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grandmother's life, and his mother's art—her weaving—a metaphor for the impossible desire, or dream, of children to keep their parents alive. As his mother weaves, she translates her love for her mother into the blanket, but the more she weaves, the shorter the nightgown becomes. John transcribed into his essay the zig-zag lines of an EEG reading. The words dart down the page, one per line, creating the visual image of his grandmother's sleeping dream, a dream that his mother concentrates on keeping alive. The essay ends in blue, literally, a vertical blue line of text representing the inevitable: a peaceful, blue, straight line. The Slumber has run its course. (15) Paul Auster says, “The story of memory is the story of seeing” (154). When we ask our students to see art, we are also asking them to remember what they see. But we don't want those memories to hang loose from the fabric of their personal histories. When we require our students to write about their experience with art, we invite them to weave that experience into the full tapestry of their lives, where the experience—the memory of seeing—will become an indelible part of who they are, and perhaps a small part of how they see their world. It is in this way, through the use of the personal essay, that we can engage in an art that remembers through our memories translated into writing. BIBLIOGRAPHY Auster, Paul. The Invention of Solitude. New York: Hudson, 1982. Frame, Donald M. “Introduction.” The Complete Essays of Montaigne. Trans. Donald M. Frame. Stanford: Stanford UP, 1943. v-xiv. Klaus, Carl. Class lecture. September 1991. Kousch, John. “A Lifeline of Dreams.” The Bulletin: The Magazine of the United States Coast Guard Academy Alumni Association, Inc. Aug. 2001: 14-15. Montaigne, Michel de. The Complete Essays of Montaigne. Trans. Donald M. Frame. Stanford: Stanford UP, 1943. Wordsworth, William. “Preface to Lyrical Ballads.” 1802. Romantic Poetry and Prose. Ed. Harold Bloom and Lionel Trilling. New York: Oxford UP, 1982. 594-611. 8
FACE VALUE: PORTRAITS AND MEMORY David Dodge Lewis Hamden-Sydney College “There are two ways of disliking art... One is to dislike it. The other is to like it rationally.” 9 —Oscar Wilde, The Critic as Artist Since there may be nothing quite so irrational in the arts as opera, I am going to begin my presentation with a couple of brief interdisciplinary excerpts, one from Puccini and one from Mozart, each having to do with portraiture. Puccini_s opera “Tosca” opens in a church with Cavaradossi, a painter, working on a portrait of Mary Magdalene. The model is a blonde and blue-eyed penitent who is so devout in her prayers that she is unaware she is being painted. Unfortunately, Cavaradossi is executed by firing squad later in the opera, another example of how portrait painters get no respect. By contrast, in this aria from act one of Mozart’s “The Magic Flute,” handsome Prince Tamino has been given a portrait of Princess Pamina, daughter of the Queen of the Night. He instantly falls in love, for the bewitching portrait is a close likeness of the beautiful princess. Thus begins the dramatic action, as Tamino tries to rescue his heart-throb from the demon who has kidnapped her. These two musical examples represent two different traditions in the history of portraiture: the first involves creating a portrait type, often symbolic, with little regard for what the person depicted actually looked like; the second is the observance of verisimilitude, a search to capture an actual likeness and to immortalize an individual. For the classical Greeks, the abstract concept was more important than the concrete reality. They tended to sculpt their portraits of heroes, often long after their deaths, as part of encouraging public virtue, and these instructive (as opposed to descriptive) portraits were consequently designed for public places. As Richter said in his extensive analysis, The Portraits of the Greeks, The heroizing element remained inherent in Greek portraiture throughout its history. Even in the realistic portrait of the Hellenistic age the feeling for the type as against the individual often remained. 1 By contrast, Roman portraits were usually to be found in the home and were part of a more private ritual of ancestral veneration borrowed from the Etruscans. In an essay on Graeco- Roman portraiture, Kurt Gschwantler cites Polybius, a Greek historian, who described the Roman funerary ritual: This image consists of a mask, which is fashioned with extraordinary fidelity both in its modeling and its complexion to represent the features
Page 1 and 2: SECTION 1: Keynote Address Undoing
Page 3 and 4: THE SCHOOL OF VISUAL ARTS NATIONAL
Page 5 and 6: [Both please.] There’s another pa
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Page 9 and 10: detail. This is from a digital high
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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
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Page 23 and 24: TRANSLATIONS OF MEMORY: PERSONAL ES
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Page 33 and 34: THE ART OF THE NAME OR THE NAME OF
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Page 37 and 38: elationship with Jesus than does Pe
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Page 47 and 48: imitative learning. Grazio Fiorito
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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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