There were a few comments and then the conversation went on to talk about important things like quilt patterns and fleece. What does it take to get an intelligent conversation going on that list?
Packing and making some headway - when I teach I always bring more than I will need, but that's the packrat syndrome. It's ok - I'm driving and have the luxury of space. Once again, I never got to the studio today. Busy with packing supplies and taking care of paperwork and supply lists for next year's Art Quit Tahoe workshop. Everything has to be done so far in advance! I'm already booking for 2009!
Also was on the phone with the contractor and the soapstone guy, trying to get my head around kitchen logistics. Eeeeek.
Cherry cabinets, soapstone counters, stainless appliances, probably white oak floors. I shall have to do something very funky with warm colors on backsplash and walls. But not yet.I am up too late and need to go to work tomorrow.
6 comments:
Ms. Dissanayake theories intrigue me because of the connection to feminist ideals and the communal nature of art. From experience I know that my processes are more intense when I'm creating around other people. I tend not to socialize much but its the energy of human activity around that somehow intensifies what I'm concentrating on.
K - Now that you bring that to my attention I recall having similar feelings when I was working "in public" for the first time at a retreat. Someone asked if I minded them observing and I was surprise to answer "not at all". I was energized by having an audience. Furthermore, I noticed that some people have difficulty getting on with the work in this kind of setting. Could this be the difference between those who have innate artmaking needs/skills and those who (say they) don't?
And thanks for posting this article Rayna...I think you should take it over to the Ragged Cloth Cafe if you want any serious reflections.
Thanks for the heads up on the NYTimes article. I would have missed it otherwise; already recycled by husband. I agree about getting it to Ragged Cloth Cafe.
Had never considered Dissanayake's theories before; found them quite interesting. However, how much can we blame on/credit to mothers?
Thanks for the tip on the article. I'm not entirely sure what to make of it. I agree that our need and ability to make art is innate. In fact, I believe that it's so innate as to be part of the way that we connect with God, and part of the way that God works in the world.
I also agree that childhood experiences help shape the way we view the world and how we interact with other people--and certainly how we make art. Where the author starts to losing me is with the last sentence, "In art, as in love, as in dancing the hora, if you don’t know the moves, you really can’t fake them." Is it Dissanayake's idea that if you haven't been properly socialize to make art then your just out of luck? If so, then I have to disagree. It seems to imply that we're all prisoners of our upbringing. Am I reading this wrong?
Maybe I'm just so lucky to have been raised by loving parents who encouraged art- and music-making that I'm having trouble getting my head around the alternative.
Hey Rayna -- thanks for the link on the list. I have a great echo from an anthropologist at the UofTexas who says that the rock art of the OOOOLD ones in Texas served a communal function -- teaching by making pictures (sacred teaching, etc) was a way to have influence, and to forge communal bonds and values without a hierachial relationship. NO one had to be the boss if all were learning and teaching through dance, ritual, art
I found the NYT article fascinating and I wrote a response to QA and as I was sending it Comcast blinked out and I lost it in the ozone. Bahhh. I didn't have the energy to rewrite it!
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