http://www.smac.us/2009/06/10/reciprocal-representation/ Short video on arts and culture. Mon, 17 Oct 2011 07:43:17 +0000 http://wordpress.org/?v=2.9.2 hourly 1 http://www.smac.us/2009/06/10/reciprocal-representation/comment-page-1/#comment-535 Devin Kenny Fri, 17 Jul 2009 21:54:45 +0000 http://www.smac.us/?p=787#comment-535 Seeing this EOYS come to fruition was a great moment for the art school within Cooper Union. Without getting into the internal politics which produced the feeling of uncertainty and instability, one can say that from a work perspective and an ideological perspective, this was the strongest End Of the Year Show period. It looked no less cohesive than previous years, it was even more varied in terms of work (performance, and artist publications had a particularly resonant position unseen in previous years), it still showcased the generalist curriculum,and it was the result of a completely new paradigm: that of collaborative student curation. More than anything, I'm happy that this happened, even with the many near-meltdowns that transpired, as it sets up a precedent that can only be built upon and improved in coming years. In a larger sense, it plants the seed for an extended artistic autonomy in those that have not yet graduated, one where we as artists don't have to feel powerless in the distribution, display, and reception of our work, but can work with and as curators in the quest to propose alternate ways of experiencing and navigating life through the means of art. Seeing this EOYS come to fruition was a great moment for the art school within Cooper Union. Without getting into the internal politics which produced the feeling of uncertainty and instability, one can say that from a work perspective and an ideological perspective, this was the strongest End Of the Year Show period. It looked no less cohesive than previous years, it was even more varied in terms of work (performance, and artist publications had a particularly resonant position unseen in previous years), it still showcased the generalist curriculum,and it was the result of a completely new paradigm: that of collaborative student curation. More than anything, I’m happy that this happened, even with the many near-meltdowns that transpired, as it sets up a precedent that can only be built upon and improved in coming years. In a larger sense, it plants the seed for an extended artistic autonomy in those that have not yet graduated, one where we as artists don’t have to feel powerless in the distribution, display, and reception of our work, but can work with and as curators in the quest to propose alternate ways of experiencing and navigating life through the means of art.

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