Contributing writer for The Artifice.
Junior Contributor I
What becomes of fine art in the ideal democratic society where citizens have equal rights and equal access to wealth?...
ceglio Apr 26, 2014
Nice summary of a varied field. In the past decade or so, with performance artists like Marina Abramovic collaborating with well-known chefs on “food interventions,” I wonder how the cult of celebrity that has intensified around cooking–along with the slow food, locavore and other movements–has influenced the art world. In other words, in recent years, I think there are a number of food trends emerging independent of the art world that artists are tapping into that now treat food (its growing, preparation, eating, etc.) as a performance vs. a medium. Of course that will solve some of the many problems that museum curators have had with trying to preserve food-based art forms where the emphasis is on food as the end product vs. performance.
Important topic and I learned more than I’d previously known about this artist. Others writing about the exclusion of female artists from the pantheon abstract expressionism have usefully connected this bias to the historical context of the Cold War. One gender roles in the 1950s, Joanne Meyerowitz’s “Not June Cleaver” is a work you might enjoy.
I haven’t seen the movie yet but this perspective on the parent-child relationship and mutual learning gave me a greater interest in seeing the film. As a writer, a few points to keep in mind: 1) people are always “who” not “that” and 2) subject verb agreement.
So, for example, this sentence Any child [single noun] that [who] is in our lives, whether they [plural pronoun] be ours or not, watch [plural verb] what we do, how we act, and learn from it.
would be better expressed as All children in our lives, whether they are ours or not, watch what we do and how we act—and learn from it.