Week 9: Mar 16-22

Week Nine: Mar 16-22: Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Read: Red Earth; Pedro Reyes; Tomás Saraceno; Simon Starling; Gerda Steiner and Jörg Lenzlinger; Tavares Strachan; SUPERFLEX; Reverend Billy Talen; Tissue Culture & Art Project; Lily Yeh; and Marina Zurkow (pp. 253-318)

This is our last week on the Weintraub book. I hope you have enjoyed the variety of methods of engaging that these artists have demonstrated to us. It's as if art has become a sub-category in the midsts of even larger issues and topics. Is poses questions like what can be art-like? What methods and was of making art have mattered? Which still matter? And I feel re-grounded to the earth. It seems that this book is hitting a spot for many of us in one way or more--whether it's rethinking art and social constructs or the possibility of inserting ourselves/myself into the dialog. I'm noting how western art norms prevent some of us from considering or reconsidering the worth of an act--getting stuck in--is it art? Is it process? Product? Would this work in a gallery? (Consider your backyard as a gallery.) Is it a case study? A method? Art? Niloofar posted about what is changing? Keep in mind that you will need to develop a project (it can be on existing work or ideas) that addresses research and/or pedagogies. Some asked, How can we make changes? Silvia and others posted about the importance of not shaming audiences or consumers. Marc shared that he is working on a project that will document a community garden space. Keep in mind, that all of these will be looked at online by all of us as the semester ends. We will all chime in with positive feedback on each others' ideas/projects. You can create your own blog and upload your images, data, narratives, etc. What I would like to see is a narrative/description of why you chose what you chose and why it is important to you. That contextual information is of great importance for us as learners and artists. 

Let me say a few more words about semester projects. Many/Most will end up as works-in-progress--in other words, you will begin them and not finish them this semester. I am hoping you chose something that is of most interest to you so you will continue and carry on with the work. That's the point. I remind TTU undergrad students that as a teacher, I  never want to make any art that becomes landfill. And, what that means for me in terms of rethinking a lot I was taught. How can I be kinder to myself and the environment. Don't think of the project as one huge thing--think of something you are interested in further investigating--either by researching, making, teaching, planning, etc.

And many of you are already rethinking what you might want to do--that's part of the process. From where a project begins...to how it evolves...to how it ends...if it ends. Remember ours will be works-in-progress. Ideas you will begin. They do not have to finish. They may stay at the idea level--and maybe end there as well. When I think about writing and making art, my initial attempts and ideas are rarely what I end up with. So, be kind to yourselves. Do/Start something that really matters to you. Sometimes those rules have yet to be written--you will be writing them. Some of us posted about stewardship and the land. I remember everybody had a garden while growing up in my very neat and orderly white working class neighborhood. Gardens are making come backs for middle class white people  because gardens make sense--and connections back to the earth. Workers and others have always had and continue to have gardens--it's a part of being human. Gardens ground me. My dad might be amazed at how I work with the earth to give and give back.

Ideas for projects: Has anyone thought of a project, short-term, of documenting your own waste for a month; or where it goes. Document your local land fill. Maybe interview some people who work there. Document a community garden project like Marc is doing. Simplicity. Start at the beginnings of things. When we are asking questions such as What is Art? we negate all of the multiple cultural and geographic explanations for "making" however it is defined. So for example, if observing recycling is a project--Document it. Write about it. Take photos or make some art. A few have posted that they see "something sort of beautiful about waste"--one could do a photo essay documenting one's own waste or recycling. Use audio. One could create an audio blog space. Create a few audio blogs. That's a project. Or, how could we use smells? Or, if you are thinking very literally art-wise, create a small post-card-sized or trading card size something--collage, watercolor, etc. Or create a trading card set of what you throw a lot of away. These are mainly means to get you thinking about a project as we are half-way through the semester.

More ideas--You could take a picture every day of something for a month, etc. Keep in mind, that you can begin something that you will only be at the beginning of at the end of this semester--that is perfectly fine. Just recall and note all of the different ways--METHODS of doing research--that these artist employed and deployed. Art is only stagnant in our minds. Yes, there is always disciplinary blendings and road blocks as many of us have posted about boundaries and definitions, for example. 

NOTE** Always keep posting in the current week as you are doing for any late posts. There is never any shame or blame. We are all busy with our lives, teaching and learning. Just post as you can.And, use "I" language--never say "we"--say me or I.

Some ending thoughts...As we come to the end of our first book, keep in mind that the methods/strategies used, are examples of possibilities and does not include everything. You may use biography or autobiography as your methods or some of the multiple methods you will use. An idea for you might be to juxtapose your two worlds you have experienced as a teacher and artist. When I think of using human waste to if, for some reason, you are dong something really personal and need to be private about writing, send me an email letting me know. Anything is possible. I just want all of us to share in our learning and asking and researching, if possible. 

Also, don't think about creating something new and big--no need to do the impossible. Think small and local. Look in the mirror. It may be about you. Always use "I"/"i" language. Maybe what you start with is an image inventory. Your final blog piece does not have to be this one. You can change your mind. I expect some of you will. Just start to think about what interests you. How might that connect to multiple methods we are reading about? What other methods might you use? Theory is big ideas about the world. Methods are simply ways of collecting data or making art. Don't be afraid to ask questions and make mistakes. I do not expect you to be an expert. You are not in competition with these artists. I want you to begin at the beginning, if that is where you are. And no need to think about finishing anything...

Some of my friends who are artists and teachers talk about slowing down, to observe and think--as they think of their next moves/or art. As for the artists creating around death, are you aware that 100 years ago 90 percent of people in the US died at home and today 90 percent of die in institutions? There were methods and specific models for mourning. Often, the dead were on display in the pallor for a week prior to burial and flowers were used to cover smells. Check our Jessica Mitford's, The American Way of Death (Revisited). Very interesting topic. Three years ago in June in a summer session in Junction, a blacksmith came through and "smithed" and gave demos to us--was incredibly interesting. He made some nails and other objects. All this referring to what is around me--and what am I interested in. 

Welcome back from spring break. Farewell to our first book. 

Week 8: Mar 9-15

Week 8: Mar 9-15 (Spring Break)

Happy Spring Break. You may use this week to catch-up on any past posts. I'm glad our first book inspired and offered newer insights into possibilities and connections and collaborations of artists, art/s, and environments. I looked up suggested websites and youtube sights. Thanks for your contributions.

Our next book will be narratives from the bone--women who experience marginalizations and self-defeats--turning normative codes and histories around so they can flourish. But that starts next week.

Week 7: Mar 2-8

Week Seven: Mar 2-8: Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Read: HeHe; Natalie Jeremijenko; Yun-Fei Ji; Eduardo Kac; Jae Rhim Lee; Maya Lin; Michael Mandiberg; Viet Ngo; Marjetica Potrč (pp. 205-252)

Next Week is Spring break. I will post the week for anyone who would like to catch-up on any posts: Week Eight: Mar 9-15: Spring Break (catch-up week)

Week 6: Oct 6-12: Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Read: HeHe; Natalie Jeremijenko; Yun-Fei Ji; Eduardo Kac; Jae Rhim Lee; Maya Lin; Michael Mandiberg; Viet Ngo; Marjetica Potrč (pp. 205-252)

One more week and we finish with this book.  

A few comments from Week Six posts. 

The tourism essays got me to thinking about HGTV and why I bought this copy of Texas Monthly this past fall to read about the Gaines. Interesting. With a downtown market they developed, something like 31,000 tourists flock to Waco a week. A very interesting read. At 31,000 a week, that's around 1.6 million a year.

Is anyone thinking about a semester project idea? For two weeks, no one has posted anything under that post heading. William Ayers, On the Side of the Child--posts some radical reads to pedagogy and learning--similar to the readings of this book--other ways to do something. He writes about love and freedom and learning. A nice read.

For those interested, the Beehive people/artists travel around the world. We had one of them at Tech ten years ago. They will come to schools. Contact them. David posted about how he has a formalist/conceptualist lens/judgment. Could that mean that that Western Euro lens is narrow and limiting? (I'm listening to The Empire Strikes Back hearing in my mind--the force of Western Euro thinking...) Are many of us working from or with very narrow Western Euro trained minds in terms of art or what it is or what it can be? I visited McAllen, TX this past week and stayed with a Puerto Rican friend who is mesmerized with Italian art and royalty--how art was made over the centuries, etc. I ponder about that I am not all that interested in it. He regaled me with stories about his travels throughout Italy, and I kept thinking--okay, another church. Another mural. That's why I'm heartened when any parts of some of these readings may move you or move you to ponder. 

Raha posted about launching programs in support of rural lives. Will that happen in the US under the administration? Sylvia posted about being inspired and fascinated.

Starting again after spring break, I'll post a section about project ideas again for class members to share progress, or no progress. It's all about ideas. We will shortly and vastly change the focus of methods with our next book--so be prepared. If you fall behind, just post in the current week. Great posts this past week.

Week 6: Feb 23-Mar 1

Week Six: Feb 23-Mar 1: Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Read: Fernando Garcia-Dory; Bright Ugochukwu Eke; Nicole Fournier; Amy Franceschiini; Gelitin; Andy Goldworthy; Andy Gracle; Tue Greenfort; Terike Haapoja (pp. 153-204)

Welcome to Week Six. Just a reminder, you do not need to apologize for late posts. I totally understand and expect delays. Just post late in a current week, like some of you are doing--thank you. Also, please remember to write in first person--"I", "me"--not we or us. Own your words and your questions. What I am enjoying about Week 5's posts are the questions you are posing to yourselves and the class. Am loving that. 

A few comments about some Week Five posts. Then off to this week. Some posted about performance and its possibilities in the classroom. I listened to artist Nick Cave a few semesters ago at a TASA conference at TTU. He does lots of performative work. Look him up. Lots of posts about your initial reactions to Schneemann. Might possibly be normative in our culture where that might be a common knee-jerk reaction. I'm wondering if and how it might be connected to consumerism? Some posted are inspired by Chu Yun. Check out the Cathedral of Junk in Austin,TX. You can see it right now in Yard Art and Humanmade Places: Extraordinary Expressions of Home (by Jill Nokes with Pat Jasper, 2007, University of Texas-Austin Press). (I used this book a few years ago when the theme of a class was neighborhoods and activisms.)

Some of our artists come out of particular gender and historic/herstoric narratives--that run counter to what and how we have been taught--about art, about teaching, about learning. What is appropriate and what is acceptable, etc. Last fall in an online research class, a student posted about a student he had in his art class from France who had been taught differently about genders and bodies. The student couldn't believe how conservative gender norms are in Texas. As we read and critique these artists, keep in mind that they do keep making art. Something I wish I did more of. A few posted and questioned how "schooling" not learning is socially constructed to be a very narrow corridor of acceptable practices in US schools. Where our efforts are merely reactive and not proactive. 

Though we seem to have lots of pornographies in our culture, erotic art forms are more difficult to find. When I say erotic, I mean more toward what audio Lorde referred to as the body having erotic potential and power--not at all sexual. Might want to check out that essay of hers--it's short and online. posed a question that everybody ignored last week about a possible semester project. Please start considering that. Consider something basic and simpler--documenting via your phone, you thinking about yourself or your project--can be a project. I am not looking for ten page papers on theory. A series of self-portraits--you will see this in the next book. I took my undergrad class last semester to the Ranching Heritage Museum to to some plein air painting--trading card size and postcard size. Just to sit and think or paint. Many just sat and looked and thought. I love the metallic and glitter watercolors some used. You could create a 5 minute Ted Talk on your phone about your ideas--and that's your project. You can document yourself. Dialog with yourself and develop a short video on your phone. Notice I am pushing perform--and document. Let's keep it simpler. Simpler. 

In a few weeks we finish this quick eco trip (where we are looking at the different methods artists use) and venture on to political graphic identity narratives from women using testimony and witnessing as a strategy/method to make his/herstories known--a much different approach to research than what we are reading.  

How about this for our project ideas? Keep in mind that you will create your own blog page where you will house your project--hopefully on Blogger.com. You can make it private and it's free. It's very easy to create and design. You may want to begin to play around with it. Or you can use an existing website you may have. We will visit each site and comment on them. I do not want to be the sole keeper of ideas. I am not grading your ideas. I will make comments and hopefully learn from you. I hope you can grasp that pedagogical shift from overlord to co-teacher, co-collaborator. You are already are doing it. You are teaching me. I am just hoping that you take some personal risks and do something that really resonates with you. It can be research you are currently working on. Don't follow us. Lead us. If you do something really personal, you can make it really private so that even I don't see it. 

Keep in mind how Weintraub writes about these artists. Use her as a model. She, like you, writes about the several methods the artists are using. You might use autobiography, video, performance, sustainability, and industrial ecology as your methods to creating your research. That's what we need to develop and demonstrate to each other. For example, if you create a performance--and it can be one minute--document it with your phone and upload it to youtube for free or another space if you need privacy and write about the experience--telling us how you planned, what you did, etc. Small steps. Anyone hearing this and getting it?

Also keep in mind when thinking about possible lessons or projects, for example, that traditional mindsets foretell what's good for what grade level. I could say that environmental issues are better for high school populations. Not true. All of these ideas are for all populations and all people in my opinion--as Marc posted. I don't think we have ever been taught to consider any of these issues for class or or own lives. We are taught to stick to still lifes, pinch pots, etc. There is an artist in New Orleans, Dr. Bob, who makes art out of beer caps. His studio is like Andy Warhol's was--a factory. Great work--and so different. How do we change our own mindsets on what is possible and appropriate and what is not? That could make for a great personal journey.

In Week Five, some of you posted about sanitation workers. A theme of dirty work was mentioned in a few posts. Think of this, I am my garbage. What might a week's worth of my garbage say about me? Or a month? A project? Taking a ride with sanitation--a project possibility? Many of us know nothing about this stuff and have to reacquaint ourselves with real people doing real things. Dumpster diving. Defending our art classes that are not taken seriously. Collaborations? 

And now Week Six. I am enjoying the global perspectives in the book, based on social and land considerations. I hope you are noticing the multiple methods artists use to examine topics. Keep in mind that interview, autobiographical writing, and biography are also ways to create research and document. Weintraub is creating critical writing about these artists that is historical and biographical as well. So, keep in mind that we are always working in multiples. 

Note about thinking about projects one more time. Rather than make something, which you may do, how about documenting how you are thinking about something--or planning. You could use your phone to video yourself thinking and/or planning. And post that process as a project. What I'm saying is that documenting yourself as a performative journal, so to speak, would be a great project. Perform...record with phone; upload to youtube. Think about that. You are still creating and documenting that with phone/video. These could be performative lessons. You describe or perform it and viewers take what they want. I think we can post privately on Youtube. Think about that than something more traditional, but it's up to you. You can do anything for this class. 

Week 5: Feb 16-22

Week Five: Feb 16-22: Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Read: Carolee Schneeman; Bonnie Ora Sherk; Alan Sonfist; Mierle Laderman Ukeles; Brandon Ballengée; Beehive Colelctive; Mel Chin; Chu Yun; Critical Art Ensemble (pp. 101-152)

Just a few notes as we continue reading this book. Note how I highlight methods--meaning research methods--in my questions. Methods of research are ways to collect or create data/art/writing/etc. That could include ways (methods) of making, observing, listening, writing or filtering--different lenses to think about, think against, analyze, assess, etc. For example, autobiography/autoethnography/biography are ways to document/create personal evidence/research. Keep in mind that making art is research. But there are different ways--methods--to make art. Weintrub's book, for me, expands what I considered legitimate media methods. It excites me to read about social practice as a method. Performance as a method. Bio art...getting the picture? Lots of ways to create research; art being one; making or writing or performing or thinking--numerous methods--ways of doing that. This book is a great pioneer for us to get us away from Western Euro linear thinking about what is art and what can be art and who determines what is art (though I understand and accept that Weintraub is a part of Western Euro thinking).

John Berger's book Ways of Seeing (1972) is fascinating. He addressed some of these natural and normal ways of seeing art that he challenges. It was a BBC series. It's a small book. I think you can retrieve the series on youtube--fascinating to watch--where he challenges historians, and misogynies, and all kinds of bias--that I/we just take for granted--because that may be the way it is or the way I/we learned it. He delves into mystification and obfuscation. I found it an absolute delight and essential for me to read. What I am saying here is notice those different methods of making art--they are beautifully transgressive and creative.

Some comments from posts form last week... cadillac Ranch. Almost in our own backyards--and our multiple and conflicting reactions to it. What do I know about it? What am I sure about it? What don't I know and am clueless about it? David posted the question "Must art have commercial potential?" Just thinking of myself as a solitary artist, working alone much of my time--much of the art I make is printed and handed out for free--though I make art that can be sold--but these are my stories and I would rather find a piece a good home. I notice that I often work around others and am influenced by others and often get help from friends when making stuff--including critiques. 

Now, this will sound very graduate schoolish--We have writing vs. visual art vs. perceptions vs. intents vs. knowable or not knowable. In grad school we can get ourselves into moments of not understanding, not getting things or something, not knowing--that may be interesting, frustrating, scary spaces to be in. We as teachers were taught taught that we had to know and grasp everything. Here, in this class, you do not have to. So, relish in some of those "what the heck is going on?" moments. You do not have to know everything--just be open to lots of new stuff. 

In Week Five, we finish reading about Weintraub's short list of pioneers and move to 21st century eco art explorers. I am trying to use her concepts and verbs in my questions. Keep in mind the multiple methods used in making art. I am enjoying your personal comments and posts to each other, questions, and statements; how you are relating her knowledge to your personal experiences and professional lives. I especially enjoy your own questions to yourselves--quite simply, that's called creating a research agenda. You are forming initial questions that you may or may nor answer. 

Please remember, you do not have to prove to me in your posts that you have read and understood the readings. Please feel free to go beyond my questions or ask better questions. Many of you have really rich and diverse histories in the arts. Please feel free to continue sharing your experiences and insights and biases as well. 

Every once-in-awhile, when I am driving from Milwaukee, WI to Manitowoc (my home stomping grounds), I often exit at Cleveland, WI, about 18 miles from Manitowoc, drive east, and head north on the old Lakeshore Highway. I drive slowly. I often pull over to let cars behind me move ahead. But, even though I am in my car, I can see Lake Michigan and trees and farms and homes--and I am in my forest. I am instantly reminded of the beauty of that stretch of land. I notice new homes; new businesses, almost anything that has changed. And, I am still in awe of that old road. As a kid, I biked it. I'll pull over from time-to-time, and stare at trees or the water. I feel at home. I smell. I can still hear, see and smell long-dead aunts, uncles, cousins and my parents--driving this road; talking about the road; being in their working lives. This can be a ebook, a poem, a story, a happening, a lesson, a painting, a movie, a script, a performance, a reading, a digital image, an imprint, a performance--just from this one drive. It could be an 5 minute audio of me talking you through my drive or reminiscing. It could be a 5 minute podcast of sounds. It could be bio/performance/paint/design/social practice...catching my drift. In block four, I am going to ask you a bit about art making or thinking or writing what ideas are coming to mind and how you might structure them for a semester project. If nothing is occurring yet--don't worry, all is well.

As many of these methods get repeated, is anyone getting interested in trying something new out? Something different? Something scary? A method that is grounding? That might lead to a lesson? Or not? That might help ground you on your art/writing/thinking journey? Or help ground each other?

These last comments were to prod you to begin to think about a semester project idea...just to BEGIN to think--or not...it may be way too soon to even begin to think about that. 

David posted about how to post images. The best way is to go to the right hand corner of the blog and click on Create new post. Once you do that, you will see an image icon. Remember images have to be less than 300K. When you date that post, date it David Week 5. 

I don't think you can post images when responding. To existing posts, I would have to go into edit mode to add images, so the best is to create posts and just let us know they are there so we can look at them. Will that work?

Week 4: Feb 9-15

Week Four: Feb 9-15: Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Read: Ant Farm; Herbert Bayer; Joseph Beuys; Hans Hacke; Helen and Newton Harrison; Friedensreich Hundertwasser; Allan Kaprow; Frans Krajcberg; and Mario Merz (pp. 53-100)

Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Read: Ant Farm; Herbert Bayer; Joseph Beuys; Hans Hacke; Helen and Newton Harrison; Friedensreich Hundertwasser; Allan Kaprow; Frans Krajcberg; and Mario Merz (pp. 53-100)

Welcome to Week Four. First a few observations and comments from last week's posts. Niloofar posted about the intersections of cultures and politics (notice the plurals) as critical points to possibly eco themes? Raha posted about our personal lifestyles and footprints. David posted about Lubbock recycling--I will say that TTu recycles cardboard, bottles, tin, plastics and cardboard and styrofoam behind the power plant across from the Rec Center. I guess last year they created 30 $1,000 scholarships for TTU students from the recycling efforts. A lot gets wasted on campus, especially as students leave after spring semesters. The City of Lubbock, on the other hand, buries a lot of its refuse. Haha posted about connecting sound to spiral shapes. Marc posted about students lost outside of the structure of classrooms--I might ask how do we mediate between my/our/students' lives and a classroom. What can be a classroom? When and where? Also consider, what kind of pedagogical spaces can be created where we are all authors and what does that or can that mean? Niloofar posted about plastic bags which got me to think about on Facebook recently some older women were weaving sleeping mats for people without homes out of plastic bags. The mats were light and portable. Marc posted about art going beyond image and process. I notice how in certain classes in the School of Art, students aren't permitted to use their laptops or phones. It's interesting to me how some instructors continue to dismiss digital or social medias as heresies--not real anything. As David posted that Weintraub enthralls and confounds, so do these instructors who refuse to move beyond traditional art methods or media or conventions. I wonder if some instructors do to others what was done to them--real exploration or search was long ago banished in them.

A few of you have emailed me about whether or not your posts are good enough. Keep in mind, you get to create the narratives of this class--and that will depend on what piques your interests and what you are interested in posting about. As we are the authors--it depends upon what is of interest to us right now. Not, what should I say and what do I need to get out of this particular book. Also, If I have a problem with the quality of answers, which I do not, I will pose a question or two or ask in my review of previous week's posts--clarifications, etc. 

Google what a firm in my hometown did with an old factory warehouse: impactseven.org  Or just google: artist lofts manitowoc, wi  Impact seven has properties across Wisconsin that they design and refurbish or build new--that's affordable housing. Mainly for vets with a sliding scale in the artist lofts of $300-500 a month. It is state-of-the-art industrial 2/3 bedroom apartments with 2 bathrooms and indoor parking. I used to pick up my papers on my paper route on the corner of this warehouse. This is part of my goal and dream to open a Worker's Center that will honor and document the lives of working people.

A few of us posted about traditional senses (meaning Western Euro?) of beauty--or what art is or can be--is it possible for us to rethink those or alter them or begin anew? For some reason I recall the first time I read about Andy Goldsworthy and some of what he does...and what that did to my sense of how I thought of what I did at that time as artful. 

l just told some undergrads that I was going to use the "f" word. For me that is the word flourish. I ask people when was the last time they flourished? How about the last time I was or felt enchanted? I also love the word enchantment. So, I ask myself: Enchantment--what if I started using this terminology in my conversations and lessons? They appear to be so hopeful to me. Weintraub is next introducing us to some 20th Century Eco Art Pioneers. We are covering the first nine. I will do that in three posts. Note her content and context. She is making histories come alive to me. And I am loving the images. And we get to read about the Cadillac Ranch as well. 

What I am going to focus on a bit are the genres and approaches these artists use, as they are great resources as methods for us to explore research. I sort of view them as both methods; ways to collect or make research. I am noticing that some of you are making pedagogical connects to the readings in terms of lessons and teaching practices and asking questions--continue to ask away. That is another way to think about research, or at the very least creating assessments or reflecting thinking about pedagogical practices--which is research in our fields. And, many of you are thinking about making--and how might that fit in these alternative contexts and visions.

Week 3: Feb 2-8

Week Three: Feb 2-8: Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Read: Introduction; Eco Art Themes; Eco Art Aesthetics; Eco Art Materials (pp. 19-52)

I noticed a book mistake on the syllabus. These are our three books:

Akins, F. & Check, E. (2016). Roads to Junction: Making art, teaching art. Dubuque, IA: KendallHunt.

Chapadjiev, S. (Ed.). (2008). Live through this: On creativity and self-destruction. New York, NY: Seven Stories Press.

Weintraub, L. (2012). To life! Eco art in pursuit of a sustainable planet. Berkeley, CA: University of California Press. 

Our last book is the Akins & Check book.

Just a reminder about posting--please remember to post a minimum of four posts per week. If you are absent and miss a week, I expect four posts from the previous week in the current week, along with a minimum of four posts for the current week as well.

Just a few notes form comments from last week. David and others posted about us being tenants of the land and not owners. Haha posted how "we don't own the land, the land owns us." David posted about the 1960s and "duck and cover" mentality about dealing with nuclear explosions and how the Middle Ages terrified him.And that is a reference to Europe. But also in the Middle/Dark Ages were nuns and convents and safer spaces, women making art (tho not getting much credit), and southern Spain where Jews, Muslims, and Catholics lived peaceably together, governed not by Christians. And then, I'm wondering what was happening in other parts of the world. I'm thinking about how I tell Visual Studies majors not to develop lessons that will create landfill--art that foes into the waste basket. That goes against learning the essentials of elements and principles I guess. But, I suspect different cultures have different names and processes for art and media--the Western Euro model feels inadequate to me. And a few posted about if the land or the earth writes us messages--and I think it does constantly.

We are in the beginning throws of the book. It gets much more interesting as we begin artists next week. And, keep in mind, these are her versions of histories. Be open to these stories.