What possibilities for political transformation can be opened up through imagination, fantasy, and art? Can the left create instrumental change or is the game rigged? This week artist and writer Jacob Wren considers these questions, as well as ideas about the artist as political activist and the balance between egoism and conciliation in collaborative projects.
“Sometimes I think that the secret ingredient in art is art. Another thing that has come to the forefront of my mind over the years is how little room for art there is in art; how much of the structural and institutional ways of thinking in and around art keep out what I think of as art. For me art has to be something where you don’t know everything about it when you start. What I’m trying to do when I make work […] is discover something that I’m not entirely able to articulate.” – Jacob Wren
Wren, Jacob, Polyamorous Love Song, Toronto: Book Thug, 2014.
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What possibilities for political transformation can be opened up through imagination, fantasy, and art? Can the left create instrumental change or is the game rigged? This week artist and writer Jacob Wren considers these questions, as well as ideas about the artist as political activist and the balance between egoism and conciliation in collaborative projects.
“Sometimes I think that the secret ingredient in art is art. Another thing that has come to the forefront of my mind over the years is how little room for art there is in art; how much of the structural and institutional ways of thinking in and around art keep out what I think of as art. For me art has to be something where you don’t know everything about it when you start. What I’m trying to do when I make work […] is discover something that I’m not entirely able to articulate.” – Jacob Wren
Wren, Jacob, Polyamorous Love Song, Toronto: Book Thug, 2014.
Clayton Windatt: Intentional Resilience (The Secret Ingredient – 05/05/15)
The Secret Ingredient
56 minutes
10 years ago
Clayton Windatt: Intentional Resilience (The Secret Ingredient – 05/05/15)
Visual artist and Métis curator of the White Water Gallery in North Bay Clayton Windatt reflects on the false divide between artist-run and community centers on the one hand and high art and contemporary theory on the other. Community art can be as excellent as high art and also most responsible to local reception and understanding of that work. Re-conceptualize the image of the artist as a solitary studio genius and think through the collaborative development model, especially in the context of Indigenous art within a neo-colonial context. Join us in reflecting on Glen Sean Coulthard’s Red Skin, White Masks, resilience, and transformation.
“The secret ingredient in art is insight, intention, the will that you put into things. If it’s done with intention and they try to have an emotional response from the audience, then it’s going to be successful. Intention can serve as a space, a container, for things to happen within.” - Clayton Windatt
Coulthard, Glen Sean. Red Skin, White Masks: Rejecting the Colonial Politics of Recognition. University of Minnesota Press, 2014. (May 15, 2015)
The Secret Ingredient
What possibilities for political transformation can be opened up through imagination, fantasy, and art? Can the left create instrumental change or is the game rigged? This week artist and writer Jacob Wren considers these questions, as well as ideas about the artist as political activist and the balance between egoism and conciliation in collaborative projects.
“Sometimes I think that the secret ingredient in art is art. Another thing that has come to the forefront of my mind over the years is how little room for art there is in art; how much of the structural and institutional ways of thinking in and around art keep out what I think of as art. For me art has to be something where you don’t know everything about it when you start. What I’m trying to do when I make work […] is discover something that I’m not entirely able to articulate.” – Jacob Wren
Wren, Jacob, Polyamorous Love Song, Toronto: Book Thug, 2014.
