6 Place

JJ
by Josephine Jones1 view·Updated Mar 9, 2020
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  1. Good morning, everyone.
  2. I'm really excited about place because it's such an important
  3. part of my own work.
  4. And, um, there's just so much exciting engagement with the
  5. environmental movement and understanding that's increased since we created Earth
  6. Day in the seventies and, uh, began exploring our world
  7. and the impact of our world on our actions through
  8. contemporary art.
  9. So there's a real intersection with environment which comes up
  10. again later in the text.
  11. But, um, and the same power issues that now you're
  12. getting it, that art is really driven by the same
  13. power structure that creates our economy or democracy or wonderful
  14. society are abusive society.
  15. However you want it, look at it.
  16. That's that has to do with how much power we've
  17. given to those who you are sort of over us
  18. or have authority over us in some way.
  19. So I think Julia shares security by Julia, too.
  20. Is a great look at that authority that No, I
  21. love the quote in the book.
  22. Whoever gets to watch is in control of whoever is
  23. watched. And that's certainly true.
  24. Um, so, uh, start starting from from the powers.
  25. She's then looking at what we're allowed to see an
  26. explorer? Um, she contemporary art.
  27. So, um, first of all, just determine determining what a
  28. places does it depend on space.
  29. Now, Um, is it something that is entirely constructed, as
  30. in Paul nobles, Knob spittle, which was part of a
  31. whole imaginary town that he created?
  32. Um, does a place now really depend on space on
  33. physical space Is sort of an underlying question, I think,
  34. and how much we inhabit it inhabit those physical spaces
  35. when we're engaged with our virtual tools as well.
  36. So, um, I think that some of the wonderful work
  37. that Rebecca Belmar is done with them speaking to their
  38. mother in 1991 I got to see this up close
  39. in New Orleans a couple of years ago at the
  40. Contemporary Museum in New Orleans is where these two shots
  41. are from that I took and you could just see
  42. the marvelous craftsmanship again starting to show up in contemporary
  43. art. And I wanted to find that it was Red
  44. Banks. I think that's in the early part of the
  45. back. Truman left lows Red Banks in 1990 to write
  46. the next year.
  47. Another native artist who's working on who gets to say
  48. where and what a place means and its significance.
  49. So, um, back out a little bit, you know?
  50. And huh Ask another question about place that, you know,
  51. is a forest traversed by an indigenous tribe.
  52. Um, as we see in Rebecca and in Truman's work,
  53. the same place that loggers and miners and soldiers and
  54. city goers and have it right, um so every place
  55. has multiple histories.
  56. The text said, Oh, look at Jerusalem that has a
  57. multiple history.
  58. But as we're discovering every place does.
  59. Many cultural organizations are starting to start their programs by
  60. saying they want to acknowledge which indigenous tribe the uh
  61. was owned the land, for example.
  62. And here's that illustration of, uh, the Atlantic wall fortifications
  63. and, um, projecting laser messaging on them that Magdalena just
  64. de Lo va did in 1995.
  65. I'm sorry, the captions not quite in view there, Um,
  66. and then who gets to value a place?
  67. Is it the people who grew up there in Chicago?
  68. Or is it this Chinese, uh, artist who's recreating cityscapes
  69. in using metal, wear pretty fantastic stuff and then, um,
  70. Liza's lose kitchen work with the beat, it surfaces and
  71. and kind of surreal effect there.
  72. And then, um, of course, where we're all spending most
  73. of our time, where we're meeting right now, free of
  74. time in a place free of space, right?
  75. And virtual reality, which is our new home, in which
  76. I know you know far more about in everyday life
  77. than I do that you can see.
  78. Um, that Leandro Ehrlich stall Stonehouse, Daniel Steegmans, my grenades
  79. A phantom where you just saw the virtual Oculus there
  80. that the woman is wearing in the text with this
  81. gives you a sense of what That, uh uh, looks
  82. like And then just a couple of images off the
  83. web. Just a quick Google search in contemporary art when
  84. I have those captions, if you need them, if you
  85. want to find them for any reason.
  86. So I just kind of a brief overview there of
  87. the whole the chapter on place and the different ideas.
  88. So I know what most of you are concerned about.
  89. What? I'm really concerned about it.
  90. I want to get to your topics of and your
  91. hypothesis. And most of you are in a really good
  92. shape I could tell from your, um your questions and
  93. everything, and so I'm gonna prioritize migrating so that I
  94. do those first.
  95. So you get right back.
  96. Any feedback about your hypothesis or you're the logic of
  97. your research for me?
  98. Any questions that are wise.
  99. And then, um, we will be planning to work toward
  100. that draft from bye week.
  101. AIDS. So huh?
  102. Week nine.
  103. So keep in mind that you want to keep moving
  104. on that research over the next week or two.
  105. So good luck this week.
  106. Enjoy. Huh?
  107. I will see you when we meet again.