The Urn

Yesterday we visited the Tyler Art School division of Temple,

Melissa Rachleff writes in “Letting Go? Sharing Historical Authority in a User-Generated World” discusses how it is less analytical for artists to create projects which are very different from our past, nowadays we are constantly looking to the audience. Over and over arises the question of historical authority….who actually has it? Turns out, most of this “authority” is left to one big word. Interpretation. Members of the community , maybe former school teachers, and never irrellevant or forgotten; the artists who exist in life outside of the rules. As far as mu experiences as an artist, well, I have found it to be a naturally more collaborative process wins artists over more often than not. Melissa Rachleff seems to agree with me on that, we are constantly facing the issue of audience, and it is becoming more and more difficult. The bonus here is that artists, for the most part, they just don’t care about audience.

John Kuo Wei Tchen and Liz Sevcenko discuss the conventionalty of historical work as seemingly full of red tape, in a way. It may devalue the work of history automatically without even trying, possibly undermining a whole culture. A sort of “hidden history” is born from this, hidden from, as John Kuo Wei and Liz Sevcenko refer to as “a master narrative”.

And as for social conflict? Well, this religiously assertive depiction of an URN reflects directly on this artist who may very well be juxtaposed to the artistic social climate at Temple. The question is, Can we have that discussion? We mustn’t be afraid of simplicity, the URN, front and back, layden with the death scenes of Christ from the bible, mustn’t be perceived as oversimplified.

Not to remain trapped.

 

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