolent strategies of King and Chavez, for example, exist unproblematically alongside the armed struggle represented by the Mexican revolutionaries, the Black Panthers, and the Tijerina. And while the overall image was surely intended to evoke an emerging chicanismo, a Chicano nationalism similar to the black nationalism discussed in chapter 2, none of the pictured individuals, including the temporary ones, were full supporters of a nationalist position." (p. 111)

Another connection was made between the Black Panthers and a Chicano group called the Brown Berets.

"California was also home to one of the most radical, paramilitary groups in the movement, the Brown Berets, a group with many similarities to the Black Panthers that protested police brutality in the barrios and often provided security for marches and rallies." (p. 112)

Lastly, both movements had connections to the colonization, or anti colonization, of their countries of origin.

"Just as the black movement drew strength from the image of anti colonial struggles in Africa, Chicanos drew special inspiration from the struggles in the Spanish-speaking countries of South America against European and U.S. colonialism. (p. 113)

I found this chapter very informative and interesting, but could not help but wonder why these movements did not join together as they had a similar cause. As they say, there is strength in numbers. However, there may have been some overlap, here and there, it just may not have been discussed in this section.