The Scholarly Artist: Recent Episodes
The Scholarly Artist
What is Law? What is Order?
In parallel American worlds, the law works for some and against others. In fact, under “qualified immunity,” extrajudicial killings are a myth. Order means control and oppression. In the clean and orderly world of “law and order” racism doesn’t exist, and “all lives matter.” Indeed, to point out euphemistically, that racism exists, causes great controversy in certain social circles. Just watch how the VP of this nation struggled against saying the three words, “Black Lives Matter.”
I still remember the outrage Colin Kaepernick generated when he kneeled during the National Anthem before football games. He was punished harshly for using his platform to protest police brutality. He was cursed out by the sitting president and accused of disrespecting the flag and our troops in America! America, where freedom of speech is our constitutional right. But, Mr. Kaepernick’s message was obliterated by politics, hate speech, and the very racism he was protesting.
People seem sympathetic to police officers that get killed in the line of duty. Yet, it upsets us when the extrajudicial murder of an unarmed black person results in serious protests. Indeed, today’s ongoing protests mirror the truth: when the state commits extrajudicial murder, there is no law and there is no order. It threatens our sense of security and freedom.
Extrajudicial Killing in America
The truth is, police kill black people in America too often. We hear these extrajudicial murders described as “officer involved shootings.” Sometimes black people mysteriously die in jail, but nobody knows why. In George Floyd’s case, people have often referred to his murder as a “life extinguished.” This euphemism doesn’t respect what happened to him. What happened was an act of grotesque racism. The police officer purposely murdered a black man by suffocating him in front of witnesses during the day. This act of terror seemed designed to strike fear into the hearts of everyone who saw it. While it did do that, it sparked another emotion-outrage.
The officer and his cronies were fired within twenty-four hours, but no arrests were immediately made. Minneapolis erupted in protests and a police precinct burned to the ground. Lawlessness seemed to have begotten lawlessness. Politicians and pundits said they “understood the protesters frustration” but that they shouldn’t destroy property. I don’t really think the protesters are “frustrated.” I suspect they have different feelings.
We condemn these extrajudicial killings when they happen in other countries. Survivors aren’t “frustrated.” We say they are victims of state sanctioned violence. We don’t say we understand because there is nothing to “understand.” When police kill citizens, our government does nothing. The state actors know they won’t face consequences for these extrajudicial killings, so they keep doing it. Because really, who will hold them accountable? The state? Everyone knows the state looks out for itself. We call this “Qualified Immunity.”
Extrajudicial Killing vs. Ideology
When Derek Chauvin murdered George Floyd on May 25, 2020, several witnesses protested and tried to get the officer to stop. He just didn’t listen. Other witnesses took videos of the murder and posted it to social media to bring attention to this casually evil act. Although the officer and his cronies were fired the next day, no arrests were made. Because the state failed to act on behalf of the family of George Floyd, the people took to the streets in protest. At first, the protests were peaceful, but as night fell and the police moved in wearing riot gear, things began to change. It appeared as though the state was punishing the protesters for speaking out about the state’s extrajudicial murder.
Is it that surprising that the protesters responded by fighting back? What is surprising is that on the second night of the protests, the police abandoned their precinct and it was burned to the ground. Protests ...
Pandemics: Before... and After...
Pandemics-Before...fear and mistrust of the government and After...fear and mistrust of the government. Before... watching t.v. and thinking about what a mess everything was and After...watching t.v. and thinking about what a mess everything is-except it feels both real and imaginary. Turn off the t.v. to a sense of foreboding before knowing about the virus. After? Now you know why you have that sense of foreboding. In the time Before...believing that it only happens to other people. After it gets here...believing that it only happens to other people because somehow you’re different? Before...hating math. After... you get it. Everything changes and everything stays the same, except this time it really doesn’t. Life as we know it is “disrupted,” which gives me time to write this article.
Plague Inc. Game-Fun , slightly inaccurate epidemiology
Recently, my son and I started watching a series of documentaries about pandemics. Curiously, this happened right after I read Station Eleven by Emily St. John Mandel and before the COVID-19 pandemic. To be sure, the biggest takeaways from both were, fear is contagious, people are very resilient and we need all kinds of art to survive in this world. Indeed, Station Eleven literally tells the story about how art brings meaning to people’s lives in the aftermath of an apocalyptic pandemic. Beyond that, it takes practical art to push back on dangerous misinformation that seems to follow every pandemic.
If you need real world evidence, simply visit the World Health Organization website for informational flyers to post in a classroom or workplace. Not only are the posters informative, they include graphic design. Recently, this became a critical tool in preventing a global outbreak of the viral hemorrhagic disease, Ebola.
Before: Ebola Begins
Of course I remember this epidemic because it originated in a part of the world many of my students know well. While I wasn’t afraid of my students, I was concerned about their well being. Also, Ebola developed in the worst of times. The epidemic was helped along by a war, mistrust of government, cultural norms that helped spread the disease, and lack of resources. Beyond that, misinformation about the illness spread rapidly, which accelerated the transmission of the disease.
With a 67% fatality rate, and high contagiousness, especially for frontline workers, the possibility of a pandemic was real. I remember looking at the outbreak map on the news and feeling very panicked. This was because I could see how easily it could become a pandemic. With the ease of person to person transmission and the frequency of global travel, it was surprising that it was still contained. But, it was that very visual cue that helped me quickly grasp the seriousness of the problem.
After: Ebola Epidemic Continues
Signs explaining Ebola symptoms and causes were an important example of using visual art during a health crisis. When misinformation started to spread about the new disease, people were frightened. Before long, people stopped listening to health officials and this helped spread the disease. With the threat of a terrifying pandemic, health officials had to act fast. Because person to person contact and travel helped spread the disease, communication was critical. Above all, people needed accurate and helpful information.
Visual art that showed signs and symptoms of Ebola helped educate people at airports, and other busy spaces. That, in conjunction with incredible health care responses, and persistent outreach to the most affected people, started to shape the way people thought about the disease. When a trial vaccine became available, it took the same persistence to persuade people to accept it.
After the health officials found ways to educate people about Ebola, that’s when they started to get some advantage against the virus. They continue this outreach to this day. Meanwhile the second largest outbreak in hi...
Pandemics: Before... and After...
Pandemics-Before...fear and mistrust of the government and After...fear and mistrust of the government. Before... watching t.v. and thinking about what a mess everything was and After...watching t.v. and thinking about what a mess everything is-except it feels both real and imaginary. Turn off the t.v. to a sense of foreboding before knowing about the virus. After? Now you know why you have that sense of foreboding. In the time Before...believing that it only happens to other people. After it gets here...believing that it only happens to other people because somehow you’re different? Before...hating math. After... you get it. Everything changes and everything stays the same, except this time it really doesn’t. Life as we know it is “disrupted,” which gives me time to write this article.
Recently, my son and I started watching a series of documentaries about pandemics. Curiously, this happened right after I read Station Eleven by Emily St. John Mandel and before the COVID-19 pandemic. To be sure, the biggest takeaways from both were, fear is contagious, people are very resilient and we need all kinds of art to survive in this world. Indeed, Station Eleven literally tells the story about how art brings meaning to people’s lives in the aftermath of an apocalyptic pandemic. Beyond that, it takes practical art to push back on dangerous misinformation that seems to follow every pandemic.
If you need real world evidence, simply visit the World Health Organization website for informational flyers to post in a classroom or workplace. Not only are the posters informative, they include graphic design. Recently, this became a critical tool in preventing a global outbreak of the viral hemorrhagic disease, Ebola.
Before: Ebola Begins
Of course I remember this epidemic because it originated in a part of the world many of my students know well. While I wasn’t afraid of my students, I was concerned about their well being. Also, Ebola developed in the worst of times. The epidemic was helped along by a war, mistrust of government, cultural norms that helped spread the disease, and lack of resources. Beyond that, misinformation about the illness spread rapidly, which accelerated the spread of the disease.
With a 67% fatality rate, and high contagiousness, especially for frontline workers, the possibility of a pandemic was real. I remember looking at the outbreak map on the news and feeling very panicked. This was because I could see how easily it could spread due to person to person contact and global travel. But, it was that very visual cue that helped me quickly grasp the seriousness of the problem.
After: Ebola Epidemic Continues
Signs explaining Ebola symptoms and causes were an important example of using visual art during a health crisis. When misinformation started to spread about the new disease, people were frightened. Before long, people stopped listening to health officials and this helped spread the disease. With the threat of a terrifying pandemic, health officials had to act fast. Because person to person contact and travel helped spread the disease, communication was critical. Above all, people needed accurate and helpful information.
Visual art that showed signs and symptoms of Ebola helped educate people at airports, and other busy spaces. That, along with persistent outreach to the most affected people, started to shape the way people thought about the disease. When a trial vaccine became available, it took the same persistence to persuade people to accept it.
After the health officials found ways to educate people about Ebola, that’s when they started to get some advantage against the virus. They continue this outreach to this day. Meanwhile the second largest outbreak in history is occurring in the Democratic Republic of Congo and the fatality rate hasn’t changed. Although six years has passed since the 2014 epidemic, certain practices persistently prevent the spread of d...
Why Bring Up Gun Deaths On an Art Blog?
What’s the point of talking about gun deaths on a teacher art blog? Being an artist and an educator presents special challenges. On one hand, I have to look for inspiration for my artwork in any way I can. On the other hand, I need to stay informed about local politics and school issues. I happen to live at ground zero for the gun debate.
With the death of Michael Brown, many people questioned how it could be acceptable for a police officer to shoot and kill an unarmed black man without consequences. Furthermore, St. Louis has a high homicide rate resulting from gun deaths. Keep in mind that Missouri has some of the most lax gun laws in the country. Not only that, this state recently made headlines around the world for its legal maneuvers to block women’s reproductive rights. All of these issues matter. They matter because they impact people’s lives and can be a matter of life or death. I see and feel the effects of these issues every day. In short, these issues impact my life, so they impact my art.
Who Should Have the Guns?
Let’s start with a multiple choice question: Who’s the scariest person with a gun pointed at you?
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Police Officer
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Teacher
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Woman
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Man
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Child
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All of the above
If you answered “6” give yourself a gold star! Getting a gun pointed at you should always be scary, right? Yet, in America, we have the right to bear arms. In fact, right here in Missouri, the state legislature wants to put a gun in the hand of at least one teacher in every school to “protect” the children. If you’re as confused as I am, that’s OK. I work in a high school and have been a teacher for seventeen years. Quite frankly, I don’t want to imagine the prospect of a gun on the premises, especially because of how stressful my job can get sometimes. I think taking yoga classes and giving teachers free classroom supplies is a better solution.
The Second Amendment
A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed.
Gun Deaths
So, the gun death rate in the U.S. is much higher than other nations. It’s not the highest in the world, but it is much higher than other developed nations. We top out at 10.6 per 100,000 people as a whole, with certain states driving up the total. In particular, Missouri drives up the total with an especially high rate of 21.7 out of 100,00 people. Specifically, suicides make up six in ten gun deaths: a statistic that should give all of us pause. In fact, according to the Pew Research Center, suicides have steadily risen for the last ten years. While school shootings get more media attention, suicides are a growing problem that could be remedied with better gun monitoring systems. Unfortunately, we don’t live in a society that values human life over profit-yet.
When the NRA gained power over our federal government in the 90’s with their lobbying dollars and extreme views, much of the reasonable oversight over weapons use by civilians has stopped. Indeed, it’s unreasonable for the average person to use bombs, nuclear and biological weapons, or dangerous poisons. Contrarily, guns are perfectly acceptable, irregardless of their lethality.
School Shootings
The rise of school shootings and 24 hour media coverage converged during the 1999 Columbine High School massacre. Since then, the country has suffered from a paralyzing stasis of pain and numbness. While we watch our friends and children die at the hands of people who can easily acquire weapons that belong on a battle field, not in a classroom. Nothing changes.
Can Teachers Stop Gun Deaths?
That’s the argument for making sure there’s a gun at my school under the proposed Missouri legislation House Bill 1961 better known as the “Keep Our Schools Safe Act.” Even though Missouri is one of the states that contributes to our nation’s unusually high gun death rate, the state legislature thinks mo...
Welcome to my gallery of limited edition giclee prints! A Giclee Print is an archival work of art. The print is generated from an original image created by the artist. I create my work digitally. To do this, I hand draw compositions with a stylus and a touch screen tablet using a variety of virtual tools. Despite using virtual tools, I can alter the settings to draw with a variety of media. This gives me control over the marks I make on the artwork. In order to generate a physical artwork, I use Giclee prints. Actually, this is a digital process where the image is transferred onto archival paper using high quality ink. In the end, this creates a work of art that will, when cared for properly, last for years to come.
Featured Collection
Kathleen’s Framed Prints
Famous Art Prints
E-Learning Collection
Gift Store
Station Eleven- The End of the World
Station Eleven by Emily St. John Mandel imagines the end of the world as we know it. Straightaway 99% of the world’s population dies off in a flu pandemic over the course of a week. While humanity flickers out, survivors slowly come to terms with the literal darkness that comes with the death of technology. Because people power every sector we rely on, from cell phone service, to the media, to transportation, to electricity, and the internet; the pandemic exposes the fragility of our infrastructure.
The Collapse
In the midst of a snowstorm in Toronto, famous actor Arthur Leander dies of a massive heart attack while playing King Lear. Meanwhile, a catastrophic flu pandemic begins to spread around the world. Significantly, Arthur’s death is witnessed by child actress, Kirsten, who goes on to survive the pandemic; later named the Georgia Flu. Owing to Kirsten’s somewhat blurry, but warm memories of the theater, she finds herself preserving it in the post-pandemic world. After a traumatic first year and finding herself alone, she eventually starts performing Shakespeare with The Travelling Symphony. In many ways, the story intertwines Arthur’s life from before the flu with Kirsten’s life twenty years after. Equally important are the people in their lives who overlap and connect with a comic book called Station Eleven.
Why Post Apocalyptic Art?
Ordinarily post-apocalypse means right after the apocalypse. Because it’s the end of the world, it’s difficult to imagine the reconstruction of society. Indeed, conceiving beauty in the face of such overwhelming destruction seems impossible. In contrast, Station Eleven focuses on life twenty years after the pandemic, when survivors have generally accepted the new world order. Due to the timeline, it stands to reason that twenty years after the flu pandemic, only healthy people can survive. Consequently, the story can seem idealistic at times despite the fact that the characters face grim circumstances. Frequently the narrative switches between the pre and post flu timeline, revealing the way characters feel about their lives. Throughout the intertwining timelines, objects of importance pass from one character to the next. In particular, a comic book, which shares the name with this novel, Station Eleven, comes into prominence as a symbolic motif.
Station Eleven-The Comic Book
So, the divergent timelines in Station Eleven, both leading up to, and twenty years after the end of the world, form poignant tangents symbolized by the comic book. Despite existing in two sharply contrasting worlds, the artwork in the comic book symbolizes a tenuous connection held together by a broken chain of islands. Actually, the islands are Station Eleven, which escaped to a wormhole in space, getting damaged on the way. Similarly, one can think about the book surviving from one world to next, with its meaning getting distorted as the world dramatically changed. Throughout the novel, this comic book takes on a special significance for several characters. That being said, for each character, the comic book’s meaning changes their world view very differently as time goes by.
In the end, Station Eleven, the comic book, served the characters that needed it. Beginning with the creator, who needed artistic validation, then going on to influence other characters in personal ways; the comic book had a lasting impact. In fact, while it inspired some characters to develop artistically, it also contributed to the rise of a cult. Ultimately, through the actions of a character called “the Prophet,” life and death decisions hinged on ideas inspired, in part, by a comic book.
Survival is Insufficient
Above all, Station Eleven, raises important issues surrounding the strengths and weaknesses of our global infrastructure. For instance, with 99% of the population gone, would it be the end of the world as we know it? Being that we depend on electricity, modern medicine, and...
I am a teacher and I bear witness to school segregation everyday. As we approach 2020, educators play a critical role bearing witness to social and civil rights issues. Despite the fact that segregated schools ended fifty-five years ago, we find schools increasingly more segregated today. Additionally, the conditions in less affluent schools do not equal that of more affluent districts. Much like the past, it takes people who are willing to show the inequity for what it is, to make change happen. In the past, it took Charles Hamilton Houston’s persistent attention to Plessy v Ferguson and the lie of “separate but equal” to lay the groundwork for Brown.
The 1954 Brown v The Board of Education case legally need school segregation when the US Supreme Court unanimously decided that “separate but equal” schools were unconstitutional. In truth, many people in this country opposed the decision and they acted on their opposition by not following the law. This led to protracted civil rights cases designed to integrate schools, especially through desegregation programs and busing. Civil rights activists and lawyers fought and won those cases eventually. Why then, do we see more segregation in schools now than in the 20th century? What impact does this have on our perception of race relations in America today? We can’t ignore the fact that redlining in America played a significant role in defining segregated infrastructure.
Bearing Witness to School Segregation
I teach in urban America in one of the most notoriously racist states in the country: St. Louis, MO. I am not opining, history speaks for itself. Hell, the present, speaks volumes. Undoubtedly, people care about changing the culture here to make it better and more fair for everybody. Yet, the narrative remains, Missouri is a lost cause to institutional racism: a write off not worth the investment. I can see why people think that. Without a doubt, the governing stranglehold held by special interest groups invested in the status quo see no reason to change. Unfortunately, while education offers a critical path to empowerment, the state maintains th status quo. State funding promotes segregation and unequal dispersal of resources. Certainly, we see this in the way segregated neighborhoods receive funding for critical infrastructure projects related to education. Ultimately this perpetuates disenfranchisement among the school districts.
The Economics of School Segregation
As an educator in an urban school district, I bear witness to the inequity of school segregation. For instance, a simple way that students face an onerous burden is through transportation coupled with the state attendance policy. It is important to recognize that transportation and school attendance are related. Both busing and attendance affect the school budget in different ways. To be clear, busing is a designated fund from the state. Attendance is a variable fund based on daily attendance rates and no excuse matters in the state’s percentage calculation.
The Department of Education explicitly states, “Students must be in attendance in an instructional capacity under the direct supervision of a Missouri certificated employee of the district to be counted for attendance for state aid purposes.” Because bus drivers do not hold Missouri instructional certification, they cannot fulfill this requirement. Therefore, transportation efficacy can either positively or negatively impact attendance rates.
Taking a closer look, it becomes more apparent how economic disparity impacts students in education, just based on transportation. The facts bear out that public schools are growing more segregated in the 21st Century. Segregation falls along racial and economic lines. With this in mind, it’s important to remember that busing has been a battleground for racial justice in education since Brown vs. the Board of Education legally ended school segregation in 1954.
The Money Follows the Student
Indeed, Missou...
How often does the art of critical thinking in education get scrutinized by educators?
Teachers, administrators, students, and parents expect critical thinking to be embedded in their school curricula. Yet, defining and determining if students use and demonstrate critical thinking poses challenges. For many years the term, “critical thinking” was used loosely and didn’t really have a definition. That changed in the early 1990’s when a research team worked together to make sense of the concept. According to The Delphi Project:
The ideal critical thinker is habitually inquisitive, well-informed, trustful of reason, open-minded, flexible, fair- minded in evaluation, honest in facing personal biases, prudent in making judgments, willing to reconsider, clear about issues, orderly in complex matters, diligent in seeking relevant information, reasonable in the selection of criteria, focused in inquiry, and persistent in seeking results which are as precise as the subject and the circumstances of inquiry permit.
Teaching in the Information Age.
Now, more than ever, we can access information. However, we face a watershed moment in history where critical thinking seems to be crumbling. Currently, it seems like language fails to meet the complex and rapidly changing phenomena in the world as we know it. So, what exactly does this mean? I am speaking from the perspective as an artist teacher.
Recently, I challenged my students to create a work of art that embodied two opposing, but related concepts. The general idea being that by being more empathetic, they could reduce bullying. Markedly, I required that they address both ideas in the artwork. Despite spending a great deal of time teaching what empathy means, my students truly struggled with this project.
It quickly became apparent that students hadn’t considered the possibility that bullying wasn’t an inevitability. Moreover, they didn’t understand what empathy meant. Because they didn’t hold both of these ideas in their minds as prior knowledge, the project confronted their world view. In fact, for some students, the notion of empathy made them uncomfortable because they failed to fully understand what it meant.
The internet isn’t critical thinking.
Upon facing an academic challenge, the students rallied valiantly! They immediately turned to the internet as a surrogate critical thinker. In the hope that the internet would quickly solve their problem and they could get “done” with the project, they suddenly discovered a problem. Apparently, the internet hasn’t figured out how to end bullying either. Ironically, the one place they turned to to solve the bullying problem is an enclave of bullying. In reality, it’s difficult to imagine the internet taking an interest in working against itself by solving such a profitable problem. (But I digress).
Ultimately, many of the students began to ask questions. After all, if the internet couldn’t think critically for them, they would have to do it for themselves. Of course, the internet still served a purpose in this project. The difference manifested itself in the way the students started approaching their use of the internet. Whereas initially they saw the internet as a surrogate critical thinker, they came to see the internet as a research tool for their own thinking. Fundamentally, this shift mattered because it showed that they were starting to think for themselves.
How can artist teachers enhance critical thinking in the classroom?
In the first place, we can emphasize and encourage students to be “habitually inquisitive.” While this might sound obvious, purposefully teaching students this way isn’t easy. Nevertheless we should ask students to develop their own questions that guide their artistic process. However, for students, this opens an array of possibilities that can be intimidating and overwhelming. Despite this normal reaction, teachers can guide students through this process by modeling our own sense of curios...
What are Crimes Against Humanity? Crime against humanity refers to a category of crimes against international law which includes the most egregious violations of human dignity, especially those directed toward civilian populations. Cornell Law School. Criminal Acts Aren't Justified by "Law". At any given time, we can find ourselves in a moral dilemma. It is important to realize that the choices we make in that moment don't just define us as individuals, but as a society. If we look away from irrefutable evidence of human rights abuses by our own government, we will all bear this shame forever. In fact, we may suffer the same consequences we openly or passively support. Whenever aggressive criminal acts become normalized under the guise of "law," we might not believe they are crimes. The truth is, state sanctioned human rights abuses are illegal and can be prosecuted. Unfortunately, it usually takes catastrophic events to force people to remedy illegal laws. One case that has repeatedly been the target of dispute by neo-fascists, is the holocaust. In order to discredit Jewish people, racist people try to deny the very existence of the genocide that happened during World War II. Even though the mass murder of millions of people at the hands of the Nazis is a matter of public record, people actually try to say it's a hoax. Oddly enough, when the defendants went on trial in Nuremberg, they pled "Not Guilty," but didn't deny their own actions. Propaganda versus the Truth. Unlike today, with the endless quibbling over "alternative facts", people in the past had to record experience to preserve the truth. In the worst of nightmare realities, one photographer, Francesc Boix, risked his life to record the criminal acts of the Nazis. In this case, he didn't have the luxury of looking in from the outside. Rather, he came to the job by living as a skilled slave laborer in the Mauthausen Concentration Camp. Although tasked with producing propaganda for the Third Reich, he began to collect photographic evidence of the crimes committed there. Recently, Netflix released a film about his life simply titled, The Photographer of Mauthausen. Francesc lived a short, but significant life. The article, Francesc Boix : The Man Who Stole Photographs from the Nazis, features the biography of a man compelled to reveal the truth. Because of his bravery, he made a decision to steal photo evidence of crimes against humanity by the Nazis. Indeed, he disseminated the negatives to multiple sources so they could be collected later. It's important to realize that Mauthausen wasn't just a Concentration camp, it was also an extermination camp. While Francesc had every reason to believe he wouldn't survive, he must have recognized the importance of preserving the photo evidence for possible future account. The Evidence of Crimes Against Humanity. Seventy years ago, prosecutors declared and described crimes against humanity at the Nuremberg Military Tribunals. Unequivocal language described murder, slave labor, kidnapping, family separation, illegal deportation, inhumane living conditions, abuse, neglect, and other despicable acts by men acting for the state. No "law" excused the defendants from their criminal acts against humanity. General Telford Taylor used documents written by the defendants, documentary films, written accounts, and photographs in his series of filings against twenty two defendants. The indictment reveals most compelling evidence that the takeover of society started long before World War II. However, the indictments also show evidence of complicity by a society bombarded by aggressive propaganda, unjust laws, and outright racism. Above all, the systematic destruction of truth was a powerful weapon. Frequently, we understand history through the longer lens of time. Yet, when historical evidence, driven by facts, aligns enough with current events, we should pay attention. State Sanctioned Violence. How do you process the concept that the Unite...
What are Crimes Against Humanity? Crime against humanity refers to a category of crimes against international law which includes the most egregious violations of human dignity, especially those directed toward civilian populations. Cornell Law School. Criminal Acts Aren't Justified by "Law". At any given time, we can find ourselves in a moral dilemma. It is important to realize that the choices we make in that moment don't just define us as individuals, but as a society. If we look away from irrefutable evidence of human rights abuses by our own government, we will all bear this shame forever. In fact, we may suffer the same consequences we openly or passively support. Whenever aggressive criminal acts become normalized under the guise of "law," we might not believe they are crimes. The truth is, state sanctioned human rights abuses are illegal and can be prosecuted. Unfortunately, it usually takes catastrophic events to force people to remedy illegal laws. One case that has repeatedly been the target of dispute by neo-fascists, is the holocaust. In order to discredit Jewish people, racist people try to deny the very existence of the genocide that happened during World War II. Even though the mass murder of millions of people at the hands of the Nazis is a matter of public record, people actually try to say it's a hoax. Oddly enough, when the defendants went on trial in Nuremberg, they pled "Not Guilty," but didn't deny their own actions. Propaganda versus the Truth. Unlike today, with the endless quibbling over "alternative facts", people in the past had to record experience to preserve the truth. In the worst of nightmare realities, one photographer, Francesc Boix, risked his life to record the criminal acts of the Nazis. In this case, he didn't have the luxury of looking in from the outside. Rather, he came to the job by living as a skilled slave laborer in the Mauthausen Concentration Camp. Although tasked with producing propaganda for the Third Reich, he began to collect photographic evidence of the crimes committed there. Recently, Netflix released a film about his life simply titled, The Photographer of Mauthausen. Francesc lived a short, but significant life. The article, Francesc Boix : The Man Who Stole Photographs from the Nazis, features the biography of a man compelled to reveal the truth. Because of his bravery, he made a decision to steal photo evidence of crimes against humanity by the Nazis. Indeed, he disseminated the negatives to multiple sources so they could be collected later. It's important to realize that Mauthausen wasn't just a Concentration camp, it was also an extermination camp. While Francesc had every reason to believe he wouldn't survive, he must have recognized the importance of preserving the photo evidence for possible future account. The Evidence of Crimes Against Humanity. Seventy years ago, prosecutors declared and described crimes against humanity at the Nuremberg Military Tribunals. Unequivocal language described murder, slave labor, kidnapping, family separation, illegal deportation, inhumane living conditions, abuse, neglect, and other despicable acts by men acting for the state. No "law" excused the defendants from their criminal acts against humanity. General Telford Taylor used documents written by the defendants, documentary films, written accounts, and photographs in his series of filings against twenty two defendants. The indictment reveals most compelling evidence that the takeover of society started long before World War II. However, the indictments also show evidence of complicity by a society bombarded by aggressive propaganda, unjust laws, and outright racism. Above all, the systematic destruction of truth was a powerful weapon. Frequently, we understand history through the longer lens of time. Yet, when historical evidence, driven by facts, aligns enough with current events, we should pay attention. State Sanctioned Violence. How do you process the concept that the Unite...
Just Keep Math Out of It…
When I was an undergraduate student in art school I happened to mention to one of my classmates that I thought art was connected to every other discipline. He agreed with me until I mentioned math. For some reason this idea challenged his beliefs about art. Unable to reconcile the connection between math and art, he changed the subject. Oddly enough, this isn't that uncommon, as I've discovered both as an educator and an artist. Educators seem particularly resistant to the notion that art connects with every discipline in any significant way. Math is, perhaps, the most commonly misunderstood interdisciplinary content area of them all.
Hamid Naderi Yeganeh
Linear Perspective and Beyond
During the Renaissance Era Filippo Brunelleschi set about to accurately portray the Cathedral of Florence, so he conducted an experiment that led to the development of one point perspective. Of course, this was not the first time math was used to create works of art. In Ancient Greece, sculptors were fascinated with proportion. They used the Golden Ratio to sculpt life size human sculptures that represented idealistic beauty that we still find pleasing today. Even as we move into modern times, artists regularly use math to create works of art, basing their work on such principles as pattern, proportion, and balance. Utilizing line, shape, space, and form, artists regularly engage in mathematical reasoning to create compositions that appear harmonious and unified.
Math Figures Into More Than You Think
Most obviously, math is recognized in architecture and industrial arts, technology, and graphic design. But what about the artist who bases artwork on math itself? I discovered one such artist in my research and thought his concept was innovative, while maintaining high artistic merit. Hamid Naderi Yeganeh uses mathematical formulas to draw real-life objects, shapes, and animations. He uses different approaches to achieve his artwork: in the first approach he uses computer technology to select shapes and from mathematical formulas, often seeing birds, sailboats, and random shapes, in the second, he deconstructs existing shapes in a step-by-step process, often using trigonometry to form the underlying basis for the artwork. These intricate works of art demonstrate high artistic quality and a mathematician's level of thinking. I would challenge even the most skeptical people to dissemble this art-math relationship!
Why We Need Medical Illustrators
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Digital Art: Is Technology Really Art?
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What Leonardo Knew About the Heart and Why it Matters
Anatomical drawing is a typical staple of the art student's education at the college level. Understanding the fundamental structure of the human body is required in order to create figurative works of art. Leonardo da Vinci is revered for his advanced studies of human anatomy, particularly the skull, torso, spine, and hands. He is also, more recently recognized for his extensive and accurate studies of the human heart. What is so fascinating about his work is the fact that he was able to construct a working model of the heart in order to test his theory about how blood moved through the valves and chambers. His ability to grasp this concept pre-dates modern medical technology by about five hundred years. Although he did not fully understand all of human anatomy, this achievement, among others makes his scientific acuity among the best of all time.
Visiting the Capital Building. Dear Congress: actions speak louder than words. Recently my family visited Washington DC. We decided to visit the “People's House.” After securing a tour, reading the security directions carefully, and walking in the excessive heat, we finally made it to the Capital Building. That's when we discovered the logistical confusion awaiting us. A Surprising Welcome. We used the Welcome to the Capital section of the website to make sure everything went smoothly, but alas, luck wasn't on our side. As we trekked up to the Capital grounds, the directions to the Visitor Center were unclear. We eventually figured out where to go. However, due to the heat and because we didn't bring water, we arrived dehydrated. After all, the security pre-check directions advised against bringing any liquids. Again, because we weren't sure where to go, we went to the wrong line. At this point, our first human interaction at the Capital Building occurred. I Hope That Man Doesn't Shoot Us. To be clear, a man dressed in military clothes, armed with an assault rifle, pointed his gun towards us. Then he told us to get into a different line. Meanwhile, two other employees drank ice cold water, while directing visitors to throw away their water. Needless to say, this unusual introduction to the “People's House,” was disconcerting. I wanted to take a picture with my cell phone, but I thought, “I really don't want that man to shoot me today.” I also had to think about my twelve year old son, and the rest of my family who might get hurt or injured because the man with the assault rifle felt “unsafe.” Truly, these actions, spoke louder than any words described on the “Welcome to the Capital” website. Congress and Security Like any other Federal Building, people go through a security check. However, if you're lucky, you might get chosen for an extra level of security by going through the full body scan machine. It's quite the spectacle. In full view of all the other visitors, the chosen ones enter the scanner. At this point, they spread their arms and legs into an X formation. After security is satisfied that these visitors aren't a threat, they can pass through to the Visitor Center. Of course, one of the people in my group was a “chosen one.” Keep in mind, we read the directions ahead of time to avoid being a security problem, so why one of us was chosen is anybody's guess. Indeed, we learned that in Congress actions speak louder than words. It appeared as though the people cannot be trusted in the “People's House.” Inside the Visitor Center. Once inside the Visitor Center, an employee greeted us and asked if we had a scheduled tour. Although we scheduled our tour in advance, we could choose to start early because the walk up line was empty. We decided to join an earlier tour so we could eat lunch a little bit sooner. Eventually, we ended up in line with about thirty other visitors. Our guide handed us head phones and radio receivers because of the excessive noise in the building. Our next stop, the auditorium. Congress Tells Its Story. All told, about one hundred fifty or so people filed into the auditorium in the Visitor Center. Once inside, a pleasant young woman welcomed us to the building, then advised us not to video tape the presentation we were about to see. Given that the thirteen minute video, “Out of Many, One” presented glowing evidence of our democracy since Revolutionary Times, I understand the hesitation. Truly, this video evidence of our working democracy may convince children or others. In reality, a critical thinker couldn't help but see the stark opposition to truth in the portrayal of this country. Above all, this video portrays an America of wealth from shore to shore. In reality, farmlands suffer historical flooding, cities suffer classism and economic disparity, and inequality prevails in many parts of the country. The Tour. After we watched the video, we followed our tour guide out of the auditorium. Using o...
Visiting the Capital Building. Dear Congress: actions speak louder than words. Recently my family visited Washington DC. We decided to visit the “People's House.” After securing a tour, reading the security directions carefully, and walking in the excessive heat, we finally made it to the Capital Building. That's when we discovered the logistical confusion awaiting us. A Surprising Welcome. We used the, Welcome to the Capital, section of the website to make sure everything went smoothly, but alas, luck wasn't on our side. As we trekked up to the Capital grounds, the directions to the Visitor Center were unclear. We eventually figured out where to go. However, due to the heat and because we didn't bring water, we arrived dehydrated. After all, the security pre-check directions advised against bringing any liquids. Again, because we weren't sure where to go, we went to the wrong line. At this point, our first human interaction at the Capital Building occurred. I Hope That Man Doesn't Shoot Us. To be clear, a man dressed in military clothes, armed with an assault rifle, pointed his gun towards us. Then he told us to get into a different line. Meanwhile, two other employees drank ice cold water, while directing visitors to throw away their water. Needless to say, this unusual introduction to the “People's House,” was disconcerting. I wanted to take a picture with my cell phone, but I thought, “I really don't want that man to shoot me today.” I also had to think about my twelve year old son, and the rest of my family who might get hurt or injured because the man with the assault rifle felt “unsafe.” Truly, these actions, spoke louder than any words described on the “Welcome to the Capital” website. Congress and Security. Like any other Federal Building, people go through a security check. However, if you're lucky, you might get chosen for an extra level of security by going through the full body scan machine. It's quite the spectacle. In full view of all the other visitors, the chosen ones enter the scanner. At this point, they spread their arms and legs into an X formation. After security is satisfied that these visitors aren't a threat, they can pass through to the Visitor Center. Of course, one of the people in my group was a “chosen one.” Keep in mind, we read the directions ahead of time to avoid being a security problem, so why one of us was chosen is anybody's guess. Indeed, we learned that in Congress actions speak louder than words. It appeared as though the people cannot be trusted in the “People's House.” Inside the Visitor Center. Once inside the Visitor Center, an employee greeted us and asked if we had a scheduled tour. Although we scheduled our tour in advance, we could choose to start early because the walk up line was empty. We decided to join an earlier tour so we could eat lunch a little bit sooner. Eventually, we ended up in line with about thirty other visitors. Our guide handed us head phones and radio receivers because of the excessive noise in the building. Our next stop, the auditorium. Congress Tells Its Story. All told, about one hundred fifty or so people filed into the auditorium in the Visitor Center. Once inside, a pleasant young woman welcomed us to the building, then advised us not to video tape the presentation we were about to see. Given that the thirteen minute video, “Out of Many, One,” presented glowing evidence of our democracy since Revolutionary Times, I understand the hesitation. Truly, this video evidence of our working democracy may convince children or others. In reality, a critical thinker couldn't help but see the stark opposition to truth in the portrayal of this country. Above all, this video portrays an America of wealth from shore to shore. In reality, farmlands suffer historical flooding, cities suffer classism and economic disparity, and inequality prevails in many parts of the country. The Tour. After we watched the video, we followed our tour guide out of the auditorium. Usi...
What is an Immersive Museum Experience? When I visited several museums in Washington DC, my lasting takeaway was immersive experiences dominate the scene. An immersive museum experience involves all of your senses, often simultaneously. Museums, hoping to fully engage visitors and leave a lasting impression, draw visitors in by appealing to the five senses as much as possible. Indeed, many museums offer traditional displays, including artifacts and text, laying the foundation for a production extending well beyond that initial exhibition style. In addition to traditional displays, educational videos, interactive games, technology, performances, activities involving smell, and even related food enrich or overwhelm the senses. So, if you plan to visit a museum in Washington DC, expect to get an immersive experience. Madame Tussaud's Washington DC. When I planned my trip to Washington DC, I wanted to explore new and different kinds of museums. I also wanted to have fun. Certainly Madame Tussaud's Wax Museum met that criteria. In fact, I was surprised to learn that you could take pictures with the figures at this museum. I also learned that many of the figures were people created by Madame Tussaud, herself. Furthermore, at this museum, like many others, guests start their tour with an informational video to help give context to the museum and its contents. To illustrate the painstaking craftsmanship and legitimacy of this art form, Beyonce explains how the artists at the wax museum brought her figure to "life" in an educational video. In many ways, the figures, especially those originally designed by Madame Tussaud, provide important insight about the look and feel of historical figures from each era. The Phillips Collection. Housed in Duncan Phillips' former home in DuPont Circle, this museums is known as "America's First Museum of Modern Art." Because of its arrangement around a great spiral staircase, it's various theaters and small galleries, and the fact that it is a former home, this museum has a place in Washington DC for being fully immersive. The current exhibition, which focuses on human displacement and loss of home is especially poignant in this space. The Warmth of Other Suns: Stories of Global Displacement. The Warmth of Other Suns: Stories of Global Displacement is on view from June 22-September 22, 2019. Pulling you in with the force of the ocean, this exhibition draws attention to the current crisis of refugees and displaced people across the globe. Analogous to the spiral staircase in the museum, an oceanic theme swirls through the exhibition's various art disciplines. This intentional use of oceanic metaphor directly reflects on current issues as well as the past. Whether it's the crisis in Libya as migrants seek to traverse the Mediterranean Sea or a reminder of African American slaves brought here in ships, the life and death struggle feels real. Thus, you slowly find yourself immersed in the lives of the displaced people. Consequently, you cannot help but develop questions or simply feel an overwhelming sense of dislocation. National Museum of African American History and Culture. The National Museum of African American History and Culture or NMAAHC opened in 2017. Since that time, 5 million people have visited the museum. That incredible number speaks volumes about the popularity of the museum. One of the particularly striking aspects of the museum is the architecture. Symbolic Architecture. Designed by David Adjaye and lead architect Phillip Freelon, the building symbolizes meaning, memory, reflection, laughter, and hope. According to the museum's website, the building structure strives to incorporate the concept of a warm and welcoming porch, while also building on a capital and crown structure. The crown is fashioned after crowns used in Yoruba art. Further, the entire building is wrapped in iron latticework that allows natural light to flow into the building. This serves a dual purpose to inspire visi...
Contemporary artists and artists from the past often make significant contributions to society that influence other disciplines like engineering, science, technology, civil rights, and law among many others. Whether recognition for artists is widespread or not is debatable. In some ways, it can be challenging to make the connection between artists and other content areas. That may be because it’s not usually the main topic of discussion in classrooms or in general. Therefore, it’s understandable that people may overlook how art connects with most aspects of our lives. This site strives to change that perception by curating stories about artists, as well as including opinion articles about current events through the eyes of an artist.
I will write about how art connects with contemporary issues. These will be slightly longer, research based opinion articles. Sometimes these articles will coincide with current events. Other times, I may write about how history influences or connects with a particular contemporary art topic. You will have access to a collection of local arts and education resources, which I will create over time. I arranged the list of local resources because, quite frankly, I couldn’t find a list like this for myself! As an educator, I usually like to include a fun and/or interesting activity for people to try on their own or share with others. You can find these instructional videos in the side bar on most pages of this site. Additionally, I have a few limited edition artworks for sale in my gallery.
I hope you find something new or interesting on this site. Whether it’s an article, place to visit or learn about art, an art activity, or my gallery, thank you for visiting!
Kathleen’s Artwork available at Scholarly Artist Gallery
Why Art Matters. Art plays a role in every intellectual and practical pursuit. Consequently, this cannot be overlooked or unrecognized. Although we don’t spend a lot of time discussing it, artists have traditionally made significant contributions to numerous fields of study. Since ancient times, art has intertwined with engineering, math, science, literature, architecture, and religion. Essentially, art history and world history support each other because it is through artworks that we can understand cultures from the past. It is important to realize, art objects frequently help us understand information about sociology and archaeology. Through conducting research, I hope to illustrate the significant contribution artists make in their own and other fields of study. Therefore, I will curate and write articles about artists, contemporary issues, and history from an artist’s perspective. Articles. Generally speaking, you can look for articles on Sunday. Typically articles will tie into current events and art, but there will be a historical reference included. Recently, my articles have delved into the intellectual connection of art to a particular discipline. Additionally, since art and life often intertwine so closely, some articles focus on current events and social issues. This page is for artists, teachers, students, and art lovers as well as anyone who wants to know or suggest ways that art connects with other walks of life. . Local Art Institutions Links. Fortunately, many local institutions offer free admission and allow us to see and learn about all kinds of art in St. Louis. Because of this, I encourage you to explore the information about these institutions which are available on this site. I created this collection of art resources because I could not find a comprehensive list of places to visit and learn about art. In the meantime, please let me know about your favorite places to go see art. For an interactive experience, check out my sidebar for art activities and social media links. Finally, explore my gallery of limited edition prints in the gallery .
The Nazis Had Strict Flag Laws. On September 15, 1935, the Reich adopted the swastika as the nation’s official flag. The swastika with the traditional red, white, and black colors of Germany became synonymous with the Nazi Regime. The Nazi Swastika flag united the Nazis and denied Jewish people the right to use it. This first of the Nuremberg Laws was followed by the next two. These reduced Jewish people to second class citizens and introduced anti-miscegenation laws. These laws effectively racialized Jewish people. The Nazis knew it was necessary to introduce race into the legal system in order to separate the Jewish people from the rest of German society. What We Taught The Third Reich. They learned this from studying American Jim Crow Laws and The Immigration Act of 1924. This intentional division, a direct result of the Nuremberg Laws, paved the way for the Holocaust. A flag, followed by race based laws, were the first legal steps towards wreaking havoc and committing mass murder. We cannot ignore the significance that a propaganda symbol led the way to systematic human destruction. The people who reinforced this system of laws did so out of a true belief or fear of retribution. Historically speaking, it’s important to recognize it takes systemic ideology, sustained propaganda, and enforcement to achieve such goals. Henceforth, the swastika became a powerful symbol of unity and terror that persists to this very day, even resulting in the death of an American citizen. As recently as 2017, in Charlottesville, VA., Heather Heyer died protecting democratic ideals. Tragically, a self-proclaimed White Supremist deliberately mowed down a group of peaceful protesters with his Dodge Charger. Ironically, the American “Unite the Right Rally” was arranged to protect a propaganda symbol. A symbol that represents revisionist history about the Civil War. This is same era that inspired the real Nazis who wrote the Nuremberg Laws. Which brings me back to Colin Kaepernick. Why Do We Get So Mad?. Are you mad? It seems like everyone has an opinion about NFL players kneeling for the National Anthem. The question everyone seems to be asking is, “What are you mad about?” To me, that is a the secondary question. The primary question is actually, “Are you mad?” I think this is the primary question because Colin did expose an ugly truth about this country. He cut through the propaganda with surgical skill. I believe that is why he is being punished, questioned, isolated, lionized, and detested. In kneeling, during the National Anthem, for the people who were killed by the very government trusted to protect them, Colin held up a mirror to America. What we saw disturbed us. We saw the ugliness that we wish to ignore: ourselves. We know, inherently, that Colin symbolizes the fact that America isn’t equal for all. America cannot face its own gruesomeness, so it silenced Colin and ended his career. America vilified Colin for his symbolic protest. The way America treated Colin proved his point: we do not care about human rights in this country or anywhere else. America doesn’t stand up for all of us. America doesn’t really stand up for any of us. We accept that truth in our words, our silence, and in our actions or inaction. What Kind of Country Do We Want to Be?. Government sanctioned violence against black, brown, and poor people has consistently been with this country since its founding days. It is with us now. Certainly we see its extreme form in our criminal justice system, in the police sanctioned killing of black people, and in the separation of migrant children from their families at the US-Mexico border. We find it embedded in racially motivated, predatory mortgage loan practices that perpetuate the myth that modern racial segregation is de facto, not de jure. Notably, it appears in our hate crime statistics, which have risen sharply in the past two years. The perpetrators? White Supremists. This America cannot be justified by the flag, a son...
Trust the Lie...Find the Truth. . “Everybody’s prejudiced, it’s just how you deal with it that really matters.” Best advice from a teacher, ever. Propaganda Shapes Most Aspects of Your Life. . Trust the lie. Find the truth. This contradiction is life as we know it. It’s just so much easier to believe a lie. Who wants to face a truth that exposes a devastating truth about ourselves? Whether you realize it or not, propaganda shapes most aspects of your life. Indeed this provocative statement may seem extreme, but if you break it down, it’s easier to understand. Sometimes propaganda can be confused with advertising because they share similar characteristics. A major difference is that propaganda serves a nefarious goal intended to help the propagandist seize power. Advertising campaigns try to persuade people to buy goods or services. Propaganda tactics have been used in times of war, but exist in peacetime as well. This work, usually presented by a persuasive person, has methodology. Think of the propagandist as someone who uses various forms of attack to achieve a variety of goals. These attacks appear different and appeal to different types of people who are targeted for the propaganda campaign. My understanding is that propaganda functions as a tool to manipulate people to believe falsehoods. This in turn causes them to act in accordance with the propagandist’s agenda. (Others argue it is merely a persuasive tool. For this argument I will take the more sinister meaning to be true). The obvious attack comes first in vilifying an opponent or idea. Conversely, they use what’s known as “glittering generalities” where ideas or people are tied to positive symbols. This creates the binary choice, or foil. As the paradigm sets, the propagandist deploys other tactics. Then they draw in the reactors, and tailor the propaganda to fit each person’s needs. False connections, special appeals, and logical fallacies exist in the propagandist’s arsenal. Combined with modern media, technology, and big data collection and analytics systems, the possibilities are endless. . Visual Art and Propaganda Work Together Well . We have powerful media sources today that constantly bring us visual sources of information. Yet, even one hundred years ago, dictators wielded visual propaganda to ride to power. Through pageantry, posters, rallies, clothing, and symbolism, they conveyed their message and influenced people to follow their ways. Now, in 2019, the tools at the disposal of nation states to manipulate public opinion are astronomical. The relationship between propaganda and power fascinates me because it often relegates art to a background role. We forget that Hitler was a mediocre watercolor artist who spent time with actors and musicians. He, like current authoritarian dictators regularly make use of visual stimulation to create their image and convey their ideas. They use television and print media to repeatedly show their symbols and repeat their slogans. Propagandists exploit advertising to spread a message and embed more subtle suggestions (often referred to as ‘dog whistles’). They offer a message of hope and belonging to their chosen audience. The propagandist often makes obvious mistakes: appearing less calculated and more like a “regular” person. By using tactics like name calling and other means of undermining the credibility of political opponents, the propagandist asserts power. Having seized control of the story and the large picture, success is not a possibility: it has already happened. . Polarization Propels Propaganda . The United States is polarized on just about every issue big and small. We have allowed ourselves to be manipulated so that we exist in disparate groups that deeply mistrust each other. This didn’t happen by accident or just through visual art. However, due to media influence and the rapid growth of internet technology, people have been able to find their niches. We can comfortably trust the lies we live. We can h...
MTV ushered in the era of music experienced visually. Prophetically Video Killed the Radio Star by the Buggles opened our eyes. Moving forward, visual imagery and music fused together, and musicians acted accordingly. As this new art form developed, so did the opportunities for more overt and subtle forms of propaganda. Television did the same for politics, even being blamed for Richard Nixon’s loss to John F. Kennedy in 1960. These significant moments began erasing the boundaries between pop culture, politics, and propaganda. Setting us on a course to where we are today. Over time, we’ve seen how visual media can shape our world view by what is and isn’t revealed to us. Mainstream musicians, media and other institutions, like cinema, music, theater, art galleries, museums, advertising, and news media can reinforce society’s deepest underlying problems: division and mistrust. We all saw and continue to see the global impact wrought by alternative technology. Soon enough, we ll discovered that all known boundaries between politics, pop culture, social media, and the mainstream institutions had blurred beyond all recognition. Polarization is a Propagandist’s Best Friend. As I try to understand propaganda, I have more questions than answers. Do all cultures succumb to the victorious propagandist? Propaganda can’t help but create winners and losers because it is always rooted in deception. Yet, for it to work, people must be vulnerable in some way to the propaganda tactics directed towards them. For those who exploit us, division and mistrust work to their advantage. For example, right here in our country, people really don’t get along. People stubbornly refuse to compromise on any polarizing issue. In doing so, we find ourselves in separate, but discrete circles of trusted friends and family. We don’t trust people who exist outside our community. Traditionally art and music reinforce a sense of community and belonging. However, when art and music are appropriated for propaganda purposes, they become a weapon against the very people who find sanctuary within their own society. Technology Constantly Improves Propaganda . Propagandists use the powerful tools at their disposal: media and the internet. They blur the boundaries between pop culture, social media, and traditional media. In fact, in our case, pop culture propaganda works all the time. Actually, exploring how this works isn’t difficult. The first place to start is with the polarizing issues in our society. Imagine society as a tree. This symbolizes that we all share the same base. In other words, this is our nation. To represent the diversity in our nation, picture people splitting off from that base as they develop ideas about issues. Like the branches of a tree, you can see how people split off into more separate and divided sections until they become quite distant. Usually this system works for the organism, as each part has an important function ensuring its survival. Under ideal circumstances, all functions would operate smoothly. Unfortunately, threats to the tree are a more likely scenario. A possible scenario is that the leaves or branches can be attacked by a fast moving, deadly, invasive species, like the emerald ash borer for instance. For argument’s sake, let’s say the leaves and branches don’t communicate. If this represents a nation, not a tree, the invasion isn’t the emerald ash borer, it’s the internet hacker. Propaganda Depends on You!. Images flash before your eyes constantly. Don’t take them for granted. How do you see people shown in portraits, in mugshots, and in all of your favorite television shows and movies? Consider what musicians appeal to you and why. What do those musicians wear? What and who do they believe in? More importantly, ask yourself these questions: what images seem normal to you? what shows and movies do you avoid? which musicians don’t you like? who is their audience? Finally, really ask yourself “Why do I think and feel this way...
Portraits have the power to elevate the person in it to a high societal status. We see the most famous and revered portraits in museums throughout the world. Most people recognize the great works of Western culture, particularly Renaissance work like da Vinci's Mona Lisa or Michelangelo's Sistine Chapel. Artists frequently look to artists of the past for inspiration for their own work. One such artist has both admired and questioned portraiture for decades. His exhibition is running through February 10, 2019 at the St. Louis Art Museum. I was fortunate enough to bring my students to the exhibition earlier this week. Kehinde Wiley inspires people from all walks of life by questioning portraiture as a status symbol. While recognizing the beauty and craftsmanship of previous artists, Wiley brings our attention to the purpose and meaning of the subjects in portraits. Why do portraits in Western culture almost always portray people of European descent? His work, in all of its absolute beauty, is unique. His subjects, ordinary people from St. Louis County, aren't rich or powerful. Yet, his use of color and mastery of portrait painting mesmerizes the viewer. The portraits are powerful. As you take in the rich details of the work, it is important to recognize that each painting is derivative of a previous portrait. Each portrait is based on a person who gained from slavery or profited from colonialism. By juxtaposing people of African descent into a similar pose while incorporating his signature patterns, Wiley takes back the narrative. It's as if he knows this action is an essential act towards healing. What Kehinde Wiley's Work Can Teach Us. The work showed that people can and should be elevated through portraiture. I particularly liked the fact that he chose to elevate people from Ferguson, Missouri. The artist's own feelings of love and kindness are evident in the artwork. The exquisite color, attention to minute details, and scale of the paintings make the viewer very aware that he values the people he painted. Because "Ferguson" the place seems synonymous with violence and racism after the killing of Mike Brown, this exhibition felt joyful. We cannot ignore the significance of Kehinde Wiley's message that people of color are noticeably absent in portrait art. Additionally, the people we don't see matter in every community. His ability to create works of art that convey beauty and a sense of community are inspirational. Perhaps, his art can point us towards a better understanding of the power to elevate people; in portraits and thus, society.
Art Can Literally Save Lives: Military History Tells Us it Can Operation Quicksilver . A few days after D Day, Operation Quicksilver quietly went on the road. 1100 men with special skills would put their lives on the line, some would make the ultimate sacrifice. It took more than forty years for their story to be told: a secret story about how artists, musicians, fashion designers, and other creative people fooled the enemy and helped win World War II. This is a story about how art literally saved lives. Ghost Army. Sometimes covert operations are necessary, particularly when lives are at stake. Nobody knows this better than people who serve their country in times of war. They know that every job matters because the details matter. Although some jobs might seem trivial to outside observers, they know not to let your eyes deceive you. Each actor on the war stage plays a vital role towards the greater effort. This was especially true for the Ghost Army of the 603rd, stationed in various locations in Europe during World War II. . Don’t Believe Your Eyes or Ears. These men, officially known as the 23rd Headquarters Special Troops, possessed an eclectic skill set perfectly suited to their top secret mission. They, in fact, acted as a Ghost Army, whose job was to fool the enemies’ eyes and ears. These men were artists, musicians, photographers, and sound engineers. Some of them had excellent sewing skills. With their unique skills, some inflatable tanks, people, and weapons, they set about to create live action battle scenes in surround sound. All of their efforts were an intentional and dangerous distraction. A purposeful decoy to draw the enemies away from the actual battlefield. A Specialized Skill Set. They used art skills like trompe l’oeil to paint realistic backdrops and hide artillery (just enough to be found). Within hours, the Ghost Army built phony airfields and temporary military camps, and hung up laundry lines that served no other purpose than to distract. They inflated tanks and artillery and even inflated fake soldiers. Some artists created propaganda posters designed to misdirect their adversaries. The sound engineers brought the scene to life with fake radio transmissions and sound trucks. They all used scripts and performance skills, as they became actors in this epic, yet secret battle theater. They stayed in Europe, mostly in France, traveling from Normandy to the Rhine. These soldiers served their country with their elaborate, but fake, battle scenes. They put their lives at risk to save others, allowing the Allied forces to gain an advantage as the war went on. Their part in the war mattered. Their art and music skills made a difference that was a closely guarded secret for forty years. . From Ghosts to Celebrities . Some of the artists and musicians of the Ghost Army went on to become well-known American icons. Ellsworth Kelly became a famous artist. His bright Color Field paintings are synonymous with Minimalism and hard-edge painting. Bill Blass worked his way up from sketching evening gowns to designing and dressing celebrities and First Lady, Barbara Bush. His designs merged classical styles with a sporty look. Jack Massey went on to be an exhibition designer. Arthur Singer loved birds and painted thousands of them. Finally, Art Kane is known for photographing some of the most iconic jazz and rock musicians of the 50’s, 60’s, and 70’s. His photography was groundbreaking for its ability to tell a story and be illustrative before the digital age. In closing, history used to be my least favorite subject. But, when artists are the central figures in a covert ops mission during WW II, that’s interesting to me. I wish I had been learning that kind of history in school. This was top secret back then, but it highlights one very important point: we need Art. You just never know when it might actually save lives.
It’s never too late to follow your dreams. I say this to myself everyday now. After more than a decade of self-doubt and literal grief about my art, I got mad. I mean good and mad. I’ve been working myself to death in the classroom for sixteen years and trust me, it’s not easy. My colleagues have died young, grown ill, and suffered low morale. We often live in a dreamless state, without hope for a better world for our students or ourselves. Luckily, in my darkest moment, I found inspiration: Alma Woodsey Thomas. The Moment of Truth. It started when I realized I was ill. I’d been teaching for ten months, was harassed by a student on a regular basis and only got a bathroom break every other day. I wound up in the emergency room hooked up to intravenous antibiotics for a kidney infection. Doctor’s orders, to make sure I wouldn’t die. Then the ER doctor came in. He was horrible, rude, and condescending. He treated my husband and me like we didn’t matter with his comments and attitude. I was infuriated. At that moment I knew I had to find a way back to my art. I had to start following my dream. How I Lost My Way. When I attended graduate school in New York and earned my MFA, one of my teachers said, “If you aren’t making art a year after you leave school, you should just give it up.” . Becoming a Teacher. Truthfully, I never cared about this kind of negativity before because I’m a persistent person. However, this was spring of 2001. The world changed forever later that year. That’s when my life changed, and I struggled to make my way. Somehow, those words had seeped into my heart and mind, affecting the way I saw myself. I felt disconnected from the one thing that gives me strength in tough times. Art. I felt like it was too late for me to fulfill my dream of becoming an artist. 9/11 forced me to move away from New York City. I lost my job and it was impossible to find a job making a livable wage. I ended up in St. Louis and was accepted into a teacher certification program. I became a public school teacher. Naively thinking I could make art in the summer, I survived my first year. I quickly realized that I was too broke to make art. That’s when I really lost faith. I felt trapped, too because I needed the health insurance and salary. As my dream slipped away, a grim realism set in. I felt like it was too late to follow my dream to make art. The Long Journey Back . This is my sixteenth year in the classroom. I teach art and enjoy teaching my students. Unfortunately, I can’t say that about the education system itself. Doing research so I can teach my students inspires me. Making art inspires me. Artists like Alma Thomas give me hope. When I read about her art career, I decided it wasn’t too late to follow my dream of being an artist. I found Ms. Thomas in a book when I was preparing a lesson for my students. Ironically it was an art criticism lesson. At that moment, I remembered the words of my teacher. “...give up...” Those very words had so much power because they came from a teacher. Imagine a teacher telling students the timeline for when they should give up their dreams! I stared at that book, realizing my mistake. I believed them and I remembered all the times other teachers told me to give up because I wasn’t good enough. Then I remembered all the other teachers who didn’t say that. Teachers lke MacArthur Binion, Mario Castillo, Jackie Windsor , Loren Madsen, Dr. Altroggge, and Dr. Bevel. Thankfully, they told me to go after the “it” that keeps me going. They told me to never give up on my dreams. So, that’s what I’m going to do, and I hope you do too. .
What Connects You to Art? What’s Your Connection?. What connects you to Art? Is it the time you went to a museum with your family or with your class on a school field trip? Are you comfortable in an Art Gallery or Art Museum? Do you appreciate looking at art? If so, then count yourself among the culturally rich members of our society. Art serves multiple purposes in society from elevating our perception of beauty to communicating ideas and even determining who has access to knowledge and elitism. Throughout history, Art has been associated with higher society and treated in some ways as a leisurely pastime in Western civilization. Despite this notion, artists were depicted as “poor” and “starving.” In fact, artists often didn’t achieve fame until after their deaths, according to my early art education. As it turns out, this mythology only applies to outsiders like me and countless other people without the right connections and socioeconomic status. I love art, though, and persevere through this challenging situation. However, imagine what effect this mythology might have on the audience or future artists of the world? . The Art Community. Who attends art openings and receptions? Who buys artwork? Why is it so significant that an African American man painted the first African American President’s official portrait? Additionally, the first African American woman, Amy Sherald painted Michelle Obama’s Portrait with a purpose: because Mrs. Obama is someone “women can relate to—no matter what shape, size, race, or color. . . We see our best selves in her.” Thankfully, these artists are part of a growing number of people who believe that art should be for everyone. They want to connect you to art. Unfortunately, that message doesn’t always make it to the people who need to hear it the most. Recently, I was fortunate enough to receive funding to bring my students to see Kehinde Wiley’s Exhibition at the Art Museum. My colleague and I requested a tour as directed, and were approved for the trip. However, the day before the trip, the museum told us that our school was not in the system. That’s how we discovered we were not going to have the guided tour experience. It was frustrating and left me wondering if it was really an oversight. We rarely receive funding for field trips and my students don’t get to go to the Museum. They are unlikely to go on their own. I didn’t feel welcome. I tried to make the best of it, but wondered when I would want to bring my students back. Still, I don’t want to be the person who makes it hard for my students to connect with art. Traditional vs. Non-Traditional Institutions . On the contrary, I was very fortunate to have an extended conversation with a representative from The Contemporary Art Museum. She’s made it her mission to reach out to members of the community who feel like outsiders to art institutions. Recognizing that physical proximity differs significantly from cultural proximity, she persistently contacts educators in urban areas. The goal: opening the doors of the art world for all members of the community and inviting them to participate. It’s difficult to grasp the obstacles to achieving such an ambitious goal. Culturally speaking, museums and galleries tie in with higher socioeconomic groups. People who collect and donate art have the financial resources to do so. We guard and insure Art collections with extreme caution. Touching art is taboo. People who work in art institutions generally have a college degree or are in school to earn a degree. Given these factors, it’s easier to understand how art institutions can give off an intimidating aura of elitism. How can we, the members of the art community foster a widespread appreciation for art? How can we invite all people to find their entry point to participation? What does it take to connect people with art?. Obstacles and Work-Arounds. Bourgeoisie elitism is out, but have the bourgeois figured it out? With the onset of social media, out...
Why Do I Need Art? The Existential Question . Teenagers like to argue with me about why they shouldn’t have to take art class, mostly because they don’t like it. “Why do I have to take art? I won’t ever use it!” That’s the basic argument. Like most people they really don’t care about your answer because the minute you try to answer, they immediately stop listening. At least, that’s what happens when you teach the class they don’t want to take! The question is valid, however. Why do we need art? . Definitions... . If you’re reading this article, you know realistic drawing in pencil is not the extent of art. You recognize that creative expression takes on many forms, such as painting, sculpture, photography, printmaking, installation, cinematography, literature, dance, and music. Creativity has driven people to tell stories through a variety of media. We understand ourselves, other cultures, the present and the past by investigating, appreciating, and analyzing art. We find our personal connections to society and culture by creating. Sometimes it can heal us mentally, spiritually, and even physically. Yet, people still wonder, “Why do I need art?”. Our Need to Express Ourselves. According to the NEA we need art because it helps us to understand how we matter. What inspired the first people to create works of art? Cave paintings reveal that people valued creative expression since at least 35,000 B.C. Throughout history, art has shaped our existence because we wanted it in our lives. Imagine if we did not wish to create or express our ideas? What would the world look and sound like? What would we be like? In some ways, design shapes our world to the point that we often don’t notice how it does anymore. The Evidence is Everywhere . We know art exists in galleries, museums, and collections. Paintings and drawings frequently come to mind when people think about visual art. What’s less apparent is how it influences just about everything in our lives. Buildings, furniture, automobiles, clothes, even your coffee cup: these are designed. Aesthetics govern how objects and appliances get made. We observe the objects in our world and prefer that they embody aesthetic integrity and proper form. To achieve such an end to mundane objects, the elements and principles of design play an important role. Without aesthetics, objects lose their appeal. Therefore, while art isn’t everything, it tends to influence many aspects of our world. Form and Function . I always use cars as an example for my students. They’re easy to talk about because people like to drive attractive vehicles. A Kia commercial from 2010 describes this perfectly by saying, “You can get wit’ this or you can wit’ that...” There will always be a place for design artists in our world as long as we like to travel in style. . How Does it Feel?. Art fosters empathy and can help us make sense of the past and present. We can examine the lives of others more closely by experiencing their art. That’s how we discover that we share universal feelings and experiences. We can identify with characters in literature, feel the emotional quality of music, and recognize the drama in a visual composition. Art can reach across barriers and reach us even when we don’t fully understand it. For example, opera is powerful enough to transcend language to tell powerful stories. . Imagine a World Without Art. If you ever find yourself asking yourself, “Why do I need art?” Think about this. What would the world be like without art? What would be missing from your life if the arts disappeared?
Women and Gender Stereotypes in Art. We are Superwomen, Except When it Comes to the Law. . Since the Women’s March in 2017, women have re-emerged as a strong political force. #MeToo, founded by Tarana Burke, exposed and continues to expose the inequities women face in the workforce. In truth, superwomen of the new political force elect women to office at every level of government. It might seem that we have entered a new Golden Age. Unfortunately, with resurgent power comes reactionary backlash. As we enter Women’s History Month, 2019, it seems like we are losing more of our rights with every passing day. Despite this hardship, women endure and find ways to speak up, often in the arts. . The Legal Backlash . Because I live here, it seems more awful that the Missouri House Legislature found a way to legally oppress women with the most restrictive abortion laws since Roe v Wade. To add to that, it was on the eve of Women’s History Month. Without a doubt, the conservative boot is stamping down on all women’s dissent in this state. It’s not surprising that women suffered the first significant legal actions after the 2018 mid-term elections, especially since we made such an impact on them. It’s also been more difficult for the legislature to attack other groups in Missouri due to the progressive ballot measures we passed in November. However, the fact that people bought the anti-woman goods, means that sexism thrives here. Maybe we just can’t help ourselves. Visual culture remains relatively policed in order to conform to conservative values, historically and culturally. For example, our society has a long history of censorship and regulation of books, magazines, television, and movies. Some of this can be traced back to post-World War II tension about feminism. . Women and the Work Problem. Not surprisingly, gender roles, child rearing, and the workforce intersected in a spectacular way with comic books after World War II. Women, who had taken on jobs previously held by men during the war years, didn’t want to leave those jobs. The conservatives and men needed to reassert gender roles due to job shortages for men. In this scenario, women couldn’t continue to assert their rights to financial or physical autonomy. Thus, Pop Culture served the purpose of re-conditioning society to think about gender roles in traditional ways. . The United States Senate Subcommittee on Juvenile Delinquency . The first step towards achieving this goal came from attacking feminism in comic books. The United States Senate Subcomittee on Juvenile Delinquency formed to deal with this issue. Since comic books were widely seen by young people, they were initially villianized as the corruptive force behind juvenile delinquency. Later they served the specific purpose of reinforcing conservative gender stereotypes. Obliquely criticizing women, the Senate asserted that Juvenile Delinquency had risen during the war years and after. This happened due to the hearings in the sub committee held on April 21, 22, and June 4, 1954. While attributing this to comic books, a careful reading of their summary suggests that if women had been at home supervising the children, perhaps this problem could be minimized. . The Comics Code Authority . One of the most notable outcomes of this committee was the formation of the Comics Code Authority which essentially served to de facto censor comic books until 2011. That’s when the last comic publications stopped adhering to the code. The code included many gender stereotypes that explicitly stated how the publications should convey relationships to young people. In 1954, relationships in comic books were governed by many rules. The following are two rules that heavily influenced mainstream stories and reinforced gender stereotypes. Divorce shall not be treated humorously nor represented as desirable... The treatment of live-romance stories shall emphasize the value of the home and the sanctity of marriage. Ostensibly, if young peo...
Why We Need Medical Illustrators . Medical Illustrators Help Society Stay Healthy . Have you ever been unsure about a medical condition or diagnosis? Do you wonder about all the new medical advancements we hear about in the news? Sometimes it can be confusing, especially when breakthroughs in medical research are announced without much context. This is where Medical Illustrators can help. Whether it’s helping patients understand diagnoses, aiding teachers in the classroom, communicating medical concepts to juries, or simply informating the public, Medical Illustrators are literally important to the well being of society. I can personally attest to it. . Visuals Help People Understand Diagnoses. . I struggled with accepting it when multiple doctors diagnosed my son with asthma about eight years ago. Although he suffered with multiple respiratory issues day after day, I just couldn’t wrap my mind around this diagnosis. The truth is, I love my son, but my lack of understanding made me feel helpless. I didn’t fully understand the respiratory system either. Although I was conflicted, I allowed my son to receive treatment for his asthma. In fact, I remained skeptical of the diagnosis for several years. The way I finally accepted the truth about my son’s health and learned to trust the doctors had a lot to do with education. The first time we met the specialist, who ultimately helped my son gain control over his asthma, he insisted that I read about the disease. While I read the material, my son received lessons from the nursing staff about how to correctly take his medications. Afterwards, we talked to the doctor. While we talked, he showed us a lot of graphs, pictures, and used hands on learning aids. It helped us (really me) make sense of the disease. The visual aids supported all of the information I read, but it also just made it easier to visualize what actually happens to a person experiencing asthma. . We Take Visual Information for Granted. . In general, visual aids help people make sense of medical concepts. We see them in so many situations, like in hospitals, doctors’ offices, at the pharmacy, on YouTube, in textbooks and other unexpected places. Medical images, hands on learning aids, videos, and interactive apps must be created. But, who, exactly does this work? Apparently, mostly women. Tucked away between the arts and sciences, a tiny niche exists for the specialists who design medical illustrations. However, becoming a medical illustrator isn’t easy. In fact, only four Universities in North America offer accredited graduate degrees for this field of study. About twenty applicants are accepted by each of the following Universities each year: Augusta University, University of Illinois at Chicago, John Hopkins University of Medicine, and The University of Toronto. Because so few people enter the field of Medical Illustration, it makes up a small portion of the medical profession. Women make up a significant proportion of the student population each year. Despite the majority of men in scientific fields, women dominate in Medical Illustration. . What Exactly Is a Medical Illustrator?. According to the Association of Medical Illustrators,“a medical illustrator is a professional artist with advanced education in both the life sciences and visual communication.” Because science and technology is constantly changing, so is the medical illustration field. In addition to acquiring advanced knowledge in biology and the life sciences, they must stay current in the arts. Medical Illustrators need to continually develop their knowledge of new technology in animation, graphic design, and interactive software, as well as medical research. Medical Illustrators regularly interact with scientists, physicians, researchers, art directors, graphic designers, video game designers, and computer scientists. Additionally, just as medicine is specialized, so is the field of Medical Illustration. For example, one major separation is between ...
Numbers Tell a Story About Women in the Arts The most expensive painting ever sold (to date) is Leonardo da Vinci’s Salvatore Mundi. It sold for $450,000,000 in November 2018. Compare that to Georgia O’Keefe’s Jimson Weed/White Flower No. 1 Her painting was sold for $44,405,000 in 2014, breaking the record for selling a work of art by a woman. That means that the da Vinci sold for just over ten times the cost of the O’Keefe. Yet, this disparity isn’t an anomaly. Jenny Saville broke the record for selling the most expensive artwork by a living female artist in 2018. Her painting, Propped (1992) sold for $12.4 million. That very same year, David Hockney’s Portrait of an Artist (with Two Figures) sold for $90.3 million. Saville’s sale, again, was an anomaly, rather than progress. Markedly, less than 10% of the rest of the works for sale in 2018 were by women artists. By and large, people perceive men’s artwork as superior in quality to women’s artwork. Certainly evidence points to this phenomenon in numerous ways. According to the National Museum of Women in the Arts, in the first half of 2018 only five of the top one hundred top sellers at auction were women. Further, “Only 13.7% of living artists represented by galleries in Europe and North America are women. (artnet News).” Driving Forces With this information in mind, I can’t help but wonder if we can hope for gender parity in the arts. Indeed, we can examine many driving factors that make gender disparity intractable. Notably, leadership, income inequality, education, and opportunity appear to significantly influence public opinion about women in the arts. Why Leadership Matters in the Art World To illustrate my point, let’s consider leadership. Whether it’s politics, education, museum leadership, galleries, or the boards and committees behind such organizations, women continue to be underrepresented. In fact, in 2017, the New York Times reported that women were directors of only three of the twenty art institutions with budgets over $15 million per year. Because of this disparity, choices about who receives grants, who we see in exhibitions, galleries, or in history books tend to reflect the people in those positions. To put it differently, what would happen if more women from diverse backgrounds filled those roles? The Effect of Income Inequality Another key point is income inequality. Specifically, women earn, on average, 81 cents for every dollar a man earns. Another point often overlooked is that women of color earn approximately 67 cents for every dollar a man earns. With this in mind, consider how that impacts the buying habits of all women as it relates to collecting art. Under these circumstances, women’s income inequality cannot help but marginalize our influence in the art world. Women’s Art Lost to History To demonstrate the central idea that women are centuries behind men in the art world, we merely need to look to art history itself. While women have made some inroads into the history books as of the mid-twentieth century, we remain poorly represented. By and large, from the Renaissance period to the 19th century, women are nearly absent from the history books compared to men. That is not to say women are completely absent, merely that they are more of an exception than the norm. Despite this fact, women made significant contributions to the arts during that time frame. Nevertheless, historians must prioritize research and resources to share that information with the general public. Who is Representing Us? Because of the technological advances of the 21st century, we have tools to study gender disparity in the arts. In a recent study by MIT, two researchers discovered that in the United States, more than 75% of artists in museums are white men. Significantly, the percentage of women represented only amounted to just under 13%. Therefore, these numbers show that the artwork displayed in our institutions don’t reflect the society in which they exist. Because I...
Platitudes and Power in the Art World What are platitudes? Often, these simplistic and overly repeated phrases are accepted as truisms. Specifically, they may appear to point out something obvious despite being patently false. An example of a platitude is, “It is what it is.” Explicitly, this overly broad and simplistic statement can apply to almost anything, means nothing, and reinforces whatever condition currently exists. But why even talk about platitudes? In my recent article, I argued that the art world left women centuries behind men. Quite frankly, it’s almost impossible to develop that argument in a single article. However, I was fortunate enough to receive three comments that provided insight into the way platitudes reinforce gender disparity in the art world. . The Persistence of Platitudes Each comment represented common logical fallacies that shape how we all perceive gender balance. Without delay, the first comment appealed to ignorance by stating that most art for centuries had been made by men. The fact is, we don’t actually know that to be true. At present time, evidence shows that women did make art throughout the centuries. However, lack of attribution, recognition, and unclear records make it difficult to fully grasp the role women played in the arts. In other words, this argument relies on the platitude, “it is what is.” Shortly thereafter, another commentator used a red herring to discuss other topics. At the same time, they added a weak analogy to support their argument by comparing art world leaders to other business leaders. The problem with this argument lies in its lack of reflection on the main issue and it’s “it is what it is” platitude. Finally, the third comment relied on equivocation. That is to say, the argument hung in the balance on the meaning of the word, “art.” While this may not be a platitude, it does represent a logical fallacy. To question whether or not the definition of art was clear in terms of art museum directors was a bit of a stretch. Debate vs. Platitudes With this in mind, I appreciate when people comment on my articles. Specifically, it helps me examine my own writing and improve it. Additionally, it’s important to realize that discomfort is the first step towards actually seeing the gender imbalances in the art world. Unless we start to openly discuss and analyze uncomfortable issues, change cannot happen. Granted, those that speak in platitudes may not want change. Indeed, a careful analysis of people’s attitudes towards gender equality could reveal a rejection of that very change. Who Were Women Artists of the Past? According to encyclopedia.com, during the Renaissance, women made up a large sector of working artists. However, most of these artist went unnamed because of the social, legal, and religious norms of the time. Whereas, while male artists of the time enjoyed the relative privilege of joining artists guilds, women were barred. Women, however, were joining a growing number of writers who began to influence feminism and humanism through their written works. Women who worked as artists primarily fell into the following categories, nuns, daughters and wives of professional artists, and lesser women of nobility. During the fifteenth and sixteenth centuries, European women worked in virtually every artistic field. The most numerous women artists were nuns, though they were rarely identified because they created objects and images primarily to honor God's glory. Historical records show that an extensive art industry was conducted by nuns and that convents were often artists' workshops. Even under these circumstances, some women managed to achieve recognition for their work. In particular, Lavinia Fontana, born in 1552, grew up with a father who encouraged her artistic development. Throughout her life, she learned how to paint from her father as well as other influential artists like Ludovico Carracci. By marrying a supportive painter who recognized her talent, she wa...
Art Illuminated Rwanda’s Plight . One of the questions I often ask my students is, “Can art save lives?” Of course, the reactions tend to be mixed. However, because today is Rwanda Remembence Day, I thought it would be a pertinent question. If you’re like me, you might have learned about the genocide in Rwanda when Don Cheadle starred in Hotel Rwanda. He played a well connected hotelier named Paul Rusesabagina, who was married to a Tutsi woman, Tatiana. While this film offered a bleak example of world indifference to human suffering, it also helped shine a light on Rwanda’s plight. Despite the fact that Hotel Rwanda lacks the totality of grotesque butchery of genocide, it marks the event so we won’t forget it. Notwithstanding some of the controversies surrounding the facts of Hotel Rwanda, it accomplished a goal. As a work of art, it conveyed the violence, emotional trauma and displacement experienced by the people in Rwanda at that time. It’s almost impossible for me to hear about genocide in any society without thinking about how the people must be feeling and suffering. Above all, I understand the way people must feel helpless and trapped. This is due to the film maker’s ability to connect audiences with that experience. Thus causing us to empathize with the people in the story. . 100 Days and Beyond . Today we recognize Rwanda as a place defined by genocide. Unfortunately, when Rwanda needed help, the world mostly turned a blind eye to the horrific human devastation inflicted on the Tutsi people by their ethnic rivals. Specifically, we ignored the fact that for 100 days, the Hutus slaughtered the Tutsi with impunity. By the time the world started to notice, 800,000 people were dead. Although the Rwandan Patriotic Front, backed by the Uganda Army, ended the violence on July 4, 1994, the war was really about to start. Because the Hutus feared retribution from the Tutsi controlled government, hundreds of thousands fled to the Democratic Republic of Congo. Consequently, when the new government invaded DR Congo, war broke out, spreading across six countries. Ultimately, five million people would lose their lives and the conflict would last until 2003. . How Could this Happen? . According to World Vision, an imbalance of power between the Tutsi and Hutu ethnic groups had existed long before the conflict. While both groups worked in the farming industry, the Hutus made up a majority of the population. Until 1959, the Tutsis, held wealth and power as the ruling class, despite their minority status. This was especially the case under Belgian colonial occupation. However, in 1962, Rwanda gained its independence and the Hutus took power. As a result of the new power structure, a substantial number of Tutsis to flee the country. If I have to describe the build up to the genocide in a word: that word is tension. For decades, both groups pushed back and forth for power and equity within a system designed to suffocate one group or the other. Much like other polarized societies, the group that held power refused to acknowledge the truth behind low level violence against the other. Low level violence included dehumanizing language, which was accepted and acceptable. By intentionally looking the other way, the government bred the conditions for escalating violence. Thus contributing to the rise in polarization that hastened genocide in Rwanda. Unfortunately for the president, Juvénal Habyarimana, this led to his own death on April 6, 1994. In spite of his efforts to restore peace, his plane was shot down by an unidentified group as he returned from the conference. Consequently, this led to the 100 days of violence that we recognize as the Rwanda Genocide. . Art’s Role in Rwanda Today . Despite numerous tribunals, attempts at reparations, and a sincere desire from many people to repair Rwanda, problems persist. Even with the work within and aid from others, it’s difficult for people to simply forgive and forget what happened. Meanwhile, p...
What topic inspires a visceral, almost painful reaction when you even think about it? We all have something, whether it’s dealing with your boss, facing the in-laws, spiders, or whatever. For me, it’s the environment and climate change. I literally get heart palpitations when I start thinking about it. I think it’s because I have a child with asthma. Maybe it’s just because I have a child. In any case, the world we live in is a source of great inspiration and dreadful anxiety for me. For that reason, I turn to art for reason and facts to focus my mind and calm my heart. Nature and the environment have inspired artists for centuries, perhaps even millennia. Dating back to the Cave paintings in ancient times, to the modern era, artists continue to explore environmental issues in art. Artists such as Andy Goldsworthy, Agnes Denes, Richard Schilling, Nils-Udo, Claudia Schmacke, and Chris Jordan tackle different aspects of nature in real time. Invoking the fleeting aspects of nature, many of these artists create unnerving tension, as if daring us to defy the power of nature. The answer should probably be to respond to this crisis, yet our hubris and dependence on finite resources provide no easy answers. So, Happy Earth Day! . Artists Reveal Environmental Consequences . It’s 2019 and the world looks really different than it did at the beginning of the Industrial Revolution. We know this, in part, from paintings and documentary photography dating back to the 18th Century. Artists and photographers recorded numerous examples of environmental changes caused by industrialization during this time. Whether they showed smog enveloping whole cities, excessive dumping, deformed animals, oil spills, or just massive pollution, the images reveal the dire conditions unregulated industrialization had on our planet. With the advent of the steam engine, electricity, more advanced weapons and other technological breakthroughs related to manufacturing and travel, the world began to change. This naturally started the process that led to environmental changes with unforeseen consequences. However, artists, who studied composition by observing and recording landscapes, began to include elements of the industrial changes in their drawings, paintings, and photography. Since then, thanks to the Environmental Protection Agency and environmental watchdogs, we can see a cleaner, more appealing world. Unfortunately, it’s what we don’t see that’s dramatically changing the delicate balance of nature. Because we depend on energy that produces excessive carbon emissions, our climate is constantly imbalanced. This is (major understatement) bad. We can learn a lot from the images that show what the world looked like before the EPA was created. . Lessons From the Past . The London Fog of 1952 killed about 12,000 people in five days. It was so devastating, that four years later, Great Britain passed the Clean Air Act of 1956. Consequently, this was the first time a European country took environmental issues seriously. In fact, if you live in London, there is an app that allows you to check how polluted the air is by the block. Despite taking bold action to stop another air quality tragedy from happening again, the British government couldn’t fully understand the reason why the fog was so deadly. They knew people were using coal at higher levels than usual that winter and the toxins had an effect. However, the coal by itself couldn’t totally explain the lethal nature of the fog. . China’s Connection to the London Fog . In 2016, scientists from Beijing shared research pointing to the cause of the deadly London Fog. They discovered that sulfuric acid was part of the fog. What they discovered was that as the fog evaporated, it left behind an acidic haze. Subsequently, this haze led to the deaths of so many people. Chinese scientists, in particular, have reason to study air pollution. Namely since sixteen of the twenty most polluted cities in the world are in China. In...
What Will You Do When Your Feminist Target Turns on You? Women makeup roughly half of the population. Yet, for some reason, there are people who believe harassing women is a good idea. This obsession with controlling women’s lives seems like a bad idea, given the numbers. So, imagine if every woman decided enough was enough. What would the world do if women just stood up and rejected the notion of being targets? What if women targeted men with the same diabolical cruelty they imposed on us? Would that be ok? According to the Museum of Modern Art, Feminist Art is “Art that seeks to challenge the dominance of men in both art and society, to gain recognition and equality for women artists, and to question assumptions about womanhood.” Today, much like the 60’s and 70’s, women find ourselves at an inflection point. While women have made great progress towards equal rights in the last forty-five years, our equality faces an existential threat. It seems as though every day brings a fresh law designed to infringe on women’s autonomy, our privacy, and even our right to individual freedom. Anyone Can Be a Feminist Artists, in the capacity of a social conscience, must speak out about women’s rights. Since we can speak in visual form, we often communicate ideas that cannot be explained easily. In truth, feminists don’t have to be women. Artists take on challenging issues in order to reach people who might not otherwise understand complex ideas. I can personally attest to this. As a young art student, I tried and failed to understand how history influenced contemporary issues. Whether it was feminism or race, the past seemed abstract. My ignorance held me back, particularly when I interacted with people from other cultures. Fortunately, I was directed to visit about twenty-five art galleries one afternoon in New York (no exaggeration) as an assignment. During this long day, I came across the artwork of Glenn Ligon. Art Helps Us See Each Other Glenn Ligon’s Runaways Lithograph Series opened my eyes to the long lasting impact slavery had on America. His artwork depicted images from runaway slave ads juxtaposed with descriptions his friends had written that described him. “Ligon was surprised to find that the descriptions his friends wrote were similar to those from the slave ads. Critics have also commented on how the texts read like accounts of criminal suspects, perhaps a critique of racial profiling by law enforcement.” In an instant, I understood. I felt the impact of racism and prejudice. I could empathize with the people who were still being seen the exact same way as their predecessors. It was like all of history came crashing down on me. I could never forget that work. I saw that exhibit nearly twenty years ago and I still think about it today. This is the power of Glenn Ligon’s work. Feminist Art Can Help, Too Just as Glenn Ligon’s work helped me to better understand racism, art about women’s rights can, too. Now, more than ever, feminists need to help people see the blatant injustices against women. We still don’t share equal representation in government, business, or the arts. Now, without our consent, men would take our rights away through denying women’s privacy in healthcare. Further, they would criminalize the doctors who would dare to care for women. Yet, in doing so, this action can only conclude in poorer quality healthcare for all people. While words fail to move adamant and controlling people, images may not. Feminist issues have a place in art. As time moves forward, we can do more to raise society’s consciousness about the need for equality for all. Through effective imagery, evocative messages, and work that forges undeniable parallels, people will be moved to understanding.
What the Experts Say According to the Tate "Digital art is a term used to describe art that is made or presented using digital technology." As explained by the British Council this art form has been around at least as early as the 19 60's. Certainly, it drew more recognition in the 19 80's with the development of the paint program. Artists like Harold Cohen, Richard Hamilton, David Hockney, Nam June Paik, and Jeff Wall established the validity of this art form. Not to be ignored, women digital artists like Guan Xiao, Carol Kunstadt, and Rosemary Trockel broke with traditional media while adhering to more formal ideas related to composition. Since that time, digital art has matured into a discipline that encompasses multiple types. Including both two dimensional art, video, film, installation and computer animation, it can also be called Multi-Media Art. Although galleries and museums regularly exhibit digital art, the idea that it is not as valid as other art forms can persist. I admit, I struggled with this as an artist. In particular, as I fell in love with digital drawing, I felt uncertain that my work would measure up to more traditional art media. Luckily, it turns out there are a plethora of ways to create digital art. To understand the idea that digital art is just a way to express artistic ideas, I think about how I explain drawing to my students. First of all, I always tell my students that drawing is about seeing. This can apply to most visual arts. Furthermore, art becomes realized once the artist's vision or idea is executed. Artists regularly employ assistants or manufacturers to create works of art. Inasmuch as an architect utilizes contractors to build the structure based on a set of plans, artists can direct contractors to execute works of art. Likewise, artists use technology to create an artistic idea or vision. What Exactly Is Digital Art? In fact, two dimensional digital art is divided into the following areas: digital photography, photo painting, digital collage, integrated digital art, digital painting, vector drawing, and algorithm/ fractals. Similarly three dimensional works include video installations and computer aided interactive spaces. To this end, each area allows the artist endless possibilities for exploration in subject, composition, and content. And, these properties are universal to all artworks. Consequently, acceptance of the premise that digital art is a valid art form, artists may choose a range of options. For example, an artist who enjoys traditional media artworks can photograph or scan that work and continue working on it as a digital artwork. Also, artists can incorporate video and sound to create art installations. Although we tend to associate technology with the practical and applied arts, the range extends well beyond that. In earlier articles, I have mentioned how art connects with multiple disciplines. For example, math and science both integrate the arts for practical purposes. Yet, in one case a mathematician integrated algorithms and computer modeling to create works of art. Fine artists also blur the lines between graphic design and high art: Andy Warhol and Barbara Kruger come to mind. Making Digital Art Whether you're an amateur artist, student, or professional who hasn't tried digital art, you might be curious about it. Really, I started exploring it for a few reasons. Most importantly, I simply don't have space for an art studio. Additionally, I am a teacher in America. (Subsequently, my great-grandchildren might see a raise in teacher salaries.) In the end, my impulse to create art outweighed my pre-conceived notions about digital art. After conducting a rigorous cost analysis of a virtual art studio versus a real life one, I determined that virtual was better for my budget. Once I knew how much my virtual studio costs were, I decided what technology to purchase. Because I have limited space and I like to draw and paint, I chose the following items: a 27inch iMac co...
Welcome to my gallery of limited edition giclee prints! A Giclee Print is an archival work of art. The print is generated from an original image created by the artist. I create my work digitally. To do this, I hand draw compositions with a stylus and a touch screen tablet using a variety of virtual tools. Despite using virtual tools, I can alter the settings to draw with a variety of media. This gives me control over the marks I make on the artwork. In order to generate a physical artwork, I use Giclee prints. Actually, this is a digital process where the image is transferred onto archival paper using high quality ink. In the end, this creates a work of art that will, when cared for properly, last for years to come.
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The Scholarly Artist Gallery Products
Important Message-Please check with each institution for hours or closures. Due to the COVID-19 crisis, multiple institutions have closed as of March 18, 2020.
Visit Museums and Institutions- St. Louis
St. Louis is a place where you can see and visit art institutions for free or for a very inexpensive fee. Most places are student and family friendly, offering free programs during the week and on the weekend. Experienced art curators and educators bring first rate exhibitions and programs to the St. Louis region. Thus, St. Louis May be a lesser known area for the arts. If you’re interested in studying art for work, school, or inspiration, many institutions offer resources if you know where to look. Find out more by clicking on the links below. I guarantee that even the most seasoned artist will learn something new!
St. Louis Art Museum
The Contemporary Art Museum
Pulitzer Arts Foundational
Laumeier Sculpture Park
Craft Alliance
St. Louis Artist Guild
Citygarden Sculpture Park
The Sheldon Art Galleries
Mildred Lane Kemper Art Museum
St. Louis University Museum of Art
Places to Study in St. Louis
Study and Earn-Teen Programs
Do you know a teenager that loves art? Are you in high school and need a job, but would rather make art? You can actually get paid to make art in St. Louis! If you want to learn more about local programming, check out the links below!
CAM STL Teen Programs
St. Louis Artworks
St. Louis Art Museum Teen Arts Council: TAC
Study and Conduct Research-St. Louis
Craft Alliance Community Arts
St. Louis Art Museum Richard Memorial Library
St. Louis Public Central Library
St. Louis Central Library Archival Collections
Explosive Politics: A miniature Artist’s Book
St. Louis Map Room
Come back to see updated information about local art resources. This site will be updated frequently!
Please take a minute to check out my gallery to see a selection of my limited edition giclee prints!
Why Art Matters
Art plays a role in every intellectual and practical pursuit. Consequently, this cannot be overlooked or unrecognized. Although we don’t spend a lot of time discussing it, artists have traditionally made significant contributions to numerous fields of study. Since ancient times, art has intertwined with engineering, math, science, literature, architecture, and religion. Essentially, art history and world history support each other because it is through artworks that we can understand cultures from the past. It is important to realize, art objects frequently help us understand information about sociology and archaeology. Through conducting research, I hope to illustrate the significant contribution artists make in their own and other fields of study. Therefore, I will curate and write articles about artists, contemporary issues, and history from an artist’s perspective.
THE SCHOLARLY ARTIST GALLERY EXHIBIT
Articles
Local Art Institutions Links
Fortunately, many local institutions offer free admission and allow us to see and learn about all kinds of art in St. Louis. Because of this, I encourage you to explore the information about these institutions which are available on this site. I created this collection of art resources because I could not find a comprehensive list of places to visit and learn about art. In the meantime, please let me know about your favorite places to go see art. For an interactive experience, check out my sidebar for art activities and social media links. Finally, explore my gallery of limited edition prints in the gallery .
Kathleen’s Artwork
Art History and Contemporary Issues
Why is art important to our culture?
Web Media is a growing field in the art world. As people with art and design backgrounds get more comfortable with technology and the demand for user friendly, attractive websites increases dramatically, so do opportunities for exploitation. Propaganda is not new. It has been used for centuries as a tool of influence; particularly of less educated and economically stressed people, by those who would maintain power. We have the weight of history to bear this out: just look at how slave owners used Romans 13 to justify the Fugitive Slave Act, or how the Russian Bolsheviks used propaganda to overthrow Nicholas II in 1917. We have been warned in so many ways that a house divided cannot stand, but still refuse to listen. It’s not surprising that once again, in the face of entrenched racial tension, we find ourselves all the worse for it. A foreign power chose our 2016 Presidential Election to make a statement and prove to us that we are our own problem. Many people are still in denial, refusing to believe the truth about our society: that racism erodes the strength of our country and makes us vulnerable. Can it possibly make sense to condone or even encourage it? Imagine how strong our country would be if we stood together, if we truly loved our neighbors, and stopped fighting each other long enough to pay attention to the real threats we face. Now more than ever, we need to address racism at every level in our communities. We need to recognize the true nature of how it affects the oppressed and act accordingly. As Sherrilyn states, “Our enemies know that race makes us our own worst enemy. It is past time we learn this ourselves.” We can’t let propaganda lead us blindly to act on our worst impulses. Especially when it looks and sounds appealing.
How a Graffiti Artist Turned Photographer is Taking a Stand and Changing the World
https://www.washingtonpost.com/opinions/its-time-to-face-the-facts-racism-is-a-national-security-issue/2018/12/18/f9746466-02e8-11e9-b5df-5d3874f1ac36_story.html?utm_term=.1d54b546deee