Mar 29, 2011
THANK YOU!!
...John Herbstritt, Fereshteh, Kathy Kerr-Schochet, James Duesterberg, and Tatiana Natzke for your pledges on kickstarter.com! I so appreciate your support!
Mar 24, 2011
THANK YOU!
...for your generous pledge on kickstarter Adrienne Cotterell!! I am so glad to have you as a backer!
Mar 23, 2011
Profile of the project on Tasty Spoonful
AJ Aronstein captured the spirit and intent of the project wonderfully when he wrote,
"Please Touch the Artwork is not about the exemplarity (and by this I mean, the spectacular or exceptional) of the disabled body and its relationship with art–but about creating a more inclusive definition of the kind of multi-sensory art that belongs in the space of the gallery and museum."
Thanks for the profile, AJ! Be sure to read the whole article on Tasty Spoonful here.
"Please Touch the Artwork is not about the exemplarity (and by this I mean, the spectacular or exceptional) of the disabled body and its relationship with art–but about creating a more inclusive definition of the kind of multi-sensory art that belongs in the space of the gallery and museum."
Thanks for the profile, AJ! Be sure to read the whole article on Tasty Spoonful here.
Mar 14, 2011
"Without You I'm Nothing: Interactions" at the MCA
The Museum of Contemporary Art in Chicago is currently presenting a series of performances called "Without You I'm Nothing: Interactions" January 4 - May 1, 2011, a component of the exhibition "Without You I'm Nothing." While the exhibition at large examines how artists have incorporated the museum audience or "viewers" into conceptual pieces over the last few decades, this performance series specifically provides an opportunity to experience the promised inclusion the exhibition puts on display. A full list of the performances can be found here. I have highlighted the ones below that operate outside of the visual realm. These performances are good examples of the kind of work PLEASE TOUCH THE ARTWORK aims to highlight, namely, contemporary art that is accessible because of its purposeful operation outside of the hegemonic viewer-object relationship normally supported by museums. As this exhibition and performance series shows, artwork has been created over the last few decades in order to push the boundaries of traditional "viewing" practices. These pieces can be engaged with by the visually impaired as they were intended to be, with no sensory translation necessary.
Nance Klehm: Culture of Soil
February 5: Sat 3 pm
In traditional agricultural communities, the new moon marks the beginning of spring when the tree sap starts running. On Saturday at 3 pm, Klehm hosts an outdoor fire in the MCA's Sculpture Garden where maple syrup tea is made and shared, then the work continues on a walk where Klehm tells stories about the uses of trees within the urban landscape.
Coppice (Noé Cuéllar and Joseph Kramer): Vinculum (Coincidence)
February 8-13: Tues, 1-3 pm and 5-7 pm; Wed-Sun 1-3 pm
Live performances for two accordions with four speakers play back pre-recorded sounds. The gallery is filled with multiple sounds, all at a moderate volume. The score is procedural, deriving its instructions from coincidences between two accordions as they intersect with the pre-recorded material and the activity in the space.
Dexter Bullard: The Dialogues
March 15-20: Tues 7-8 pm; Thurs-Sat 3-4 pm
These performances involve pairs of well known Chicago-rooted performers who have a conversation over the phone, not knowing who they are talking to. The audience listens in on the conversation while a guest sound artist mixes a hypnotic sonic sound, adding an additional dimension to the changing tone of the conversations.
Jonathan Chen: 19 situations for six improvisers: a system for hearing
March 29 - April 2: Tues 7-8 pm; Thurs and Sat, 2-3 pm
In this improvisational work each musician is provided with a pair of headphones to listen to another performer. The musicians improvise in response to the other musicians they hear, although this changes throughout the performance. Audience members are able to use the headphones to hear exactly the same sound as the musician they are near. The audience can experience the multiple perspectives central to the work by moving between the spaces occupied by each musician and listening to what the musicians are hearing through the headphones.
Amber Ginsburg and Lia Rousset: Viewing Soundscapes: Tapping the Audience
April 12-17: during museum hours
Tapping the Audience invites the audience to slip on a pair of tap shoes, amplifying the gallery experience and creating an audible acknowledgment of our physical patterns of viewing.
Nance Klehm: Culture of Soil
February 5: Sat 3 pm
In traditional agricultural communities, the new moon marks the beginning of spring when the tree sap starts running. On Saturday at 3 pm, Klehm hosts an outdoor fire in the MCA's Sculpture Garden where maple syrup tea is made and shared, then the work continues on a walk where Klehm tells stories about the uses of trees within the urban landscape.
Coppice (Noé Cuéllar and Joseph Kramer): Vinculum (Coincidence)
February 8-13: Tues, 1-3 pm and 5-7 pm; Wed-Sun 1-3 pm
Live performances for two accordions with four speakers play back pre-recorded sounds. The gallery is filled with multiple sounds, all at a moderate volume. The score is procedural, deriving its instructions from coincidences between two accordions as they intersect with the pre-recorded material and the activity in the space.
Dexter Bullard: The Dialogues
March 15-20: Tues 7-8 pm; Thurs-Sat 3-4 pm
These performances involve pairs of well known Chicago-rooted performers who have a conversation over the phone, not knowing who they are talking to. The audience listens in on the conversation while a guest sound artist mixes a hypnotic sonic sound, adding an additional dimension to the changing tone of the conversations.
Jonathan Chen: 19 situations for six improvisers: a system for hearing
March 29 - April 2: Tues 7-8 pm; Thurs and Sat, 2-3 pm
In this improvisational work each musician is provided with a pair of headphones to listen to another performer. The musicians improvise in response to the other musicians they hear, although this changes throughout the performance. Audience members are able to use the headphones to hear exactly the same sound as the musician they are near. The audience can experience the multiple perspectives central to the work by moving between the spaces occupied by each musician and listening to what the musicians are hearing through the headphones.
Amber Ginsburg and Lia Rousset: Viewing Soundscapes: Tapping the Audience
April 12-17: during museum hours
Tapping the Audience invites the audience to slip on a pair of tap shoes, amplifying the gallery experience and creating an audible acknowledgment of our physical patterns of viewing.
Mar 10, 2011
Mar 9, 2011
A GIANT THANK YOU...
...to our biggest supporter yet, for her amazingly generous pledge on kickstarter.com! THANK YOU CAROLYN KLEBANOFF!! I am so appreciative of your support!
THANK YOU!
...to Tony Haftel, for your amazing pledge on kickstarter.com! I'm so incredibly appreciative of your support!
Mar 8, 2011
THANK YOU!
...to Ingrid Haftel, for your generous pledge on kickstarter.com, and for being such a wonderful supporter of the project!
Mar 7, 2011
Kickstarter--Making my dream come true (with your help that is!)
I thought it might be a good idea to dedicate a blog post to giving some details about Kickstater.com, the micro-lending creative project fund-raising site I am using to make this project a reality. They do a great job of explaining why their system works, so I am copying some of the relevant Frequently Asked Questions that give a good impression of what they are about. While The Project for Art Accessibility does not have official non-profit status now, I hope to take that next step after this exhibition! That is why I am funding this as a "project," as kickstarter defines it--something with a clear beginning and end, and a set amount of funding as a goal. Here is some more about the site and why it works well for people with goals like mine:
"What is Kickstarter?
Kickstarter is a new way to fund creative projects.
We believe that:
• A good idea, communicated well, can spread fast and wide.
• A large group of people can be a tremendous source of money and encouragement.
Kickstarter is powered by a unique all-or-nothing funding method where projects must be fully-funded or no money changes hands.
All-or-nothing funding?
Every Kickstarter project must be fully funded before its time expires or no money changes hands.
Why?
1. It allows people to test concepts (or conditionally sell stuff) without risk. If you don't receive the support you want, you're not compelled to follow through. This is huge!
2. It motivates. If people want to see a project come to life, they're going to spread the word.
Why do people support projects?
REWARDS! Project creators inspire people to open their wallets by offering smart, fun, and tangible rewards (products, benefits, and experiences).
STORIES! Kickstarter projects are efforts by real people to do something they love, something fun, or at least something of note. These stories unfold through blog posts, pics, and videos as people bring their ideas to life.
Who can fund their project on Kickstarter?
Kickstarter is focused on creative projects. We're a great way for artists, filmmakers, musicians, designers, writers, illustrators, explorers, curators, performers, and others to bring their projects, events, and dreams to life.
The word “project” is just as important as “creative” in defining what works on Kickstarter. A project is something finite with a clear beginning and end. Someone can be held accountable to the framework of a project — a project was either completed or it wasn’t — and there are definable expectations that everyone can agree to.
How do I pledge?
To pledge to a project, just click the green “Back This Project” button on any project page. You will be asked to input your pledge amount and select a reward. From there, you will go through the Amazon checkout process. Note that you must finish the Amazon checkout process for your pledge to be recorded.
If I make a pledge, when is my card charged?
If the project you’re backing is successfully funded, your card will be charged when the project reaches its funding deadline. If the project does not reach its funding goal, your card is never charged. That's why we call them pledges.
If funding does not succeed do backers pay anything?
Nothing. If funding fails, all pledges are canceled and that's that.
Are pledges tax deductible?
If a project creator has 501c3 status, then a pledge may be tax exempt. A project creator will likely tout their tax-exempt status if they have it.
"What is Kickstarter?
Kickstarter is a new way to fund creative projects.
We believe that:
• A good idea, communicated well, can spread fast and wide.
• A large group of people can be a tremendous source of money and encouragement.
Kickstarter is powered by a unique all-or-nothing funding method where projects must be fully-funded or no money changes hands.
All-or-nothing funding?
Every Kickstarter project must be fully funded before its time expires or no money changes hands.
Why?
1. It allows people to test concepts (or conditionally sell stuff) without risk. If you don't receive the support you want, you're not compelled to follow through. This is huge!
2. It motivates. If people want to see a project come to life, they're going to spread the word.
Why do people support projects?
REWARDS! Project creators inspire people to open their wallets by offering smart, fun, and tangible rewards (products, benefits, and experiences).
STORIES! Kickstarter projects are efforts by real people to do something they love, something fun, or at least something of note. These stories unfold through blog posts, pics, and videos as people bring their ideas to life.
Who can fund their project on Kickstarter?
Kickstarter is focused on creative projects. We're a great way for artists, filmmakers, musicians, designers, writers, illustrators, explorers, curators, performers, and others to bring their projects, events, and dreams to life.
The word “project” is just as important as “creative” in defining what works on Kickstarter. A project is something finite with a clear beginning and end. Someone can be held accountable to the framework of a project — a project was either completed or it wasn’t — and there are definable expectations that everyone can agree to.
How do I pledge?
To pledge to a project, just click the green “Back This Project” button on any project page. You will be asked to input your pledge amount and select a reward. From there, you will go through the Amazon checkout process. Note that you must finish the Amazon checkout process for your pledge to be recorded.
If I make a pledge, when is my card charged?
If the project you’re backing is successfully funded, your card will be charged when the project reaches its funding deadline. If the project does not reach its funding goal, your card is never charged. That's why we call them pledges.
If funding does not succeed do backers pay anything?
Nothing. If funding fails, all pledges are canceled and that's that.
Are pledges tax deductible?
If a project creator has 501c3 status, then a pledge may be tax exempt. A project creator will likely tout their tax-exempt status if they have it.
Mar 6, 2011
THANK YOU!
...to Constance Adler for your generous pledge on kickstarter.com! I so appreciate your support!
We made it to $500!
Thanks to my amazing backers on kickstarter, we just passed the $500 mark!! Thank you everyone!
THANK YOU!
...to Matt Lauterbach for your generous pledge! I so appreciate you backing my project on kickstarter.com!
Mar 5, 2011
Pete Eckert- A Blind Visual Artist
Check out this absolutely inspiring video about a blind photographer, who takes photographs relying on his sense of hearing.
| Artists Wanted | In Focus : Pete Eckert from Artists Wanted on Vimeo.
| Artists Wanted | In Focus : Pete Eckert from Artists Wanted on Vimeo.
Photographs for the Blind
I just stumbled upon this article that describes a process scientists are using to convert photographs of faces into tactile form. I would love to hear some thoughts on this concept, especially from those who have used tactile printers in the past. Click Here for the article.
Mar 4, 2011
Mar 3, 2011
Guest post from the very special veteran "non-viewer" Janni Lehrer-Stein
The strange thing about being a blind person in an art museum is that I often feel like I am the exhibit. People do stare at me, and often ask what I think I am doing there.
Well, the answer is simple. I am there for the same reason as anyone else—to enjoy the art! From there, things get a little more complicated. I attend art exhibits at museums because I have loved art and art history for my entire life. I have progressively lost my vision, and so I had the advantage of memory for many of the fine museums and exhibits that I had the privilege of visiting. For me, visiting these museums again, even though I can no longer see most of the artwork housed there, is like seeing an old friend. These museums are comfortable spaces for me, and with the right kind of assistance, I can use my very slight remaining vision and my memory and imagination to recreate the stunning pieces on display.
But many blind people have not had that advantage, and the issue is bigger than me. My lifetime of advancing blindness, and my interaction with persons with many different disabilities has made clear to me that the disabled community is comprised of people with astonishing capability-born of the challenges they face simply to function in an ‘enabled’ society. So, why not a blind person in an art museum?
Making the visual arts accessible is not so difficult. For me, an audio guide that describes the composition and elements of the piece, as well as its place in art history, is a necessity. While the regular audio guides, that add voices from the curator and general background about the genre are interesting, an intense description is for me, the means for actually visualizing a painting or sculpture. The ability to handle art pieces that are durable enough to be touched provides so much sensory information, since blind people become expert at discerning tactile details. Being able to trace the outlines of a face sculpted by Rodin was a thrill for me, both because I was touching the very work crafted by the hands of such a master, and because using my hands enabled me to understand the features.
But access to the artwork is just part of the issue when it comes to my visiting a museum. Sometimes the museum spaces are confusing, or even dangerous to someone using a cane. Sometimes lighting has to be dim to protect the artwork, making pathways even more difficult to traverse. So lighting, pathway markings, and large, high contrast signs would be a luxury that would make a museum visit much easier for me.
There is no doubt that persons with disabilities wish to and should be included in all aspects of culture in modern society, including visual art. I have been greeted at museums by docents and guards who embrace me, and are anxious to include me. I have also been treated with disdain and disbelief for having the nerve to venture into a gallery or museum with my cane. Ultimately, if there is one concept that would be most meaningful to a person challenged by disability who wishes to enjoy art just like anyone else, it would be the simple expression of respect. So, next time you see me, or someone else with a white cane in an art museum, do me a favor. Don’t stare—describe. I am positive that the resulting exchange of information and ideas will benefit us all.
THANK YOU!
...to Leon and Judy Bloomfield for your generous pledge! I am so appreciative of your support as a backer!
Mar 2, 2011
Non-visual Curating
When we think of curating in the general sense, it is hard to separate it from the visual. A curator does much more than create the visual unity of an exhibition; however, the role of creating a cohesive whole from a number of component parts, within the context of an art exhibit, seems to necessitate a strong visual component. While a curator might rely on the visual only to express the desired thematic cohesion she seeks for the exhibition, she relies on the visual nonetheless. Successful curating activates the key themes in subject and aesthetics, putting them to work for the larger concepts of the exhibit. One of the most important ingredients is visual cohesion.
So then how do we remove the visual from the equation of successful curating? Thematic unity remains, but with what vehicle is it conjured, if not the visual? The "viewers," or in this case, the "non-viewers" or "experiencers" must be guided through the exhibit in a way that highlights each piece's strengths and reaffirms its place in the whole, allowing it to support the general thesis like any supporting paragraph in an essay. The curator must provide guidance in a non-visual form.
One of the ways I plan to achieve this kind of non-visual curating in PLEASE TOUCH THE ARTWORK derives from an experience I had with my mother abroad. When we visited China 5 or 6 years ago, what she found immensely helpful were these tactile paths for the visually impaired that were imprinted into the sidewalk. Whenever she approached a street corner, the texture of the path would change, alerting her to the end of the sidewalk. I plan to appropriate this form of tactile guidance in my curating to create a non-visual path for the "non-viewers," that functions as visual curating would, guiding the experience of the individual pieces as a unified whole.
image credit: flickr ww_whist
So then how do we remove the visual from the equation of successful curating? Thematic unity remains, but with what vehicle is it conjured, if not the visual? The "viewers," or in this case, the "non-viewers" or "experiencers" must be guided through the exhibit in a way that highlights each piece's strengths and reaffirms its place in the whole, allowing it to support the general thesis like any supporting paragraph in an essay. The curator must provide guidance in a non-visual form.
One of the ways I plan to achieve this kind of non-visual curating in PLEASE TOUCH THE ARTWORK derives from an experience I had with my mother abroad. When we visited China 5 or 6 years ago, what she found immensely helpful were these tactile paths for the visually impaired that were imprinted into the sidewalk. Whenever she approached a street corner, the texture of the path would change, alerting her to the end of the sidewalk. I plan to appropriate this form of tactile guidance in my curating to create a non-visual path for the "non-viewers," that functions as visual curating would, guiding the experience of the individual pieces as a unified whole.
image credit: flickr ww_whist
Mar 1, 2011
THANK YOU!
...to our very first backers on kickstarter.com, Daniel Kohrman and Risa Stein! You are terrific, thanks for your support!!
Touch Galleries
Some readers may be familiar with museum "touch galleries." These galleries are often geared towards children, such as the one at the Art Institute of Chicago, which I have visited on numerous occasions. There is even an entire children's museum in Philadelphia dedicated to physical interaction with artworks. While these type of facilities can provide one great access point for the visually impaired, the problem remains that these kinds of exhibits are specifically designed for children. The kind of sophisticated, adult-oriented art "viewing" experience cannot be found with this type of programing. Where these touch options do exist, there is often a very limited amount to choose from. The one exception I have come across are tours that museums like the Rodin Museum in Paris provides, where, after putting on gloves, an attendant tours the museum with visitors, who are allowed to touch all or most of the pieces in the museum.
One of the most important factors that will be drive the curating process of PLEASE TOUCH THE ARTWORK is the need for an accessible version of the intellectual and sophisticated art experience.
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