whose art is it?, Kramer

pag 21 to whom and/or what is the artist responsible?, only to art that is freely conceived and created?, or is the artist responsible to a community? is John Ahearn a "better" artist, morally and aesthetically, because of his commitment to Walton Avenue? a second, linked question is about the control of art designed for and financed by the public. How much power should the public have in determining what public art is acceptable? and whatever do we mean by "the public"? who comprises a public? who are their legitimate representatives? who speaks for them? surely a couple of cesorious bureacrats cannot claim veto power over an art project on behalf of an entire race. And surely the art community encased within its own customs and comunal language, cannot decide alone what the "public"should see
pag 24 she understands why people in pain want "positive" images - representations of hope, aspiration and achievement. Yet, she adheres to a vision of art's potent rejection of simplicities, it's incessant renewals of the marriage of truth, beauty, and apparent impossibilities
pag 26 although I often lack charity at home I remind myself of the electrifying utility of generosity of thought about others, nevertheless, each of us has a human voice that deserves training
pag 28 third, our pride in our own progenitors, should not be an end in itself, but the home from which we travel in order to meet others I must move from learning other familie's stories some of which will have more drama than others. My orthodoxies are not a single truth for others to swallow but a perspective for others to use
pag 29 multiculturalism can be a tragic and bloody killing ground. If, however, we cross cultural borders, carrying the passport of generosity, we will see, as sharply as we see the lines on our palms, the lines of connections between us
pag 30 community means that some commonalities exist
pag 31 Drafts of error flow through all of us and all of our ancestors. As "whose art is it" so vividly shows we are never -not ever- perfectly correct
pag 52 when people argue about images, they are usually arguing about images of themselves
pag 111 he is working hard to please his neighbors. He says that for him the value of "making art" in the South Bronx is less the art than the "getting close to people" -or, anyway, close enough so they are ready to spend half an hour wrapped in hardening plaster, breathing through straws in their nose - and seeing art make them happy
pag 119 "art is who we are it's exactly who we are" he likes to say. "Corey and Raymond are 'life', whether you like them or not, and if we can't look at life, at what's real life, how can we get beyond it ? what are our alternatives some safe abstract thing? Garibaldi on a horse Everybody happy?