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Re: [BKARTS] WOID #XIII-41. Blue Bayou

Hello, You know not of what you speak. There is very much evidence that children can most often address trauma by drawing. The sooner you get them the tools for doing this the better off they are. When they are sitting in shelters all day they need to have creative tools to help them process what has happened to them Now is exactly the time they need these things. ARGGGG. Sandy Olson
From: Mark Hill 
  To: BOOK_ARTS-L@xxxxxxxxxxxxxxxx 
  Sent: Monday, September 19, 2005 10:45 AM
  Subject: Re: WOID #XIII-41. Blue Bayou

  I have to agree with Mr. Werner.  I believe that when there are thousands of
  people who need food, water, medical supplies it is arrogant (in the least)
  to think you are helping anyone by sending them art supplies.  It might help
  you sleep at night thinking that you helped the people of New Orleans by
  sending you extra sketch pads and pencils, but you would be delusional.

  At this point, food, water and medical supplies are what the Katrina victims
  need the most.  Send your art supplies, if you are still determined that
  this is going to help anyone,  when they are fed and housed.

  And "leave this sort of thing to the professionals?"  The professionals
  (government) have already shown their miserable failure at responding to
  this tragedy.  We have been shown quite well that we can not depend on the

  Mark Hill
  Paper Raven Bookworks

   -----Original Message-----
  From: Book_Arts-L [mailto:BOOK_ARTS-L@xxxxxxxxxxxxxxxx]  On Behalf Of Paul
  T Werner
  Sent: Monday, September 19, 2005 8:36 AM
  To: BOOK_ARTS-L@xxxxxxxxxxxxxxxx
  Subject: [BKARTS] WOID #XIII-41. Blue Bayou

  Dear Professor:

  A week ago you wrote asking for donations of art supplies for the
  evacuees from New Orleans: "children and adults now living in
  shelters , [....], children who are entering the public schools whose
  budgets are currently overtaxed and overwhelmed, [...] college art
  students from New Orleans now enrolled [elsewhere], and professional
  artists who have lost not only their supplies but their life's work."

  An admirable request, and yet two memories haunt me: an artist friend
  of mine who worked with homeless children in New York City once told
  me the closets in the welfare hotels were bursting with donated art
  supplies. Why didn't she just hand them out, I asked. Because, she
  said, her job wasn't to hand out art supplies, it was to teach art.
  The other is of people in Louisiana dying, dying even now, because
  there are too many people who think it's not their job to hand out
  food and water, just to control who gets the food and the water, and
  the making of art.

  Absolute Poverty: it's not an ad for a brand of vodka, it' a
  statistical calculation that defines poverty in terms of "absolute"
  necessities: food, shelter, clothing. That's a belief for Barbara
  Bush, not you or me, Professor. People need art, not in the way that
  they need food or water, but in a way no less important in the long
  run, and that's the run we're seeing on Louisiana: the first
  responders were the lobbyists and speculators. Close behind, the
  social engineers: the churches, activists, the NGOs. With the
  breakdown of neighborhoods comes a breakdown of social and cultural
  relations, and the charities, activists and government are now
  competing to define what new relations will replace them as surely as
  charities in Old New England once bid for "their" poor. I think we all
  know, now, it's not whether you give, but to whom: Pat Robertson, or
  the Red Cross, or to MoveOn.org. The issue isn't whether there must be
  food and water and housing in New Orleans, and culture. The issue is:
  what kind of each, for whom, and who decides?

  And what worries me about your call is the implication, which lies
  behind so much high culture in America, that there is no culture among
  the poor, that they're merely vessels to be filled, with more or less
  benevolence, by more-or-less well-meaning social workers, government
  agencies or art professors. From there, of course, it's just a step to
  the actual destruction of native habitats and cultures, their
  replacement by "something better." Teach a man to fish and you have
  him fed for life. Teach a man to mix oil paints and you have him
  hooked for life on a charge account at the art supply store. And will
  that make him a better artist?

  Many years ago a friend of mine, an artist from New Orleans, told me
  of a bridge somewhere in the Delta, he wouldn't tell me where. Before
  you cross this bridge you walk down under it, and stick your hands in
  deep, and you come up with blue mud, the deepest, bluest blue you've
  ever seen. Maybe he needs some help, now, but I'm going to wait to be

  Collegially Yours,

  Paul T Werner, New York

  WOID: A journal of visual language
  "Museum Inc.: Inside the Global Art World" (November 1, from Prickly
  Paradigm Press)

  Edelpappband / "Millimeter" Binding Bind-O-Rama, Entry Deadline - October 1,

               For all your subscription questions, go to the
                        Book_Arts-L FAQ and Archive.

            See <http://www.philobiblon.com> for full information

  Edelpappband / "Millimeter" Binding Bind-O-Rama, Entry Deadline - October 1, 2005
               For all your subscription questions, go to the
                        Book_Arts-L FAQ and Archive.
            See <http://www.philobiblon.com> for full information

Edelpappband / "Millimeter" Binding Bind-O-Rama, Entry Deadline - October 1, 2005
             For all your subscription questions, go to the
                      Book_Arts-L FAQ and Archive.
          See <http://www.philobiblon.com> for full information

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