SECTION 1 - via - School of Visual Arts

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Photography Through Documentation and Intention Anna Heineman SECTION 5: The Art of Persuasion Meritorious or Meretricious Jacqueline Belfort-Chalat SECTION 6: The Educated Artist Shared Spaces, Unexpected Sources Bowdoin Davis, Jr Remembering Rabindranath Tagore Mark W. McGinnis SECTION 7: Public Memorials Monuments in Minimalism: Safely Universal David Evenhuis Brancusi at Tirgu-Jiu Maureen Korp SECTION 8: The Holocaust Mourning, Absence, and Trauma: Representations of the Holocaust in Contemporary Art and Architecture Milton S. Katz SECTION 9: Curriculum With a Pen as His Word and Me as His Witness Michael Fink From Idealism to Totalitarianism: The History of History Painting Robert Hendrick Inhumane Humanities: Colleges of Education in Retreat From the Human Experience James E. Nowlin Teaching Art Education in a Studio Oriented Art Department Shari S. Stoddard Vers Collage: The Remembrance Work of Poetry Beverly Schneller
THE SCHOOL OF VISUAL ARTS NATIONAL CONFERENCE ON LIBERAL ARTS AND THE EDUCATION OF ARTISTS: ART REMEMBERS Guest Speaker: Barbara Maria Stafford, University of Chicago Dr. Hendricks: This afternoon I have the pleasure to introduce our keynote speaker, Barbara Maria Stafford, the William B. Ogden distinguished service professor at the University of Chicago. Dr. Stafford specializes in art and imaging theory from the late 17th century to the Romantics and her focus has been on the intersection between the arts and the sciences in early modern and modern periods. Her two recent works, Visual Analogy and Devices of Wonder, help reconcile the diverse elements of the history of western art through the concept of visual analogy. Dr. Stafford emphasizes the connections—“proliferations” is the term she uses—and not the chain of cause and effect. Dr. Stafford’s books include, Symbol and Myth, Voyage into Substance, Body Criticism, Artful Science, Good-looking, Visual Analogy and, with Francis Turpac, Devices of Wonder: From the World in a Box to Images on Screen. Will you please welcome Dr. Stafford. Dr. Stafford: Thank you. It’s a great honor for me to be here in this worthwhile endeavor and I hope to contribute to the proceeding. I’m going to be using material from the Devices of Wonder exhibition to reflect on some major themes that I hope that it will intercept rather nicely with the topics of the conference. Rudolph Arnheim, in an essay that has really been forgotten from the 1960’s, a plea for perceptual thinking. In it he suggests that optical technology can become a thoughtful medium. I’m going to suggest that it is not yet become that. We’re still waiting for that to happen and I’m going to try and demonstrate in my presentation that contemporary media needs memory. Contemporary medium needs to recall that vast and sophisticated repertoire of earlier medium, medium that we’ve just thrown on the junk heap of history to fulfill the potential that Arnheim saw. Arnheim’s summons in the 60’s in turn was a re-remembering. He is in a way re-casting some of the prior writings of Abby Warburg writing in the 20s and in the 30s. Now Abby Warburg, that profound historian of visual culture, proposed that visual images—those imaginative spatial forms ranging from high art to popular emergent media—roused the eyes at action, that lovely phrase of his. But these fleeting shapes and mutable figures also excite our memory, consciousness and desire by their ability to intensify and so alter reality. Not surprisingly then such vivid apparitions spun merely from light, shadow, and color engaged the total person at the sensory, psychological and social levels. And again I’d like to say it’s important that what people like Warburg, like Arnheim, like Kepes, for that matter, were talking about was not immersive media but rather the ability of media to create personal coherence at very deep level. I’m going to try to suggest ways in which these older media do that and what we have not yet achieved today. I’m going to show you some images rather quickly and then I’m going to ponder them and bring in other ones as we go on. [The first two slides; both please.] When optical devices such as mirrors and lenses actually appear, I’m going to be showing you because of the other thing that we’ve forgotten is the complexity of mirroring; just simply think of mirrors as flat. This is not the case. When mirrors, lenses here in a zograscope [the next two slides please], magic lanterns, peep show boxes or 1
Page 1: SECTION 1: Keynote Address Undoing
Page 5 and 6: [Both please.] There’s another pa
Page 7 and 8: actually this mountain on top is an
Page 9 and 10: detail. This is from a digital high
Page 11 and 12: that those religious mysteries whic
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Page 15 and 16: a nutshell our conflicted attitude
Page 17 and 18: Dr. Stafford: Well, I’m trying re
Page 19 and 20: CROSS DISCIPLINARY STRATEGIES TO RE
Page 21 and 22: layering of dissonant imagery of th
Page 23 and 24: TRANSLATIONS OF MEMORY: PERSONAL ES
Page 25 and 26: When I asked my students to write p
Page 27 and 28: FACE VALUE: PORTRAITS AND MEMORY Da
Page 29 and 30: emotional expression in the human f
Page 31 and 32: A first step might be a rejection i
Page 33 and 34: THE ART OF THE NAME OR THE NAME OF
Page 35 and 36: “ST. JOHN THE EVANGELIST,” OR
Page 37 and 38: elationship with Jesus than does Pe
Page 39 and 40: There are several different philoso
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Page 43 and 44: THE ROLE OF MEMORY IN CULTURE Rapha
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species evolving objectivity and lo
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institutional frameworks and laws t
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Memories of the intellectual past s
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But an important variable is being
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surfaced again and continues to ass
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In an abstract of an article entitl
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cognition in more or less dominance
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This is a description of some 4 mil
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complex semantic and syntax with wh
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monkey only correspond to the much
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primitive ceremonial burial of some
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BOXES OF REMEMBRANCES: THE JEWISH R
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are as beautifully and precisely ma
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IV. BINDING AND PRAYING: THE TEFILL
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Symbolic as these words are, they b
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8. The Eternal Present, the Beginni
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Concordance to Tent of Meeting and
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Tefillin of the Head (Shel Rosh) Th
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optimally-sized for processing spee
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movement can be seen to take on ren
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THEIR FACES BRIEF AS PHOTOS (John B
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in the Ghetto’s orphanages and ch
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A small man with glasses with a gen
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Wiesel Elie. Night. New York: Banta
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photographs have helped us to grasp
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only in the degree of ingenious sev
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SEWING PLANTS: THE INTERTWINED HIST
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colleges for women. And there were
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While Grierson’s needlework in pi
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Lang, L. (2001, January/February).
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difficult to find a full reconcilia
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6. COLLABORATION Quite by accident
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and Amsterdam. But the focus is on
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EXHIBITING 9-11: A HISTORIOGRAPHY L
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Batchen also points out that many m
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access to ground zero has not only
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PHOTOGRAPHY THROUGH DOCUMENTATION A
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Representation” in the late 1990s
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MERITORIOUS OR MERETRICIOUS Jacquel
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Images which once glimpsed pierce o
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humans who sometimes against great
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However, when an artist placed the
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national and international exhibiti
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whether a thing is good or bad, ful
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REMEMBERING RABINDRANATH TAGORE Mar
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of curios which mostly are delusion
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Let me conclude with two poems from
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MONUMENTS IN MINIMALISM: SAFELY UNI
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font, in tight grid-like formation,
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At the height of the Minimalist mov
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horribly immediate manner. There is
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ead. 8 Only when the beautiful soul
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Brâncu_i, too, preferred to carve
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(1912, 1913, 1920, 1931), among oth
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10. On Easter Monday, for example,
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47. Women who are menstruating or i
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MOURNING, ABSENCE, AND TRAUMA: REPR
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(1991) is an extended meditation on
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a storm of controversy for its univ
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1938, completed in 1991, includes w
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fan shaped forms; these images are
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The only way out of the building is
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WITH A PEN AS HIS WORD AND ME AS HI
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FROM IDEALISM TO TOTALITARIANISM: T
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embodiment of the age of enlightenm
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Yale University Press, 1986), p. 10
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“yes well, to be sure they all mi
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characterized various ancient civil
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(whichever “them” is most handy
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There are those who would dismiss s
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TEACHING ART EDUCATION IN A STUDIO
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artworks motivate and inspire stude
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VERS COLLAGE: THE REMEMBRANCE WORK
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On that day when the wall is breach
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often enough to become a social tru
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define his identity and function in
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SECTION 1 - via - School of Visual Arts

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