~Hello all!
James Jaspers here, communicating with you all on this "weblog" for the first time. I've allowed my good friend and acquaintance to use my name, but feel it's about time I addressed you as myself. I too am an artist (better than my friend, I feel), and a student teacher, though that's just for now. As for later, well, let's see how well we get to know one another first.
On that note, I'd like to share a few things about myself. I like to be quite open, so feel free to avert your eyes if you're a tad squeamish:
Very little makes me feel guilty, and I'm only embarrassed by what I get caught at. My artwork is my life, and I am only truly saddened when the ignorance of the masses dismisses it. Similarly, I can be quite gregarious, but the human race and their desire to self-destruct is often what infuriates me the most. I love to laugh at life's ridiculousness and the self-importance of my fellow humans. My art and my success are all the comfort and worth I need, though the conventional, base human desires continue to thrill me at every turn. Sex, parties, (sex parties), nightlife, anything new or dangerous or shocking is where you'll find me, and damn the consequences.
I sport a number of features that set me apart from my fellow "man" - I'm quite fit and of slight build, with rather angular features that I'm quite accustomed to. I've been known to be playful and daring, sometimes mercurial and irreverent, and have even been accused of being arrogant and unethical. But, of course, who isn't? An outspoken idealist with a touch of exhibitionism, I revel in the hedonism afforded a man in my position and have no qualms about taking what I want when I want it.
Oh, you'd like to hear some more? Well, I am a male of extremely mixed heritage with relatives few and far between. Dietarily, I am a pescatarian with a penchant for good, crisp bacon on lettuce - after all, what good are rules if you can't break them? Politically, I am quite liberal and feel that religion has no place in any publicly-run institution, nor in most peoples' private matters. I adore all sorts of music and technology, but am quite choosy in what I consider to be art - of course, I have to judge all comers based upon my own lofty achievements. I create my own fashion and will rarely be seen in public unless I'm quite ready to be photographed. Beyond that, life is my education, the world is my classroom, and all of you miserable peasants out there are merely pawns on my checkerboard.
Now, I'm off to another all-nighter. Cheerio, little people!
Sunday, February 28, 2010
Sunday, February 21, 2010
A safe place for LGBT students
The purpose of this entry is to discuss our possible reactions to a student "coming out" to us and how we can make our art rooms a safe place for LGBT students.
I have some experience in this regard as I have had a small but varied group of friends, fellow students and co-workers come out to me over the years. I admit that I have always felt both honored and humbled by their willingness to open up to me and place that sort of trust in me, and I have always tried to reciprocate with respect, acceptance and support, as well as a certain amount of confidentiality if they were uncomfortable or unable to be more open about that part of their lives to others. Thus far, most of these people have become close friends and I feel they have given me a better understanding of the struggles they face every day.
I think that if we are able to create an environment within our classroom that makes students feel safe and comfortable and open to sharing learning experiences with one another, it will also become an environment where they feel comfortable sharing certain things with us that they may not be able to share with others. I don't think this is bad, but we do need to be careful about how we handle the situation. I feel that if a student who hadn't come out to anyone else (family or friends) shared that knowledge with us, we should respond in an open, honest, respectful and accepting way, but also be aware that the knowledge was shared with the (possibly) unspoken understanding that a certain amount of confidentiality on our part would be expected (ie. we won't share the knowledge with others without their consent, etc.). I feel a teacher in this situation should respond thoughtfully, asking some questions but not prying, and overall, letting them know that you accept and respect them for who they are and that your room is a safe environment should they ever need one.
I would also add that the idea of confidentiality should not exceed the limits of a professional basis, that is, it should not necessarily become a "personal secret" or anything that oversteps the bounds of the proper student / teacher relationship. Also, in the case of a students' coming out to you, confidentiality on your part should only extend so far as there are no extenuating circumstances. If the student is at risk or in some sort of danger, involved in an unhealthy relationship that is tied in with their sexuality, or if there is abuse involved, it is still our duty to extend the conversation and involve others who can help, including the school counselor, perhaps the principal or another LGBT-supportive teacher, and their parents / guardians if need be.
This is all somewhat hypothetical, as I have never had a student come out to me, but a number of these steps have been taken by me in regards to others who have come out to me. I believe that the best thing to do is just be supportive and understanding, and let the person know that you accept them for who they are and that you are there as an advocate for them if they should need one.
I have some experience in this regard as I have had a small but varied group of friends, fellow students and co-workers come out to me over the years. I admit that I have always felt both honored and humbled by their willingness to open up to me and place that sort of trust in me, and I have always tried to reciprocate with respect, acceptance and support, as well as a certain amount of confidentiality if they were uncomfortable or unable to be more open about that part of their lives to others. Thus far, most of these people have become close friends and I feel they have given me a better understanding of the struggles they face every day.
I think that if we are able to create an environment within our classroom that makes students feel safe and comfortable and open to sharing learning experiences with one another, it will also become an environment where they feel comfortable sharing certain things with us that they may not be able to share with others. I don't think this is bad, but we do need to be careful about how we handle the situation. I feel that if a student who hadn't come out to anyone else (family or friends) shared that knowledge with us, we should respond in an open, honest, respectful and accepting way, but also be aware that the knowledge was shared with the (possibly) unspoken understanding that a certain amount of confidentiality on our part would be expected (ie. we won't share the knowledge with others without their consent, etc.). I feel a teacher in this situation should respond thoughtfully, asking some questions but not prying, and overall, letting them know that you accept and respect them for who they are and that your room is a safe environment should they ever need one.
I would also add that the idea of confidentiality should not exceed the limits of a professional basis, that is, it should not necessarily become a "personal secret" or anything that oversteps the bounds of the proper student / teacher relationship. Also, in the case of a students' coming out to you, confidentiality on your part should only extend so far as there are no extenuating circumstances. If the student is at risk or in some sort of danger, involved in an unhealthy relationship that is tied in with their sexuality, or if there is abuse involved, it is still our duty to extend the conversation and involve others who can help, including the school counselor, perhaps the principal or another LGBT-supportive teacher, and their parents / guardians if need be.
This is all somewhat hypothetical, as I have never had a student come out to me, but a number of these steps have been taken by me in regards to others who have come out to me. I believe that the best thing to do is just be supportive and understanding, and let the person know that you accept them for who they are and that you are there as an advocate for them if they should need one.
Thursday, February 11, 2010
Discrimination
I am a white male, Christian, age 18-35, liberal, living in the United States of America in the middle of Iowa. Who the hell am I to say that I have ever been discriminated against?
I say this not merely to be provocative or confrontational, but because it's quite an odd question when one is first asked. I am not so ignorant as to disregard any and all reasons why I should not have any reason to complain. After all, I live in a country built on the blood and sweat of black slaves, and I am white. I live in a patriarchal society that objectifies women, and I am a male. I live in a world that still bears the scars of centuries of religious intolerance and oppression, and I am Catholic. Who am I indeed to complain about discrimination?
Our discussion in class today about the artwork of Chris Ofili really made me think about these questions. I began to question myself in response to my reaction to Ofili's work, in particular his "Virgin Mary" painting. I greatly disliked it, not so much for what it was but for the reasoning provided on its' behalf. Is it sacriligeous? My Catholic upbringing would say yes, but I usually have no problem playing "devil's advocate" (if you'll excuse the religious reference). Was it that his Mary was black? No, not even a little, and barely an issue for me. Was it the constant reference to vaginas and "tits and asses," as stated by Ofili in the text? Somewhat, though his crude phrasing did little to help the feeling. Was it the elephant dung? Maybe, but it's actual use was not what bothered me.
What really got to me was the fact that, from reading the chapter on Ofili, there were countless reasons, supports and background references given for his work that all but forbade a response in opposition to the artwork. Yes, Ofili was raised Catholic, so it is his right to question Catholic symbolism. Yes, Ofili is black, so why shouldn't he reference black popular culture? Yes, Ofili went to Africa and reconnected with his roots, so who are we to question the sanctity and beauty of elephant dung? Yes, Ofili is English, so why shouldn't he connect overtly sexual images into his work (as this seems to be much more common & accepted in Europe than in America)? Yes, Ofili deserves protection under the First Ammendment, so why should his work be censored or even questioned?
And yet, after all of these reasons and more are given, the chapter refers to two things that shed more light on Ofili's artistic influences. One is the influence of Francis Picabia, cubist and Dada artist who, for a short period, painted nude portraits that were sold to French brothels. These works were not entirely Picabia's stock in trade, but these, along with the anti-art movement that Dada was, may have been the defining things that inspired Ofili. The second and far more telling influence on Ofili's work is apparently modern rap / hip-hop music as well as 1970's "blaxploitation" movies. Far from being turned off by the overt sexism, discrimination and racism presented by these two genres, Ofili seems to embrace and celebrate them. This wouldn't be an issue if he weren't also expressing his intent to create a "1990's Madonna" who is to be seen as beautiful, streetwise and empowered. It very nearly resembles an attempt to show a tolerant and loving portrait of Jesus by clothing him in a Nazi uniform or KKK hood. By reappropriating the symbols of oppression, the oppressed can rid them of their negative connotations and regain their lost power, but simply celebrating the overt racism and sexism of blaxploitation cinema and the all-too common elements of racism, sexism and glorification of violence that exist in the world of rap & hip-hop, is Ofili really doing something positive or merely probagating the stereotypes that other races and cultures have placed on his own race and culture?
Beyond this, am I even allowed to dislike his work? One of the comments on Ofili's work in the YouTube video refers to his work and supporters as involved in intellectual masturbation, and I have a hard time disagreeing with it. If you wish to create a work to shock or to create controversy, by all means do it, but then why try so hard to stifle controversy by saying your work is rooted in your racial, religious and cultural background?
These questions are not easy and I welcome any and all comment. What does this have to do with discrimination? Well, as some of you read this, you may begin to think of me as a racist, a sexist, an elitist, a self-righteous artist or disgruntled member of the patriarchy. And who knows, I may be indeed, though I do not feel that I am actively driven or defined by any of those titles. You may simply see me as a whiny intellectual, driven to question what I cannot understand, which may be closer to the truth. Ofili stated that his work was both driven by and representative of confusion, and in that we both share a common driving factor. All things being equal in the end, I simply request that anyone with the patience to have read this far be kind enough to post a response, so that a dialogue may ensue and that we might all benefit from it in some way.
I say this not merely to be provocative or confrontational, but because it's quite an odd question when one is first asked. I am not so ignorant as to disregard any and all reasons why I should not have any reason to complain. After all, I live in a country built on the blood and sweat of black slaves, and I am white. I live in a patriarchal society that objectifies women, and I am a male. I live in a world that still bears the scars of centuries of religious intolerance and oppression, and I am Catholic. Who am I indeed to complain about discrimination?
Our discussion in class today about the artwork of Chris Ofili really made me think about these questions. I began to question myself in response to my reaction to Ofili's work, in particular his "Virgin Mary" painting. I greatly disliked it, not so much for what it was but for the reasoning provided on its' behalf. Is it sacriligeous? My Catholic upbringing would say yes, but I usually have no problem playing "devil's advocate" (if you'll excuse the religious reference). Was it that his Mary was black? No, not even a little, and barely an issue for me. Was it the constant reference to vaginas and "tits and asses," as stated by Ofili in the text? Somewhat, though his crude phrasing did little to help the feeling. Was it the elephant dung? Maybe, but it's actual use was not what bothered me.
What really got to me was the fact that, from reading the chapter on Ofili, there were countless reasons, supports and background references given for his work that all but forbade a response in opposition to the artwork. Yes, Ofili was raised Catholic, so it is his right to question Catholic symbolism. Yes, Ofili is black, so why shouldn't he reference black popular culture? Yes, Ofili went to Africa and reconnected with his roots, so who are we to question the sanctity and beauty of elephant dung? Yes, Ofili is English, so why shouldn't he connect overtly sexual images into his work (as this seems to be much more common & accepted in Europe than in America)? Yes, Ofili deserves protection under the First Ammendment, so why should his work be censored or even questioned?
And yet, after all of these reasons and more are given, the chapter refers to two things that shed more light on Ofili's artistic influences. One is the influence of Francis Picabia, cubist and Dada artist who, for a short period, painted nude portraits that were sold to French brothels. These works were not entirely Picabia's stock in trade, but these, along with the anti-art movement that Dada was, may have been the defining things that inspired Ofili. The second and far more telling influence on Ofili's work is apparently modern rap / hip-hop music as well as 1970's "blaxploitation" movies. Far from being turned off by the overt sexism, discrimination and racism presented by these two genres, Ofili seems to embrace and celebrate them. This wouldn't be an issue if he weren't also expressing his intent to create a "1990's Madonna" who is to be seen as beautiful, streetwise and empowered. It very nearly resembles an attempt to show a tolerant and loving portrait of Jesus by clothing him in a Nazi uniform or KKK hood. By reappropriating the symbols of oppression, the oppressed can rid them of their negative connotations and regain their lost power, but simply celebrating the overt racism and sexism of blaxploitation cinema and the all-too common elements of racism, sexism and glorification of violence that exist in the world of rap & hip-hop, is Ofili really doing something positive or merely probagating the stereotypes that other races and cultures have placed on his own race and culture?
Beyond this, am I even allowed to dislike his work? One of the comments on Ofili's work in the YouTube video refers to his work and supporters as involved in intellectual masturbation, and I have a hard time disagreeing with it. If you wish to create a work to shock or to create controversy, by all means do it, but then why try so hard to stifle controversy by saying your work is rooted in your racial, religious and cultural background?
These questions are not easy and I welcome any and all comment. What does this have to do with discrimination? Well, as some of you read this, you may begin to think of me as a racist, a sexist, an elitist, a self-righteous artist or disgruntled member of the patriarchy. And who knows, I may be indeed, though I do not feel that I am actively driven or defined by any of those titles. You may simply see me as a whiny intellectual, driven to question what I cannot understand, which may be closer to the truth. Ofili stated that his work was both driven by and representative of confusion, and in that we both share a common driving factor. All things being equal in the end, I simply request that anyone with the patience to have read this far be kind enough to post a response, so that a dialogue may ensue and that we might all benefit from it in some way.
Monday, February 8, 2010
Artist Trading Cards
These are my first three artist trading cards (front & back of each). I was trying to play with the familiar layout of playing cards while adding to / building off of it with collaged images and text, neither of which I have worked with extensively. It was fun to try new techniques with them, but somewhat frustrating in that they did not turn out how I had wanted them too.Also (Safety Tip) don't ever heat up a playing card in a frying pan if there is superglue on it - horrible, invisible gases will come at you and blind you momentarily. Trust me - I've learned my lesson.
Sunday, February 7, 2010
Art for a Universal Audience
I have decided to create a lesson plan that connects with Scoping An Audience 1.c: Communicating to a Universal Audience. To do this, I plan to focus the lesson on (a) art history and what makes art last through the ages, (b) discussing with the students what factors make art endure and be relevant over time, and (c) asking the students to create an artwork that ties into these factors and that they feel could have lasting value and interest. As a student of Art History and world history in general, I think it is an important aspect of art and culture that can be overlooked at times. What makes something last? What factors help certain things (artwork, culture, language, etc.) endure, while others disappear and are forgotten? I would hope to at least begin a thinking process in my students that takes some of these ideas into account and also relates history, social studies and communication systems.
From this starting point and from the discussion that would (hopefully) follow, the lesso could then grow somewhat naturally in terms of form, technique and material usage. While some of the ideas listed in the workbook could work (mud/clay, weaving, the life cycle), other materials and processes could be used based on student ideas and sketches. This openness could lead to some problems or complications with material usage, good use of time and overall management, but I feel that its positive benefits would easily outweigh most of these issues.
From this starting point and from the discussion that would (hopefully) follow, the lesso could then grow somewhat naturally in terms of form, technique and material usage. While some of the ideas listed in the workbook could work (mud/clay, weaving, the life cycle), other materials and processes could be used based on student ideas and sketches. This openness could lead to some problems or complications with material usage, good use of time and overall management, but I feel that its positive benefits would easily outweigh most of these issues.
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