Wiscon Panel: The Art and Activism Panel
May. 25th, 2013 02:51 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
ljgeoff"How do we as creators tell stories that make a point without becoming didactic or preachy? What works, what doesn't? Where does our art intersect with our political realities? Is art a lullaby or wake up call? Can it be both? We'll ponder these questions and more on this panel."
Commodity and the marketplace -- how does that play out? How are artists react to what the audience wants? We live in an age when, happily, there are many more venues for publishing or showing of your art.
Do you have to compromise or can you be successful with an unusual message or delivery style? Gyan Davies suggests that this is a false dichotomy.
What's the difference between "preachy" and "Preach it, Sister!"?
Preachy can be good -- depending on the message and the listener and emotional immediacy. Also, there's a difference between telling a story and saying "feel this! Think this!"
Content is essential -- that is, how aware is the artist? Is there hidden content in their work? Is the message cultural -- that is, what is the schematic code or images the artist using?
Ian Hagemann talks about a Noam Chomski quote about using sound bites, that is, short hand images or messages, and how that practice might limit what you are saying or trying to get across. Do you want to have a 101 or 201 conversation?
A commercially viable piece of art is most likely to be a 101 conversation. But there is a place for 201 art. There needs to be a way to have 301 and 401 conversations.
I'd love to see an anthology called "201."
Literary Agent Eddie Schneider suggests that a well crafted 201 will sell and will have a dedicated audience, but it might be smaller. An inexperienced writer is all over the place, full of passion but uneven in execution.
For next year, we'd like to see more conversation about the intersection between art and activism, dealing with censorship, breaking down what activism is and the process of creating art interwoven with activism.
Commodity and the marketplace -- how does that play out? How are artists react to what the audience wants? We live in an age when, happily, there are many more venues for publishing or showing of your art.
Do you have to compromise or can you be successful with an unusual message or delivery style? Gyan Davies suggests that this is a false dichotomy.
What's the difference between "preachy" and "Preach it, Sister!"?
Preachy can be good -- depending on the message and the listener and emotional immediacy. Also, there's a difference between telling a story and saying "feel this! Think this!"
Content is essential -- that is, how aware is the artist? Is there hidden content in their work? Is the message cultural -- that is, what is the schematic code or images the artist using?
Ian Hagemann talks about a Noam Chomski quote about using sound bites, that is, short hand images or messages, and how that practice might limit what you are saying or trying to get across. Do you want to have a 101 or 201 conversation?
A commercially viable piece of art is most likely to be a 101 conversation. But there is a place for 201 art. There needs to be a way to have 301 and 401 conversations.
I'd love to see an anthology called "201."
Literary Agent Eddie Schneider suggests that a well crafted 201 will sell and will have a dedicated audience, but it might be smaller. An inexperienced writer is all over the place, full of passion but uneven in execution.
For next year, we'd like to see more conversation about the intersection between art and activism, dealing with censorship, breaking down what activism is and the process of creating art interwoven with activism.