2016 Graduates
The following are a collection of essays written by upper-class women in the Art History Program at the University of Illinois Urbana-Champaign. These essays reflect on a key question facing many students in the arts and humanities: What is the role of art in the twenty-first century?
On behalf of the Art History students, we should like to thank the Art History Program, which always challenges students to think critically and to view history and the arts in multi-dimensional ways. We should also like to thank Prof. Anne Burkus-Chasson, who, year after year, works with students to produce these essays, giving the Art History students the opportunity to be included in this catalogue. Lastly, we should like to thank the College of Fine and Applied Arts and the College of Liberal Arts and Sciences, which together are helping to make the humanities one of the most exciting fields today.
Introduction
by Molly Wagner
On the nineteenth of February this year, three Palestinian men were shot to death in three separate incidents, following attacks on Israeli officers in Jerusalem. On the other side of the world, crowds roared as American presidential candidates announced their uncompromising positions on foreign policy, immigration, and the dangers of the country’s Muslim population. Refugees fleeing civil war in Syria were denied asylum in Turkey and France. As if this were not enough, it is predicted that planet Earth will be uninhabitable within another century. An environmental crisis has already manifested itself in species extinctions, erratic weather patterns, and a massive island of trash (estimated to be the size of Texas) swirling in the Pacific Ocean. The very environment that upholds human life is in a crisis that demands immediate action. Yet, action is repeatedly thwarted by a lack of cooperation among nation-states. Indeed, the refusal to work together is what brings about many of the social, political, and environmental problems that we face. Human beings currently live in a globalized world that increasingly necessitates the formation of communicative bonds. How can antagonistic forces be unified to form a solution? How can a space for mutually respectful conversation be created? Art, and art history, may just be the answer. For the study and understanding of art—one of humanity’s most unifying activities—becomes a potential ambassadorial pursuit.
Even at the individual level, the impressions that art leaves on the mind are remarkable. Neuroscientist Oshin Vartanian has found that even viewing art uncritically induces contemplation and the stimulation of the brain’s reward center. A study conducted by the University of Westminster reveals how art can alleviate stress. Another study observes that those who attend art-related events at least once a year were “more likely to participate in various civic associations, exhibit greater tolerance towards racial minorities and homosexuals, and behave in a manner which regards the interests of others above those of oneself.” Thus, we may conclude that art has the capacity to heal and to enlighten. Art, after all, is gratifying; it encourages its viewers to pause and consider before acting, to devote themselves to greater causes. Introducing people to art in galleries or exhibitions can potentially nurture the climate of altruism and responsibility that the world, now more connected than ever, needs. As curators and scholars, art historians and their unique body of knowledge are crucial in facilitating platforms of dialogue between artist and viewer in which people can be educated and inspired.
To practice art history requires a massive network of information. Art never exists in a vacuum. A viewer can glean everything from political, economic, psychological, and cultural perspectives in the peculiar curvature of a single stroke of ink; a single painting can reveal the entire societal ecosystem of an era. Yet, contrary to popular belief, art is not necessarily a “universal language.” Like any form of communication, the gestures and symbols of art are semiotic constructions. Although cursory glimpses of art have been shown to be beneficial, looking with a learned eye can be dramatically illuminating. Studying the rich cosmology behind the Dogon culture’s Seated Couple, or the visual plays on word that proliferate in Chinese art, yields an immense appreciation for the awesome diversity of culture in the world and the depths of meaning and experience invested in the simplest objects. Like many clichés, the phrase “a picture is worth a thousand words” rings true. Still, what a picture embodies is never immediately clear or obvious; meaning is something that requires work. But, with work, are the beginnings of conversation and understanding.
More Than Leisure: How Art History Can Save the World
by Tiffany Diep
To observe the exterior of the discipline of Art History, it appears to be elegant and graceful, just like the silken surface of a Japanese kimono. And yet, it is unfortunate that the study of Art History is often mistakenly perceived as being directed only to a social elite. In fact, despite the stubbornly held perception of its “alluring” exterior, the focus of art-historical studies seems to be shifting to include the more vernacular aspects of what is called “visual culture.”
Art History has been constantly moving from creation of huge, canonical works to taking a multi-faceted approach within the field of visual culture. The study of visual culture, by contrast, tries to communicate and engage in a wide range of complicated topics that are not merely about aesthetics: topics such as identity, gender, social and political values, and even the nature of humanity. Further, the media with which the field is engaged vary from motion pictures and fashion design, to other forms of popular culture, besides what has ordinarily been acknowledged to be “art,” media such as painting and sculpture. It is astonishing to see that many contemporary artists do not separate high art and popular/visual culture. For instance, more contemporary artists enfold traditional techniques of fiber art into their own work, but twist its use to create unorthodox forms, and thereby address current social and political issues. Another example of integrating visual culture includes one of the most rapidly evolving fields—that is, science. Many artists incorporate scientific imagery and theory into their artistic practice, intensifying the interaction between science and contemporary art/visual culture. For example, Wim Delvoye’s ongoing series called Cloaca perceives human beings as cyborgs and makes a tight relationship between the human digestive system and biomechanical contraception. As is clear in today’s art world, many twenty-first-century artists wish to interact with enlightening new thinking and to participate in this dynamic field of study.
Art History has broadened its interests in tandem with art of the twenty-first century, which engages a variety of materials and means, including the latest electronic technologies. Excavating inspirations and diverse concepts from various areas of culture, studying Art History moves well beyond the mere history of fine art and design.
The Vernacular and Visual Culture
by Kyoungseo Hong
In a recent trend that some might call silly, coloring books marketed towards adults are on the rise, flying off the shelves, and becoming national best sellers. What was once considered exclusively a pastime of small children is now encouraged for adults. Adults have gravitated toward coloring for three main reasons: nostalgia, stress relief, and a frustration with technology. Coloring is simple and satisfying. Filling in shapes with color and creating a form of art are much more enjoyable than the usual activities of an adult, such as attending important meetings, taking phone calls, or doing laundry. Coloring allows the mind to be still, relieving stress. Upon the completion of a coloring sheet, there is an inherent sense of accomplishment that fills the person who colored it, no matter what age. Most important, coloring is a tech-free activity, an old fashioned game of turning a black-and-white image into personalized art.
It is not surprising that museums and other cultural institutions, the main purveyors of art in society, have started making coloring pages of their own. Early this year, in January, the New York Academy of Medicine in partnership with the Biodiversity Heritage Library launched a program they called “Color Our Collections.” The NYAM encouraged libraries and other institutions with special collections to find images good for coloring and post them online publically under the hashtag #colorourcollections. Soon, hundreds of libraries, universities, and museums were posting their own coloring pages, free to the public, and ready to print out and enjoy. Some of the coloring sheets posted are intriguing and strange: drawings from Albrecht Dürer, for example, or scenes from medieval illuminated manuscripts. Most images posted, however, are prints, scientific illustrations, and pencil drawings that mainly represent flowers and animals, all of which lend themselves perfectly to the activity of coloring. According to the NYAM, the event was only intended to take place from February 1st through 5th, but museums and libraries continue to post under the hashtag. Some have moved on from Facebook, posting on Tumblr, Reddit, or directly to their own websites. Institutions from the United States National Archive, the Getty Museum, and the University of Missouri, to the Spurlock Museum at the University of Illinois Urbana-Champaign have all made sure to take part in the trend.
Museums and libraries taking advantage of the rising popularity of coloring is an instance of the growing trend of cultural institutions to cater to and entertain the public. With the failing economy, the rise of technology and social media, fewer and fewer people are venturing out to experience museums. In the past, museums were viewed as the ultimate authority of knowledge in a community. Now museums have to compete not only with a general population that is perfectly happy staying at home but also with other weekend activities that are more impressive, such as theme parks or concerts, all of which translate nicely to the bragging rituals of social media. It was wise for museums and libraries to participate eagerly in the fun, new trend that the NYAM started. By posting coloring pages a museum can educate the public about some artifacts for which they are responsible, engage with the public in an entertaining and interactive way, and remind the public, through social media, of the museum’s existence. In the current state of things, it is growing more and more challenging for museums to survive. Taking part in pop-cultural trends is a good strategy in self-promotion for museums that struggle to keep themselves relevant.
"Color Our Collections" Mania: Museums Respond to the Adult Coloring Book Craze
by Megan Koeller
The state of art history, and of the humanities in general, seems to be a growing issue for public universities across the nation. Funding is decreasing; enrollments are diminishing; the faculty is dwindling; and graduate programs are disappearing. It is disconcerting to me that in a globalized world—in which there is an exponential need to process and understand visual media—an integral part of a liberal arts education is ripping at the seams.
Through exploration of the humanities we learn how to think creatively and critically, to reason, and to ask questions. Because these skills allow us to gain new insights into everything from poetry to paintings, from business models to politics, humanistic subjects have been at the core of a liberal arts education since the era of the ancient Greeks. Professor David O’Brien, chairman of the art history program at the University of Illinois Urbana-Champaign, emphasizes these points, explaining that the interdisciplinary nature of a liberal arts education enriches your life, making you a better citizen and critical thinker in a way that allows you to come to terms with yourself. Furthermore, a liberal arts education provides a conviction to do better in the professional world with a flexible skill set that manifests itself in multiple fields. If this is, in fact, the ultimate goal of the liberal arts, then why are institutions across the nation finding it more difficult to find funding for this sort of critical thinking?
I think a lot of the issue stems from misconceptions surrounding the humanities. Art history, for instance, is more than a history or a study of images. It is a lived history that logically articulates a voice that is empowered by the image in the present context. It is about really understanding the political, economic, and social conditions under which works of art have been produced. It extends to the lives of artists and is constantly being written, rewritten, and interpreted in new ways. Now, more than ever, in a visually stimulating world, our experience of pictures, images, and visual media are the driving forces of identity. Not to value their role and unpack their meanings is problematic, because the history of art and visual imagery finds its way into all aspects of life. As a discipline, Art History places its students in sometimes difficult and uncomfortable situations, allowing them to rise to the occasion, challenging them to think and understand complex ideas in different ways. Art History, together with other disciplines in the Humanities, produce students who can articulate thoughts with critical insight and discuss them in multiple forums, including the written word. Thus, I return to the idea that a liberal arts education provides an opportunity to learn a critical skill set that can be applied to an endless number of professional fields.
If we understand that there is an inherent value to an educational model within the humanities why is it not reflected in the budgets and funding realities we are currently facing? Professor Terri Weissman, Director of Graduate Studies in Art History at the University of Illinois Urbana-Champaign, attributes this lack of funding for critical thinking to the fact that “education has become instrumentalized,” in the sense that receiving a degree that promotes an interdisciplinary way of thought no longer seems to be a desirable reality. We have become so focused on measuring education with quantifiable skills that it creates a fantasy that subjects within the humanities are somehow less valuable. The problem with this educational design is that we have no way of knowing what sort of specialized, quantifiable, and practical skills will be useful for students five years from now, let alone beyond that. Instead, we need to recognize the importance of an education that privileges analysis, interpretation, and an informed understanding of how ideas of the past help us to interpret the present and formulate the future. An interdisciplinary education that emphasizes these critical thinking skills is something only the humanities can provide.
Given the fragile state of the liberal arts today, it becomes more relevant now than ever to consider what this means for the future of the fields affected and the implications for students and faculty. There seems to be a fear among academics that if trends in funding and budgets continue, as they have been recently in public state institutions, then smaller fields such as Art History will eventually become something that can be studied exclusively at private institutions. However, If we can break free of the notion of an “instrumentalized” standard of learning, I believe the value of a liberal arts education becomes clear. Because we study history or English literature, we need not become academics in these fields. We can think beyond the major. Although academic positions in Art History are becoming fewer and farther apart, the strength, value, and validity of a liberal arts education can take its students far. Regardless of what seems like the impending tragedy of the humanities, I hope that eventually we can see the arts as an opportunity to seize.
The Vaule of Arts
by Makayla Mays
In a world of globalization, the dissemination of art is a common occurrence. Although Pinterest and Tumblr are fantastic modes of public art circulation, the popularity of sites such as these seem to render the typical art historian’s role irrelevant. Anybody with internet access can curate their own personal archive in accord with his or her own taste. So where does today’s art historian work? In a museum whose social place is still defined by nineteenth-century criteria? In lecture halls full of uninterested students where they ferociously argue for their superior skills in curation? Instead of focusing on the limitations of “traditional” art history, I shall address the constants within this field and offer some suggestions for its realignment.
In terms of establishing democratic taste, the internet has had the most impact since the printing press. Digital content is widely accessible and influential in the formation of opinions, especially with regard to visual and auditory art forms. Social media sites, such as YouTube, Tumblr, Pinterest, and Instagram, allow participants to circulate their own creative practices and broadcast their personal perspectives. This creates an expansive network of personally curated archives of taste. However, in this digital age, there is a strong push towards non-digital, active experiences. Art historians have the chance to facilitate the development of these experiences.
Since art history as we know it began, art historians and critics have been the guides of public opinion. Now, with the advent of globalization, it is absolutely vital to stop trying to manipulate public opinion, but instead become proponents of public involvement in the arts. Whether through lectures, curation, or writing, art historians should act as what I shall call “experience curators.” This means that, in addition to establishing historical foundations for the study of art, there can be contemporary involvement in the arts.
Experience curators are fluid thinkers, who interact with the creative world around them. Thus, students of art history studying alongside artists have a distinct advantage. Student artists and art historians together can influence one another, so that they are constantly evaluating and expanding their creative practices. This creates a symbiotic relationship between art makers and historians that benefits the public through real life involvement. Whether it is dance or new media, painting or theater, art historians should produce meaningful experiences for the interpretation of the arts.
Experience Curators
by Erin Nottrott
Just one month after the War of Independence, George Washington, the soon-to-be first president of the United States, wrote in a letter: “To encourage literature and the arts is a duty which every good citizen owes to his country.”
Since our nation’s earliest days, its leaders have recognized the crucial role the arts play within society. Today, however, the humanities are in peril. According to the National Endowment for the Arts, in 2012, just 33.4% of adults attended core art-related events. This figure reveals that participation in art-related events, once thought of as a duty of good citizenship, has fallen by the wayside in the 21st century. Similarly, although liberal arts degrees were once championed as providing the necessary foundation for critical thinking and innovation, the past decade has brought considerable criticism to the humanities, marked by a growing favoritism toward STEM fields.
In a 2014 speech, President Barack Obama controversially stated, “[A] lot of young people no longer see the trades and skilled manufacturing as a viable career. But I promise you, folks can make a lot more, potentially, with skilled manufacturing or the trades than they might with an art history degree.” Although the speech in its entirety gave needed support to technical education, the president’s jab against the humanities left many with an unsavory taste. For me, however, the comment reveals an interesting coincidence between the economic downturn and the state of the arts in the United States. When the economy dips, the arts are the first to be placed on the chopping block, perhaps demonstrating the need for a renewed public approach to the purpose of arts in America.
Recently, I had the opportunity to participate in a people-to-people study trip in Havana, Cuba, where I met community leaders, agricultural workers, teachers, chefs, museum workers, tourism industry workers, dancers, musicians, and artists. Throughout the trip, I constantly encountered Cuba’s unique and multidimensional culture, as well as the vital role the arts play within local communities. Cubans have combined skilled labor with the arts to revitalize stagnant communities and to teach local youth professional skills. This remarkable intersection of the arts, community, and technical training comes out of the most severe economic crisis Cuba has ever faced.
In 1990, after the fall of the Soviet bloc, Fidel Castro announced Cuba’s entry into a “Special Period in a time of peace.” The collapse of Soviet Russia ended Cuba’s access to subsidized gas, thus creating an economic disaster. During the Special Period, Cubans faced famine, power outages, and poor public transportation. Still, today, the Special Period looms large in the public consciousness, and the hardships they faced are often discussed. A worker from the tourism industry explained to me that during the Special Period, many families were forced to substitute several meals a week with sugar water, which sometimes led to temporary blindness and malnourishment. Limited government funding left many communities with insufficient resources to maintain local programs and facilities. In response, independently funded community arts programs flourished across the country, filling the gaps left by the government.
During my brief stay in Cuba, I visited Artecorte, a project that trains local youth to be barbers. It is funded by a museum specializing in restored barbershop chairs. In the countryside, I walked the vibrant fields of La Coincidencia, a farm that combines ceramics and agricultural production. I visited international artist José Rodríguez Fuster’s community beautification project, admiring the town’s many colorfully tiled facades. Although the projects I encountered differ greatly in goals and approaches, they all contain one underlying theme: the symbiosis of culture and economic production. Each of these projects utilized the humanities as a method to better their community in the face of severe economic strife and uncertainty. In a discussion with Ernesto Quirch Paz, one of the founders of Muraleando, a community arts project that teaches young people painting, dancing, and music, he explained with great pride that local arts projects can be found in many towns across Cuba.
Perhaps in the United States, the reason that, during times of economic crisis, the arts are the first victims of public scrutiny and financial cuts is because the public has wandered dangerously towards stuffing the arts into a singular and one-dimensional box. However, as the Cuban response to incredible suffering reveals, the arts flourish in conjunction with, rather than in opposition to, technical and STEM fields. We find this phenomenon not only in Cuba but also in the United States, exemplified by the Works Progress Administration. As education continues to change in the digital age, our nation needs to stop treating the arts as an “extra,” because, as I think George Washington would agree, a nation without culture is a nation without a people.
Bull or Bear: The Arts in Despair
by Molly Wagner