Drew's Responses to Readings

Margot Ely- In-forming Re-presentation
Ely discusses rhetorical forms and their functions.  Her objective is to encourage research writers to write in a way that more readers will enjoy.  She describes how research reports should incorporate any and all forms of writing to make the strongest statement.  Researchers are encouraged to go beyond data collection. Her suggestions include first-person narratives, poetry, layered stories, anecdotes and vignettes, pastiche, and asserting our (the writers) persona.

Ely opened up numerous possibilities for research and academic writing that I had not imagined, as did the entire class this summer.  Not understanding narrative inquiry, I never dreamt that stories and poetry would qualify as research.  Ely provided strong examples of each of the forms she described.  I was particularly attracted to the Atkinson quote on page 571.  Atkinson states that more readable texts are the result of what I would consider feminist theories, though Atkinson never mentions feminism.  The rejection of absolutes and the impossibility of objectiveness that Atkinson discusses fit solidly with my understanding of feminist theory, especially when considered in an art education context.

I wish that I had been aware of these possibilities when I wrote my Master’s thesis titled: Implications of Feminist Theory for Art Education, A Philosophical Analysis.  By Ely’s standards, it was certainly dry and a less than enjoyable read.  It would have been more interesting to write and probably more true to feminism, had I made the writing more personal and less of a compilation of others’ work. 

R. Crumb- The Book of Genesis
Crumb used the text of the bible and drew illustrations in his familiar style.  Crumb divided the text into units that could be represented in the carton panels.  The narration appears at the top or side of panels, the spoken words were put into speech bubbles.  The drawings are black ink on a white page.  Crosshatching is used to add shadows and depth to the images.

I was surprised that some of the class members were offended or disappointed with Crumb’s version of the bible.  Clare expressed that Crumb was preaching or promoting the bible with his work.  I disagree.  I felt that Crumb was exposing the implausibility of the bible by depicting the scenes so literally.  When I hear the story of Genesis, I imagine some vague notion of what the words describe.  However, when I see Crumb’s illustrations they look ridiculous.  The scene of God taking Adam’s rib to create Eve makes it hard to take any of the story seriously.  The idea that woman is made from a small portion of man is offensive, even if it is considered symbolically.  But, to see the bone being plucked from his chest makes it humorous.  Crumb’s Book of Genesis would tend to make me more skeptical than convert me to Christianity.

Craig stated his disappointment that Crumb had lost the edginess of his earlier work.  As an artist, I can sympathize with Crumb in several ways.  First, I find Crumb’s version of the Book of Genesis as a more post-modern version of his work.  I find nothing wrong with appropriating content from any source to create art.  As an aging artist, I think Crumb has the freedom to take on less controversial subjects (although nothing causes more controversy and disagreement than religion) and he should be allowed to take his art into more mainstream directions.  

Ed Check- My Working-Class Roots in an Academic War Zone
Check describes his life and career.  He identifies three factors that shaped his beliefs and attitudes; social-economic status, homosexuality and religion.  He divided his life story into short expositions about himself within certain topics.  Check describes his writing as autobiographical.  His description of his hometown stresses the working-class economic status in which he was raised.  He describes his religious upbringing in terms of ritual.  His hometown appeared friendly and ideal, but was actually racist, homophobic and intolerant of some religions.  An HIV scare left Check questioning his religion and stirred him into activism and activist art.  Finally, Check makes a case for more activism is education, especially directed to students from working-class families.  

Check was very inspiring.  It makes me feel unproductive and somewhat insignificant as a teacher to read about someone who not only teaches, but regularly produces art and is active in several social causes. I wish I had had Check’s drive, motivation and energy.  Although, his story was very different from my own, I could relate to his pedagogical philosophy about putting emotional and physical care at the forefront.  I feel it is important to establish a caring relationship with my students, before and above teaching them about art.

Check’s story brings up the idea of how our prior history has shaped us as teachers and as people.  I wonder if Check has thought about bias he may inadvertently have against economically privileged students?  My school is very racially homogeneous and predominantly upper middle-class.  Many of the students live in homes much nicer than mine, have been to places around the world I might never see and many go on the colleges I could never have afforded to attend. ( o been able to get into) I always try to analyze my own actions in terms of jealousy and stereotypes when interacting with these privileged students.


Freeman- Autobiographical Understanding and Narrative Inquiry
Freeman discusses autobiographical writing and narrative inquiry, proposing that these forms of writing lessen the separation of scientific writing and artistic writing.  Again, as other authors in this course have offered, this would make research writing more enjoyable to read.  Freeman gives a historical perspective of autobiography from myth to post-modern examples.  Freeman states that autobiographical recollections provide more and more useful information than typical biographical account because the voice of the storyteller gives valuable insight.  Freeman closes by proposing the goal of narrative inquiry and specifically autobiographical writing is to go beyond stating information and do more to increase sympathy and compassion in the readers.

Freeman’s article was very helpful for me.  The concept of narrative inquiry as a research method is still quite foreign, and I don’t feel that I fully understand its use.  I can relate to the ideas of closing the gap between scientific and artistic writing.  As I mentioned in another summary, this freedom to write more creatively would have been a welcome option when I wrote my thesis.  I can also see examples of feminist theory in Freeman’s article.  The idea that an autobiographical account is not dispassionate and that any writing reflect the needs and interests of the author, are very much aligned with feminist theory.  I also agree that the author’s account of an event has as much validity as whatever “truly” occurred.  Which again supports the feminist notion that rejects the idea of a universal truth.


Hickey-Revision Number Nine, Idiot
Hickey writes as an art critic who is disenchanted and feels the art world takes itself too seriously.  He recounts curating a biennial show and attempts and dreams of other curating opportunities.  Hickey’s cynical attitude addresses both the art and art criticism of today.  He goes as far as to state that very little contemporary art is good and that any large exhibition would include some art that’s only purpose would be to take up space.

I enjoyed Hickey’s writing style.  He alternated between art world references that would only make sense to someone in his field, and pop-culture references such as NCAA basketball and Harry Potter.  His sarcastic tone and biting criticisms were humorous.  Hickey’s overall impression that the art world takes itself too seriously and has little impact outside the sphere of its relatively small community has more impact coming from inside the art community.  We are accustomed to lay persons telling us that art is superfluous, but not from someone within the art world.

Cusick- Working with Myth
Cusick’s chapter about myth in the The Writer’s Workbook was informative and the exercises were helpful.  Cusick explains that myths were the first stories in every culture.  He feels that understanding and developing our own personal myths would aid us in writing fiction.  Cusick states that myth helps us take universal conditions and make have some personal meaning.  This supports Freeman’s assertion that repetition of myth helps us feel that we are a part of a larger community.  Cusick lists examples of myth in a variety of media.  His writing exercises are designed to help us develop and incorporate myth into our writing.

If I were to begin any comprehensive writing project, I would consult this text.  Cusick makes a strong point about how a contrived use of myth or symbol can lead to an obvious and forced product.  I have considered symbols, not myth, in my painting and have avoided it for that reason.  It has tended to look too obvious.  I am fascinated by Cusick’s recommendation to absorb a body of myths and use it build a larger, stronger knowledge base.  Then, with this knowledge write (or paint) more meaningful and interesting work.