What happens when the police oath to “Serve and Protect” citizens morphs into an authoritarian demand to “Obey or Die”? And in an age referred to as post-racial America, why are there so many stories illustrating how the lives of America’s most vulnerable youth, and its adults, are precariously put at risk—resulting too often with the poor and voiceless in this nation finding themselves treated as political fodder for well-paid talking heads, all the while a roll call of dead black bodies lie in America’s blood-soaked streets?
Can it be that Donald Trump represents the future of global politics? Sociopolitical experts like Robert Reich, Gina Apostol, Walter Baier and Eric Weitz, say extremism is here to stay—that however objectionable, Donald Trump and his ilk are protected by a new Salonfähig, which formerly ensured the swift rise of Nazi Germany.
Without the past there can be no present or pathway to the future, and with the knowledge that the telling of history determines who is most enfranchised in the everyday, there is at least one story about the history of art and education in the 20th century deserving a much closer and careful examination. This is an epic story about the roots of modern art told in a new book I'm writing, entitled From Bauhaus | To Black Mountain.
Around the world, we must fight for education, architecture and art. Because, being civil means being willing to do the work necessary to protect a vision of beauty—to enshrine local, national and global treasures—to stand up and defend the ability to express oneself creatively. These things make the life water of the soul.
In the first part of my interview with curator Ruth Erickson, she talked about how the Leap Before You Look exhibition was designed to engage museum visitors. Now moving deeper in the dialog, Erickson talks more specifically about the different departments at Black Mountain College and how that influenced the exhibition
From the Works Project Administration (WPA) and the Harlem Renaissance, to Black Mountain College and Andy Warhol’s Factory, wherever there is revolutionary change one will always find the artist. And in the age of Black Lives Matter, history reminds us that liberation and social justice begin with creative expression.