Johanna Blakley

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Archive for art

New Tools for Measuring Cultural Engagement

NEA_Art_Works_logo

I was very pleased to be invited by the National Endowment for the Arts to participate in a lively symposium addressing perhaps the most important issue in the arts these days: how do we justify public funding for the arts?

For those of us who frequently attend arts and culture events, the question seems silly. Doesn’t everyone realize that humans are hard-wired to respond to compelling stories and visuals, whether they manifest themselves as sculpture, video games, concerts or novels? Isn’t it clear that music and movies can bridge the most profound political divides and move hearts and minds?

As we see arts programming melt away in cash-strapped public schools, we have to acknowledge the awful truth — that arts and culture is considered a luxury, not a necessity, and justifications for their value must be proven rather than assumed.

Both the NEA and the UK’s Arts & Humanities Research Council, which co-sponsored the symposium, position themselves as agencies harnessing the power of art, culture and leisure to improve the lives of citizens and invigorate and strengthen communities. The problem, of course, is proving that their funding strategies actually achieve these often hard-to-measure goals.

Measuring Cultural Engagement: A Quest for New Terms, Tools, and Techniques summarizes a two-day session that brought together a wide range of researchers, using both traditional and new-fangled techniques, to describe and measure the myriad forms of cultural engagement that take place in all types of physical and virtual spaces. I’m hoping that this report will jump-start an international effort to revisit our presumptions about what counts as cultural engagement (Instagramming a photo from a museum, for instance) and taking advantage of new technology to better measure that engagement. Arts and culture organizations should feel more confident about the possibility of measuring the impact of their work, not only to fundraise but also to make the crucial course-corrections that all creative enterprises must make when they are committed to achieving complex goals.

You can read another blog of mine about the Symposium here and you can follow the conversation on Twitter: #NEACVP

Experimenting with Space & Reinvigorating Modernism

GambleHouse

I’ll be joining artists, critics and curators for a two-day conference about experimental art installations in modernist house museums. Anyone who follows me on Instagram knows that I was completely smitten with the Competing Utopias installation at the beautiful Neutra VDL House. It was a brilliant mash-up of East/West Cold War aesthetics and ideals that revealed how powerful and intellectually venturesome an art installation in a historic home can be.

And so I’m really excited to be involved in this upcoming conference October 4-5, 2014.

Invention: Contemporary Artists and the Modern House responds to the curatorial shift in the maintenance of house museums, in which directors are supporting increasingly transformative art installations that both challenge and celebrate the modernist landmarks. These collaborations with artists point to alternative preservation strategies, which move away from the conservation of historic homes as static objects and instead affirm the importance of human occupation and transformation. The conference will host a series of conversations between house museum directors, curators, artists and architects to reveal the curatorial motivations and artistic processes behind these interventions.

I’ll be joining Mark Allen, the incredibly creative guy behind Machine Project, and Ted Bosley, the Director of the Gamble House, for an intimate conversation about Machine Project’s playfully irreverent installations and performances at the historic Pasadena home. Be sure to check out the entire conference schedule (Oct 4-5), which takes conference goers to the marvelous MAK Center on King’s Road (built by Schindler), the Neutra VDL house, and Frank Lloyd Wright’s Hollyhock House.

All events are free to the public. To register for the conference, visit the registration page.

Measuring the Impact of Art

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Last week I attended a high-caliber symposium co-sponsored by the National Endowment for the Arts (NEA) and the UK’s Cultural Value Project. They brought together a dizzying array of researchers (demographers, cognitive scientists, arts policy wonks, “recovering” academics, etc.) to discuss how we ought to measure participation in arts and culture on the local, regional, national and global scale.

“Participation” and “engagement” are key metrics for arts institutions and their funders. But the inquiry often ends right there. I think the vast majority of people in the arts – including artists and administrators – take it as a given that art has a beneficial effect on society. I happen to agree with them. Wholeheartedly. But many powerful people in this world – including those who hold the purse strings – are not necessarily convinced. Funding for the arts is paltry compared to expenditures on science, where, lo and behold, we have a lot of convincing evidence about the importance it holds for humanity. Read the rest of this entry »

When Life Meets Art: Dinah Lenney at TEDxUSC

One of my favorite performances at TEDxUSC this year was by the actress and writer Dinah Lenney, who explored the connections between life and art. I can’t help but think that her training as an actress has made her a bit more sensitive than the average writer is about the “reality” of fiction and the visceral connections it forges between representation and material existence. Through a series of poignant and funny tales, Lenney explains why it is that she is more awestruck by a painting of a tree than the tree itself. To her, it’s the human intervention, the longing to capture in art something that simply occurs in nature, that gives her a sense of awe.

I was reminded of Jean Baudrillard‘s infamous formulation of the simulacrum: he argued that a really compelling representation of something (a picture of a sunset, for instance) may all too easily become the primary referent for the real thing (e.g., the actual sunset). Whenever you find yourself saying, “Hey! That looks just like a postcard!” then you have become subject to the allure of the simulacrum. But while Baudrillard bemoans the dehumanizing aspects of this displacement — this re-placement, as it were — Lenney celebrates it. She sees how important the witnessing of that sunset actually is: a human tried to tell us about it through a postcard, and the message was received.

Viva la simulacra!

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