Critical Issues: Post-WWII Repatriation

Students have commented that art history is dead! In other words, because it deals with objects from the past, primarily, it may seem that the study of it lacks relevance. I disagree, certainly. To substantiate this claim, I offer one example: repatriation -- and, specifically, post-WWII repatriation.

Litigation concerning Egon Schiele's

2010…or 1984?

I don't know if you think about technology much, but I have become mildly obsessed with what I would consider our contemporary "digital revolution" (as compared to say, the industrial revolution). I think that perhaps we are in a time of change to human society that is difficult to see or understand because of our proximity to it. But at least I have enough years under my belt to know what it was like to carry a quarter in case I needed to call my parents from a pay phone. I wonder if in 50 or 100 years the world will look back at this time to critique or perhaps even reconsider the ideas and notions that we are muddling through now in terms of technology and access to information.

Something on my radar recently is the new Arcade Fire video, The Wilderness Downtown. I had heard about its use of new HTML 5 web coding technology. What I didn't suspect is how seductive, yet creepy the "film" would be. Try it for yourself and see what you think (using Chrome or Safari). Is it cool, or are you a little scared?

ABC news says we're seeing the "future of entertainment."

Oh, "Brother"!

Prof. Darrell Kincer

Instinctual

I read a review of a new book I plan to check out:  The Art Instinct: Beauty, Pleasure, and Human Evolution by Dennis Dutton.  (Bloomsbury, 2010 http://theartinstinct.com).  According to Rick Eden's review, Dutton inquires about the human behavior we have collectively defined as "art."  According to Dutton, there are twelve characteristics that art might have, including providing pleasure.  I have long been fascinated in physical or scientifically testable reactions to great art, and apparently, Dutton's investigation looks at evidence that points to common responses across cultures, suggesting that there may be something about art that is instinctual. Hunger is instinctual as well, and if you are hungry to talk about art, there are a couple of opportunities this week:  

(Today) Tuesday, 12:15-12:45 in the Jacobs Gallery--1st meeting of Art Tigers!  

Friday, 11:00 a.m. "Tour & Pour" Event at Prometheus Farm and Foundry (groups leaving the Wilson Bldg at 10:30).

Houdini and Superman.

       Some of the most interesting personal research I have been into recently has been revolving around western expansion and the effects of current construction of american housing. But in and amongst all of that I just finished a spectacular book "The Secret Life of Houdini: The Making of America's First Superhero" available Here.  I am a sucker for story telling and biographies. This put a whole new twist on a historic character I have loved for a long time. I recommend it to everyone.  It ranges from well known events in the history of Illusions as well as Houdini being a spy for multiple governments, being a spiritualist debunker and being one of the first aviators on the planet.  Truly interesting. 
      The links to his mass fame and superhero status were attributed to his advertising wit and genuine hard efforts. But I cant help to cast a parallel relationship to a beautiful documentary I just viewed called "Confessions of a Superhero" Available for free viewing HERE.  Defiantly worth the time to watch. The film tracks 4 "actors" that make a living posing as famous superheroes. They walk Hollywood Boulevard posing for pictures with tourists working on tips alone.  It is incredibly interesting and at the same time a bit sad. But it forced an interesting comparison of defining "work", especially within the entertainment industry. I am always amazed at the salary of movie entertainers working 3 months a year and I have no doubts that if Houdini ran into the Hollywood Boulevard superhero it would not end well for the superhero in a costume.  The more I have read about Houdini the more I respect his efforts (separate from his personal life) and the more I think about the characters on Hollywood Boulevard the more I am saddened by their choices.
        I once had a student go abroad and bring me back a gift, it was a quote from a local shop that sold hand made goods. It translated as "I earn my living".  I thought it was a beautiful line.  I believe both Houdini and the Hollywood Boulevard superheroes would argue that they do just that.  But I would bet they would disagree with each others definition of earn. 

Gottfried Helnwein

Some nice paintings by Gottfried Helnwein

Field Trip: Foundry Visit

Calling all art lovers -- Laura has arranged an amazing opportunity for art department faculty, students, and friends to observe lost-wax casting first hand.



Details: Join us on a visit to Prometheus Foundry. Artists Amanda Matthews and Brad Connell will open their foundry to us on Friday, Sept. 10 at 11 am. Amanda is the artist who designed one of our campus sculptures, the

Boris's 3rd: Flatness, Line and Function (2D mini-project, ART117)

I received a fun gift sometime ago of some bold-colored humanoid and foot-shaped paperclips, still had a sticker from your everyday office supply store, so you may have seen something like it I’m sure. This semester, as one of the pilot mini-projects, I decided to synthesize the topic of continuous line with this paperclip. If you are in ART117, expect to spend some of your class on Wednesday (after Labor day) or Monday giving a paperclip some serious reconsideration. Will be a wide-open activity, but I suggest you eventually (emphasis on eventually) give special attention to the interaction of the following (oft-desired) aspects into a single form: 1. paper rims to be as flat as possible, to avoid bulking. 2. Continuous line with respect to its two-sided view 3. function(s) and functionality. Good luck!

To Curate

This semester, I am teaching Curatorial Studies, an experienced-based seminar course that enables students in our program to work directly with objects in our college's collections: the permanent art collection, the Dr. Donald L. and Dorothy Jacobs Collection of modern art and artifacts, and/or the College's Archives. In addition, I have the good fortune to curate and jury an exhibition, "Reflections on a Louisville Landmark", for the Louisville Visual Arts Association (LVAA). In this blog post, I hope to offer some thoughts on the term "curator" and "curate" and, also, give a few very brief notes about the curatorial opportunity with LVAA.

Curate comes from the Latin cura (“care”), which becomes translated and un-romanticized into the words curator, curate, and cure. If you look online to the Oxford English Dictionary, the first definition for “cure” is simply “Care, charge; spiritual charge." In ancient Rome, however, the related term, curatores, referred to those caretaking bureaucrats, folks who oversaw public works--even such droll things as roads and aqueducts. Fast forward to the 21st century: in essence, today's curator cares FOR works and cares ABOUT them in much the same way that Roman curatores took care of objects under their jurisdiction.

Turning now from the word to its practical use: a single curator or a curatorial team works to bring the story of an object (or objects) to light. The curator relies on the object first and foremost. Then, she considers that which is directly known about it through primary documents. The curator turns to other resources, most likely of a secondary and tertiary nature, and then begins to construct a narrative. Asking key questions, a curator considers the following: what narrative do I want to disclose to the public? How will I tell it? Who is my primary audience? Who is my secondary audience? A different curator or team would certainly tell a different story -- though this does not mean that either story is better or worse. As with so many projects, curators often deal with limitations of space, budget, technology, and resources when bringing together an exhibition. Each of these limitations also points the way toward possibilities.

In terms of my recent work with LVAA, this exhibition is truly a combination of two shows in one. "Reflections on a Louisville Landmark" comprises an exhibition about the Louisville Water Company and a juried show of contemporary works that feature a representation of the Water Tower, the historic first-headquarters of Louisville Water Company. "Reflections" seeks to bring history and the present together into a tightly wrapped matrix, making the Water Tower more than a sum of its parts. It's the site of the first pumping station for Louisville Water Company, a site of scientific discovery, a site of a devastating tornado, and various other facilities. However, today, it serves as a venue for contemporary art, education, and outreach through the work of the LVAA.

I am excited to report that with this exhibition, there is fresh research about a Water Works Park that was on site of the Water Tower in the late 19th century (due to the ever-so-keen eye of historian Jay R. Ferguson) and material discoveries made on-site by HGC construction workers (the steadfast folks undertaking renovation of the Water Tower facade and roof). The on-site discoveries include a saw blade and leather shoes, in situ, presumably tucked away since the 19th century. These objects were unearthed just this week and are making their debut to the public in this exhibition.

Curatorial work can involve fascinating discoveries such as these -- research and its material form that cannot be experienced or mediated in such the same way through other means, such as "Google" or "YouTube". These are the result of diligence and work. The objects unearthed were "curated" into the exhibition and will, I hope, continue to be properly cared for.

I invite everyone to visit the LVAA next Thursday night, September 9, 2010 for an opening reception of "Reflections on a Louisville Landmark"at 5:30 pm. For more information email: mary@louisvillevisualart.org

I'll certainly make another post to address, specifically, this fall's Curatorial Studies Archives project, an exhibition entitled "By the Book: 150 Years of Rules, Regulations, and GC Student Life." I hope the picture at the top of this post suffices for now: it's a photo from Curatorial Studies, Fall 2008 installation in the Cochenour Gallery.

Opportunity: The ArtZone@ArtWorks

Calling all artists!!! I don't want to take up too much space on this page (or detract from the posts and photos below), so I'll be brief. If you're interested in offering your art for sale and/or doing demonstrations, then you need to contact Scott County Art Works regarding the Clothesline Art Sale and The Art Zone. The contact information is: info@scottcountyartworks.org

These are great opportunities for students and friends of the department!