tag:blogger.com,1999:blog-30823486638950164802024-03-13T23:15:39.119-07:00ARC MusesArts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.comBlogger305125tag:blogger.com,1999:blog-3082348663895016480.post-90470765792660618402014-05-20T12:11:00.003-07:002014-05-20T12:11:51.538-07:00Valuing Labor in the Arts: Renee Rhodes<div style="text-align: justify;">
<span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>On April 19, 2014, the Arts Research Center hosted <a href="http://arts.berkeley.edu/events/valuinglabor.html" target="_blank">Valuing Labor in the Arts: A Practicum</a>. This daylong event included a series of artist-led workshops that developed exercises, prompts, or actions that engage questions of art, labor, and economics. We have asked participants to send us their reflections on keywords, puzzles, or recurring themes that came up throughout the day. This post is by artist Renee Rhodes. </i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Ok, so I have been working on a project with a friend and I am thinking about ways to get heavier on purpose, un-interface my need for collectivity, and to settle endless desiring and the pursuing precariousness.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">I wrote a little shortie poem, related-ish...</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">part of desire and want and longing are done for survival</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">right, like if we didn't hungrily want our mothers milk no calcium would get to our young baby bones and we would die</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">somewhere a long time ago i read that "our desires desire desiring"</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">what if we practiced loving the feeling of longing and gave up on the endless acquisition </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">what if we practiced loving our collective indebtedness and stopped worrying about attaining freedom from it</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">is debt like an aura or a skin or a trauma or a memory or a true story about you</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">knowing so many of us are wearing these heavy auras makes me feel less lonely at least</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">I want to lead us on a group nap</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">a nap might be more productive and less harmful than keeping all these lights on</span></div>
Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com1tag:blogger.com,1999:blog-3082348663895016480.post-48763080087866746022014-05-13T10:21:00.003-07:002014-05-13T10:49:01.250-07:00Valuing Labor in the Arts: Beth Grossman<div style="text-align: justify;">
<span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>On April 19, 2014, the Arts Research Center hosted <a href="http://arts.berkeley.edu/events/valuinglabor.html" target="_blank">Valuing Labor in the Arts: A Practicum</a>. This daylong event included a series of artist-led workshops that developed exercises, prompts, or actions that engage questions of art, labor, and economics. We have asked participants to send us their reflections on keywords, puzzles, or recurring themes that came up throughout the day. This post is by Beth Grossman, a participatory performance artist based in San Francisco. She has </i></span><span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>recently been appointed to a new people-powered project called the <a href="http://usdac.us/" target="_blank">US Department of Arts and Culture</a>. </i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">I appreciated that this conference had plenty of artists leading the workshops....and I trust that they were all paid, well. I know how much work it is to prepare for these workshops. I appreciated and enjoyed that Cassie Thornton used her persona for parts of our workshop, Big Soft (BS) Contract, and I think it gave people some space to get in touch with their feelings about debt. </span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">I know that I am unusual in that I have never accrued debt that I couldn't handle easily. Many of my artist friends are drowning in debt. I have the advantage of growing up in a time when education expenses were not oppressively inflated as they are now. I also never took on any monthly charges, like gyms, car payments, etc. While I can afford it now, I still don't have cable tv, a cell phone, subscriptions, or other monthlies beyond the bare necessities..basic internet, basic phone, electric, water and garbage. It all adds up, and I always weigh the expense with time for my art. My son will be going to college next year, and we have saved up carefully for this time so he doesn't have to start his creative life out in debt.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Since debt is not a personal financial concern for me, it freed me up to exploring debt in other forms. In the meditation led by Cassie, I focused on my/our debt to the planet, my debt to my parents and ancestors, my debt to future generations. It is all related to the debt culture we live in. I would like to make some art about this. I am a participatory performance artist and have been recently exploring rights and privilege. Adding debt to the mix would be interesting. </span></div>
Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com1tag:blogger.com,1999:blog-3082348663895016480.post-31241159790481324802014-05-06T10:05:00.004-07:002014-05-06T10:06:04.350-07:00Valuing Labor in the Arts: Katherine Mezur<div style="text-align: justify;">
<i style="color: #666666; font-family: 'Trebuchet MS', sans-serif;">On April 19, 2014, the Arts Research Center hosted <a href="http://arts.berkeley.edu/events/valuinglabor.html" target="_blank">Valuing Labor in the Arts: A Practicum</a>. This daylong event included a series of artist-led workshops that developed exercises, prompts, or actions that engage questions of art, labor, and economics. We have asked participants to send us their reflections on keywords, puzzles, or recurring themes that came up throughout the day. This post is by Katherine Mezur, a freelance dance theatre scholar and Research
Associate at the San Francisco Museum of Performance and Design. She was
recently based at the International Research Center of the Freie University
Berlin, "Interweaving Performance Cultures." She is investigating the
work of Japanese women butoh and contemporary performance artists who create
work in Europe, Asia, and the Americas, focusing on issues of gender,
migration, and new media. She also works as a performance dramaturg.</i></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b>"Making" as labor and revolution</b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">I participated in two workshops. The first: Collective Actions, Moving Thought lead by </span><span style="font-family: 'Trebuchet MS', sans-serif;">Sara Wookey and the second: The Exchange Archive led by Caroline Woolard. When I first walked into the registration area I was excited to see a real mix of people, and I later found out that they artists from different disciplines, established artists, new artists, curators, and scholars, but mostly a diverse array of visual artists. I was impressed by the interest and drive of these artists to take on the deep problems of artwork value and compensation. Because I research and practice in the cross-disciplinary performing arts, particularly dance, theatre, and performance/media art, I wished there had been more theatre and dance artists represented. Why weren't they there? Perhaps because dance and theatre are collaborative arts and they produce a product that is experiential…. The Wookey workshop raised many issues that we did not have time to deal with: setting up a system of monetary self-evaluation and making a strict budget for earning a living wage (after taxes) so that one can evaluate what one is offered as compensation. Dancers are notorious for saying "Yes!": an inner automatic response because one so badly to dance. The "movement" sections seemed tangential to these deeply felt discussions on labor value and living wage issues. Wookey brought up the hot topic of the "historic" dance "commodity" such as Yvonne Rainer's Trio A, which she performs and teaches all over the world. Should we all try to learn a dance of historical value and pitch it to make a living? Within the dance communities there are also the differences between the traditional dances such as the South Indian Kathak, where there is a guru teacher to whom one gives money but the dancer would never ask for compensation. Dance seems caught up in this endless cycle of little monetary compensation and immense self-sacrificing devotion and drive.</span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;">Juxtaposed to this The Exchange Archive led by Caroline Woolard, was lively and forward looking and even daring in its pursuit of (almost but not quite) utopian exchange. Woolard had very direct questions and problems for our small sub-groups to debate and come up with suggestions. She had us deal with the idea of "Archive" (in all its complexities of canons and compensation) by making an archive of performance art/time artists. By playing a kind of card game and placing our "bets" on a gridded outline on a table top, we all could see and feel the complexity of the task of creating an ensemble exchange archive project. I really enjoyed the depth of the visual artists' knowledge and passion for "naming" the influential performance artists for this archive project. Several artists brought up how race is still so marginalized in these canonizations of valued art makers. Diversity is a constant ongoing ensemble project.</span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;">In small groups again (with reporting back to the whole group that was very important) we chose topics that had arisen in our smaller groups. And luckily we diverged from that too: we ended up by talking about how to engage the engineers in the tech (wealthy) classes in art making and supporting: how does one create true interaction, not just The Possible but the ACTUAL that could deal with housing, sharing real estate differentially: Woolard and Jackson created a kind of synergy of ideas that defy the usual "us and them" strategies, instead we wanted to move on to engagement that uses creativity in these new relationships. How do we deploy the methods we use in making things to these other challenges? Collaboration and ensemble "making" spun around our groups and table. Woolard also reminded us to work with the others' terms: be the staying and committed to the neighborhood artist, the one whose work is "making," and whose "making" can work.</span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;">I think we need to have these conversations on a weekly basis, perhaps in online webinars with visual, performance, conceptual artists, curators, scholars and yes those interested and needed supporters. Thank you so much ARC!</span></div>
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Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com1tag:blogger.com,1999:blog-3082348663895016480.post-47691340161469222822014-05-06T09:55:00.000-07:002014-05-06T09:55:11.768-07:00Valuing Labor in the Arts: Aurora Crispin<div style="text-align: justify;">
<span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>On April 19, 2014, the Arts Research Center hosted <a href="http://arts.berkeley.edu/events/valuinglabor.html" target="_blank">Valuing Labor in the Arts: A Practicum</a>. This daylong event included a series of artist-led workshops that developed exercises, prompts, or actions that engage questions of art, labor, and economics. We have asked participants to send us their reflections on keywords, puzzles, or recurring themes that came up throughout the day. This post is by Aurora Crispin, chef and museum preparator.</i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">I wanted to send along some information about a group, an allied project, I am a part of that is in line with conversations, content, initiatives, movements, and questions related to the weekends events. </span></div>
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<a href="http://www.bayareaartworkersalliance.org/" style="color: #1155cc;" target="_blank"><span style="font-family: Trebuchet MS, sans-serif;">www.bayareaartworkersalliance.<wbr></wbr>org</span></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;">We are also participating as an organization in this summers Bay Area Now 7 at YBCA, in July. </span></div>
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<a href="http://www.bayareaartworkersalliance.org/participate/" style="color: #1155cc;" target="_blank"><span style="font-family: Trebuchet MS, sans-serif;">http://www.<wbr></wbr>bayareaartworkersalliance.org/<wbr></wbr>participate/</span></a></div>
Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com1tag:blogger.com,1999:blog-3082348663895016480.post-7022209890681594412014-05-02T14:54:00.000-07:002014-05-02T14:54:10.175-07:00Valuing Labor in the Arts: Eleanor Hanson-Wise<div style="text-align: justify;">
<span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>On April 19, 2014, the Arts Research Center hosted <a href="http://arts.berkeley.edu/events/valuinglabor.html" target="_blank">Valuing Labor in the Arts: A Practicum</a>. This daylong event included a series of artist-led workshops that developed exercises, prompts, or actions that engage questions of art, labor, and economics. We have asked participants to send us their reflections on keywords, puzzles, or recurring themes that came up throughout the day. This post is by Eleanor Hanson, co-founder of The Present Group, a creative studio working at the intersection of art and technology. Much of her creative practice has been focused on developing proposals-in-practice for new funding models in the arts. Projects of The Present Group include an <a href="http://thepresentgroup.com/about" target="_blank">art subscription service</a>, a <a href="http://thepresentgroup.com/hosting" target="_blank">web hosting service</a> that funds an intermittent arts prize, Art Micro Patronage - an experimental exhibition platform showcasing and funding artwork online, <a href="http://thepeoplesebook.net/" target="_blank">The People’s E-book</a> - a free online tool to build e-books, and <a href="http://compensationfoundation.org/bayareaartistsreport#/survey" target="_blank">Compensation Foundation</a> - an online database for gathering and displaying how cultural producers are compensated. </i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">From Chet LaMore, on why we need(ed) permanent WPA. </span></div>
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<b><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><a href="http://compensationfoundation.org/" style="color: #1155cc;" target="_blank">Remember, Report, Evaluate, Advocate, and Organize, Now.</a></span></b></div>
Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0tag:blogger.com,1999:blog-3082348663895016480.post-75515781316721756462014-05-02T14:15:00.003-07:002014-05-21T09:44:37.551-07:00Valuing Labor in the Arts: Gibson Cuyler<div style="text-align: justify;">
<span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>On April 19, 2014, the Arts Research Center hosted </i><a href="http://arts.berkeley.edu/events/valuinglabor.html" style="font-style: italic;" target="_blank">Valuing Labor in the Arts: A Practicum</a><i>. This daylong event included a series of artist-led workshops that developed exercises, prompts, or actions that engage questions of art, labor, and economics. We have asked participants to send us their reflections on keywords, puzzles, or recurring themes that came up throughout the day. This post is by </i></span><span style="background-color: white;"><span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>Gibson Cuyler, a fine artist who has supported his art making process working commercially in the culture industry for 19 years. He starting doing windows at Barneys New York at 23 and subsequently ran his own commercial display studio in NYC mainly for the fashion and music industries. Currently Gibson works through the Allied Crafts International Union for Entertainment (I.A.T.S.E. local 16) and for the SFO Museum. He is, and always will be, a Painter and a Musician.</i></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Well, it is a sunny May Day today and I sit here at my computer and I am filled with thoughts and excitement for the possibilities for the future of labor and the arts. It is especially appropriate to think of these issues today, as May 1st...is the international day for Labor Awareness. I have always considered the delicate dance between Art and Commerce to be a fine art in itself. I have worked for free for my portfolio when I was young and also readily donated art for auction to galleries and organizations I appreciate and have been good to me ..Such as Momenta NY, White Columns NY, and the Bay Area Girls Rock Camp. How an artist is compensated and remunerated has a wide array of answers and varies greatly from individual to individual and I found it stimulating to hear others view points on this subject at the Practicum for labor in the arts recently in Berkeley. </span></div>
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<span style="color: #222222; font-family: 'Trebuchet MS', sans-serif;">What I most came away with was not from an artist at the Practicum, but from Catherine Powell, director of the Labor Archives and research at San Francisco State. Her brief overview of the history of Labor and Unions in the 20th Century made me realize that I had a responsibility to share my knowledge and to help other artists who are marginalized in the marketplace by perceptions of labor, its difficulties, and intrinsic values, both monetarily and culturally. I was lucky to meet up with Aurora Crispin who has been diligently formimg the Bay Area Art Workers Alliance for over a year now and subsequently met her for a meal in Oakland and I realized that her Alliance and my work experience and Union affiliation with the International Allied Crafts can be useful to this end. She shared with me her pictures of her specific aesthetic brought to her from working behind the scenes as an art worker putting on shows. It did illuminate and codify something for me that has been a source of great interest to me for years. As both artists and workers it is necessary in this day and age for us to come together in strength and commonality in order to eventually highlight our individual artistic contributions. By realizing common needs in health and welfare both socially and financially, a stonger and more independant artistic voice can be born for artists working for themselves and within institutions such as Museums and Galleries. </span></div>
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<span style="color: #222222; font-family: 'Trebuchet MS', sans-serif; text-align: start;">Catherine Powell's advice to use the young workers toolkit -AFL-CIO is proving useful and made me realize a grey area does in reality... really exist in fair labor practices for fabricators, art installers, and artists themselves as we are patronized without a roadmap for adequate pay or benefits. Instead of becoming disenfranchised and frustrated, as I have seen so much before happen to talented people trying to "make it" as artists in the western capitalist paradigm; I have become empowered by this open discussion and I see the importance of a continued, open, unafraid, and honest dialogue about these most important issues facing all working fine artists today. It is my belief that a true and quantifiable position can be undersood and benefit both working artists and the institutions who showcase them. I must give thanks to artist David Wilson and his magical rug as I believe it has actually made community where it did not exist before and to artists Helena Keefe, and Caroline Woolard... who have addressed such necessary subjects without hesitation and with succinct language. I also must thank Catherine Powell for her insights into real labor and the artists who worked within it. The time is always now....but now the future is here and we will come together and we will not fall or falter as we make art and commerce for the next century. </span></div>
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Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com1tag:blogger.com,1999:blog-3082348663895016480.post-61313390772694392742014-05-01T10:19:00.002-07:002014-06-24T12:17:51.435-07:00Valuing Labor in the Arts: Maria Billings<div style="text-align: justify;">
<span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>On April 19, 2014, the Arts Research Center hosted </i><a href="http://arts.berkeley.edu/events/valuinglabor.html" style="font-style: italic;" target="_blank">Valuing Labor in the Arts: A Practicum</a><i>. This daylong event included a series of artist-led workshops that developed exercises, prompts, or actions that engage questions of art, labor, and economics. We have asked participants to send us their reflections on keywords, puzzles, or recurring themes that came up throughout the day. This post is by Maria Billings, an artist who </i></span><span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>completed her studies of textile art at the University of Cologne. </i></span><i style="color: #666666; font-family: 'Trebuchet MS', sans-serif;">Her new, bilingual book </i><span style="color: #666666; font-family: 'Trebuchet MS', sans-serif;"><a href="http://www.romanhorses.com/" target="_blank">Roman Horses, Cavalli Romani</a></span><i style="color: #666666; font-family: 'Trebuchet MS', sans-serif;"> is an art book of water colors and drawings which accompany you on a historic stroll through Rome - finding horses in unexpected places.</i></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;">I attended Lise Soskolne's session on "Defining Value, Labor and the Arts". W.A.G.E. was founded 2008 in New York to research artists fees, or lack thereof, and to create a minimum fee schedule for artistic services provided to non-profit organizations. The whole area is so complex that I found the restricted scope very useful.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b>What is a fee in this context and what is it not a fee?</b></span></div>
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<ul>
<li><span style="font-family: 'Trebuchet MS', sans-serif;">The fee is a price or the remuneration for services to a non-profit organization.</span></li>
<li><span style="font-family: 'Trebuchet MS', sans-serif;">It is NOT the basic programming expenses which are the responsibility of the institution who wants to include artistic services.</span></li>
<li><span style="font-family: 'Trebuchet MS', sans-serif;">It is NOT intended to cover production expenses (which are more speculative in nature). The coverage of production expenses does not constitute compensation even if the work produced may result in future sales.</span></li>
</ul>
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<div style="text-align: justify;">
<span style="font-family: 'Trebuchet MS', sans-serif;">Lise divided the fee schedule into three levels. She has complex spreadsheets for a number of services. The WAGE team is still in process of refining them and will publish them on their website. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"> </span><b style="font-family: 'Trebuchet MS', sans-serif;">What can change?</b></div>
<div style="text-align: justify;">
</div>
<ul>
<li><span style="font-family: 'Trebuchet MS', sans-serif;">Funding: Foundations could continue to give money to non-profit organizations, BUT request proof that they are paying artist feed.</span></li>
<li><span style="font-family: 'Trebuchet MS', sans-serif;">Issue of transparency: Artist fees should be a visible line item in budget plans of organizations.</span></li>
<li><span style="font-family: 'Trebuchet MS', sans-serif;">Raising awareness of practical realities.</span></li>
</ul>
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<b style="font-family: 'Trebuchet MS', sans-serif;">Personal reflections</b></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">The entire event, especially the conversations with various participants was helpful is defining my "borders":</span></div>
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</div>
<ul>
<li><span style="font-family: 'Trebuchet MS', sans-serif;">As before attending the workshop, I will support some non-profits for free.</span></li>
<li><span style="font-family: 'Trebuchet MS', sans-serif;">For others, in the past, I used California minimum wage plus actual expenses (materials directly related to the service, such as printing handouts, travel, and so on). I used to think of this as "exposure". - This I'll probably replace with a minimum fixed fee, because it's simpler than counting my hours. Although the shock value of knowing precisely how long I labored on an artistic project has convinced some organizations that there is value in it.</span></li>
<li><span style="font-family: 'Trebuchet MS', sans-serif;">What I will decline are donating my services or works to small museums who want to sell them (without dividing the profit) to buy other artists works and add to their employees bonuses.</span></li>
<li><span style="font-family: 'Trebuchet MS', sans-serif;">What I will also decline are donating my services or works to organizations who go out-of-their-way to make me feel guilty for not supporting them. I hate emotional blackmail, and this entire event helped me to understand that I don't need to go there.</span></li>
</ul>
Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com1tag:blogger.com,1999:blog-3082348663895016480.post-22201849028984390282014-04-30T13:23:00.003-07:002014-04-30T13:24:20.151-07:00Valuing Labor in the Arts: Chelsea Wills<div style="text-align: justify;">
<i><span style="color: #666666;"><span style="font-family: Trebuchet MS, sans-serif;">On April 19, 2014, the Arts Research Center hosted Valuing Labor in the Arts: A Practicum. This daylong event included a series of artist-led workshops that developed exercises, prompts, or actions that engage questions of art, labor, and economics. We have asked participants to send us their reflections on keywords, puzzles, or recurring themes that came up throughout the day. This post is by </span><a href="http://www.chelseawills.com/" style="font-family: 'Trebuchet MS', sans-serif;" target="_blank">Chelsea Wills</a><span style="font-family: 'Trebuchet MS', sans-serif;">, a visual artist who works with places in flux and works closely with people inhabiting them.</span></span></i></div>
<div style="text-align: justify;">
<i><span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><br /></span></i></div>
<div class="p1" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">I came home thinking about was risk and the number of ways that we as artists deciding (or being pushed) to take on risk with our work. All kinds of work include risk, and I relish some kinds of risk in my creative work. Artists work play many roles, some of its purposes are that our world is interpreted and re-interpreted to create newness , it bring attention to things unseen, it offers and enacts space where intersections are possible in previously unimagined or forgotten ways. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="p1" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">This work is inherently risky. It is talked about in terms of creativity but this risk is invisible in lots of other ways. Artists are unique in their position of being the site where the risk meets in the art world. They interact directly with their own work, institutions, galleries, collectors, and the general public. The ways artists assume risk in these convergences is somewhat ambiguous at best. I came home from Valuing Labor in the Arts with seeds of what grew into some working fluid categories that I see in thinking about artists embodying risk.</span></div>
<div class="p1" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="p1" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">Personal Risk: What am I risking? What do I stand to gain? Does this work compromise relationships to my self/family/friends/community/collaborators? Is this risk worth it for what I am trying to convey? Who else is shares this risk with me? Will I be able to count on them if things go wrong?</span></div>
<div class="p1" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="p1" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">Creative Risk: Can I do this? Have I done it before? Is it a “valid” idea in my mind? In someone (collaborators, institutions, etc.) else’s mind? Who shares the risk if I mess it up? Who decides if I mess it up?</span></div>
<div class="p1" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="p1" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">Financial Risk: What value is this work assigned by me? By someone (collectors, audience, insurers) else? By institutions? How much of my time does that constitute? Who recieves the benefit of this works success?</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="p1" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">Institutional Risk: What does this institution stand for? How do they share risk with artists? How do they allow/support/create success for artists? What value do they put on all types of labor that happen there?</span></div>
<div class="p1" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="p1" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">Broader Cultural Risk: What bigger conversations do I have access to? Who supports inclusion/exclusion from them? What risk do I put myself/my collaborators/the communities I work with in?</span></div>
<div class="p1" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
</div>
<div class="p1" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">I am interested by beginning this articulation of risk in thinking about how risk is shared. By who and when? How do we as artists create, dismantle, imagine situations where we can share hard kinds of risks and allow each other the autonomy to work to our edges?</span></div>
Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0tag:blogger.com,1999:blog-3082348663895016480.post-37219634478782536072014-04-24T11:19:00.000-07:002014-04-24T11:19:34.113-07:00Valuing Labor in the Arts: Sarah Wilbur<div style="text-align: justify;">
<span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>On April 19, 2014, the Arts Research Center hosted <a href="http://arts.berkeley.edu/events/valuinglabor.html" target="_blank">Valuing Labor in the Arts: A Practicum</a>. This daylong event included a series of artist-led workshops that developed exercises, prompts, or actions that engage questions of art, labor, and economics. We have asked participants to send us their reflections on keywords, puzzles, or recurring themes that came up throughout the day. This post is by Sarah Wilbur, choreographer and PhD candidate in World Arts and Cultures/Dance at UCLA.</i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><b>Let’s Ask Ourselves…<o:p></o:p></b></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><b>[A Dance-based Addendum to the
“Grey Matter” Quiz]<o:p></o:p></b></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><b>April 23, 2014<o:p></o:p></b></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><b>Sarah Wilbur</b><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">As a cross-sector dance maker
and scholar who writes about dance makers and institutional dependency, I
appreciate how Helena and Lauren’s slippery “Grey Matter” quiz resists tidy
“yes-no” answers. The very structure of a quiz mandates self-reflection. By
hailing artists who attempt to fashion careers through the nomadic practice of
“gig dependency”, the Grey Matter quiz should constantly be retaken. It
institutes a practice of looking before we step <i style="mso-bidi-font-style: normal;">and </i>stepping with a sense of what a steadier foothold feels like,
when confronted with an invitation to depend. “Gig dependency” might be a crude
characterization for some, but within the hyper-dependent field of dance, “gig
dependency” behaves as a <i style="mso-bidi-font-style: normal;">kind </i>of
institutional dependency, one requiring local strategies of belonging and
engagement. The institutional attachment of certain dance makers to the
contemporary museum or biennial circuit, while unexceptional historically given
the longstanding co-operation of dance artists with non-dance institutions,
begs us to consider how the institutional promiscuity of US live dance
performance might score in this inspiring quest for advocacy and reflexivity.
To start this thread, I’ve remade the quiz from a dance perspective. LET’S ASK
OURSELVES… [201]<o:p></o:p></span></div>
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<div style="border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-element: para-border-div; padding: 1.0pt 4.0pt 1.0pt 4.0pt;">
<div class="MsoNormal" style="border: none; padding: 0in; text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Trebuchet MS, sans-serif;">GAUGING the GREY AREA: Standards for
Artistic Labor <o:p></o:p></span></i></div>
<div class="MsoNormal" style="border: none; padding: 0in; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">[DANCE
BASED ADDENDUM]<o:p></o:p></span></div>
</div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">QUESTION No. 1: <i style="mso-bidi-font-style: normal;">Does this opportunity align with your
creative strengths, experiences, and goals as a dance maker?<o:p></o:p></i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">ANSWERS:<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">A: This idea inspires me
creatively to become involved. While its scope does not align perfectly with my
experience/training, the invitation provides an occasion to research and learn
from the organizers, context, and collaborating artists. I think that my
collaborators would probably want to work with me on translating my work within
this context. [10]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">B. I find this work interesting,
but not well aligned with my present investments as a dance maker. The project
of adapting my work may contort its general scope and intentions, and would
require a great deal of rehearsal time for my dancers to learn and master the
task at hand. I’m torn. [5]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">C. I cringed when I saw the
scope of this project. My values do not align with those of the presenting organization.
I cannot participate in this project without a deep sense of personal conflict
and a deep loss of time that I should be working on other things. My
dancers/collaborators do not value this kind of work or approach. [0]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">D. I’m eager to take advantage
of this unique and exciting opportunity. The experience and working
relationships are excellent and the support structures are strong. The timing
and resourcing available for this opportunity converges with the availability
of my closest artistic collaborators. It’s as if I dreamt this. [15]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">QUESTION No. 2: <i style="mso-bidi-font-style: normal;">What is the potential financial gain/impact
of this project? </i>(same
question)<o:p></o:p></span></div>
<div class="MsoNormal">
</div>
<div style="text-align: justify;">
<span style="font-family: 'Trebuchet MS', sans-serif;">ANSWERS:</span></div>
<span style="font-family: Trebuchet MS, sans-serif;"><div style="text-align: justify;">
A: MEAGER. I get a small performance honorarium, one free parking space, and
reception food/drinks the night of the performance, and networking
opportunities on the night of the performance. [5]</div>
<o:p></o:p></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">B: STOKED. This commission
includes space, designer fees, rehearsal and performance pay for the dancers, a
design budget, and choreographic stipend. [15]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">C: NADA. I’m subsidizing the
entire cost of rehearsing, designing, and producing this work, which is largely
irreproducible due to the context of this production. This subsidization
includes [0]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">D: INCOMENSURABLE. They are
paying an artist fee that does not include ancillary costs of production. [10]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">QUESTION No. 3: <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">How does
my acceptance of this opportunity condition or constrain the future
exploitation of dance artists by sponsoring organization/institution?</i><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">A: Production conditions are
inadequate, but there is room to negotiate on behalf of myself, and my
collaborators, which could set a good precedent for future projects and other
artists interested in working with this sponsoring organization. [10]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">B: This opportunity is suboptimal,
but presents an opportunity to bring attention to the issue of exploitation by
communicating areas of disconnect to this partner to contextualize the
affiliated expenses at play in my dance making. [5]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">C: This opportunity is so fair
and so transparent that it benefits all involved and sets an ethical standard
for future collaborations in this type of production context. [15]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">D: Even if I benefit (minimally)
from this project, I will be complicit in the system of artist exploitation and
will subject my collaborators to exploitive conditions. [0]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">QUESTION No. 4: <i style="mso-bidi-font-style: normal;">What are the personal, financial, embodied,
and relational risks and rewards of this project?</i><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">A: There is financial support
but a relatively high degree of risk via poor working conditions, low
production values, and insufficient time in the performance space, minimal publicity
and exposure, or other kinds of heavy contingencies. [5]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">B: This opportunity involves
suboptimal conditions that pose physical hazards to my dancers and myself and
that incur debt and strain my working relationships. Why am I even considering
this? [0]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">C: I am excited about the
possibilities opened up by this opportunity and reassured by institution’s
willingness to mitigate potential risks for all participants. [10]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">D: This project puts me and my
collaborators in a good position financially, physically, and professionally
through heightened networking and exposure to new/important constituencies. I’m
optimistic that the benefits outweigh the risks. [15]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">QUESTION No. 5: <i style="mso-bidi-font-style: normal;">What kinds of communication labor does this
project demand and how does this work affect the impact of my dance making? </i><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">A: Project targets a narrow but
committed constituency. There is little room for exposure beyond immediate
participants, and little budget/desire to reach beyond current targets, but the
quality of interaction is strong for those involved. [10]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">B: Project marketing falls on me
with the provision of materials fees but no mailing list. The time to fashion
and distribute publicity takes time away from the creative labor of dancemaking
and institutional rationale for presenting is minimal or at least suspect. [5]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">C: The institution has minimal
experience working with dance and little capital has been invested in
contextualizing this work for potential audiences. Audience demand/interest is questionable,
time and resources to promote the work nonexistent, and risk of
misrepresentation for artists is high [0].<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">D: The institution has broad
reach and an excellent reputation within the communities that I work in or desire
to connect with. Past publicity by the institution resonates with my own value
system, and the possibility of national press exposure is high [15].<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">RATIONALE:<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Trebuchet MS, sans-serif;">*(Addendum to No. 3) Here I account for
the intermediary function of the choreographer as a frequent subcontractor of designers,
performers, and third party collaborators as a significant distinction for
dance and live performance. The risks to secondary and tertiary collaborators
in dance contracting frequently fly under the radar if/when presenters do not
know to look for these details (or feign ignorance, as the case may be).
Conversely, sub-exploitation of dancers and support personnel by choreographers
remains a relatively closeted discourse in dance.<a href="https://www.blogger.com/blogger.g?blogID=3082348663895016480#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;">[1]</b></span><!--[endif]--></span></span></a>
To mitigate this, this question asks the negotiating dance artist to account
for these sub-dependencies and interpersonal ethics.<o:p></o:p></span></i></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><i style="mso-bidi-font-style: normal;">*(Addendum to No. 4) A general account for
time outside of the event and adequate working conditions in dance, is of paramount
importance in any booking situation. Most of the preparatory work of dance
making costs time beyond the space of public presentation, and time in
rehearsal does not generally equate with the <b style="mso-bidi-font-weight: normal;">t</b>ime <b style="mso-bidi-font-weight: normal;">o</b>n <b style="mso-bidi-font-weight: normal;">s</b>tage <b style="mso-bidi-font-weight: normal;">y</b>ield of a particular work.<a href="https://www.blogger.com/blogger.g?blogID=3082348663895016480#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;">[2]</b></span><!--[endif]--></span></span></a>
</i><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Trebuchet MS, sans-serif;">*(Addendum to No. 5) Helena and Lauren’s
concern with ‘exposure’ is replaced here with communication as a responsibility
of all parties engaged in the dance making process. Again, I think that the
social practice of dance making demands this, and demands a reciprocal exchange
that , in my experience, suffers when discourse gets collapsed into a “my” vs. “their”
turf war. <span style="mso-spacerun: yes;"> </span>Perhaps I’m softening too much
for some, but mobilizing communication as a co-researching and mutually
supportive project promises more mutually agreed-upon results. Just as
institutional intermediaries conduct various levels of research during their
selection of artists, selected artists should come clean and recognize when a
reluctance to study the history of a presenting organization and/or the value
systems and spreadsheets at play in the institution’s commissioning process
stands in the way of a more productive working relationship. Here is where I
appreciate W.A.G.E.’s charge to artists to research the history and culture of
funding and presenting institutions as part of the production negotiation. This
kind of critical literacy trumps gut instincts by revealing deeper practical
and material disjunctures that might evidence why an artist may or may not
“like” a presenters approach. <o:p></o:p></span></i></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">These suggested expansions of
Helena and Lauren’s “Grey Matter” have attempted to foreground the intermediary
role of the choreographer as labor subcontractor, the secondary constituencies
who are doubly vulnerable to sub-exploitation as a concern, and the
co-researching required to sustain productive equilibrium as key issues worth
considering when navigating the ‘grey matter’ of artistic standards in dance.
This quiz should constantly be retaken. By challenging choreographers to
recognize the interdependent relationships embedded in the question: “<i style="mso-bidi-font-style: normal;">What do you need in order to feel
supported?”, </i>I shift the “what” to the “who”, in part, to honor the many
“makers” whose support contributes to the resultant dance “work”. I imagine
that an extension of these logics to the institution-side of the contract would
yield dizzying numbers as well. To Helena, Lauren, ARC, and <i style="mso-bidi-font-style: normal;">Art Practical</i>: Thank you for the quiz
and the quandaries. I depart from this exercise of quiz making as an even more
robust advocate for a critical practice of reflection through interpersonal
re-collection (re-collectivization?). While the temporal, spatial, material,
and “human” contingencies at hand in making dance (within and beyond the
Museum) remain un-standardizeable, Helena and Lauren’s quiz amplifies the
stakes and energizes the discourse. Sometimes the wheels do not need
reinventing, but we need to notice when they stop spinning. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">Let’s ask ourselves… <o:p></o:p></span></div>
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<div style="mso-element: footnote-list;">
<div style="text-align: justify;">
<span style="font-family: 'Trebuchet MS', sans-serif;"><br /></span></div>
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<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=3082348663895016480#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[1]</span><!--[endif]--></span></span></a> Robin Lakes’s essay on the Authoritarian
roots of Western Concert Dance stands as an exception in this regard. See: <i style="mso-bidi-font-style: normal;">Dance, Human Rights, and Social Justice:
Dignity in Motion. </i>N. Jackson, T. Shapiro-Phim, eds. Lanham: Scarecrow
Press, 2008, p. 109-130.<o:p></o:p></span></div>
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<span style="color: black;"><a href="https://www.blogger.com/blogger.g?blogID=3082348663895016480#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span style="font-family: Trebuchet MS, sans-serif;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[2]</span><!--[endif]--></span></span></span></a><span style="font-family: Trebuchet MS, sans-serif;"> <i style="mso-bidi-font-style: normal;">Author’s note:</i></span><span style="font-family: Trebuchet MS, sans-serif;"> The
bolded letters in the latter sentence refer to a self-fashioned term invented
(albeit facetiously) in the early 2000s with a colleague/collaborator Ben
Munisteri to refer to a well-known and little-reported rehearsal circumstance
in dance, wherein an artist and dancers work on a particularly thorny part of a
dance for hours, <b>days</b> even, only to
have the belabored moment last for very short amount of time in the resultant
dance product. The audience, viewing the dance in performance, will never be
aware of the hours spent to refine a particular choreographic moment or
subsection. On the rehearsal side, Ben and I decided to jokingly institute the
use of the term TOSY –<b><i style="mso-bidi-font-style: normal;">Time On Stage Yield</i></b><i>-with dancers at the start of a rehearsal to
let them know </i><b>in advance</b> whether
we anticipated the day’s work to be low-yielding or high-yielding. By these
temporal and physical ‘standards’, a dancer hearing our intention to work on a <b>low TOSY</b> section should put his
thinking cap on and warm up, because the amount of repetition, adaptation, and
confusion is likely to be high. In contrast, a <b>high TOSY</b> rehearsal could involve reviewing a large unison section
with reliable timings, zero tactile contact, and simple spatial patterns.
Different outcomes require different amounts of time, risk and corporeal
preparation. Thus the disregard for the offstage time of dance making by
commissioning or presenting<i> </i>institutions
stands here as a potentially highly exploitive dimension of production
negotiation.</span></span><span style="color: #660066; font-size: xx-small;"><o:p></o:p></span></div>
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<br /></div>
</div>
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Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0tag:blogger.com,1999:blog-3082348663895016480.post-55862523588366470912014-04-24T10:06:00.003-07:002014-05-06T10:11:37.670-07:00Valuing Labor in the Arts: Todd Gilens<div style="text-align: justify;">
<span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>On April 19, 2014, the Arts Research Center hosted <a href="http://arts.berkeley.edu/events/valuinglabor.html" target="_blank">Valuing Labor in the Arts: A Practicum</a>. This daylong event included a series of artist-led workshops that developed exercises, prompts, or actions that engage questions of art, labor, and economics. We have asked participants to send us their reflections on keywords, puzzles, or recurring themes that came up throughout the day. This post is by Todd Gilens, a project- and place-based visual artist working from commissions as well as initiating his own projects. Recent work has involved the San Francisco MTA, the UC Berkeley Botanical Garden, the <st1:placename w:st="on">Stockholm</st1:placename> <st1:placename w:st="on">Resilience</st1:placename> <st1:placetype w:st="on">Center</st1:placetype> and, through fall 2014, a private building façade at <st1:street w:st="on"><st1:address w:st="on">1286 Sanchez St.</st1:address></st1:street> in <st1:place w:st="on"><st1:city w:st="on">San Francisco</st1:city></st1:place>. He lives in the <st1:place w:st="on"><st1:placename w:st="on">San Francisco</st1:placename> <st1:placetype w:st="on">Bay</st1:placetype></st1:place> area. <a href="http://www.follywog.com/">www.follywog.com</a></i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Thank you for a delightful and energizing conference; the positive effects of considering common difficulties in community should not be underestimated, and I wonder how to translate some of the exercises into accessible, ongoing form. Where could I find a dozen practitioners to reflect together on professional dilemmas? How often, in a year, in a career, would such a gathering be useful? Who are my ideal respondents?</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The conference I experienced focused on ‘labor’ as time, pushing to the background other aspects of value-creation, such as skill, demand and distribution, all fundamental pieces of professional leverage. Likewise excursions into other professional models might have yielded both insights and new parameters of community, for example how architecture, graphic and game design offices bill for services, or non-profit systems in the conservation community, or the teaching professions; or how real estate developers, in their highly speculative, capital intensive activity, manage risk and investment.</span><br />
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<span style="background-color: white; color: #222222; font-family: 'Trebuchet MS', sans-serif;">A take on ‘patronage’ is described in Lewis Hyde’s excellent “Created Commons”, an essay which you may know already. His example is Thoreau and the kinds of support, none of it monetary, that he received during his short career. He suggests a model of monetization in creative work as a common pool resource.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Another thing that came to my mind is/was a performing arts initiative I worked under in the late 80’s called the Performing Arts Network. This was a system to book performers into small theaters around the <u></u><u></u>US<u></u><u></u>. Performers and crews fees were set to a ‘fair’ standard and some of the admin work was done by PAN, leveraging tasks and infrastructure that were appropriate at different scales. I suspect this program is no longer operating; even so, it would be interesting to know what influence it had on compensation in a wider scope.<u></u><u></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">It was exciting and empowering to go through your workshop together, and as a group of artist-persons (I am assuming we were mostly that), we collectively encourage each other. But my sense is that that experience will have little impact, and perhaps little practicality too, without being set in context of the rest of the system.</span></div>
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Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0tag:blogger.com,1999:blog-3082348663895016480.post-59451153918195828352014-04-22T16:57:00.000-07:002014-04-22T17:05:20.441-07:00Valuing Labor in the Arts: Caroline Woolard<div style="text-align: justify;">
<span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>On April 19, 2014, the Arts Research Center hosted <a href="http://arts.berkeley.edu/events/valuinglabor.html" target="_blank">Valuing Labor in the Arts: A Practicum</a>.
This daylong event included a series of artist-led workshops that
developed exercises, prompts, or actions that engage questions of art,
labor, and economics. We have asked participants to send us their
reflections on keywords, puzzles, or recurring themes that came up
throughout the day. This post is by visual artist, and Valuing Labor in the Arts workshop leader, Caroline Woolard.</i></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">The work I'm doing now (by facilitating the start of associations <a href="http://bfamfaphd.com/">http://bfamfaphd.com</a> and <a href="http://nyctbd.com/resources">http://nyctbd.com/resources</a>) is focused on creating longterm community livelihoods where shared decision-making and shared profit are possible. Personally, I was able to focus on <a href="http://ourgoods.org/">OurGoods.org</a> and TradeSchool.coop and <a href="http://solidaritynyc.org/">SolidarityNYC.org</a> for the past five years because I graduated without debt from Cooper Union, because I refused to go into debt for graduate school, and because I created a job for myself by co-managing a studio space that I built out with friends to keep rent low. So, while we resist conditions of debt and underpayment (Non-Participation, WAGE, Strike Debt), raise consciousness about our shared realities (Present Group, Collective Actions, Yoga for Adjuncts), and suggest self-organized initiatives (Appropriate Technologies, NYCTBD, BFAMFAPhD), we must also join the long-term struggles of all working class people by educating ourselves about the existing work around us (Labor Archives). We must understand the endurance work and leadership training that is necessary to make change- it took Fourth Arts Block three decades of organizing to get 8 buildings from the city for $8, and decades after that to sustain and maintain it! As I leave from SFO now, I am excited about bringing the initiatives highlighted together in a framework that welcomes and trains many leaders. As I leave, I am more excited about the importance of community land trusts and worker cooperatives as living examples of resilient institutions that keep individuals in dialog over time and create jobs for exploited individuals, looking to Fourth Arts Block (<a href="http://catalystreview.net/2014/02/fourth-arts-block-leading-cultural-advancement-in-new-york-city/">http://catalystreview.net/2014/02/fourth-arts-block-leading-cultural-advancement-in-new-york-city/</a>) and 3B (<a href="http://3bbrooklyn.com/">http://3bbrooklyn.com/</a>) as examples of just, democratic, and sustainable examples of solidarity economies that will remain stable options for future generations because the land is held in trust. <br /><br />I am very interested in continuing the conversation, and hope to work toward another gathering, on the East Coast. Also, I would love to return to the Bay Area in late June, or in the fall/winter, to complete the Exchange Archive, do an audio project about Community Economies and time-space geography mapping, and write about Real Estate (not just land) Art! I also see a lot of overlap in the tech sector with the "sharing economy" as aligned with worker cooperatives, if sharing means shared decision-making and shared profits. Inspired by the gathering, Caroline. </span></span></div>
Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0tag:blogger.com,1999:blog-3082348663895016480.post-48773585534757300942014-04-22T12:24:00.001-07:002014-04-22T12:24:29.865-07:00Valuing Labor in the Arts: Kate Rhoades<div style="text-align: justify;">
<span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>On April 19, 2014, the Arts Research Center hosted <a href="http://arts.berkeley.edu/events/valuinglabor.html" target="_blank">Valuing Labor in the Arts: A Practicum</a>. This daylong event included a series of artist-led workshops that developed exercises, prompts, or actions that engage questions of art, labor, and economics. We have asked participants to send us their reflections on keywords, puzzles, or recurring themes that came up throughout the day. This post is by visual artist Kate Rhoades.</i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"> I came to this event hoping to be part of a Marxist revolution and though that definitely was not what happened, I was not disappointed. I found out about this practicum on <a href="http://www.wageforwork.com/" target="_blank">W.A.G.E.'s website</a>, so naturally I signed up for the workshop on Defining Value, Labor, and the Arts, hosted by W.A.G.E.'s Lise Soskolne. W.A.G.E. had a summit earlier this year to work out their certification program, which is a program to certify that non-profit arts exhibition spaces are fairly compensating their artists. Looking at some of the figures Lise shared with us, I was surprised by how huge some nonprofit arts institutions' directors salaries are, while their exhibiting artists are being paid next to nothing. There was also discussion during the workshop about a certain famous artist who will remain nameless, and their exploitative relationship with younger, non-famous collaborators--no surprise there, but still thought-provoking.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"> I feel some ambivalence about this issue personally. I'm a young(ish) visual artist trying to eke out a living and make a name for myself, like a lot of people in Oakland. If some notable artist or prestigious organization that I respect asks me to come participate in their project for free I think it would be really hard for me to turn them down. In fact I've been in that very situation a few times in my career, and usually have some regrets about my decisions whether I agree to participate or not. On the other hand, I've been looking into W.A.G.E. or artists' unions of the past like the Art Workers' Coalition (thanks to Julia Bryan-Wilson's book, <i>Art Workers</i>) because I think that the only thing artists can do to counteract the winner-take-all art market, and all the other art world financial bullshit, is to band together and stop clawing each others' faces off to get the tiny sliver of the pie available to us. I brought up my ambivalence during the workshop, and one of my thoughtful fellow participants said that part of the beauty of W.A.G.E.'s certification program is that it holds accountable the institutions and their funders, rather than the individual artists who are perhaps the most vulnerable party involved. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"> In the afternoon I was fortunate to hear Catherine Powell's talk about the history of labor unions in the Bay Area. During the discussion following the talk people brought up the idea of artists aligning themselves with other labor struggles, like those of freelancers and educators. Later my partner and Catherine were talking about the possibility of creating an artists' union today. Unlike the conclusion that my fellow morning workshop participant came to, Catherine said that it would probably be more effective for artists to unionize rather than rely on institutions to hold themselves accountable. After all, institutions must first elect to participate in W.A.G.E.'s certification program. Without pressure from artists and the public, how many organizations are really going to volunteer to dramatically overhaul their budgets? I thought it was funny to have heard two equally convincing, but opposing solutions to the same problem. In the end, I think the two approaches don't have to be mutually exclusive. Artists could band together to hold each other accountable and not give their labor away for free, while at the same time pressuring the institutions we decide to work with to pay us more fairly. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"> I'm still waiting to figure out when we're going to start setting up barricades in the street or chain ourselves to something. If anybody has plans for further action, whether dangerously revolutionary or not, you can email me: <a href="mailto:KateRhoades@gmail.com">KateRhoades@gmail.com</a>.</span></div>
Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0tag:blogger.com,1999:blog-3082348663895016480.post-4704738834142520602014-04-22T12:09:00.003-07:002014-04-22T12:09:47.089-07:00Valuing Labor in the Arts: A Practicum<div style="text-align: justify;">
<span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>On April 19, 2014, the Arts Research Center hosted <a href="http://arts.berkeley.edu/events/valuinglabor.html" target="_blank">Valuing Labor in the Arts: A Practicum</a>. This daylong event included a series of artist-led workshops that developed exercises, prompts, or actions that engage questions of art, labor, and economics. An important component of this event was a two-part thematic issue curated by the Arts Research Center for Art Practical, a leading arts publication in the Bay Area. This special issue served as a primer for workshop participants and as an inspiration and handbook for artistic communities who want to imagine alternative artistic economies in their own domains. Part one, published April 3, 2013, can be found <a href="http://www.artpractical.com/valuinglaborinthearts/" target="_blank">here</a>. Part two will be published in May and will feature workshop exercises as well as a series of commissioned reflections from writers and researchers. Below is the introduction to Part one, written by ARC Director Shannon Jackson.</i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">When is it okay to work for free? Is it acceptable as long as you’re working with—or for—another artist? What is an artistic service? These are just a few of the hundreds of questions circulating for artists working in the 21st-century economy, a scene in which the very old question of art’s financial contingency arguably has a different kind of urgency and opacity. With “Valuing Labor in the Arts,” the Arts Research Center (ARC) gathers artists, curators, organizers, and researchers to work together on such questions.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">One key value for ARC is to make sure that artists from various disciplines contribute to the conversations we stage. For this assemblage, we have invited a range of artists to create small, artist-led workshops devised to spur dialogue, action, and art making around questions of art, labor, and economics.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">This special issue of Art Practical, curated by the Arts Research Center, serves as a primer for the April 19, 2014 gathering and will include more responses and meditative essays from writers working in economics, sociology, art history, performance studies, dance, film studies, and literature. These future texts, along with work produced in situ, will help us both document our processes and reflect further on the issues explored.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Most of our workshops will be limited to small groups to allow for meaningful creation within the parameters of the workshop. While we are acutely aware that this depth of interaction will necessarily limit those who have access to it, the hope is that the ideas raised in these articles can be widely shared and will provide fodder for more.</span></div>
Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0tag:blogger.com,1999:blog-3082348663895016480.post-59156459358935944372014-03-04T10:34:00.003-08:002014-03-04T10:39:04.736-08:00Recap: Living Time: Art and Life After 'Art-Into-Life'<div style="text-align: center;">
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br />On February 20 and 21, the Arts Research Center was delighted to welcome over 200 attendees to the UC Berkeley Art Museum and Pacific Film Archive Gund Theater as our ARC community debated and discussed the connections surrounding and between the boundaries separating "art" and "life." We were equally delighted to host 15 celebrated international, national and Bay Area artists, curators, and scholars from a variety of art fields who presented on historical and contemporary, visual and performance based iterations of the distinctly 20th century cultural phenomenon of ‘art-into-life’.<br /> </span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><a href="http://3.bp.blogspot.com/--yY8gGIzfKY/UxYaeZrmQmI/AAAAAAAAAPU/epKxARHCq_Y/s1600/IMG_2974.JPG"><img border="0" height="240" src="https://3.bp.blogspot.com/--yY8gGIzfKY/UxYaeZrmQmI/AAAAAAAAAPU/epKxARHCq_Y/s1600/IMG_2974.JPG" width="320" /></a></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">On Thursday, February 20 , <b>André Lepecki</b> (New York University) turned our attention to Brazil and the the work of Hélio Oiticica in a talk titled "Temporality and the Question of Life.” With thoughtful responses by both <b>Suzanne Guerlac</b> (UC Berkeley) and <b>Claudia Calirman</b> (John Jay College), the evening served as a wonderful primer for the all-day gathering on Friday.</span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">On February 21, <b>Maria Gough</b> (Harvard University) presented on the historical precedent for art and life in “Corps Concepts: Notes on the Soviet Collective”. The day’s first “Regional Check-in” centered on Eastern Europe and Beyond as both <b>Bojana Cvejić</b> (Performance Scholar) and <b>Ana Janevski</b> (MoMA) discussed politics, dance, aesthetics in the former soviet bloc. In the afternoon, we turned our attention to "Life" and Transnational Curating with presentations by <b>Claudia Calirman</b> (John Jay); <b>Lawrence Rinder</b> with <b>David Wilson</b> (BAM/PFA); <b>Jeff Kelley</b> (Critic and Curator); and <b>Dominic Willsdon </b>(SFMOMA). This lively session touched on the promises and pitfalls of curating time and performance based, socially engaged, and relational art, citing contemporary and historical examples of each.<br /> </span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><b>Karin Sanders</b> (UC Berkeley) and <b>Knut Ove Arntzen</b> (University of Bergen) shared expansive accounts of time-based art in the High North, with both exploring “ice” as a material in ecological art. Our focus on regions around the world concluded with China’s Time: Experimental Art and Labor, where both <b>Winnie Wong</b> (UC Berkeley) and <b>Yi Gu </b>(University of Toronto) shared thoughtful, critical, and amusing tales of art production in and beyond China.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br />ARC would like to thank our major symposium sponsor, the Institute of International Studies, and our symposium supporters, the UC Berkeley Art Museum and Pacific Film Archive, the History of Art Department, The Institute of Slavic, East European and Eurasian Studies, the Department of Slavic Languages and Literatures, the Department of Scandinavian, and the Philosophy Department at UC Berkeley, in addition to our amazing staff and volunteers for making the day happen. Thank you also to our presenters and to our attendees who came out for the two days and supported the ARC community!<br /> </span></span>
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<span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>On February 20 and February 21 The Arts Research Center at UC Berkeley is hosting the symposium “<a href="http://arts.berkeley.edu/livingtime" target="_blank">Living Time: Art and Life After 'Art-Into-Life</a>'. We've asked participants from three sessions to post some brief thoughts on the topic in advance of the event. This guest posting is by André Lepecki (Associate Professor, Performance Studies, New York University), who is delivering Thursday’s keynote presentation entitled “<b>Temporality and the Question of Life: Hélio Oiticica and Lygia Clark</b>”.</i></span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;">My aim is to investigate how the works and writings of Hélio Oiticia and Lygia Clark re-articulate the problem of temporality and the problem of “life.” I am proposing that there is both a rigor and a novelty in their definitions of both terms, one that bypasses accepted notions that the privileged temporality of performance and dance is the ephemeral, and that the life element in performance and dance is the living presence of bodies in participation. I see their quest as a particular empiricism involving materials, matters, bodies, modes of living, and modes of moving (or not moving), offering renewed definitions of both “time” and “life” to performance theory and art history. As both artists work on form, color, objects, non-objects, participation, bodies, and subjectivities they also engage in a parallel, and yet deeply inter-related, theoretical-philosophical work.</span></div>
Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0tag:blogger.com,1999:blog-3082348663895016480.post-29070212572850093412014-02-19T18:12:00.002-08:002014-02-19T18:12:38.632-08:00Living Time: Art and Life After 'Art-Into-Life': Karin Sanders<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><b style="background-color: white; color: #666666;"><i><span style="font-weight: normal;">On February 20 and February 21 The Arts Research Center at UC Berkeley is hosting the symposium <a href="http://arts.berkeley.edu/events/livingtime.html" style="color: #888888; text-decoration: none;" target="_blank">“Living Time: Art and Life After 'Art-Into-Life'</a>. We've asked participants from three sessions to post some brief thoughts on the topic in advance of the event. </span><span style="font-weight: normal;">This guest posting is by <b>Karin Sanders </b>(Professor, Department of Scandinavian, UC Berkeley), who is presenting in the session </span></i></b><span style="background-color: white; color: #666666;"><b><i>Regional Check-in: Nordic Time Zones: Time-based art in the High North.</i></b></span></span></div>
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<span style="background-color: white; font-family: 'Trebuchet MS', sans-serif;">At Living Time, I want to contemplate recent questions raised by museum theorists about permanency and the perils of musealization by considering the use of a particular and rather mundane substance: ice. How does this transient material function in the form of sculpture? Can institutional walls regulate the fickleness of Ice Art? Can Ice Art be placed somewhere between museumphobia and museumania? If sculptures made of ice are placed within museum walls do they inevitably challenge fixed institutional parameters and deep-rooted assumption about temporality? Said differently, how can Ice Art negotiate questions of disappearance and reproducibility, fluidity and solidity? And how does it relate to the human body? Can the evocative materiality of ice allow the viewers a possibility of contemplating the fall of museum walls or their reinforcement? To answer these questions I have selected several Ice Art pieces from three Danish artists, sculptor Kirsten Justesen, (Icelandic-Danish) sculptor Olafur Eliasson and sculptor Troels Sandegård. All, as I hope to show, operate with frozen material and concepts of frozen time that allow us to contemplate the human condition as physical reality but through a transformative lens of destabilization: melting, liquefying, evaporating.</span></div>
Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0tag:blogger.com,1999:blog-3082348663895016480.post-78583586881547563402014-02-19T15:43:00.000-08:002014-02-19T16:09:31.943-08:00Living Time: Art and Life After 'Art-Into-Life': Bojana Cvejic<div class="gmail_extra" style="color: #222222; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;"><b style="color: #666666;"><i><span style="font-weight: normal;">On February 20 and February 21 The Arts Research Center at UC Berkeley is hosting the symposium <span style="color: #666666;"><a href="http://arts.berkeley.edu/events/livingtime.html" style="text-decoration: none;" target="_blank">“Living Time: Art and Life After 'Art-Into-Life'</a>. We've asked participants from three sessions to post some brief thoughts on the topic in advance of the event. </span></span><span style="font-weight: normal;">This guest posting is by </span></i></b><span style="color: #666666;"><i><b>Bojana Cvejic</b> (Performance Scholar, TkH Walking Theory editorial collective)</i><b><i><span style="font-weight: normal;">, who is presenting in the session<span class="Apple-converted-space"> </span></span></i></b><b><i>Regional Check-in: Politics, Dance, Aesthetics in Eastern Europe and Beyond.</i></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;"><b style="line-height: 19.2px;">A Parallel Slalom from Southeastern Europe, or how to make haste slowly</b><span style="color: #666666;"><br /></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;">The point of departure are a few problems – conditions and terms, as well – that surface in the accounts of the experimental praxis in performance and visual arts in former Yugoslavia. Parallelism describes a peculiarly intensive engagement of theoretical discourses and art praxis among artists, cultural workers, theorists, and “editors”, a swift sloping ride that underlines parallel connections between the conceptual imagination of artists and the critical insight into history as the agency of the political unconscious; a kind of thought that arises from within, or close to, artistic practice, yet doesn’t keep its self-referential autonomy, but in turn becomes an instrument of looking past art, learning how to look through and from art rather than learning how to create art. Non-alignment defines the position of being in-between, neither under the grip of the Soviet type of social realism nor unproblematically subsumable under postcolonial studies and other Western-centric cultaralist approaches; it is bound up with self-organized collectivity as a mode of production and a way of living within the independent scenes of Ljubljana, Zagreb, Belgrade, Skoplje.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;">Two concerns feature the radically critical and experimental segment of contemporary dance in this region, whose condition of possibility for institutional development emerged only recently, after the process of transition from fake socialism into wild capitalism has been completed. The first involves the temporality of production, of historicity and of (the right to) contemporaneity, which I will examine through Janes Janša’s reconstruction of the 1969 Slovene performance Pupilija, Papa Pupilo and Pupilčeks, where dance “pierced through” the site where it wasn’t expected, in order to indicate in 2006 the unconscious of Slovene democracy today. The second is the concern with the contemporary (post-Fordist) forms of labor and life, juxtaposed with the notions of laziness, radical amateurism and delay. The choreography of Changes (2007) by the Croatian collective BADco will showcase an intricate play of allegory between labor and non-labor, work and nonwork, that is life, host and parasite, message and noise.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;">[In a slightly polemical tone to spark off debate, I quote here an excerpt from a stream-like text from Changes:</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;">It is said that one of our artists was lately led by his observation and knowledge of Western art to a conclusion that art cannot exist anymore in the West. This is not to say that there isn’t any. Why cannot art exist anymore in the West? The answer is simple. Artists in the West are not lazy. Artists from the East are lazy; whether they will stay lazy now when they are no longer Eastern artists, remains to be seen. That artist sees laziness as the absence of movement and thought, dumb time—total amnesia. It is also indifference, staring at nothing, non-activity, impotence. It is sheer stupidity, a time of pain, futile concentration. Those virtues of laziness are important factors in art. Knowing about laziness is not enough; it must be practiced and perfected.</span></blockquote>
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<span style="font-family: 'Trebuchet MS', sans-serif;">A paraphrase of Mladen Stilinović’s 1993 manifesto “Praise of Laziness” (Pohvala lijenosti)]</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;">I suggest that the performance’s discussion of these notions is through posing problems in, through and for dancing. What does it look like to grapple with bodily movement as a way of posing a problem? And how can dance instrumentalize its own medium to forward a discussion on labor in the neoliberal regime of immateriality and temporality? How does the persistence of a problem materialize within the very syntax of motion? And what is the advantage (or false luxury) of precariousness, of “making haste slowly” in the times of economic austerity? </span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="color: #666666;"><i><span style="background-color: white; display: inline ! important; float: none; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"></span></i></span></b></span></span>Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0tag:blogger.com,1999:blog-3082348663895016480.post-87010665490245964002014-02-19T15:38:00.004-08:002014-02-19T16:07:49.248-08:00Living Time: Art and Life After 'Art-Into-Life': Knut Ove Arntzen<div style="text-align: justify;">
<span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><b style="background-color: white; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><i><span style="font-weight: normal;">On February 20 and February 21 The Arts Research Center at UC Berkeley is hosting the symposium<span class="Apple-converted-space"> </span><a href="http://arts.berkeley.edu/events/livingtime.html" target="_blank">“Living Time: Art and Life After 'Art-Into-Life'</a>. We've asked participants from three sessions to post some brief thoughts on the topic in advance of the event. </span><span style="font-weight: normal;">This guest posting is by <b>Knut Ove Arntzen<span class="Apple-converted-space"> </span></b>(Professor, University of Bergen), who is presenting in the session </span></i></b><span style="background-color: white; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><b><i>Regional Check-in: Nordic Times Zones: Time-based art in the High North.</i></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b>Arctic Conditions for the Arts: Landscapes
of Non-Orientable Surfaces – Ecology and Gender</b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">In my contribution I want to point out
some views on arctic conditions for the arts, a perspective which I later has
expanded on by using the term of non-orientable surface, a term or
philosophical concept coined by the
Polish architect and philosopher Lech Tomaszweski, that can be used to describe
the arctic as an ice desert with non orientable surface,as can be compared to
the sea understood as seascapes. Arctic expeditions as well as discovery
travels at sea have to my mind been stirred the fascination for non-orientable
surfaces. This fascination can be considered as an attraction of a vitalist
kind, that has influenced arctic flaneurs or ”dandy vagabonds” among the polar
heroes like August André and John Franklin. Likewisely it has inspired visual
artists and writers from Caspar David Friedrich to Knut Hamsun and dramaturg
Ulla Ryum has developed the idea of a spiral dramaturgy, which can be conceived
of as a wide-screen landscape dramaturgy. It is a landscape not captured by
logics or symmetric understanding, at close resemblance to Gertrude Stein´s
idea of a landscape drama, which also can
be described in terms of non-orientable surfaces. Ecology and gender as
well as the mythical is reflected in this approach and is expressed by visual
art, theatre and drama or time-based art in general, reflecting the
non-orientability of ice deserts or seascape. I will exemplify by works of
Carole Nadeau, Québec, and her Chaos K.O. Chaos, Beaivvás Sámi Teáhter and
their production of Swedish play Kayak Woman, Norwegian Verdenstearet´s
installation art performance Konsert for Grønland (Concert for Greenland) and
Swiss director Christopher Marthalers Geenland-production +-0.</span></div>
Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0tag:blogger.com,1999:blog-3082348663895016480.post-78176747415944887822014-02-19T15:33:00.004-08:002014-02-19T16:06:36.900-08:00Living Time: Art and Life After 'Art-Into-Life': Claudia Calirman<div style="text-align: justify;">
<span style="font-size: small;"><b style="background-color: white; color: #222222; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><i><span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><span style="font-weight: normal;">On February 20 and February 21 The Arts Research Center at UC Berkeley is hosting the symposium <a href="http://arts.berkeley.edu/events/livingtime.html" target="_blank">“Living Time: Art and Life After 'Art-Into-Life'</a>. We've asked participants from three sessions to post some brief thoughts on the topic in advance of the event.<span class="Apple-converted-space"> </span></span><span style="font-weight: normal;">This guest posting is by<span class="Apple-converted-space"> </span><b>Claudia Calirman</b><span class="Apple-converted-space"> </span>(Assistant Professor at John Jay College (CUNY)), who is presenting in the session <b>"Life" and Transnational Curating</b>.</span></span></i></b></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">I would argue that the most interesting artistic practices coming out of Latin America today dealing with the interplay of art and life address harsh aspects of reality by reenacting and even exaggerating them. The artistic outcomes can reasonably be labeled perverse, as they, in many instances, cross the line between what is acceptable and what is intolerable. These artists overstress the violence embedded in everyday life in major cities in Latin America, creating a kind of hyperrealism.</span><br />
<span style="font-family: 'Trebuchet MS', sans-serif;"><br /></span>
<span style="font-family: 'Trebuchet MS', sans-serif;">In order to expose existing mechanisms of injustice,
violence, and inequality, artists such as Santiago Sierra, Anibal Lopes,
Reginda Galindo, and Teresa Margolles among others, mimic society’s
authoritarianism and lack of ethical values, exposing in radical ways diverse
forms of brutal violence and exploitation. They are not looking for a
meaningful or constructive way to engage with society. On the contrary, by
blurring the lines between legality and illegality, ethics and lack of values,
they push their artistic practices to the limits.</span><br />
<span style="font-family: 'Trebuchet MS', sans-serif;"><br /></span>
<span style="font-family: 'Trebuchet MS', sans-serif;">These artists are not promoting violence, but rather
enacting and aestheticizing it to raise public awareness. In a world bombarded
by images of poverty, tragedy, and exploitation, it is easy to be numbed and
indifferent to violence. Riveting works of art today have the capacity to wake
up the viewer, to create a sense of discomfort, to undo the numbing and the
saturation created by the daily assault of images of violence. What would be a
responsible, committed approach to representing such violent conditions in
Latin America? Where do artists cross the line to the point that their
practices are considered unacceptable? When does the socially redeeming shock
value of their works exceed its moral turpitude?</span><br />
<span style="font-family: 'Trebuchet MS', sans-serif;"><br /></span>
<span style="font-family: 'Trebuchet MS', sans-serif;">By engaging the audience in strategies involving illegal
actions and disturbing performances that include hired killers, abducted
passersby, prostitutes, drug addicts, illegal immigrants, and marginalized
figures, these artistic practices today are radical and extreme.</span></div>
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<![endif]-->Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0tag:blogger.com,1999:blog-3082348663895016480.post-34942618823369002792014-02-04T12:01:00.003-08:002014-02-04T12:01:55.099-08:00Recap: Impact in the Arts Think Tank<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-NrpFMAeDlpU/UvFGDG-MWKI/AAAAAAAAAN8/25UgedLFXak/s1600/trianglelabbruns.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" src="http://4.bp.blogspot.com/-NrpFMAeDlpU/UvFGDG-MWKI/AAAAAAAAAN8/25UgedLFXak/s1600/trianglelabbruns.jpg" height="320" width="240" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em><span style="font-family: Trebuchet MS, sans-serif; font-size: xx-small;">Triangle Lab Wall at Cal Shakes' Bruns Ampitheater</span></em></td></tr>
</tbody></table>
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<span style="font-family: Trebuchet MS, sans-serif;">On January 17, the Arts Research Center brought together Bay Area leaders in the arts and culture and UC Berkeley arts, humanities, and social science professors to address social and economic ‘impact’ in different artistic models. This daylong think tank discussion kicked off a series of related but differentiated activities we are plotting this term to explore a variety of research and art practices that address social and economic questions in the arts.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Our conversation began with reflection on a broad collection of readings about impact in the arts, setting the scene for all of our participants and offering a platform to think through the larger themes of the texts, which ranged from the NEA’s <i>How Art Works</i> and François Matarasso’s <i>Use or Ornament? The Social Impact of Participation in the Art</i> to The Urban Institute’s <i>Cultural Vitality in Communities: Interpretation and Indicators</i>.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The day continued with an exploration into ‘measuring differently,’ led by arts consultants <b>Sarah Lee </b>(Vice President for Arts & Culture, Slover Linett Audience Research) and <b>Rebecca Ratzkin </b>(Consultant, WolfBrown). Both researchers helped the group explore methods and values of defining and measuring effects that are often intangible, non-linear, social, psychic, and sometimes ambiguous in the arts and culture sectors.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">During our “Inside Art Projects, Organizations, and Initiatives” segment, we talked through the inherent issues cultural organizations face. We examined the challenges encountered by A Blade of Grass, a New York arts nonprofit that funds socially engaged art, with Founding Director <b>Deborah Fisher</b>. We also discussed The Exploratorium Arts program with <b>Marina McDougall</b> (Director, Center for Art & Inquiry) and <b>Paul Ramirez Jonas</b> (Artist & Associate Professor, Department of Art & Art History, Hunter College, CUNY). Other participants, such as <b>Beth Rubenstein</b> (Founder, Out of Site Youth Arts Center, Arts & Community Development), <b>Joanna Haigood</b> (Artistic Director, Zaccho Dance Theatre), <b>Rebecca Novick</b> (Director of Artistic Engagement, California Shakespeare Theater), <b>Judy Nemzoff </b>(Program Director, San Francisco Arts Commission), <b>Berit Ashla</b> (Executive Director, The Brower Center), <b>Arthur Combs</b> (Interim Executive Director, Intersection For The Arts), and <b>Ebony McKinney </b>(Founder, Emerging Arts Professionals/SFBA), offered key examples, and concerns, from their respective organizations. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The day concluded with a passionate and frank conversation on “Cultural Economies, Cultural Labor, Cultural Policies” led by <b>Michael O’Hare</b> (Professor of Public Policy, UC Berkeley), <b>Courtney Fink </b>(Director, Southern Exposure), and <b>Rob Bailis</b> (Director of External Relations and Artistic Initiatives, Cal Performances, UC Berkeley), allowing the think tank to close on thoughts of the labor of culture, among other cultural economic/policy issues. </span></div>
Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0tag:blogger.com,1999:blog-3082348663895016480.post-36965140495005951412013-12-17T10:17:00.004-08:002013-12-17T10:18:01.838-08:00Reimagining the Urban: Ying-Fen Chen<div style="text-align: justify;">
<span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>As part of the ongoing campus initiative <a href="http://globalurbanhumanities.berkeley.edu/" target="_blank">Global Urban Humanities: Engaging the Humanities and Environmental Design</a>, the Arts Research Center co-sponsored the <a href="http://arts.berkeley.edu/events/reimagining.html" target="_blank">Reimagining the Urban: Bay Area Connections Across the Arts and Public Space</a> on September 30, 2013. Participants have been asked to submit a blog post "on a keyword you see debated in the Bay Area arts, policy, and planning landscape." This posting is by Ying-Fen Chen, a PhD student in Architecture at UC Berkeley.</i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Keyword: A Vision of Site-Responsive Arts Collaborations in Communities</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">It had been a blue Monday for me before I arrived at the symposium, Reimagining the Urban: Bay Area Connections Across the Arts and Public Space, at noon. I had just finished a<b> </b>class in the morning and was still suffering from the flu. In the crowded auditorium, there weren’t many seats left, but I found one next to a stranger. After brief introductions, I lapsed into silence and wished the symposium end soon that I could go home to recover from my virus. Ten minutes later, in the third section of the day, I not only knew the name of the stranger near me, but had enjoyed a stimulating conversation with her about her vision—site-responsive community-led arts collaborations—against the gentrification phenomenon in Bay Area.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Raquel Gutiérrez is a manager for IN COMMUNITY Program of Yerba Buena Center for the Arts, facilitating community collaborations through the arts in SOMA, Mission, and West Oakland. Sometimes, she introduces artists to the communities, and sometimes, her group works with the residents, using arts to represent the minor ethnic groups’ histories, to bridge differences among multiple groups within a neighborhood, and to create a public space for the community. It seems a promising vision for combing arts and community work, avoiding a way that arts are often used by the capital in gentrification process. However, given my previous experience as a participatory planner in Taiwan, I know that the participation of arts in community often faces several problems, especially in low-income or minority communities: some selfish-interested artists easily get into conflicts with residents; arts may become a gate keeping some residents away who believe they cannot participate in the program without enough previous education; the sometimes ambiguous role of major actors can influence the result of the program, deviating from the original goal and undermining the community; the ownership of the arts after the program also brings different impacts to the community. Arts are a useful tool in community work, but we need to carefully consider these possible difficulties before we naively jump into the collaborations as an organizer, an artist, or a resident.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Accordingly, in Raquel Gutiérrez’s vision, the concept of “responsibility” is the most important factor in the success of the collaboration of art with communities. Although the way of being responsible is actually based on individual organizer, having no approach to follow, I still appreciate that Raquel tries to bring this concept and its practice to her vision of community work. But, more discussion and informed application is needed to develop and share this concept. Then, a promising and alternative role of arts will actively participate in community collaboration to achieve the goal of creating a livable urban space without the dominating influence of gentrification.</span></div>
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Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0tag:blogger.com,1999:blog-3082348663895016480.post-81315382770690837312013-12-17T10:14:00.003-08:002013-12-17T10:14:48.655-08:00Reimagining the Urban: Kuan Hwa<div style="text-align: justify;">
<span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>As part of the ongoing campus initiative <a href="http://globalurbanhumanities.berkeley.edu/" target="_blank">Global Urban Humanities: Engaging the Humanities and Environmental Design</a></i></span><i style="color: #666666; font-family: 'Trebuchet MS', sans-serif;">, the Arts Research Center co-sponsored the <a href="http://arts.berkeley.edu/events/reimagining.html" target="_blank">Reimagining the Urban: Bay Area Connections Across the Arts and Public Space</a> on September 30, 2013. Participants have been asked to submit a blog post "on a keyword you see debated in the Bay Area arts, policy, and planning landscape." This posting is by Kuan Hwa, a PhD student in Rhetoric at UC Berkeley.</i></div>
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<span style="font-family: Trebuchet MS, sans-serif;">When Linda Rugg spoke of how “we” define ourselves in relation to the bay, who are the “we” to whom she refers? When Brad McCrea said that the bay is different for “us” as it was then compared to now, are these generations of people in the past and in the present even the same entity? What if some family, previously included in the “we” during the 1970′s, moved away from the bay area in the 2000′s?; would the “we” be substantively changed or does the “we” persist to inscribe those who no longer belong to an area but identify themselves as having once come from it? What would justify an invocation of the “we” to transcend a specific temporal collectivity and ideology? I just moved to the bay area. What justifies me to take claim over the bay as my home, and my inclusion in the “we” of the bay area?</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">When Ava Roy and Lauren Dietrich Chavez names the “we” in “We Players,” who is this collective invoked through their speech? For “We Players,” the collective pronoun in the title seems at first to refer only to the actors themselves, but in the dramatic performance being integrated into a site with audience participation, the “we” clearly refers to what Roy repeatedly called “the people” at the art event. The true extent of this collectivity is hard to measure, because the degree of transformation within the participants at the theater production has no such thing as a unit. What is the criterion to adjudicate the degree or kind of collectivity of the “we” in this case (was an adequate feeling of togetherness produced? Was a new kind of collectivity effectively achieved?)? Even if a demographic survey were to be taken of the participants, it would not ensure that a public had been formed. If photographs show that people convened, how is this any different from the plethora of photographs on twitter and social networking sites that expose people convening for the shopping mall on Black Friday, or from convening during traffic? I’m doubtful that people’s senses are attuned to others’ bodies and the surrounding environment <i>only </i>in the event of an aesthetic staging, or that a possibility of a new community needs to emerge specifically from this kind of event. As Brad McCrea seemed to authoritatively conclude, even poetic license is subject to the law (and when, at least in Western art history, is art ever independent of rich patronage or the institutional support of a hegemonic force?). At that point then, will art be necessary to fulfill the needs of the various “we” and the public it seeks; why? What is inadequate to all other forms of collective participation already in daily life (and already in dynamic change– education, the factory, the street, yoga studios…) that is somehow inadequate to the formation of a public for which Roy seeks, and why?</span></div>
Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0tag:blogger.com,1999:blog-3082348663895016480.post-23777804273301104952013-12-17T10:11:00.001-08:002013-12-17T10:11:23.224-08:00Reimagining the Urban: Photostream<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">As part of the ongoing campus initiative <a href="http://globalurbanhumanities.berkeley.edu/" target="_blank">Global Urban Humanities: Engaging the Humanities and Environmental Design</a>, the Arts Research Center co-sponsored the <a href="http://arts.berkeley.edu/events/reimagining.html" target="_blank">Reimagining the Urban: Bay Area Connections Across the Arts and Public Space</a> on September 30, 2013. Graduate student Megan Alvarado Saggese took pictures of the event, which can be seen on <a href="http://www.flickr.com/photos/105160193@N05/sets/72157637287347325/" target="_blank">her photo stream here</a>.</span></div>
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Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0tag:blogger.com,1999:blog-3082348663895016480.post-32827895389231611562013-12-17T10:04:00.002-08:002013-12-17T10:04:40.246-08:00Reimagining the Urban: Kate Mattingly<div style="text-align: justify;">
<span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>As part of the ongoing campus initiative <a href="http://globalurbanhumanities.berkeley.edu/" target="_blank">Global Urban Humanities: Engaging the Humanities and Environmental Design</a>, the Arts Research Center co-sponsored the <a href="http://arts.berkeley.edu/events/reimagining.html" target="_blank">Reimagining the Urban: Bay Area Connections Across the Arts and Public Space</a> on September 30, 2013. Participants have been asked to submit a blog post "on a keyword you see debated in the Bay Area arts, policy, and planning landscape." This posting is by Kate Mattingly, a PhD student in Theater, Dance, and Performance Studies at UC Berkeley.</i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Keyword: Connectedness</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Before the symposium began, a cluster of people on the waitlist stood next to the balcony. Their view of the floor below looked something like this. Threads held tiny pieces that resembled straws or mini-bones and were constantly waving, but at first glance, the mobile appeared motionless. It took a moment to notice these pieces were in motion, and even closer inspection showed that tiny weights (visible in the picture below) ascended and descended just below the ceiling, mapping the mini-bones’ movement in vertical axes.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">If I could choose not a keyword but a key-image, it would be this sculpture. It captured the interconnectedness of shifting landscapes that were broached during “Reimagining the Urban.”</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The word “connectedness” comes from the phrase “an intimate connectedness,” which I heard Shannon Jackson say just before Session IV. It seemed prescient. Brad McCrea of the San Francisco Bay Conservation and Development Commission, then spoke about ways in which his work involves a delicate coordination of four elements: environmental issues, historical preservation, real estate development, and social justice. I thought of an image Dr. Jackson had used earlier of “picking up a corner of the rug” and looking at a situation from a certain perspective.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">When the rug is pulled too sharply by one of McCrea’s four “corners,” the others shift. This reminded me of reading Jamie Peck’s “Struggling with the Creative Class,” in particular his critique of Richard Florida’s proposal: “The less creative underclasses have only bit parts in this script. Their role is secondary and contingent, in economic terms, to the driving and determinant acts of creativity. Their needs and aspirations are implicitly portrayed as wrongheaded and anachronistic, their only salvation being to get more creative. And the libertarian politics that envelops the creativity thesis, in as far as it concerns itself with the underclasses at all – for the most part these are portrayed as servants of the creative class, or the stranded residents of ‘hopeless’ cities – peddles only voluntaristic and usually moralizing solutions.”<a href="http://reimaginingtheurban.wordpress.com/2013/10/12/kate-mattingly-connectedness/#_ftn1" sl-processed="1" style="border: 0px; color: #1982d1; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" title="">[1]</a></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Dr. Peck shows how a lack of attention to equitable distribution plus a privileging of certain forms of creative action (namely those that benefit gentrification) can de disastrous for certain communities. This recalls a question posed to Raquel Gutierrez after Session III by someone who had worked in neighborhoods like the Tenderloin and who faced the dilemma (paraphrased): “are we working in these places to benefit people who live in these neighborhoods or to benefit people who want to change these neighborhoods into more exclusive places for upper and middle classes?”</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Gutierrez acknowledged the interconnectedness of ethics and poetics in artists’ projects, the “complicated” environments she works within, and the possibility that each of us gravitates toward a different place on the spectrum of priorities between social justice and aesthetics. Throughout the day, I found myself thinking about cities as mobiles, constantly shifting, negotiating ever-moving variables. A tricky task emerges when qualitative differences transfer into quantitative data: the mini-bones fluctuate at seemingly random intervals/these weights chart their movement vertically.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Other phrases stayed with me: the examination of our “ever-increasing levels of connectivity” and what they enable and foreclose in a “hyper-individualistic” world; the definition that “design sits somewhere between art and technology;” the importance of meeting people where they are, and the phrase “radical conditions of possibility.”</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><a href="http://reimaginingtheurban.wordpress.com/2013/10/12/kate-mattingly-connectedness/#_ftnref" sl-processed="1" style="border: 0px; color: #1982d1; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" title="">[1]</a> Jamie Peck, “Struggling with the Creative Class,” <em style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">International Journal of Urban and Regional Research,</em> Vol. 29.4, Dec. 2005, p. 759.</span></div>
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Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0tag:blogger.com,1999:blog-3082348663895016480.post-61948499973720053642013-12-17T10:00:00.003-08:002013-12-17T10:02:01.622-08:00Reimagining the Urban: Alec Stewart<div style="text-align: justify;">
<span style="color: #666666; font-family: Trebuchet MS, sans-serif;"><i>As part of the ongoing campus initiative <a href="http://globalurbanhumanities.berkeley.edu/" target="_blank">Global Urban Humanities: Engaging the Humanities and Environmental Design</a>, the Arts Research Center co-sponsored the <a href="http://arts.berkeley.edu/events/reimagining.html" target="_blank">Reimagining the Urban: Bay Area Connections Across the Arts and Public Space</a> on September 30, 2013. Participants have been asked to submit a blog post "on a keyword you see debated in the Bay Area arts, policy, and planning landscape." This posting is by Alec Stewart, a second year PhD student in Architecture at UC Berkeley.</i></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Keyword: Revitalization (=Gentrification?)</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Kicking off the Reimagining the Urban symposium, Margaret Crawford spoke of a real estate development boom in San Francisco that has contributed to an exodus of roughly 10,000 artists from the city. This familiar narrative is one of rising real estate prices forcing the working classes out of neighborhoods such as the Mission while yupsters move in, bringing with them expensive restaurants, high-priced boutiques, and <a href="http://missionlocal.org/2013/07/jack-spade-chain-store-or-not-battle-on-16th-street/" sl-processed="1" style="border: 0px; color: #1982d1; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">exclusive national chains</a>. A similar process is occurring on a larger scale in the Mid-Market area, where over<a href="http://sf.curbed.com/archives/2013/09/09/midmarket_map_update_40_projects_revitalizing_the_area.php" sl-processed="1" style="border: 0px; color: #1982d1; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">40 active real estate projects</a> will bring several million square feet of new office, residential and retail space—not to mention new entertainment and dining options—into a previously “seedy” neighborhood. It is hoped that these infrastructure investments will provide the amenities desired by the so-called “creative class,” “revitalizing” the Mid-Market neighborhood while driving San Francisco’s economy forward.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b>Revitalization </b>is a word frequently used by city officials, business improvement districts and other civic boosters in cities ranging from DC to Portland to describe their efforts to pave the way for young creatives and their lifestyles. I think it is related to, if not synonymous with gentrification. In Mid-Market, it refers to the A.C.T.’s conversion of a boarded up porn theater into an arts school and performance venue and the arrival of numerous arts foundations from pricier parts of town (like the Mission). It means numerous new condo towers and office buildings. And it will be fueled by collaboration between arts institutions and developers in creating comfortable ‘eco-systems’ for tech workers, makers, hackers, and food truck aficionados.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Such partnerships are central to the revitalization strategies being deployed in the Mid-Market area. Forest City’s 4 acre, 1.7 million square foot 5M Project highlights but one example of this phenomenon, where the economic utility of an arts organization is demonstrated through its interactions with a large real estate developer. In exchange for financing and a venue for its activities, Intersection for the Arts lends its curatorial expertise to Forest City, which deploys it for the benefit of its tenants and corporate bottom line. This relationship may be “mutually exploitative,” as Andy Wang and Deborah Cullinan suggest–Wang’s Forest City clearly views it as a solution to an image problem, while Cullinan’s Intersection for the Arts sees it as a means for survival. San Francisco’s sophisticated tech employees are turned off by blatantly formulaic Starbucks and other chains, says Wang, and it is for this reason that Intersection for the Arts is indispensable. As it programs 5M’s public facing spaces with popular events such as Off the Grid and live jazz concerts, it plays a strikingly similar role to that of a business improvement district. Both seek to enliven public spaces with memorable experiences that attract talented workers and middle/upper-class consumers.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">In any gentrification narrative there are winners and losers, and surely absent from visions of a revitalized Mid-Market are dilapidated single room occupancy hotels and the homeless. Where are they in this story? And what will become of the artists and arts institutions currently moving to the neighborhood to do the city’s economic development/revitalization work? I’d wager that–as in the Mission–they too will be shown the door as the local real estate market heats up.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">San Francisco’s mayor, Ed Lee, recently noted that, “without that culture of San Francisco and the arts, I don’t think the technology workers would actually want to be here.”<a href="http://reimaginingtheurban.wordpress.com/2013/10/09/alec-stewart-revitalization-gentrification/#_ftn1" sl-processed="1" style="border: 0px; color: #1982d1; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" title="">[1]</a> In light of this acknowledgement, should the city of San Francisco do more to support the arts given its clear role in economic development? How can the city, developers and arts institutions better incorporate homeless and low-income people into decision-making processes that impact their neighborhoods? How can artists and arts institutions be liberated from their role in cycles of neighborhood revitalization and displacement?</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><a href="http://reimaginingtheurban.wordpress.com/2013/10/09/alec-stewart-revitalization-gentrification/#_ftnref1" sl-processed="1" style="border: 0px; color: #1982d1; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" title="">[1]</a> See: John Coté and Marisa Lagos, “Arts Groups Sparked Mid-Market’s Rise, Mayor Says.” http://www.sfgate.com/bayarea/article/Arts-groups-sparked-Mid-Market-s-rise-mayor-says-4864615.php</span></div>
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Arts Research Centerhttp://www.blogger.com/profile/09772578331420457946noreply@blogger.com0