Monday, March 21, 2011

Blog 7: Making Visible (Story, Part 2)

Years ago, before efficiency, deadlines, and economic booms and busts were discussed as frequently as the weather, the afternoon heat shut construction down for a few hours. Just enough time to have lunch and rest—the only physical activity viable in these humid and scorching hours.

But it is different now. My supervisor says that this pier must be completed before next year’s tourist season starts. Yachts and over-priced sandwich shops will soon replace the rocky beaches and local cantina. Will I still be allowed to sit at the counter and order a drink in my work clothes and boots?

I turn and stare at a gringa sitting in public ferry terminal putting her digital camera back into a large black bag. What is she doing here, and why does she want a picture of me? Shouldn’t she be back in her luxury hotel, ordering coconuts and lying on the beach? This is my territory. Even if it doesn’t last for much longer, she doesn’t belong here yet.

Yet.

Blog 7: Making Visible (Background, Part 1)

My skin is the color of “cosmic latte.” I found this out after browsing Wikipedia’s list of colors. On one hand, it’s sad to think that my outside reflects a universal nothingness. But perhaps I can take comfort knowing that I’m a visible connection to the cosmos. After all, every human has a teaspoon of the particles from the Big Bang inside our bodies. (I found this out when I went to the Natural History Museum in NYC last week.)

If I try to stay still long enough while sitting in the sun, my skin turns into an alarming shade of pink reminiscent of creamy tomato bisque. It’s for this reason that I constantly slather on sunscreen if I begin to think there’s a chance of sun exposure. That, and I am terribly afraid of following in the footsteps of so many fair-skinned comrades and developing skin cancer.

But all of this is beside the point. Last week during spring break I visited Puerto Rico. As a very fair skinned (and redheaded) continental American, I could almost physically feel that I was expected to act in specific ways, think of specific things and desire specific wants. I was a gringa on vacation.

I noticed the look of surprise on the faces of fellow bus travelers when I chose to take the 75-cent public transportation into the town center instead of a private taxi. When waiters asked for my orders in English, I would continue to respond in my own version of broken Spanish.

I ordered local dishes like Mofongo and Mallorca rolls, not cheeseburgers and cereal. Why would I travel to a (somewhat) foreign destination and be satisfied with the same experiences and food that I could find at home?


As the week went by, I wondered how the prompt in our class (see below) connected with my current experiences. The picture above was taken from a public ferry dock looking out towards a construction area near San Juan. I would never have accessed this public area if I had stuck to taxis and private tours. Yet it represents an authentic Puerto Rico to me: a run-of-the-mill scene set in a beautiful paradise. As I saw this image unfold, I realized that it visually portrayed the emotions I was trying to reflect upon. On one side of a man-made fence, local construction workers go about their quotidian activity. I, however, am left watching from the other side. I'll create a story about this in my next post. (See Blog 7: Making Visible (Story, Part 2))

Why is it intrusive for a visitor to ignore prescribed tourist routes? I was not loud or bothersome, but I felt as if I was expected to become so. It is a sad state of affairs when the mere existence of a polite, self-contained, cosmic-latte-skinned woman becomes visible by challenging the status quo.

Assignment: Find something that invites the public into a different route or routine, i.e., a pause in their typical everyday way of seeing and moving through space and time. Take a photo, sketch it, or make it visible in your blog post. Create a story that contextualizes the everyday routine way of knowing and how the something that you found (or placed/did) in that everyday environment disrupts, challenges, or changes public action and knowledge. 

Wednesday, March 2, 2011

6. Critical Public Art Pedagogy

Ka-Ping Lee's regender translator offers a great springboard to begin discussing issues of gender identity in a contemporary context. The program literally re-writes "history" (i.e. Web pages) by changing gender pronouns.  Many, many contemporary art concepts can be introduced, including semiotics, intertextuality, remix, different modes of interface, and appropriation. I'll brainstorm some ways these ideas an be discussed in class below.

Semiotics: "the study of the signifying process of making meaning, of forming relationships, through the use of signs and symbols."
What does it mean that we use the male pronoun to describe human groups as a whole in English? 

Intertextuality: "situates meaning within worldviews espoused by discourses from an image’s changing contexts of reception."
What's different in a religious text's use of male pronouns to describe a creator than other languages and cultures?

Remix: "opportunity to "talk back" to a dominant message that is being encoded in visual culture."
Why does it feel so strange to change gendered pronouns? How can we change this in the future?

Modes of interface: "a site at which visual and textual modes are interwoven but also confront and mutually interrogate each other” (Smith & Watson, 2002, p. 21).
How has the Web's instantaneous content creation (and meaning-making) affect our art-making process, and how can we use this to our advantage?

Appropriation: "art works being taken and used by another artist in a manner that causes the original image to take on a new or different idea than what the original image was intended to."
How can we express these new thoughts so others may understand them?

I was immediately drawn to the potentials that Lee's method of transforming dominant perceptions could be applied to the creation of visual art in the classroom. I realized that one way this could occur is through digital manipulation. Perhaps students studying digital arts could "re-gender" well-known works. For example, the profile on an image of a US dime could be altered from that of FDR to his wife, Eleanor. American Gothic could be manipulated to showcase a different power dynamic between father and daughter (notice how the female portrait stares off into space, while the male character stares straight into the viewers space, causing subject interpellation). George Washington's facial features in his official Presidential portrait could be edited to reflect those of Harriet Tubman's. 

Here's a quick "digital sketch" of the dime idea. 

Dime design of FDR

Dime design using Eleanor Roosevelt and "Goddess"

Images used from: