Nov 15, 2012
commented on 216 Nipples Later
Dear Ms. Arnold,
"personally, I'm struggling with it being actual, literal, sexual harassment in any context."
That is a quote from your facebook page. You wrote that November 8th. It is directly under the quote Ms. Graves pulled from Mr. Schorr calling the employees of Cornish who are at the heart of this issue "Pussies." A comment that as Ms. Graves notes you "liked" on facebook and have not in the interim "unliked." So when you say you are not "unsympathetic to the women who were adversely affected by the presence of the piece in their workplace." It seems a bit disingenuous.
(because anonymity is boring but I don't want to change my settings for this thing)
Apr 4, 2012
commented on The Cost of Art School
If they were Cornish students they probably would have gotten the tuition right. I think it's 32 K a year next year so $75,000 is way too low. Also there's no way the faculty would have removed that I'm sure the administration/security did I can't believe it was there for two weeks. If they intentionally spelled dispenser wrong the piece is way funnier. Also I really want an artist who did go to Cornish to remake the piece and then place the photographs next to each other because though the clever/satire/commentary level is super high and awesome aesthetically it's failing a little. (Also a Cornish Grad. Also totally not offended.)
Jan 1, 2012
commented on A Few Questions for Saint Genet: A Kind of Critical Response
I really wish Ms. Grave's had replied to -drcm's response; those questions to me felt very personal and pointed. I think it was brave of Mr. Mitchell to respond at all. @d.p. if you find the work to be of value (which is seems you do) why not try and add to the dialogue instead of sniping at the artists? I do agree that "parsing" the work may not in fact illuminate it greatly, but that doesn't mean there aren't ideas to be unpacked. These pieces were ephemeral works and often when the work is good the experience of the thing itself feels like all that can be said. But it seems the point of criticism is to push beyond that and find a way to talk about the work. Sometimes it's good for artists to talk about their work, sometimes it's not, but there certainly is a dialogue that could be had if you (anyone really not specifically you) chose to engage with the substance of what Mr. Mitchell wrote or engage with Ms. Grave's post yourself. As far as Ms. Grave's original questions they seem to slant towards a feminist/racial reading of the piece which does not seem to me to be the most exciting or useful lens. Which doesn't mean that the questions shouldn't be asked, or that Mr. Mitchell shouldn't think about them as he continues to move forward. There is something about class and the way artists are treated in contemporary society that resonates with me and also makes the sources that this piece leapt from seem exciting and relevant. More than that for a first offering from a new arts entity these aesthetic declarations (or performances or workshops or work-in-progress showings or happenings or installations or whatever you want to call them) were ambitious, accomplished, beautiful, frightening, confusing in the best way, dangerous and exciting. As someone once said to me the purpose of feedback is to create more work...I think that is the place Ms. Graves is coming from and wouldn't it have been amazing if Mr. Mitchell's response to her questions had actually inspired other people to join a dialogue talking about the substance of the work. Mr. Mitchell & all of his St. Genet collaborators are vital to the arts in Seattle and to the city as a whole. They build community through their work both with St. Genet and in all the other projects they make happen in this city. They are a bright spot in what is increasingly a corporatized playground for condo dwellers from the east side. That doesn't mean the work shouldn't be questioned, but there's dialogue and then there's snark. Man it's gonna suck when they move away just like many of the other exciting artists who have called Seattle home.