I really enjoyed the way this week’s readings all had interrelated themes and concepts but were also unique in the message they shared. In Allison Carruth’s “Urban Ecologies and Social Practice Art,” my main takeaway was that different artist collectives utilize the “capacity of storytelling [through art] to reveal the connections but also the fault lines between different urban terrains” (5). Thinking about how my community partner has central programming related to art in different capacities, I think they exemplify the “fluid boundaries between art, writing, media, design and activism within contemporary environmental culture” (2) that Carruth references, while also employing participatory projects to “create spaces and experiences where the logic of a situation disappears” (4). Something I found intriguing were the opposing viewpoints to social practice art that Carruth identifies, writing how critics “voice concern that social practice overemphasizes political activism and social engagement at the expense of aesthetic technique and artistic innovation” (2). Although I can understand why this would be a concern, I don’t think there necessarily has to be a dichotomy between the two. I would also venture to say that this dynamic is more harmful to those embedded in the art world who are more familiar with the specific nuances of aesthetic technique and artistic innovation. I think it’s more important that the community that the artist or artist collective seeks to impact can understand the political activism and social engagement that is being communicated through art in a way that makes sense to them.
Sonya Childress’ “Beyond Empathy” article was very insightful, and I feel like it touched upon a number of dynamics that I’ve discussed in my classes that center on social and cultural analysis, race, etc. I appreciated her identification of the prevalence of lenses of whiteness in documentaries that aim to humanize issues that affect marginalized communities. I liked her conclusion that beyond empathy lies solidarity, but I would’ve liked to see a deeper interrogation of the intent of filmmakers besides putting a face on (insert social issue or marginalized group here). Thinking back to Eve Tuck’s article on damage-centered research, I feel like in documentary filmmaking there is sometimes an exploitative nature to the desire to document. Although she mentioned Ava DuVernay, I also would’ve appreciated an acknowledgement or direct address of the difficulty that marginalized people face in not only creating and controlling their own narratives, but having the physical, economic, etc. means to do so.
I thought Nyssa Chow’s “The Story of Her Skin” was a fascinating and wonderfully executed method of storytelling. The different mediums she used, from photographs to videos to interviews, did an amazing job of immersing the reader into the story of her family while weaving in a necessary and useful context. I particularly liked the work she did at the beginning, setting the stage by including videos of what an average night in Poole might sound like and including the voice of Sassa. I thought it was interesting how the different generations of her family grappled with their Blackness in different ways, and how they simultaneously bonded by blood and divided by their different physical appearances.