Dear Yasminers,
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
struggle.
Indeed, when Jean Tinguely and Andy Warhol were fighting their
titanic, early 60's battle for the soul of modernism [1], 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" [2]?
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 [3].
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.
Regards,
G. W. (Glenn) Smith
3443 Esplanade Ave., Apt. 438
New Orleans, LA
www.space-machines.com
[1] http://www.mdpi.com/2076-0752/4/3/75/htm
[2] http://www.space-machines.com/images/L'Amour%20Industriel.jpg
[3] http://www.caldaria.org/2013/09/lin-emery-by-philip-palmedo-review-by.html
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