“Teaming is a verb. It is a dynamic activity, not a bounded, static entity. It is largely determined by the mindset and practices of teamwork, not by the design and structures of effective teams. Teaming is teamwork on the fly. It involves coordinating and collaborating without the benefit of stable team structures, because many operations like hospitals, power plants, and military installations require a level of staffing flexibility that makes stable team composition rare. In a growing number of organizations, the constantly shifting nature of work means that many teams disband almost as soon as they’ve formed. You could be working on one team right now, but in a few days, or even a few minutes, you may be on another team.”
look to your left
look to your right
to team up
build the future
smart green city
Musing of a disabled artist living in downtown, Kingston, Ontario,
where one wishes, that things would work more than they do, there is room to pause and think. I know a few more of the pitfalls to making an art career. Cautiously, it may be early to make such a claim but it seems my goals are tied to being or artist. And so I am venturing off into the wide world of grant writing. I have my work to do along this uncertain pathway. I hope you will join me sometimes to see what I’ve figured out.
I’ve been down and out with my disability for a couple of years, art production wise. Still, i power on fearce and more focused. And arguably,increasing hope and joy. Unprecedented.
“The trouble is that once you see it, you can’t unsee it. And once you’ve seen it, keeping quiet, saying nothing, becomes as political an act as speaking out.” — Arundhati Roy
via Sit Down, Fight Back – “The trouble is that once you see it, you can’t unsee it. And once you’ve seen it, keeping quiet, saying nothing, becomes as political an act as speaking out.” — Arundhati Roy
showing up and speaking out
After child-birth in 1968, artist Mierle Laderman Ukeles became a mother/maintenance worker and fell out of the picture of the avant-garde. In a rage, she wrote the Cambridge, and the Ayalon Park in Israel. She has completed 6 work ballets with workers, trucks, barges, and hundred of tons of recyclables: in NYC, Pittsburgh, France, Holland, and Tokamachi, Japan. Recent and forthcoming exhibitions are a one person show in the Feldman Gallery Booth at the International Armory Art Fair in NYC, WACK! Art & the Feminist Revolution, at the Los Angeles Museum of Contemporary Art, and the Sharjah Biennial 8, United Arab Emirates. The unsalaried Artist In Residence in the NYC Department of Sanitation for 30 years, she is represented by Ronald Feldman Fine Arts in NYC. Often a visiting artist, she will teach at Yale in the sculpture department in 2007—2008. She has received multiple awards from the National Endowment for the Arts and the NY State Council on the Arts and support from the Guggenheim, Andy Warhol, Joan Mitchell, and Anonymous Was a Woman Foundations.
ripped right from her web site: Brooklyn Museum: Mierle Laderman Ukeles.
I’ve been inspired by her imaginative work on sanitation since first hearing in a book how she shook hands with all the sanitation workers in New Yourk city. And I think the work still has resonance, a path well warn. There are AI’s who could use some of her guidance. And with it the potential to liberate us onec again from the grim, again.
yours in the struggle,
Toronto artist Luis Jacob worked with student artists Lisa Figge and Patricia Mader to develop their projects.
Lisa Figge Ecological Citizenship
This participatory project asked participants to carry out a set of activities as they considered what their personal ecological citizenship profile might look like. Focusing on coffee consumption, Figge’s piece addresses the concerns, both local and global, that surround the complexities of the coffee ritual and its implications in terms of the environment.
Lisa Figge lives and works in Kingston. She graduated with a Bachelor of Fine Arts Honours degree from Queens University in 2008 and is currently a Masters candidate in Environmental Studies at Queen’s.
Lisa Figge, Ecological Citizenship (detail), mixed media installation, 2009
In The Borders of Dominicanidad Lorgia García-Peña explores the ways official narratives and histories have been projected onto racialized Dominican bodies as a means of sustaining the nation’s borders. García-Peña constructs a genealogy of dominicanidad that highlights how Afro-Dominicans, ethnic Haitians, and Dominicans living abroad have contested these dominant narratives and their violent, silencing, and exclusionary effects. Centering the role of U.S. imperialism in drawing racial borders between Haiti, the Dominican Republic, and the United States, she analyzes musical, visual, artistic, and literary representations of foundational moments in the history of the Dominican Republic: the murder of three girls and their father in 1822; the criminalization of Afro-religious practice during the U.S. occupation between 1916 and 1924; the massacre of more than 20,000 people on the Dominican-Haitian border in 1937; and the 2010 earthquake in Haiti. García-Peña also considers the contemporary emergence of a broader Dominican consciousness among artists and intellectuals that offers alternative perspectives to questions of identity as well as the means to make audible the voices of long-silenced Dominicans.