a. 1) "Such developments, needless to say, have further problematized critical reaction to collaborative practices, involving as they do a series of ethical quandaries when it comes to considering how communities are co-opted, represented and in some instances exploited in the name of making art." As artists, we have to be aware of who are using to represent what we want to say, where we are presenting it, and to whom. All of these in mind, we should also be aware of the process while creating. The community will go through a change as well as the artist if presented.
a. 2) "If the point is to shock the viewer out of complacency, do we merely arrive at the re-inscription of disgust and disdain associated with the original power structures that enabled these practices both to exist and to determine relations to power in the first place – and if so, what do such reactions encourage by way of a commitment to change, if that is indeed the goal of socially and politically engaged artworks?" (Downey, 602) I feel like the conversation can open in so many ways when an artist does something like this. Just the mere fact that he was able to do it, and that he actually got the people to participate says something.
a. 3) "To clarify, the concept of participant observation encompasses a relay between empathetic engagement with a particular situation and/or event (experience) and the assessment of its meaning and significance within a broader context (interpretation)" (Downey, 596) It's very difficult to expect someone to have specific interpretations about the art you're making, but you can always control the boundaries, and context of it.
b. 1) What do you consider art?
b. 2) Who do you look up to?
b. 3) What made you so passionate as to write this article?
c. That I have to be careful the way I present something. I'm more of a try-to-make-people-happier artist, but understanding that there are other ways of expressing, will enrich the way I see my community, and what possible interpretations they might have.
d. In the podcast with Sandra Cisneros, she mentions that "I tried to write about it in a way that I could get past the censors, when I was writing that chapter. The original title was 'Tits.' But I thought, if I write about that, that’s too easy, and maybe someone in a school will say, 'We can’t use this book.' So I changed it and made it a little bit more challenging." (Cisneros) Here she clearly has ethical consideration toward the audience of her book. Cisneros understands that she has to follow a specific guideline, for her book to be "allowed."
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