Having spent quite a bit of time browsing through Julia's blog post
(in itself quite well done) on her 11-day STEAM course, I can't
imagine a more enriching exposure -- and from both a practical
and theoretical standpoint -- to the ways in which art threads
itself though modern life; and the obvious question -- and one to
which Julia is certainly more attuned than any of us, and one to
which I think she has specifically alluded -- is "What would all of
this look like outside of NYC?"
In particular, there are certain kinds of art/technology interactions
-- e.g., large-scale kinetic works -- which do not lend themselves
to the NYC environment; and even though there are a number of
such sculptors who have managed to maintain studios in the
lower-rent districts of, say, Brooklyn, I'm sure it must be a
Indeed, when Jean Tinguely and Andy Warhol were fighting their
titanic, early 60's battle for the soul of modernism , Tinguely
had the deck stacked against him because it was being fought
in NYC: difficult enough it is to carry a box of screen printing
supplies through the subway system -- but what about the
80-pound steel disc which forms the base for my own
"L'Amour Industriel" ?
And the ultimate poster child in this connection must certainly
be the world's foremost kinetic sculptor Lin Emery, who
abandoned her native NYC in favor of New Orleans -- and which
circumstance I have looked at in some detail .
But I digress.
Julia has obviously done a marvelous job with this first course!
-- and the one question that remains for me is the mix of
declared majors among her students.
G. W. (Glenn) Smith
3443 Esplanade Ave., Apt. 438
New Orleans, LA
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