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Arts &Ideas
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Marthas Vineyard
hudson rover
Performance Piece for Print
Marianne Goldberg
Patrick Phillips
Art Director
Patrick Phillips
Poetry Editor
Jennifer Tseng
Ad Director
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Arts & Ideas magazine is published by Arts and Ideas, Inc., a print and digital publishing company. Communities are defined by resilience, ideas and arts. Arts & Ideas is a medium for community resilience from person to planet. A&I is available at newsstands free of charge. The price of one-year subscription is $11 (two issues) and $22 for two years (eight issues). Subscribers outside the U.S. must provide $15 per year for international postage. Subscribe to Arts & Ideas at www. aandimv.com. You will receive one of the most beautiful magazines anywhere, while you support our highly imaginative island community.
p h o to ( l e f t )
Jeanne Campbell
C o ve r p h o t o s t o p Le f t:
B o tto m Le f t:
Aung Sun Suu Kyi, Mariana Cook Atlantic Ocean 2003, Alison Shaw
Editors Letter
hat is the place of the arts in our lives? Having published Arts & Ideas, now for three years, it has become clear to me that the arts propose a common ground where people see other people re-present reality a place of
With such vibrant creators and communicators as acquaintances, friends and neighbors one true measure of the success of our community is to fully reckon with, fully consider the here and hello the arts propose. As we might take a sense of renewed togetherness from a pot luck, a conversation with a friend, a gathering at the Hebrew Center or the West Tisbury Congregational Church, an encounter with the arts says we are all here in this together. Fully reckoning with this simple encounter makes a big difference. As with other issues of the magazine, in this issue of Arts & Ideas we try to clear a space for togetherness on a local and global scale. We provide a space to simply revel in the here and hello of the arts and ideas presented. In this issue, through the writing of Islanders, we also focus on an understanding of social justice. Weve also selected excerpts from national fiction and non fiction authors to expand reflection, appreciation and understanding to help readers more fully reckon with equality, justice, togetherness. In short, we try to re-present the imagination that connects us daily. As always, and once again with this issue, Im struck by how welcoming the exchange of arts and ideas is in this community. To all the people who have spent time thinking and writing and painting and talking, thank you; your work in this community makes my life better on a daily basis. I hope the way weve chosen to present the art and ideas in this issue does you justice and proposes an equally welcoming Here, hello. Patrick Phillips Publisher and Editor
selves balanced, released; we can be made new. In this way, the arts create an incredibly potent social event through which all people might be equally renewed by other peoples imagined and artfully practiced perspectives. You might say the arts propose a great experiment; they test what we have come to understand as our social bond, our community connection, the ways we see and interact with each other. By proposing an imagined place, a here we can all occupy, the arts suggest that in the less balanced aspects of our lives we can do better just imagine. In short, the arts are a way to more fully meet each other. Through this meeting place, the arts allow us to better understand how equal, connected and how just and balanced our community is. To take it a step further, the arts also say hello. They are a communicative space in our lives. They are not some abstract relationship to a sonata, a choreographic rondo, a poetic caesura or painted diptych. The arts emotionally communicate, test and affirm our shared humanness. In our busy, often structured lives where we may have limited impact on the course of other peoples lives, an artist of any kind chooses to connect with others by clearing out an imagined space and saying hello, here, experience this opening; watch, listen, see. Be part of creation.
CONTENTS
28
F e atu res
1 9 hudson
rover
Marianne Goldbergs hudson rover is an originally conceived invention: a performance piece for print. Initially performed as a dance/lecture/poem and published in ArtForum International in 1988, this reprint brings back to print this multi-spatial and multi-media performance.
28
10
4 6
24
35
D epartme nts
46
Artist profiles
10 Lillia Frantin 14 Susan Copen Oken 24 Allen Whiting 3 5 Alison Shaw 40 Carol Brown Goldberg 44 Jeanne Staples
Artist Portraits
44
poetry
13 Jill Jupen 3 4 Sandra Lim 43 Rebecca Wolff
Essays
40
Non Fiction
17 Moiss Nam The End of Power 54 Gar Alperovitz What Then Must Be Done?
Fiction
19 Jamaica Kincaid See Now Then
Experimental Memoir
19 Kate Greenstreet from Young Tambling
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a r ti st p o r t r ait
Small Doors
Jeffery Serusa
v e ry f ew I s l an d e r s w i l l fa i l to r eco g n i z e t h i s fa m i l i a r i m ag e . Most associate the MV Islanders Doors with either a new adventure or returning home, whether it be a trip away or just a long day re-provisioning off island. It is an image embedded in most of us from the countless trips made on the Islander. It was the last remaining ferry in the fleet that had manually operated doors. I had really wanted to capture this image for many many years, and only got the opportunity to do so after she was de-comminsioned and tied up at the Fairhaven Maintenance Facility. On the appointed day of the shoot, I was given the great opportunity to close the doors myself, thus also bringing to a close one mans love affair with an iconic vessel.
Es s ay
heres nothing I enjoy more than making up dances. Seeing a great piece of choreography performed by a great dancer is another pleasure. Lately, Ive become curious about what my fellow choreographers see, how their own creative choices inform the way they view other artists dances. I recently talked shop with Robert Battle, Artistic Director of Alvin Ailey American Dance Theater, the inventor of one of my favorite dancesElla. A well-crafted idiosyncratic solo, Ella is filled with speed, mystery and sass, delivered via thrilling, ingenious virtuosity. Its a joy to behold.
Im most interested in choreographic form and its this somewhat intangible element Mr. Battle and I discussed. There is an inherent conundrum in talking choreography. Choreography is as much about what one isnt seeing as it is about what one sees. The core of a dance is a combination of movement, sound, space, expectation and the design in which they unfold. Great choreography creates a unique world, with a logic entirely its own.
implications a title has upon a work. Mr. Battle feels the title of a dance offers the first entry point for the audience. While Mr. Battle does not think a title needs to be literal, he does feel if the frame-work of expectations formed from a title are not met, the moving images themselves are confusing. He thinks a well-chosen title creates a synergy between the intellectual side of the choreographer with the visceral element of the dancing. Paul Taylors Arden Court as the first choreographic work Mr. Battle added to the company repertory upon becoming Artistic Director of Alvin Ailey American Dance Theater. The element in Arden Court which speaks most clearly to Mr. Battle is geometry. The structure of the work revolves in, around and up and down a diagonal. The geometric construct becomes a permanent presence, whether or not bodies are specifically moving in this defined space. In Mr. Battles analysis, the diagonal is as essential to Arden Court, as the dancers, music and moves. When watching dance, Mr. Battle has a running dialogue with himself: how does it all go together, curiosity about the intelligence of the choreographer, noticing moments he could never have thought of himself. Has he had a visceral reaction to the dance--does it take him in. When Mr. Battle sees a work with predictable form, he feels a distance is created between the stage and the viewer. Form in a well-constructed work creates a comfort zone for the choreography as well as a format through which boundaries are pushed. The choreographer maps the placement and pacing of movement and sound, building the structure of the dance. The performer actualizes the essence of the choreography by infusing interpretation onto this structure. Through the creator to performer, form is the vehicle that provides the audience with environment, logic and understanding. Form reveals the embodied connection for all beyond structure and interpretation to a fully realized whole.
In order to provide tangible images to our discussion, I suggested Mr. Battle choose a number of favorite dances to use as points of discussion. He chose two: Alvin Aileys Revelations and Paul Taylors Arden Court. Enthusiastic, specific and perceptive, his thoughts ranged from the significance of a title and implications of geometry. Mr. Battles first and immediate response, when asked about a favorite dance, was to talk about Alvin Aileys masterwork Revelations. Not unlike Beethovens Fifth Symphony, Revelations is wildly popular, artistically profound and astonishing in its craft. Mr. Battle was unembarrassed about discussing this work as truly ground breakingedgy in spite of its popularity. Our discussion of Revelations, form and seeing took a turn towards language: the
C O L L E C T I O N
THE
A r ti st p r o f i l e
Lillia Frantin
My work is about loving self and the world around you in simple ways. Those simple ways are so crucial and important; they are the simple imbalances and balances that are in my paintings. When I paint there is this sense of balance not static balance. Thats kind of how Ive lived as well. Im a modernist, an early modernist. I see art as a connection to nature, people and humanity. My work is a lot about seeing beauty in the common. I paint very mundane things. I like to show the special-ness of the common and have people recognize in their own world. What is deep in side people is often misdirected by consumerism and materialism into small and narrow places clothing, jewelry, interior decorating, planning a garden. Maybe these are the things people stopped being aware of as children. My paintings provide a sense of delight that you may have felt as a child. I paint quickly. It takes a couple of weeks to finish, but the initial sketch comes quickly. I am intense when I paint. I move color around the painting and want to move people round the painting. I like people to feel as if they need to engaged with the painting. To be part of what theyre looking at. I appreciate those people who can get beyond the subject and become attached to what the painting is really about. My real joy is playing things off each other. I dont want to finish the painting so that it becomes closed off. Its important that people have access to it. I try to let what Im doing show through and not insist on what is happening to let people enjoy that. Im aware when Im painting of what Ive chosen to put together as a still life. Im always very close to what Im selecting. It has to do with the shapes and the life of the color Im looking at. Im very close to the objects I paint. I repeat them. I have a very small world I love so dearly that I put into my painting my objects and subjects, light and dark, hot and cold, jagged and smooth.
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As a woman artist I never wanted to paint purely feminine things, but I wanted to paint feminine and masculine things. I want to have qualities of boldness and strength, to have an appreciation of subtle things. These things arent widely respected in the serious art world I reject that.
To me, this is why art is such an amazing thing. There is enough in the world we can all respond to and can feel a kinship with.
Studio with Red Chair and Geranium, 40 x 40, Oil on Canvas
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e x pe r ime n ta l mem o i r
From Young Tambling. Published by Ahsahta Press Copyright 2013 by Kate Greenstreet
e didnt have another world to go to, but we had books. We had the library downtown. I think my best friend and I must have read every book in the young adult section by the time we were ten (that word adult attracted us), at least all the
I read a lot, which was great since I always was trying to find more time to read. The guys in back did the cleaning and pressing in the first part of the day. When I got there, Id bag, staple the tickets to the plastic bags of clothes, and lift the clothes onto the conveyer. It could be heavy work for a person of my size, but I got stronger. The hardest thing about the job was how everybody came in all at onceSaturday morning, Friday night. That made me nervous, because people would be in a hurry and thered be a long line. But I found I could do the job, and even like it. I did it for years, all through high school and, after that, full-time. I was supposed to go to college. Id been accepted, but I didnt want to go. Not that I intended to stay in town forever. But at the cleaners, although I interacted with people, I didnt have to try to be one of them. It was different from school in that way. In those years, I was especially attracted to books from the nineteenth century. I read a lot of stuff in translation. As a younger girl, Id loved books in seriesfrom there I went on to long books. I liked a large wordcount. By this time, the friends I had werent reading what I read. But the books were also my friends. There was a kind of fidelity involved. I didnt need to share them. I was faithful. She remains in the background, or, to say it better, elsewhere. The time I was living in while reading wasnt the time I occupied writing down NS for no starch. Shifting between the world of my book and dealing with whoever walked through the door was immediate and natural. Like any double life. Later on, I would read to relax. But back then, I didnt need relaxation. I needed to learn. And I needed to love. Not that I didnt love anyonebut I needed to love more. I read to encounter characters I could love deeply. In Russian novels and plays, people jumped up from the table and said things. And they werent shocked if other people didit was expected! I believed life took place in conversation. Or that it could. I wanted to somehow slip through the barriers into the company of the Real Ones. I was just starting to paint, and I hoped to be an artist someday.
ones about girl detectives and romance and careers. We liked to sing on the swings, dance to records in the basement, talk about boys, act out dramatic scenes (birth, death). But I also needed to be alone. To think. My mother gave me the tiny room off the kitchen, where I could read and arrange things and listen to music on the radio. My father and my grandmother felt it was excessive for a child to have a room of her own (before this I was in the big room with my brothers), but my mother made it happen.
My room had a counter running the length of one wallI loved this counter, the top was red linoleum. I used it mainly as a place to build small shrines. My father was constructing an archway into the living room (took about five years to finish) so there were often pieces of wood and plasterboard around. I might take a chunk of 24, cover it with a good white handkerchief, then set or stack things on it: to look at them. Rocks, dollhouse furniture, stuff Id find on the sidewalkor make, out of sticks and tin foil. This was almost an impulse toward sculpture, but I thought of my structures as altars, or shrines. I always had an urge to put things together that didnt belong with each other until they were arranged, by me, in just the right way. We moved away from the city when I turned 15. My mother was 36. All the women on our new street were mothers. They must have been mostly in their early thirties, their kids were still small. It was a pretty nice street. My mother was so happy to be in a place with trees. There were giant cracks in the lifewe take that for granted now because thats how the time is portrayed. But the women had their houses and their children, their marriages. Their husbands came into the dry cleaners where I worked after school. When I think of themEleanor, Carolyn, Florence, Julie, Mary Ann they seem trapped on that street. But on other streets, Barbara Guest was alive, Joan Mitchell was alive, Agnes Martin was alive. I got the job in the cleaners soon after we moved. Thats one of the places I learned about the kinds of things that happen to girls. Because youd be there alone, most of the time. I learned a little bit about people. Mainly, I read. When it wasnt busy, youd just sit there until someone walked in. So
12
p o et ry
where Dick the Posie Man with his crooked leg and slack-jaw teeth missing carried his crepe paper
posies tied up with twine, trying to protect his brittle bouquet with his old, felt hat as he limped up the street from the rain
calling, Flowers!
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A rti st P r o f i l e
Richard Avedon, the renowned photographer, invited me to create photographic work for a book he was planning that would explore the makings of the family portrait . I was honored to be selected from over five hundred artists. I knew right away that I would not produce the expected conventional image of generations of humans gathered in stoic assemblage frozen for all time on a page. What I did not know, however, was what I was going to create. On a consummate Vineyard morning I ventured onto a field of screaming yellow Sunflowers. I was immediately transported back to childhood remembrances of anthropomorphized flower personalities that played out in untold hours of my youthful imagination.
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Although most of the golden blooms appeared much the same in the field, there was one that called to me with her human persona. I made the first image that night. I had found the family I would photograph! Everyday was a hunt for another unique member of the family to celebrate and they didnt come easily. There were many barren days. Eventually 13 images were created to complete the family portrait. It seemed serendipitous that for this short period I was able to track down the most diverse examples in nature of this one family, Helianthus . The two pictured are metaphors for male-female, yin-yang and contradictory forces. They are us. We are them. The sunflower transfer images would later become the studies for these large paintings.
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n o n - f icti o n
From The End of Power by Moiss Nam. Copyright 2013 by Moiss Nam. Excerpted with permission of Basic Books, a member of the Perseus Books Group.
by Moiss Nam
avier solana, the spanish foreign minister who in the mid-1990s became secretary-general of NATO and then the European Unions foreign policy chief, told me: Over the last quarter-centurya period that included the Balkans and Iraq and negotiations with Iran, the Israeli-Palestinian issues and numerous other crisesI saw how multiple new forces and factors constrained even the richest and most technologically advanced powers. Theyand by that I mean wecould rarely do any longer what we wanted. Solana is correct. Insurgents, fringe political parties, innovative startups, hackers, loosely organized activists, upstart citizen media, leaderless young people in city squares, and charismatic individuals who seem to have come from nowhere are shaking up the old order. Not all are savory; but each is contributing to the decay of power of the navies and police forces, television networks, traditional political parties, and large banks.
into the type of organization that other new micropowers will attack with just as much effectiveness. Instead, successful micropowers capitalize on a new set of advantages and techniques. They wear down, impede, undermine, sabotage, and outflank the megaplayers in ways that the latter, for all their vast resources, find themselves ill-equipped and ill-prepared to resist. And the effectiveness of these techniques to destabilize and displace entrenched behemoths means that power is becoming easier to disrupt and harder to consolidate The implications are breathtaking. They signal the exhaustion of the Weberian bureaucracy, the system of organization that delivered the benefits and also the tragedies of the twentieth century. The decoupling of power from size, and thus the decoupling of the capacity to use power effectively from the control of a large Weberian bureaucracy, is changing the world. And this decoupling invites a disquieting thought: if the future of power lies in disruption and interference, not management and consolidation, can we expect ever to know stability again? SO WHAT HAS CHANGED? Its hard to identify the moment when the dispersal and decay of power, and the decline of the Weberian bureaucratic ideal, began much less to do so in the precise way with which, say, the poet Philip Larkin pinpointed the advent of the sexual revolution: Between the end of the Chatterley ban and the Beatles first album.2 Still, November 9, 1989the date the Berlin Wall fellis not a bad place to start. Loosening half a continent from tyrannys grip, unlocking borders, and opening new markets, the end of the Cold War and its animating ideological and existential struggle undermined the rationale for a vast national security state and the commitment of economic, political, and cultural resources that supported it. Whole
These are the micropowers: small, unknown, or once-negligible actors that have found ways to undermine, fence in, or thwart the megaplayers, the large bureaucratic organizations that previously controlled their fields. Going by past principles, micropowers should be aberrations. Because they lack scale, coordination, resources, or a preexisting reputation, they should not even be making it into the gameor at least, not making it for long before being squashed or absorbed by a dominant rival. But the reverse is true. Indeed, micropowers are denying established players many options that they used to take for granted. In some cases, the micropowers are even winning the contests against the megaplayers. Do the newly arrived micropowers achieve this by overrunning the competition and driving the big incumbents out of business? Rarely. They are not equipped for vast takeovers. Their advantage is precisely that they are not burdened by the size, scale, asset and resource portfolio, centralization, and hierarchy that the megaplayers have deployed and spent so much time and effort nurturing and managing. The more the micropowers take on these traits, the more they turn
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populations forced to march more or less in lockstep were freed to find their own drummers, an upending of the existing order that found visceral expression in events such as the Christmas 1989 execution of the Ceausescus in Romania and the January 1990 storming of East Germanys Stasi headquartersthe secret-service organization that represented one of the darker pinnacles of postwar bureaucratic achievement. Economies trapped in a mostly closed system were opened to foreign investment and trade championed by a burgeoning herd of multinational corporations. As General William Odom, Ronald Reagans National Security Agency director, observed: By creating a security umbrella over Europe and Asia, Americans lowered the business transaction costs in all these regions: North America, Western Europe and Northeast Asia all got richer as a result.3 Now those lower transaction costs could be extended, and with them also the promise of greater economic freedom. Slightly more than a year after thousands of Germans took sledgehammers to the Berlin Wall, in December 1990, Tim Berners-Lee, a British computer scientist at the European Organization for Nuclear Research on the Franco-Swiss border, sent the first successful communication between a Hypertext Transfer Protocol and a server via the Internet, thereby creating the World Wide Web. That invention, in turn, sparked a global communications revolution that has left no part of our lives untouched. The end of the Cold War and the birth of the Internet were certainly factors enabling the rise of todays micropowers, but they were by no means the only important ones. We often find it hard to resist the urge to attribute a period of great flux to a single cause. Take, for instance, the role of text messaging and social media such as Facebook and Twitter in upheavals around the world. A fierce but ultimately sterile debate has occurred between those who argue that social media have sparked new political movements and those who argue that their effect has been overstated. As elements in the struggle for power, social media have helped coordinate demonstrations and inform the outside world about human rights abuses. But savvy repressive regimes like those of Iran and China have also used these tools for surveillance and repression. And when in doubt, a government can simply turn off national Internet access (at least in large measure, as Egypt and Syria did when their dictators were challenged) or establish an elaborate system of filters and controls that reduces the flow of nonapproved online communication (as China has done with its Great Firewall). There are plenty of cases and counter-cases that illustrate the arguments of Internet optimists and techno-futurists like Clay Shirky as well as the counter-arguments of skeptics like Evgeny Morozov and Malcolm Gladwell. Thus, to understand why the barriers to power have become porous, we need to look at deeper transformationsto changes that began accumulating and accelerating even before the end of the Cold War or the spinning of the Web. The biggest challenges to power in our time have come from changes in the basics of lifein how we live, where we live, for how long and how well. What has changed is the landscape in which power operates.
This is the terrain of demographics, standards of living, levels of health and education, patterns of migration, families, communities, and, ultimately, our attitudes: the reference points for our aspirations, beliefs, desires, and, indeed, the ways in which we think about ourselves and others. To describe such changes at this deep level and to understand what they are doing to power, we need to break them down into three categories: the More revolution, the Mobility revolution, and the Mentality revolution. The first is swamping the barriers to power; the second is circumventing them; the third is undercutting them.
Dr. Moiss Naim served as the Minister of Finance in Venezuela, the Executive Director of the World Bank, and Editor of Foreign Policy magazine. He is now Senior Associate at the Carnegie Endowment for International Peace. As such, Dr. Naim writes as a scholar, practitioner, and witness to global change over the last three decades.
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A r ti st p o r t r ait
Lily Morris
my goal as a painter is to map consciousness through portraiture by focusing on the internal side of the human experience. The environment that the subjects inhabit is animated by their emotional state. Stalling Out is about being disconnected, and lost. Asleep on a storm of self-created toxicity, the man runs out of conscious strength to run from his own personal turbulence.
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pe r fo r ma n ce piece fo r P r i n t
HUDSON ROVER, Choreographed, Directed, and Written by Marianne Goldberg, in her invented genre of the Performance Piece for Print. Re~printed here from its original publication in Artforum International Magazine in New York City, December 1988. Photographs taken for the piece by Robert Tobey.
Hudson Rover
Hudson Rover
Hudson Rover
and contemporary. Throughout the works,Goldberg Meanings continually form and re-form over the surfaces of the body. The body is a stage which reinvents itself: wings, curtains, action, space, bones muscles and flights of fantasy. The body surpasses itself through the very discourse in which it is embedded: Bedding, Budding, Butting. In a wide yearning that travels along the cool surfaces of arms and legs, carrying ones own weight, excited to move, dancing and reading within the page inhabiting a place of great luxuriousness and pleasure. Marianne Goldberg choreographs gestures in counterpoint with language and composes both theatrically,as opacities across twodimensional surfaces of the printed page. Resultant work is held in the hands of spectator-readers, who turn the page potentially in discussion with others. Experimental performative writing rarely fits into what we already know how to read. Evoking questions about articulation of movement in relation to printed word, mechanics and conventions of reproduction in intellectual discourse often render alternate forms invisible or unprintable. Although traditional formats for reproducing theoretical insight erode changes on pieces like HUDSON ROVER, publication in an arts journal celebrates creativity, pointing to intentional ironic play with conventional text, image, punctuation, kinetics, caption, foot-note. Visual formats of many standard publications present a seamless, homogenized flow of predictable text, while occasional kinetic images are available only as illustrations. Publication in Artforum as an artists project provided space where a performer can live in her own reimagined world. Subjectivities of the moving body are recreated for a rarefied realm of heightened existence within the theater of the page. This reprint inArts & Ideasbrings HUDSON ROVER to life once more,to roam across the page, alive within a thriving contemporary space.
For publication inArtforum Internationalin December 1988, Marianne Goldberg choreographed HUDSON ROVER in her invented genre, the performance piece for print. Composed of juxtaposed or overlaid text and photographed gestures, in this genre Goldberg re-conceives the printed page as a stage the dancer can vividly inhabit differently, with reading becoming a theatrical act. Each of Goldbergs Performance Pieces for Print werealso presented as lecture performance inradically altered form, text spoken at a podium accompanied by gestures. Goldberg and performers also danced each work as a full concentrated performance, highly theoretical and intellectual lecture material inserted as surprise, undercut, and ecstasy. HUDSON ROVER is the second of several works Goldberg created in this genre, the first published inWomen & Performance,titled Ballerinas &Ball Passing;the next inWritings on Dancein Australia, Coming into Parts and performed with Eva Karzcag; another a sequel to Ballerinas,featuring performer Christianne Brown and christened after its retrograde language structure asBe To Want I. Homogenized Ballerinas, printed inMeaning and Motion, an anthology edited by Jane Desmond, is a scholarly transformation of the performative material. The essay references live installations of the pieces,performed and printed across the United States to Canada and Yugoslavia from 1987 through the year 2000. In Ballerinas, photographs of Goldberg as a University lecturer and as a dancer-choreographer intersperse with images of classic works by other dance artists, historical
Dr. Marianne Goldberg is a writer, choreographer, and visual artist. She is founder and artistic director of Pathways Projects Institutes in Chilmark, where she designs installations and collaborative arts community events. Her scholarly writings and Performance Pieces for Print have been published in The Drama Review; Artforum International; Women & Performance and numerous other journals and books. Her choreography has been performed internationally and across the United States.
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A rti st p o r t r ait
Ganesha, Aluminum, wood, pig skulls, pneumatic cylinders, blue fur, LEDs, wire, and steel, 3 x 2 x 8.
My fingers emit sparks of fire with expectation of my future labors. William Blake
Tim Laursen
ive decided to dedicatethe next ten years to combining live musical performances with home-made robotics. I want to create a traveling vaudeville inspired stunt/music/food show and tour the world. Im three years into it. I have finished prototyping all the designs and completed the circuit I will use to control my machines. I am living in my shop near the Navy Yard in Brooklyn and wishing I was in a barn on MV.
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A r ti st p r o f i l e
24
Allen Whiting
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Two people, talking on the porch. Hot July day. Fan and iced tea:
ontinuum. Im in the continuum; Im a consciousness thats only here for a little while, existing in this space that is so full of a lot of stuff. I mean, the continuum for me; what is our history, when our history makes us realize probably more about the continuum than if you were just, you know, trying to kill something to eat all day every day. You know what I mean? We read about and know who our ancestors were, and we worry about where our offspring might end up . . . The artistic continuum, I just think that Im studying something thats much bigger than I am I wouldnt expect to finish it, in a certain way.
My particular bent is towards whats right there (points at his barn). Now, I suppose whats right there has an incredible meaning to me which has its own continuum because its a barn, built by the family, either survived by the family or not. You know that incredible patch of green, thats just some weeds that are on my shoulder to destroy one of these days, (laughs) but I want to paint it first. So, thats kind of the continuum for me. That its just because I happen to love landscape, and its the landscape thats closest to me. Its forever presenting itself. So, its simple. Very . . . (laughter.)
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. . . I have often wondered why people treat each other in such an autocratic way. Now we know, of course, what it is like to be deprived of ones basic rights, and we would not subject anybody to that kind of experience. Putting it in a very general way, its a mixture of greed and fear that pushes people to ill-treat others. They want to preserve their own security and enjoy the privileges to which their position entitles them. And also ignorance, because there are some people who really believe that its all right to treat those who are different from them in any way they like.
Aung San Suu Kyi is a Burmese opposition politician and former Secretary General of the National League for Democracy.
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Photographs and text excerpt are reprinted from Justice: Faces of the Human Rights Revolution, Copyright 2013 by Mariana Cook, Courtesy of Damiani.
JUSTICE
fac es o f t h e h u m an r i g h ts r e vo lu t i o n
p h oto g rap h s by
Mariana Cook
A few years ago, I became fascinated by people for whom the rule of law is no
mere abstraction, for whom human rights is a fiercely urgent concern. I hoped to give a face to social justice by making portraits of human rights pioneers. The subjects I chose live in a multitude of countries, in both open and closed societies; they range widely in their ancestry and social origins. Some have been advocates from an early age. Others came to their crusades unexpectedly, even unwillingly. Several were simply doing their jobs, and then realized that doing so can, under certain circumstances, be a radical act. To photograph and conduct interviews with these people, I traveled to countries
around the world. I learned that many of these advocates are devoted to a cause with which they have a personal connectiona cause that is, in some sense, a birthright. But equally impressive are those who fight to protect people with whom they have nothing in common, save a shared humanity. My intention was to pay tribute, not only to the courage of independent thought
and action that these people possess, but also to their dogged insistence that reason and fairness prevail. There are few people in the world who possess such passion and caring for others, and who also have the imagination and the practical expertise to accomplish their goals. It has been my privilege to meet some of them and to try to understand and reveal their strength of character.
mariana Cook
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Gay McDougal
. . . All of my later experiences have reinforced the lesson I learned in Atlanta and South Africa: that the true forces for justice come from inside each society and that real change is never achieved by one individualeven though individual acts of courage and determination are essential. Profound and sustainable social change always requires a critical mass of people willing to work together to reach the tipping point that will alter history and achieve justice. Most important, I learned that it is possible to win.
Louis H. Pollak
. . . I had the incomparable professional opportunity that has defined the balance of my career: to serve as one of the volunteer lawyers who assisted Thurgood Marshall and his association with the NAACP Legal Defence Fund in developing the strategies leading to the decisions in the school segregation casesBrown v. Board of Education and Bolling v. Sharpein 1954 and 1955. The Supreme Court had at last brought the nation into compliance with its founding principle, promulgated by the Declaration of Independence and reaffirmed by Abraham Lincoln at Gettysburg, that all men are created equal.
Gay McDougal, a global civil rights lawyer, began her life in the segragated South, attended Yale Law School and helped organize the international Anti-Apartheid Movement. She was a member of the South African Independent Electoral Commission and stood beside Nelson Mandela as he cast his first vote.
Louis H. Pollak (19222012) was universally beloved. As a lawyer, law teacher, and judge, he was involved in some of the most controversial areas of the law . . . He served as Dean of Yale and the University of Pennsylvania Law Schools.
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JUSTICE
fac es o f t h e h u m an r i g h ts r evo lu t i o n
Mariana Cook
Robert L. Carter
Throughout my life, I have worked to eradicate racial discrimination in the United States; this effort continues to affect how I think, what I do, and who I am. . . . Im proudest of my role as chief legal strategist in Brown v. Board of Education. What I hoped to achieve was equal educational opportunity for all AfricanAmerican children. While that has not yet been realized, this ruling remains the key to achiveing racial equality and justice in the United States. In guaranteeing equality to all persons in our society as a fundamental tenet of basic Law, Brown stands at the highest pinnacle of American judicial expression, because it espouses the loftiest values.
Robert L. Carter (19172012) won 21 of the 22 cases he argued before the U.S. Supreme Court, securing First Amendment protection for civil rights organizations, expanding federal protection of voting rights, and strengthening equal access to housing and employment.
Theresia Degener
My personal experience as a disabled person taught me how important it is to fight injustice and protect human dignity . . . My motivation to teach, research, and practice human rights law stems from my belief that the international catalogue of human rights offers a wonderful set of values and principles that includes all, transcends the boundaries of religion and culture, and is the only basis for freedom, peace and equality. Human rights treaties need to be used as tools; otherwise they remain just words on paper. They can change the world, or they can merely be given lip service.
Theresia Degener is a German law professor and a leading expert and advisor on international human rights, disability, discrimination, bioethics, and gender laws.
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Anthony Romero
One thing that is so spectacular about the human rights movement is that it appeals to the best of the human spirit. Its about the ability to live with dignity. To love the way you wish. To think what you wish. To speak what you wish. To associate with whom you wish. Its the idea that we are sovereign over our bodies, our minds, and our spirits. To articulate that in a way that gives freedom to people across the globe is one of the greatest aspirations.
Anthony Romero is the Executive Director of the American Civil Liberties Union.
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JUSTICE
fac es o f t h e h u m an r i g h ts r evo lu t i o n
Mariana Cook
Desmond Tutu
. . . And isnt it extraordinary, in a world where might does sometimes seem to be right, that in the end it is goodness that prevails? We were involved in a struggle against the injustice of apartheid. Many times we seemed overpowered. The apartheid government had all the paraphernalia imaginable. Even so, goodness ultmately prevailed . . .
Archbishop Desmond Tutu is Archbishop Emeritus of Cape Town, South Africa, a veteran anti-apartheid activist and peace campaigner often described as South Africas moral conscience.
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p o et ry
planting something within us that also represents death for the taking at every turn; greeting the season all coated in soft silver with a strong handshake; loving and hating, those buttons done up all the way to the top of your sweater.
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A rti st p r o f i l e
Alison Shaw
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Alison Shaw
Menemsha II 2008
I need to watch the pattern. Im always really paying attention. I spend a lot of my time watching things, being a fly on the wall. Im never documenting in the traditional sense of the word. Its always my own take on it. One key project I did years ago in the mid-nineties, was photographing his 24 foot day sailor. I was hired to photograph it being constructed at Gannon and Benjamin in my own way, in a way that no one else would have photographed it, that brought my own art to it. I was hired to see the boat in a way that people wouldnt necessarily see it. I was broadening their vision of what the boat is and what the craft is. The dock this morning that I was photographing, if I were going to truly document it from a neutral perspective, it would be in neutral light and freezing the water as it moved. But, I had this whole vision in my mind of showing all of the pilings, but with the
moving water and it has that early morning light. The quality of light and the fact that the water is going to be moving and that the pilings are shown as much as possible; Im showing as many as I possibly can and the negative space in between. Id move an inch left or right to go from all bunched together to slightly separated. So, its really paying attention. And, I cant do this in the evening, because the lights coming from the wrong direction. Early morning, like this morning it was raining as I pulled up there they are still back-lit. Therefore it makes the pilings darker against the lighter sky. Rather than if the light were from another direction an hour after The tone, if I were doing the same thing at dusk, rather than at dawn with the light coming from behind me, the exposure, the darkness, or the value of the pilings versus the background is going to be much closer, a lower contrast. That would make it less interesting.
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Alison Shaw
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f icti o n
Excerpted from See Now Then, A Novel by Jamaica Kincaid, published by Farrar, Straus and Giroux. Excerpt provided by permission of the author. Copyright (c) 2013 by Jamaica Kincaid,
had, without malice aforethought, begun to feed on Homer and would soon ee now then, the dear Mrs. Sweet who lived with her husband Mr. Sweet and their two children, the beautiful Persephone and the young Heracles in the Shirley Jackson house, which was in a small village in New England. The house, the Shirley Jackson reduce him to the realm of wonder and disillusion so sad, so sad all of this that Mrs. Sweet could see then, while standing at the window of the house in which Shirley Jackson had lived and across the way was the house in which old Mrs. McGovern had died and she had lived in it for many years before she became old, she had lived in her house, build in a neoclassical-something style that harkened back from another era, long ago, long before Mrs. McGovern had been born and then became a grown-up woman who married and lived with her husband in the Yellow House and made a garden of only peonies, big white one that were streaked with a wine-dark red on the petals nearest the stamens, like an imagined night crossing an imagined day, so had been those peonies in Mrs. McGoverns garden and she had grown other things but no one could remember what they were, only her peonies were committed to memory when Mrs. McGovern had died and so therefore vanished from the face of the earth, Mrs. Sweet had dug up those peonies from that garden, Festiva Maxima was their name, and planted them in her own garden, a place Mr. Sweet and the beautiful Persephone and even the young Heracles hated. The Pembrokes, father and son, mowed the lawn, though sometimes the father went off to Montpelier, the capital, to cast votes for or against, as he felt to be in the best interest of the people who lived in that village in New England, which even now is situated on the banks of the river Paran; and the other people in that village, the Woolmingtons lived always in their house, and the Atlases too, and so also were the Elwells, the Elkinses, the Powerses; the library was full of books but no one went into it, only parents with their children, parents who wanted their children to read books, as if reading books were a mysterious form of love, a mystery that must remain so. The small village in New England held all that and much more and all that and much more was then and now, time and space intermingling, becoming one thing, all in the mind of Mrs. Sweet.
house, sat on a knoll, and from a window Mrs. Sweet could look down on
the roaring waters of the Paran River as it fell furiously and swiftly out of the lake, a man-made lake, also named Paran; and looking up, she could see surrounding her, the mountains name Bald and Hale and Anthony, all part of the Green Mountain Range; and she could see the firehouse where sometimes she could attend a civic gathering an hear her government representative say something that might seriously affect her and the well-being of her family or see the firemen take out the fire trucks and dismantle various parts of them and put the parts back together and then polish all the trucks and then drive them around the village with a lot of commotion before putting them away again in the firehouse and they reminded Mrs. Sweet of the young Heracles, for he often did such things with his toy fire trucks; but just now when Mrs. Sweet was looking out from a window in the Shirley Jackson house, her son no longer did that. From that window again, she could see the house where the man who invented time-lapse photography lived but he was dead now; and she could see the house, the Yellow House, that Homer had restored so carefully and lovingly, polishing the floors, painting the walls, replacing the pipes, all this in the summer before that awful fall, when he went hunting and after shooting with his bow and arrow the largest deer he had ever shot, he dropped down dead while trying to load it into the back of his truck. And Mrs. Sweet did see him lying in his coffin in the Mahar funeral home, and she thought then, why does a funeral home always seem so welcoming, so inviting from the outside, so comfortable are the chairs inside, the beautiful golden glow of the lamplight softly embracing every object in the room, the main object being the dead, why is this so, Mrs. Sweet said to herself as she saw Homer, lying all alone and snug in his coffin, and he was all dressed up in brand-new hunting clothes, a red and black plaid jacket made of boiled wool and a red knitted hat, all clothing made by Woolrich or Johnson Bros. or some outdoor clothing outfitters like that; and Mrs. Sweet wanted to speak to him, for he looked so much like himself, to ask him if he would come to paint her house, the
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floor of the lobby, call the utility company if the utility company had to be called, the super could do many things and in Mr. Sweets life, when he was a child, the super did them and Mr. Sweet had never heard of them until he came to live with that dreadful woman whom he had married and was now the mother of his children, the mother of his beautiful daughter in particull that was visible to Mrs. Sweet as she stood in the window, at the window, but so much was not visible to her then, it lay before her, all clear and still, as if trapped on a canvas, enclosed in a rectangle made up of dead branches of Betula nigra, and lar. The piano concerto came to an end and Mr. Sweet shook himself out of the deep sympathy he felt for the composer of the music and the audience shook themselves into their duck-feather-filled coats, which had trapped the smell of wood smoke from the fires build in the fireplaces and woodburning stoves, that was a winter smell, that was a smell Mr. Sweet hated, the super would have taken care of that smell, this was not a smell of Mr. Sweets childhood; a dining room in the Plaza Hotel, his mother wearing French perfume, those were the smells of Mr. Sweets childhood and that then: the mothers perfume, the Plaza Hotel. And he said a good night to those people who smelled as if they lived in rooms where wood was always burning in the woodstove, and immediately no longer thought of them as they drove home in their Subarus and second hand Saabs, and he put on his coat, a coat made from the hair of camels, a very nice coat double-breasted, that the beastly wife of his, Mrs. Sweet, had bought for him from Paul Stuart, a fine haberdasher in the city where Mr. Sweet was born and he hated the coat because his benighted wife had given it to him and how could she know what a fine garment it was, she who had just not long ago gotten off the banana boat, or some other benighted form of transport, everything about her being so benighted, even the vessel on which she arrived, and he love the coat for it suited him, he was a prince, a prince should wear such a coat, an elegant coat; and so glad he was rid of his audience, he slipped behind the wheel of his own used Saab, a better one than most of the others, and he turned into a lane and then turned left onto another lane and after one quarter of a mile he could see his home, the Shirley Jackson house, the structure that held his doom, that prison and the guard inside, in bed already, most likely, surrounded by catalogs of flowers and their seeds, or just lying there reading The Iliad or The Library of Greek Mythology by Apollodorus, his wife that horrible bitch whod arrived on a banana boat, it was Mrs. Sweet. But what if a surprise awaited him just inside the door, for even a poor unfortunate man as he, for so Mr. Sweet thought of himself, unfortunate to be married to that bitch of a woman born of beast; the surprise being the head of his wife just lying on the counter, her body never to be found, but her head severed from it, evidence that she could no longer block his progress in the world, for it was her presence in his life that kept him from being who he really was, who he really was, who he really was, and who might that really be, for he was a man small in stature and he really felt his small stature so keenly, especially when standing beside the young Heracles, whose deeds were known and they were great and he was famous for them, even before he was born.
she could not see it and could not understand it even if she could see it: her husband, the dear Mr. Sweet, hated her very much. He so often wished her dead: once then, a night when he had returned home after performing
a piano concerto by Shostakovich to an audience of people who lived in the nearby villages and so felt they wanted to get out of their homes from time to time, but as soon as they left their homes they wanted to return immediately, for nothing was nearby and nothing was as nice as their own homes and hearing Mr. Sweet play the piano made them sleepy, their heads sometimes suddenly falling forward, and they struggled to keep their chins from landing on their chests and that happened anyway and there would be lurching and balancing and gulping and coughing and though Mr. Sweets back was turned away from his rural audience he could sense all this and he could feel every twitch, every shudder, as it registered in each individual. He loved Shostakovich and as he played the music written by this man The Oath to the Peoples Commissar, Song of the Forests, Eight Preludes for Piano the grave sorrows and injustices visited on him flowed over Mr. Sweet and he was very moved by the man and the music that the man made and he wept as he played, pouring all of his feelings of despair into that music, imagining that his life, his precious life was being spent with that dreadful woman, his wife, the dear Mrs. Sweet, who love making three courses of French food for her small children and loved their company and she loved gardens and loved him and he was least worthy of her love, for he was such a small man sometime people mistook him for a rodent, he scurried around so. And he was not a rodent at all, he was a man capable of understanding Wittgenstein and Einstein and any other name that ended in stein, Gertrude included, the intricacies of the universe itself, the being Then and how Then becomes Now; how well he knew everything but he could not express himself, he could not show the world, at least as the world turned up in the form of the population of some small villages in New England, what a remarkable person he was then and had been and in time to come, these people who wore the same socks days in a row and didnt dye their hair after it lost the natural color and the lust it had when they were young and they liked to eat foods that were imperfect, food made limp by natural pathogens or insects for instance, people who worried about the pilot light going out of the boiler and the pipes freezing because the house was cold and then the plumber would have to be called and that plumber would complain about the work of the plumber who came before him because plumbers always found each others work imperfect; and his audience worried about all sorts of things Mr. Sweet had never heard of because he grew up in a city and lived in a large building that had many apartments in it and when things went wrong, someone named the Super was called to make it right: the Super could change a lightbulb, get the elevator to work again after it had ceased to do so, make the garbage disappear, scrub the
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A r ti st P r o f i l e
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Do I dare Disturb the universe? In a minute there is time For decisions and revisions which a minute will reverse. T.S Eliot Small circles or markings sit atop writings, drawings, lined geometric shapes, pulverized glass, or gestures of thrown paint. I like the synthesis of freedom and order, daring and doubt not the willing suspension of doubt, but its embrace. I am comfortable with opposites, with contradictions, with ambiguity. Through a practice of rhythmic repetition of brushstrokes, my mind is free to think and feel about the unobservable, the infinite, life, death, and everything in between. Sculpture: I had a sculpture commission in Spain, at the same time as the Clinton-Obama debates. I moved a work table in front of the television and began to glue disparate elements together with no pre-conceived idea of what the final image would be, a bit of a Dada happening. It seemed as if the debates were generating these works. The process is similar to painting, where the meditation of setting my hands free from my conscious mind allows me a kind of wild freedom of form. After 5 weeks, I had over 150 anthropomorphic maquettes made of spigots, electrical items, pipe fittings, gadgets.
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A r ti st p o r t r ait
Richard Limber
Vanity and delusion propel much of the creativity within and around us. Empathy and substance are my elusive counterpoints. Vanity motivates me to think my efforts can engage a viewers perceptions of the world. Empathy forces me strive to reach beyond my cloistered art life into a world of dynamic and ominous change. I create in a fast, spontaneous (semi-delusional), manner, when something pushes me no repetitive methodology. As a result I throw away most of my efforts. Substance comes from imagery that both presents traditional composition elements and documents a specific moment. The picture bullet marks , derives from a New York Times photo of a well dressed girl lost in thought in front of a large bullet pocked wall (in Tripoli, Libya, in 2011). The face is where I focused my attention with the use of strong complementary color to contrast the colorless marks behind her. The aim of the composition is to present a strong, simple hook , the girl, who draws the viewer into a more mysterious menacing space. She is innocent, could live around the block, but is in a war zone a timeless beauty effected by our tax dollars.
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p o et ry
Rebecca Wolff
lets put our heads together and open our mouths what caverns inside will be what joins us
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A r ti st p r o f i l e
Jeanne Staples
When I was a student at the Pennsylvania Academy of the Fine Arts, I painted a lot of portraits. Portrait painting, portrait drawing, life drawing, cast drawing. My primary concern at that time was simply to get a good likeness. Its always been the philosophy of the school to immerse the students in the fundamentals of art training, even during the 60s and 70s when other art schools abandoned this practice. In the last ten years Ive reconnected with the portrait, but Im pretty clear that Im not a portrait painter. I never do commissions. Most times, people have a very specific idea of how they would like to look when captured in oil on canvas, and I dont think I would be very good at figuring that out.
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I discovered that I have become more interested in the idea of populating my canvases with figures which are in service to a story. A few years ago, when I started my painting series Present Pending, I began to think of the portraits as a collection of paintings that, separately and collectively, would suggest the exposition of a story. Each piece is designed to give the viewer a sense of one of the actors in the narrative and a setting. Collectively the players interact and the narratives connect, but without telling the whole tale, letting the viewers complete the story themselves.
Nearly all my portraits now seem to be inspired in this way, whether its a one-off portrait, part of a series, or one of my 3-D paired painting installations. The figures are meant to live in an ambiguous narrative where the viewer is invited to draft the next chapters. I am endlessly fascinated with the idea of creating art that aspires to engage the viewer draw them in, invite their participation, tease their imagination. Thats what a good exposition does for me, and the pursuit of it in my work keeps me engaged.
arthas Vineyard may not be the first place you think of when you hear the term Environmental Justice. What does the concept mean in the context of our Island? Most people think of Environmental Justice as the fight for fairness when it comes to the distribution of positive and negative environmental impacts and thats true. It is a global movement that emerged largely in response to the disturbing trend where polluting industries were building in areas with the least powerful political voices. Elsewhere, Environmental Justice is characterized as a struggle where one party suffers the harms of environmental damage while the other reaps the financial rewards of the exploitation. On the Vineyard however, this particular dichotomy does not quite fit. For the most part, we are all in it together. All of us stand to benefit more from environmental protection than exploitation. Importantly for our Vineyard experience, Environmental Justice is also a social movement that is very much locally-based. On Marthas Vineyard, it involves a confluence of public and private groups and individuals applying pressure from many different directions, all aimed at building a workable definition of the elusive term sustainability. The Vineyard Conservation Society (VCS) has fought to forge that workable definition for nearly 50 years. Stated broadly, the goal is to bring consumption patterns across a range of sectors within levels that can be sustained into the future indefinitely.
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How to do that? We must start by reaching consensus that this Island community will safeguard the integrity of our natural resource support system. That means keeping farmland and wildlife habitat from being consumed. For VCS, it translates into advocating for open space acquisition, facilitating gifts of permanent conservation restriction on privately-owned lands, and urging tighter land-use regulation. The famous quote about land attributed to Mark Twain that theyre not making any more of it has particular poignancy in the context of our small Island. Unsustainable land development is fragmenting our assemblage of native plants and animals, contaminating our ponds with nitrogen from septic systems, and clogging our rural roads with traffic. Thousands more houses can be built in the years ahead under existing zoning. And climate change is bringing sea level rise and more severe storm impacts that will force a major rethinking of existing land use. High on the Environmental Justice agenda must therefore be creative thinking about limits-to-growth. For decades it has been a taboo subject, for a variety of reasons. Fortunately, on the heels of the Marthas Vineyard Commissions regional Island Plan, a consensus is emerging: No one wants to see the future face of the Vineyard that is predicted by our current unsustainable growth trajectory. But land use is also tied to a myriad of other sustainability threads. We must advance sustainability in the area of energy through improved efficiency of our machines, use of appropriate renewable technologies, and energy conservation in our homes and businesses. In the area of food production, we must put prime agriculture soils to work by preserving existing farms and buying local. Making our water resource sustainable means protecting our ponds and drinking water supplies, perfecting technology to remove nitrogen from wastewater, conserving undeveloped land, and expanding our shellfish economy. So perhaps Marthas Vineyard is just the place to demonstrate leadership in the area of Environmental Justice. After all, we welcome visitors and opinion leaders from around the globe. If we can serve as an idea incubator for principles of sustainability, and demonstrate that they work, the seeds will spread! As one ardent VCS supporter put it, if theres any place where this can happen, it will be on Marthas Vineyard.
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Splash the Day Away, 12 x 24, egg tempera on Ampersand Clayboard, by Harry Seymour
population prefers learning that goes from the concrete to the abstract, 75% of Americas higher education teachers prefer the opposite. Several decades ago, the contemporary service-learning movement was launched in part to address this mismatch. By structuring class assignments around concrete community needs and challenges, teachers could not only help students bond more deeply with their community, they could also help them find new avenues to excellence. Indeed, in Making the Most of College, Richard Light stresses that even for Harvard students learning through experiences outside the classroom is vital. Over the last decade, a wide range of resources has become available to assist teachers on every level in designing and implementing community-based assignments. Because my wife and I moved to the Vineyard only after our only child had started college, I have not had much direct experience with the island school system. Still, it seems to me that we have here both the diversity of learner needs and the commitment to community required to make service-learning an effective educational resource. Doing so could create another valuable strand in the weave of island life. It could bring together otherwise unconnected social groups, address a multitude of concrete needs, and help insure our children have a wide variety of paths to achieving success. When the greatest number of students possible has such a path, we link social justice and education in a way that benefits all of us.
Edward Zlotowski is a West Tisbury resident, a retired professor of English and national and international consultant on service learning.
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or most of my adult life I lived in cities, Philadelphia and New York. I was profoundly affected by the poverty I encountered in both places the abandoned and gutted out row houses, the soaring towers of housing projects, the violence and ill health, the struggles of immigrants and refugees. And all this existed alongside tremendous wealth. The injustices were glaring and I was compelled to respond. In that response, I discovered a diverse community of people committed to social justice. When I moved to Marthas Vineyard to start my new ministry, I didnt yet have an imagination for how I would engage the issues of the day in this place, nor did I know how my perspective on suffering would evolve. Through my role as pastor to a broad spectrum of Islanders, I have borne witness to the pain and hardships of our neighbors. Down the long sandy roads, beside the lapping waves, in gingerbread cottages, in generationally owned family homes and in winter and summer rentals, all forms of suffering reside. Economic collapse, physical and mental illness, hunger and homelessness, family violence and loneliness are all present here. Because suffering is more hidden on the Island, I believe we must cultivate a compassionate heart, attuned especially to what we cannot see. For suffering is everywhere, no one is immune, including us. By staying awake to our own suffering, we can use it as a source of connection to neighbors and strangers alike. Can the suffering we know from an illness give us a new heart for the poor? Can our loneliness teach us about the immigrant experience? I believe our fragility, our common human condition, can be a source of strength and unity, and can inspire action for justice. But first we must sit with the pain.
Zelda Gamson is an Island resident, and a sociologist and writer who taught at the University of Michigan and the University of Massachusetts Boston.
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and at last count 8 schools had started to feed the children. That program lasted two years and lost its funding.
One billion children are malnourished world-wide. The World Food Program feeds 23 million every day in 62 countries and could do more if they had the money.
On a dumpsite in central Brazil I met three generations of women (grandma, mother and daughter) all scavenging for food or anything salable. Eventually, the daughter would attend school through a cash transfer program called the Bolsa Escola. Her mom imagined shed become the principal of the school. Over 40 million children are in school today, in 20 countries, using this antipoverty program. It could be expanded, if there were more money.
Worldwide, nearly 70 million children have never set foot in school.
* Each of these snapshots, is a measure of justice. The statistics can be numbing but the children themselves are very real and their childhoods are fragile and pass quickly. Robert, Sister Mary, Jamila, the Headmaster, are the heroes they show their compassion daily in what they do. Desmond Tutu told us something I will never forget...
These children are not figures on a page, they are flesh and blood. Picture the face of a child you love, picture your own child.
* Standing on a playground at an elementary school in Kenya, the headmaster told me that many of the students put stones in their lunch pails to escape the shame of detection. Today, only 25% of Kenyan elementary schools have a school lunch program. At one school in Masaailand, where cattle are sometimes prized more than young girls education, the headmaster of the local school started a fish farm and managed to sell every fish to the pastoralist parents of his students. The monies helped offset the costs of school lunch. In another village in Western Kenya, farmers were given fertilizer in exchange for a pledge to tithe 10% of their crop to establishing a school lunch program. Farm-yields increased five fold
Len Morris is the Editorial Director of Media Voices for Children, a documentary filmmaker, lecturer and advocate for childrens human rights. Site: mediavoicesforchildren.org
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y wife longed for a stable home in which to raise children. My two daughters allow that our house is nice but plan something closer to the ocean for their selves. Im mostly content if the counters are clean of homework, unpaid bills, dirty dishes or any of the other happy detritus of a full life. Home - different meanings for different people - but, if we start at shelter and add dependability we move towards the sense of security that underpins the idea of home for many of us. After that it is the aggregate of personal choices, fancies and concessions as well as the efforts made, shared, given or received that helps define our communitys appearance, its sensibility and its day to day reality. For some years now our national discussion has foundered on dissimilar notions of an individuals rights and their primacy over shared responsibility to each other. Cherry picked references to the intentions of our countrys founders skip over the significance in their thinking of a social contract between individuals, each other and their government. The trading of individual rights for the protection of the larger group was a central tenet in their discussions. Questions of degree and type of trade-off abounded but the common good of society as an influence on that balance was prevalent throughout both the high-minded pursuit of a representative form of government and the practical mechanics that made that ideal extant on the ground.
Love or hate them, the recent Supreme Courts rulings affecting voting and marriage indicate continued important attention paid to legal, political and social rights of individuals and groups. And yet, across groups, our nation currently has wealth inequity rivaling our colonial period, anecdotal social mobility versus actual and an intersect between declining incomes and rising housing costs that sees more than 6.5 million U.S. households spending at least half their income on housing. Our representative governments response is to mimic the blind philosophers and define this elephant as expenditures, entitlements and budget excesses only with revenues, tax policy and record corporate profits not part of their purview. There seems a direct line from the foreshortened definition of our governmental system as based largely on the individual to our inability to address reasonably the practical difficulties assailing the majority of our citizens. Where are the voices that remind us of our systemic duty to diligently attempt the balance of the two? Here on the island we have great natural beauty, varied opportunity, significant wealth and myriad acts of generosity cheek to jowl with high costs of living, seasonal employment swings, an aging population and limited possibilities for younger families. We all have friends, neighbors and work associates who rollercoaster through seasonal leases and potential year-round situations that materialize and disappear with regularity. Still, many of us were surprised to hear that this past Januarys point-in-time homeless count on the Vineyard turned up 140 individuals, 80 in one abandoned building alone. Our surprise at such numbers should only broaden our efforts to increase housing opportunities and supports along the greater spectrum of need. That effort, inclusive of slow progress, significant celebrations, occasional set-backs and lengthening process, continues to help define our community. One of my four sisters came to believe that home was anywhere she was free from the interference of her family and anyone else she felt had too much to say about how she lived. That definition aged her prematurely and, when cumulative health issues mounted a year ago, kept help that would have saved her life a rooms length away. Shelter, yes; home, maybe; community, no.
David Vigneault is the Executive Director of the Dukes County Regional Housing Authority. email: dcrha@vineyard.net
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NON f icti o n
This excerpt from What Then Must We Do?: Straight Talk About the Next American Revolution, Copyright (C) 2013 by Gar Alperovitz, is reprinted here with the permission of Chelsea Green Publishing.
by Gar Alperovitz
istory has a way of surprising us, especially in times when serious change seems impossible. The modern civil rights movement, the feminist movement, the gay rights movement, even the modern conservative movement (which was modest in the early postwar era), all rose to major power without benefit of pundit prediction. Indeed, the success of all these movements was quite contrary to the conventional wisdom at the time, which held that nothing serious could change. Nor did anyone predict the Arab Spring revolutions in the Middle East, or the radical shifts in power that have overthrown conservative and authoritarian governments throughout Latin America in the last two decades. Farther back, how many people in 1989 predicted that the Berlin Wall would fall, or that within two years the Soviet Union would dissolve, or that within five years apartheid would finally end in South Africa? The American Revolution itself stands as a reminder that a small and totally outgunned group of determined people could defeat the then most powerful empire in the world. I am no utopian; I am a historian and political economist. I am cautious about predictions of inevitabilityincluding the assumed inevitability, dictated from on high, that nothing fundamental can ever change. It is possibleindeed, perhaps likelythat at some point the pain, tensions, loss of belief, and anger building up in America will lead to something far more explosive and transformative than business-asusual politics. And it is our responsibilityyours and mine and other Americansin advance of such a time to openly consider what might make sense, how to proceed, and what our role in the matter might be. The place to begin is with the profound challenge now confronting us in connection with the truly fundamental American valuesequality, liberty, and democracy; and with the ongoing loss of belief in the corporate systems capacity to achieve and nurture these values, not to
mention those involving global sustainability. I am not talking, simply, about the need to address social and economic and climate change pain, as important as they are. I am talking about addressing something much deeper. A nation that proclaims a creed based on centrally important values but continues to violate them in practice is setting itself up for challenges much more serious than the problems of normal politics. If the trends continue to decayand there is every reason to believe that most, in fact, are likely towe will clearly be entering what social scientists term a legitimation crisis: a time when the values that give legitimacy to the system no longer can, in fact, be achieved by the system. The late Seymour Martin Lipset and William Schneider, cautious researchers studying the loss of belief in American institutions during the 1980s at a time even before the economic and social pain had begun to deepen, concluded: The situation is much more brittle than it was at the end of the 1920s, just before the Great Depression, or in 1965, immediately preceding the unrest occasioned by the Vietnam War and the outbreak of racial tension . . . The outcome could very well be substantial support for movements seeking to change the system in a fundamental way. Their conclusion, though premature, stands as a warningand a challenge to our own time. At minimum it is another reminder of the importance of considering strategies beyond the usual political routes to changean Option Six, if you like. Put another way, the deepening difficulties also suggest the possibility that we may now be well into the prehistory of the next American revolution, that Option Six may ultimately involve longer-term changes much greater than many have contemplated. It is never possible to know in advance what may or may not occur. Nonetheless, such a time is a time when it is also our responsibility to begin to consider the fundamental question of how a next system might and should be organized, a time to begin to explore new ways to achieve the great American values that can no longer be achieved by the dying system. Understood in this larger perspective, the various efforts under way that offer the possibility of democratizing the ownership of wealth may not only help bolster traditional progressive political strategy, but also help lay down critical building blocks for something far
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more fundamental. Which also means it is time to begin to get serious about the question: If you dont like corporate capitalism and you dont like state socialism, what do you want? It is time to throw off the blinders that suggest we must always and forever be constrained by systemic alternatives whose main lines of development can be traced back more than a hundred yearsindeed, far longer back in historical time. That the question may be of more than passing interest is also suggested by the fact that the words capitalism and socialism were the most-looked-up words in the Merriam-Webster online dictionary in 2012. A good way to start answering the question is to confront the profound challenge of community, and its practical requirements and systemic implications. The institutional requirements of community pose fundamental issues that neither corporate capitalism nor state socialism ever took seriously. The critical point of departure is the question: Can you ever have Democracy with a big D in any system if you dont have democracy with a small d in the actual experience and everyday community life of ordinary everyday citizens? Especially at a time like ours when corporate power and money dominate? Im talking about genuine democracy, not just voting. Real participation, the kind political theorist Benjamin Barber calls strong democracy. The kind where people not only react to choices handed down from on high, yea or nay, but actively engage, innovate, create optionsand also decide among them. There are increasing numbers of experiments with what this means some that weve visited in earlier chapters, and many others in the United States and around the world that point to a new direction, building from the bottom up. In such efforts the outlines of a very different, more vital, more engaged democracy for the next system are beginning to be forged, developed, expandedstarting in specific communities. There are also new, related theoretical outlines being generated by our leading scholars. The president of the American Political Science Association, Harvard professor Jane Mansbridge, writes: Without an extensive program of decentralization and workplace democracy, few people are likely to have the political experiences necessary for understanding their interests. As she also observes, They are most likely to come to understand their real interests in a small democracy, like a town or workplace, where members make a conscious effort to choose democratic procedures appropriate to the various issues that arise. Other scholarsincluding Barber, Stephen Elkin, and Robert Putnamhave elaborated on similar themes. The spirit of such a vision, however, can be traced back to Alexis de Tocqueville and John Stuart Mill, who best understood the importance of getting things right at the community level. Here is Tocqueville: Local assemblies of citizens constitute the strength of free nations. Municipal Institutions are to liberty what primary schools are to science; they bring it within the peoples reach, they teach men how to use and how to enjoy it. And here is Mill: We do not learn to read or write, to ride or swim, by being merely told how to do it, but by doing it, so it is only by practicing popular government on a limited scale, that the people will ever learn how to exercise it on a larger.*
I need to stop the flow here to sharpen a critical point: It is not enough to urge such change, even to experiment with it, though both are important. A systemic challenge goes deeper, much deeper, and it brings us back full circle to who controls wealthand for more than one reason. First, anyone who has considered the matter for more than five minutes knows that money influences elections big-time, that the distribution of power is intimately related to the distribution of income and wealth, and that democracy remains superficial and essentially compromised so long as this is so. But the hard place in the argument about how to achieve real change, the place that underscores the need for systemic change rather than mere policy and political change, is that the old system, the one dominated by corporations with the hope that traditional politics can significantly alter the distribution of income and wealth (hence democracy!), no longer can achieve such change. Which means that either the next system will be built upon different ways to organize the ownership of wealth, or the ongoing trends will continue (with or without minor adjustments around the edges). Another way to say this is that there is a difference between an abstract vision of democratic practice and the value of democracy, on the one hand, and what is best termed a systemic design capable of achieving and sustaining that vision and that value, on the other. Which means, again: If you dont like state socialism and you dont like corporate capitalism, what do you want? And if you arent willing to answer that question, or even engage it, why should we listen to your concerns about the failings of the current system? Just to dig a bit deeper into the difference between defining our values and vision and creating a serious systemic design capable of achieving and sustaining them, heres a second challenge: You cant have a genuine experience of meaningful local democracy if communities are continually disrupted, the people moved hither and yon, and municipal government so dependent on corporate help that there is no room for any serious form of democratic choice.6 Accordingly, if the next system takes community and democracy from the ground up seriously, it will have to deal with stabilizing the local economies of our communities.
* The challenge such a vision presents to weak democracy understandingsand also to abstract slogans of participatory democracywas captured by a wall poster during the 1968 uprisings in Paris: Question: How do you conjugate the word participate? Answer: I participate, you participate, we participate. They decide!
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Poetry
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Christina Gallery
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548 Edgartown Road West Tisbury, MA, 02575 508 693 7719
Island Art Gallery
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Davis House / Allen Whiting
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54 Main Street Vineyard Haven, MA, 02568 508 693 7373 www.louisagould.com Facebook find: Louisa-Gould Twitter: @GouldGallery
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56 Main Street Vineyard Haven, MA, 02568 508 696 7323 www.shawcramergallery.com
The Brigish Collection
34 South Pond Road Vineyard Haven, MA, 02568 508 696 3109 www.brigish.com
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490 Indian Hill Road West Tisbury, MA, 02575 508 696 9606 www.dougkentpaintings.com
Dragonfly Gallery
58 Main Street Vineyard Haven, MA, 02568 508 696 9500 www.northwatergallery.com
North Water Gallery
636 Old County Road West Tisbury, MA, 02575 508 693 0455 www.granarygallery.com Facebook find: The-Granary-Gallery
Vineyard Artisans Festivals
91 Dukes County Ave Oak Bluffs, MA, 02557 508 693 8877 www.mvdragonfly.com
Edgartown Art Gallery
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1059 State Rd PO Box 774 Oak Bluffs, MA, 02557 508 693 8989 www.vineyardartisans.com
38 N. Water St PO Box 1930 Edgartown, MA, 02539 508 627 7003 www.eisenhauergallery.com Facebook find: Eisenhauer-Gallery
Featherstone Center for the Arts
30 Featherstone Lane Oak Bluffs, MA, 02557 508 693 1850 www.featherstoneart.org
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July 25 - 28
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