Creativity Post

What Is Art? What Is Craft? Whadda I Care?

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Philosophy professor Mike LaBossiere has an entry on Creativity Post in which he discusses the issue of defining art. He cites one of the creators of the Penny Arcade web comic, Jerry Holkin, recent statement resisting conventional definitions of art.

“I don’t think I’ve ever read a definition for art that wasn’t stupid. Generally speaking, when a person constructs a thought-machine of this kind, what they’re actually trying to do is determine what isn’t art. I have always been white trash, and will never cease to be so; what that means is that I was raised with an inherent distrust in the Hoity and a base and brutal urge to dismantle the Toity. This is sometimes termed anti-intellectualism, usually by intellectuals, when what it is in truth is an opposition to intellect for intellect’s sake. The reality is that what “is” and “isn’t art” is something we can determine with a slider in our prefrontal cortex..”

For reference, Holkin’s comment is associated with this particular strip. (I am actually an avid Penny Arcade reader, too.)

When I was in grad school one of the first classes I was in took up the discussion of the differences between art and craft. We spent a few classes on the topic and read a number of articles debating the differences. In the end we arrived at no set definition. While I think the exercise of trying to arrive at a definition was valuable, I didn’t saw a reason to worry about the distinction. I have never been plagued with doubts that the projects with which I am involved might be craft rather than art.

There have been a few times when I have been concerned that the quality of the performance might not be equal to the price of admission, but outside reading articles like LaBossiere’s I generally forget a distinction is often made.

Which is not to say that I do not make a distinction between what is and isn’t art. Like LaBossiere, there have been instances when I am certain a hoax is being perpetuated. Most things I have no trouble giving the benefit of the doubt, but occasionally I am incredulous at what is enshrined as art. When I visited the Philadelphia Museum of Art this summer, there were one or two galleries that left me incensed to think the contents were considered art. One of my visual artist friends explained how ground breaking the concepts were, but I still left pretty angry.

But I recognize that is personal and when I have these experiences, I don’t fume off to post denunciations.

As I read LaBossiere’s post it occurred to me that the NEA’s recent effort to classify a wider range of activities as participation in artistic pursuits will be in vain unless those considering themselves artists and arts professionals relax their own definitions. This may seem implicit in the NEA’s effort to widen the classification, but it is one thing to recognize that manipulating digital images is arts participation and another to have the product acknowledged as art.

Now I have already acknowledged there are some things I don’t consider to be art and that I am discerning about the quality of work I will present in my venue. Am I saying people in positions like mine need to give stuff we think is crap more exposure?

Well, not me of course, I am talking about all those other artists and administrators with their elitist attitudes. They need to relax and get off their high horses.

No, of course I am talking about me, too.

I don’t think I need to necessarily compromise on my standards of quality, but I can always do a better job of entertaining a wider range of types of artistic expression. Part of that will require educating myself about these different types. I am grateful that my daily life brings me in contact with many opportunities to do so. I need to take advantage of more of them.

Ultimately, I think if the NEA, Americans for the Arts, foundations, etc want to shift the public view of what constitutes arts, culture and the participation and creation thereof, they will need to devote a little time to communicating with those of us already involved in what has traditionally been recognized as arts practice.

It can’t entirely be about bringing the public around to the arts community way of thinking and considering themselves one of us. Efforts need to be made to encourage the current arts community to meet the general public part way and acknowledge their practice is valid and that they are in fact, one of us.

For all the elitism in the arts, I think arts people will have the easier job of shifting their perceptions. One of the benefits being touted about the arts is an ability to accept situations with no distinct right or wrong results. While one of the key practices of classification is to define what something is and is not, the vast majority of arts people don’t really cleave strongly to concrete definitions. While there are plenty of people who will happily go on at length, about what characteristics disqualify a piece from being considered post-modern, by and large most people won’t lie awake at night worrying about it.

I have some additional thoughts on the idea of arts organizations working to complement the efforts of national organizations like the NEA and Americans for the Arts which I will relate tomorrow.

Stuff To Ponder: Curtain Speeches

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I was reading an entry on the Creativity Post by Thomas Mark about how important audience attentiveness is in live performance. It was interesting, but I wasn’t intending to post on it…until I read the last paragraph.

A crucial moment for establishing the relationship of audience and performer is immediately before the performance begins. Let me explain. People arrive, find their seats, and begin to turn their thoughts from daily affairs to the performance ahead. At last, the house lights go down. Everyone falls silent. That is the magic moment, the short period of greatest attention and receptivity and anticipation,… At any rate, that’s what should happen. Unfortunately, what actually does happen far too often,… Instead of allowing the performance to begin, the chairman of the board or the executive director or someone appears with a microphone and makes a fatuous speech. “Welcome ladies and gentlemen . . . blah blah blah . . . [insert a lame joke here] . . .blah blah blah . . . CDs available in the lobby . . . blah blah blah . . . The annual patron’s reception . . . blah blah blah . . . Our gratitude to our sponsors . . . blah blah blah . . . Turn off your cell phones . . . blah blah blah . . . Thank you, and enjoy the performance.” Not so easy, any more. Anticipation, attention, and receptivity have given way to irritation and impatience. The magic moment has been irretrievably shattered, leaving performers and audience to pick up the pieces as best they can. This kind of disregard for the conditions of artistic performance by the very people who organize the event is unpardonable. When it happens audiences and performers are entitled to complain vigorously.

Now, as someone who does deliver a curtain speech, I felt the need to take up the subject. I will concede that the curtain speech, poorly done can add a sour note to an evening. In light of all the interruptions that occur during a performance, the incessant ringing at Avery Fischer Hall being the most publicized recent example, such announcements are certainly appropriate, if not always effective.

Many locales require fire and emergency announcements be made and doing these in person rather than by recording is usually most effective. I saw a performance in NYC earlier this month and the fire/cell phone/recording prohibition announcement was made via a recording. While the volume and clarity was excellent, people were still standing and chatting while it was going on.

Having someone make the announcement does help to transition the audience from the arrival phase of the experience to the performance experience. I would agree that delivering the announcement after lowering the lights does interrupt the audiences experience since the lights also signal a transition. I generally go out while the house lighting is still at full. Though some times we bring them down to 3/4 or 1/2 to signal my arrival.

Obviously, there are other ways to provide the same information. The artistic design of some shows precludes my appearance and the salient points are delivered by an audio or video recording or even a performer.

Overall, I think a personal welcome to the audience is helpful to the organization, especially if well-considered. I generally talk very briefly about the show and why we chose to present it as a way to prepare people for the experience.

A lot of work is invested in performances and performance venues have many guidelines for the behavior of the front of house staff in order to provide a good attendance experience for audiences. But often very little effort has gone into the preparation and delivery of the curtain speech. Given that the attention of everyone is on the speaker at the same moment, it is most assuredly contributes to the experience.

Content matters. I actually start thinking about what I am going to say the day before the show, make notes and pare it down to 2-3 minutes max. I am not always successful in making silky smooth transitions into the show, but I do keep it brief and get off the stage.

Very rarely do I mention the next show and only solicit donations obliquely by thanking the audience and expressing my hope that they will continue to support our programs. Maybe I would get more donations if I was more direct and I think I can still find some good phrases to use that will indicate our need for donations without being overtly pushy. Honestly though, I don’t really know that making a general appeal before a performance is terribly effective as a fundraising technique.

In the moments before a performance, I think the focus should be on the immediate experience and not on future concerns. I have posters and a television screen and ushers with brochures in my lobby to push my future shows. In the 2 minutes before the show starts, the audience should be guided toward why the experience will be enjoyable. I am sure I am not the only one who has found themselves slightly disappointed by the movie they are watching after seeing preview trailers for the exciting movies coming the next summer.

People certainly don’t want to be thinking about your financial woes just as they are about to see a performance (though the curtain speech may be a good time to address them if the situation is widely known by the public.)

Many audience members can’t discern between for-profit and non-profit organizations and their respective performances. It’s great that people don’t feel the quality of non-profits are lacking, but it also means they may not particularly feel their lives would be worse should the non-profit disappear. We certainly don’t want to have people identifying long boring, speeches and appeals for money as a distinguishing characteristic of non-profit events.

I would be interested to know what other people think. Is there a better way to do curtain speeches? What things should be left out or are better accomplished in some other manner? What things not typically found in curtain speeches should be included?

Even Great Artists Need Recess

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I may be beating a long dead horse here but last week the National Endowment for the Arts linked to a NY Times article from their Twitter account asking what people thought. The article in question was about how public schools in NYC were having arts classes during recess. I tweeted in response that I thought it was great, but that when I was a kid, I had art, music AND recess. The title of the article touts the school as being highly rated.

While I am happy these kids are getting some arts exposure, I wonder how it can really be seen as an improvement and a credit to their high rating that they had to do it during recess. It’s a shame that that the only time students can have the experience. It is with some chagrin that I tell the story of my first day in high school where I was trying to figure out when we would be allowed outside for recess. The memory of realizing I wouldn’t be having recess any more still causes a little ache.

I have to wonder, is there really so much more to learn these days that they have to squeeze arts classes and recess out? I know arts get cut for financial reasons, but if a school has the resources to offer it during recess, then they could offer classes as well, right? It has been 30 years since I was in elementary school, but I don’t think there have been that many developments in history, reading, mathematics and science in that time that can’t be covered in the course of all the elementary years of school.

If they have to spend so much additional time teaching and testing material for kids, that must mean those of us in the previous generations fell short of learning all that was required of us, correct? I quake in fear for what it will mean for me when these kids grow up and bring their superior knowledge capacity to bear, pushing me out of my job.

Okay, while it may indeed happen one day that my knowledge will be obsolete compared to younger people, I am fairly certain it won’t all hinge on the differences between what we learned in elementary school. In fact, I may retain my superiority over them simply because of the freedom of recess I enjoyed in elementary school.

Dr. Todd B. Kashdan recently had a piece on the Creativity Post about this very topic. (my emphasis)

If you want children to do well in school, give them dedicated time to play, sing, dance, build something out of wood, or whatever their fancy. There is a myth that time spent in these activities is time better spent cramming in more information for all important high stakes tests. Unfortunately, the brain doesn’t work that way. We each have a finite amount of willpower and when this willpower is exhausted, carrots and sticks are not going to change this fact. Our brains need time for restoration and replenishment. Discover what kids are passionate about and set them free to pursue it. Let me repeat that, set them free. Do not overly structure their recess. Do not overly structure their play time. This is a time for them to recharge their batteries. In return, you will get a greater frequency of creative, curious, critically thinking youngsters. You will get attentive, engaged students.

There is a great NY Times magazine article on the science behind the finite nature of willpower. There is a shorter version of the information on NPR if you don’t have the willpower to read the article. 😉 (Though as you will learn, you might be able to get some will power by eating a cookie!)

The more I read about the importance of allowing kids free time, the more I appreciate that my elementary school emphasized self-directed learning. (Albeit under the withering gaze of nuns which I am sure counteracted some of the benefits the freedom afforded.)

It occurs to me that arts people shouldn’t just be advocating for arts in the schools, but the free time to explore and express it. I am sure artistic and creative people are well aware of examples from their own disciplines in which a strict teaching environment has had a stultifying effect on the development and joy of young students. The advocacy can’t simply be about providing arts education if it is bereft of an opportunity to play. If students choose to spend their free time peering down at a cell phone texting their friends, it may be in part because they were never provided the opportunity and encouragement to spend it any way else.