By Nicholas Paley
Finding Art's Place showcases 3 artistic/educational experiments positioned outdoor of college settings. Nicholas Paley provides the texts, voices and the educating and studying practices of Tim Rollins + K.O.S. (Kids of Survival); the video paintings of Sadie Benning, the adolescent filmmaker who has gained serious approval for her delicate self-explorations of her lesbian sexuality; and the photographic efforts of Jim Hubbard, who stocks his services with homeless and concrete young ones in Washington, D.C.
Finding Art's Place explores the various methods schooling happens in each one of those experiments. permitting the youngsters and teenagers, their mentors and their paintings to talk for themselves approximately their academic reviews, Paley brings ahead a number of standpoints on academic methodologies and fabrics, identification, literacy, and the configurations of paintings within the lives of city early life.
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Additional info for Finding Art’s Place: Experiments in Contemporary Education and Culture
I was projecting my agenda on the community and the kids. " When that curator said that those first works were "real," what she was actually expressing is that the qualities of those early paintings-their crudeness, the brilliant colors, the surreal and negative and despairing imagery-corresponded with her notions-as an outsider-of what art produced in the South Bronx must look like. Once again the South Bronx is considered incapable of creating beauty. The community's fame comes from being a national pariah.
Like the music ofJohn Cage, we are working with a structure that, in a way, cannot fail as a work of art. It's a democratic form and method-much like quiltmaking. In these works the collaborative process is perhaps most apparent. But then we make works that cover the tracks of their making-The Whiteness of the Whale on Melville's Moby Dick, the "Black Beauty" and "Metamorphosis" paintings, the new "Pinocchio" sculptures or From the Earth to the Moon after Jules Verne. " Maybe our big challenge for our second decade is to integrate these two styles of work to create a third, deeper approach to collaboration-something more like a Baptist choir.
She becomes a living model, a walking reminder, of the community's propensity towards sin. This is very similar to how the United States as a whole treats the South Bronx. Our neighborhood is a symbol for urban decay. The South Bronx is allowed to exist, especially for the media, but only as a model for suffering and decrepitude. Why? Because, like the crowds who scorned Hester, watching the violence of the Bronx on TV or in the papers makes everyone outside of the area feel good, safe, and secure in their places, in their values.
Finding Art’s Place: Experiments in Contemporary Education and Culture by Nicholas Paley