Ritical Responses: Guest speakers/Events

I need two different responses for different weeks ill attach one we did in both weeks and what the reading were and who talked you have to incorporate what we did and want we read in to the reps once about a page each (250). ill also add example of what another person did to know what they kind of writing they want.

try not write like the example because they will notice.
WEEK 1:

Tue 8 July Introduction: Framework, Objectives, and Strategies

Meet: In Class
Read: Terry Flew, a?Globalisation, Cities, and Creative Spacesa?

Thu 10 July The City as Incubator

OUTING: LMCC on Governors Island,
Meet: Governors Island Ferry Terminal at 9:45 SHARP!
nytimes.com/2014/06/15/realestate/using-artists-to-sell-condos-in-miami-and-new-york.html?_r0

Wed 16 July The Contradictions of a?Folk Capitalisma?

OUTING: Jalopy Theater and School of Music

Meet: 4:30 at 315 Columbia Street, Brooklyn
Take the F train to the Carroll Street stop a directions to follow
a? 4:30 talk and facilities tour with Lynette and Geoff Wiley
a? 6:00 (optional) walking tour of Red Hook
a? 7:30 (optional) Dinner at Jalopy Tavern
a? 9:30 Roots and Ruckus performance

Thu 17 July Creative Spaces and Gentrification

Meet: In Class
Read: Rosler: a?Culture Class: Art, Creativity and Urbanism, Pt. IIa?


example of week one:Our visit to LMCC on Governoras Island encouraged me to consider the idea of clustering more analytically, and think about the advantages and disadvantages of incubation, which is really just facilitated clustering, for artists. Flew mainly focuses on naturally occurring clusters with defined political boundaries like cities, and does not discuss the dynamics of smaller, facilitated clusters like the LMCC building. One of the points Clare McNulty emphasized during our tour was that the studio space was nearly exclusively for mid-career artists, and designed for resident artists to complete an installation or other long-term project during the course of their residency. This led me to believe that LMCC encourages artists to brand themselves in their time there, and produce work that requires a high level of personal reflection or an uncommon amount of space. Underlying their services is the assumption that personal development develops artistic vision, which can give an artistas body of work longevity and coherence. While I agree intuitively with this philosophy, that artistsa work should be some sort of reflection of themselves, I worry that the degree of geographic isolation from the rest of New York that Governoras Island imposes could be detrimental to the popularity or cultural timeliness of the work produced there.
Ms. McNulty also said that the space a?condenses [their] work and distills [their] ideas in a really good waya?. This led to the realization on my part that art creation is often a prolonged process of vision realization; one that clustering fosters and encourages. In a densely populated area like New York City, it is important to carve out spaces for artists to work and enrich the cityas culture even further, providing even more inspiration for younger artists. Artists have always had to find their own creative spaces, often taking refuge in public spaces like parks or libraries when rents are driven up by trends in taste and urban development projects. Still, there is also a danger in compartmentalizing so tightly, and artificially creating clusters. The failure or instability of the facilitator, in this case LMCC, could irrevocably change or obstruct an artistas ability to create new work. Therefore, every artist takes a calculated risk relying on nonprofits and patrons to facilitate their creative process. This reveals the importance of ensuring organizations like LMCC are well funded, and their strategies are meticulously planned and executed, always with the well being of the artist in mind.