A) Highlight 3 insights that your reading has helped bring to the surface. Use specific test evidence to link your insights
B) If you could ask the author 3 questions what would the be?
C) What applications might this work have to your understanding of an ethical approach to community-engaged arts?
D) Consider the work we have been exploring this semester. Choose one artist or project that resonated with you. What ethical considerations were in place on this project?
A)
"...it is not the tattoo that is of interest here, to paraphrase the artist, but the very fact that the social, economic and political conditions exist whereby such events can take place."
- Ok so basically what the artist is trying to do is show that we live in a time where bad things can happen, and then he proceeds to do those bad things to make a point?!?!
"Collaborative art practices, in short, appear to be judged on the basis of the ethical efficacy underwriting the artist’s relationship to his or her collaborators rather than what makes these works interesting as art."
- Mistreating people, no matter what the context, shouldn't be labeled as art. Sure you're getting attention which is what you want, and you're gonna get backlash (to be honest he probably wanted the backlash), but at what cost? All so he can win an argument that he created. It's like Megamind being bored and creating a supervillan and then defeating him to win the favour of the people. It's not "interesting art" , it's completely unethical. You can't just turn a blind eye to the repercussions of your actions just so you can create "interesting art" - doing that doesn't make you an "interesting artist", it makes you an asshole.
"These points return us to the earlier discussion of Brecht’s Verfremdungseffekt (alienation effect) and how it produced a form of defamiliarisation (Ostranenie) in observers that encouraged active as opposed to passive participation in spectacles. Such an idea provides a forerunner of sorts to the problematics encountered in present-day collaborative practices: do such practices result in engagement – or, to use a far from ambiguous phrase, commitment – on behalf of the viewer or further forms of dissociation and transference of responsibility? "
- Why is he comparing an old respected tried-and-true theater method that, at the worst, insults people watching a show to the humiliation of the masses. Bertold Brecht called out the rich and affluent for being passive, Santiago Sierra paid minorities to be stared at and criticized like objects and fueled drug addictions. In what world are these two practices equally ethical?
B)
- What drove him to stand in defense of this so called art?
- Why does he write sentences that go on for an entire paragraph when they could easily be shortened or broken up to be made more comprehensive?
- Did he get paid to write this essay, and by whom?
C)
It makes me really think about how people are willing to overlook what goes into making something simply because they want to own or view something that is pretty or makes them look like they are intellectual.
D)
Judy Baca - I ended up doing my research paper about her. She creates murals with and for communities that end up being beautiful representations of the people she works with. She hires at-risk youth, homeless, and low-income households and teaches them the skills that they need for the job. She doesn't just use them as a work force, she connects with them and learns their stories and their passions and threads it through her work. She strives for the betterment of the community in all of her work, not just the wow factor or the aesthetics of a finished piece, unlike many artists talked about in this paper who don't care for the people they are 'working with'.
B) If you could ask the author 3 questions what would the be?
C) What applications might this work have to your understanding of an ethical approach to community-engaged arts?
D) Consider the work we have been exploring this semester. Choose one artist or project that resonated with you. What ethical considerations were in place on this project?
A)
"...it is not the tattoo that is of interest here, to paraphrase the artist, but the very fact that the social, economic and political conditions exist whereby such events can take place."
- Ok so basically what the artist is trying to do is show that we live in a time where bad things can happen, and then he proceeds to do those bad things to make a point?!?!
"Collaborative art practices, in short, appear to be judged on the basis of the ethical efficacy underwriting the artist’s relationship to his or her collaborators rather than what makes these works interesting as art."
- Mistreating people, no matter what the context, shouldn't be labeled as art. Sure you're getting attention which is what you want, and you're gonna get backlash (to be honest he probably wanted the backlash), but at what cost? All so he can win an argument that he created. It's like Megamind being bored and creating a supervillan and then defeating him to win the favour of the people. It's not "interesting art" , it's completely unethical. You can't just turn a blind eye to the repercussions of your actions just so you can create "interesting art" - doing that doesn't make you an "interesting artist", it makes you an asshole.
"These points return us to the earlier discussion of Brecht’s Verfremdungseffekt (alienation effect) and how it produced a form of defamiliarisation (Ostranenie) in observers that encouraged active as opposed to passive participation in spectacles. Such an idea provides a forerunner of sorts to the problematics encountered in present-day collaborative practices: do such practices result in engagement – or, to use a far from ambiguous phrase, commitment – on behalf of the viewer or further forms of dissociation and transference of responsibility? "
- Why is he comparing an old respected tried-and-true theater method that, at the worst, insults people watching a show to the humiliation of the masses. Bertold Brecht called out the rich and affluent for being passive, Santiago Sierra paid minorities to be stared at and criticized like objects and fueled drug addictions. In what world are these two practices equally ethical?
B)
- What drove him to stand in defense of this so called art?
- Why does he write sentences that go on for an entire paragraph when they could easily be shortened or broken up to be made more comprehensive?
- Did he get paid to write this essay, and by whom?
C)
It makes me really think about how people are willing to overlook what goes into making something simply because they want to own or view something that is pretty or makes them look like they are intellectual.
D)
Judy Baca - I ended up doing my research paper about her. She creates murals with and for communities that end up being beautiful representations of the people she works with. She hires at-risk youth, homeless, and low-income households and teaches them the skills that they need for the job. She doesn't just use them as a work force, she connects with them and learns their stories and their passions and threads it through her work. She strives for the betterment of the community in all of her work, not just the wow factor or the aesthetics of a finished piece, unlike many artists talked about in this paper who don't care for the people they are 'working with'.
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