Participants will be introduced to the essential ingredients needed to create a co-teaching collaboration
with essentialists (e.g. art, music, physical education, media) to develop meaningful arts - integrated approaches to support academic deficiencies.
I disagree
with this essentialist approach.
Micchelli writes: «In her highly informative essay on the exhibition's website, curator [Barbara] Stehle takes issue
with an essentialist agenda that would split aesthetic inclinations between male and female: «For the 9 women in the show, the point was never to make a distinction between the genders.
Not exact matches
While his separatist understanding of the church - world relationship leads to a lack of concern
with the intelligibility of the Christian story for our age, we have seen that Hauerwas» understanding is
essentialist.
If we do not wish to be swept away
with modernity's orientation
essentialists, then we need to remind the world that our sexual ethics was never really at home in the modern framework anyway, and thus that our forsaking the framework need not lead to postmodern nihilistic libertinism.
The general temptation, after all, is to fight one form of exclusivism
with another form of the same, leading to a situation of competing fundamentalist or
essentialist paradigms.
On the other hand, feminists
with a more
essentialist vision — a vision of some essential quality unique to women or unique to a woman's relationship to her child — will find Robertson's doctrine unacceptable.
This is where the
essentialist view is so handy, and it may be one reason why it is clung to
with such persistence.
Pro-choice feminists who employ an
essentialist argument against Robertson will have to deal
with an inconsistency, however: advocating freedom to choose to abort is inconsistent
with the claim that the mother - fetus bond is more fundamental than choice.
In fact, I think I have come up
with a new handle that fits you far better: «The
Essentialist Breeder.»
Thinking about abstraction's continued relevance may require me to at least mention Zombie Formalism, («Formalism because this art involves a straightforward, reductive,
essentialist method of making a painting and Zombie because it brings back to life the discarded aesthetics of Clement Greenberg»), if only to suggest that the term, coined by artist - critic Walter Robinson, quoted in brackets above, seems to refer more to the market than to the art and may appear more pertinent in the USA than in the UK where alternative modernisms have sometimes held more sway than the version associated
with Greenberg and Fried.
Purity, another key modernist mark espoused by the critic - theorist Clement Greenberg, is also travestied as Vaisman deflates the spiritual,
essentialist aura associated
with reductive abstraction (as in the art of Barnett Newman or Robert Ryman) and instead makes reference to mass production, commodity fetishism, and the problem of representation in the postmodern, post-industrial arena.
Both exhibitions emphasize the plural nature of feminist art: art made all over the world by women of all different nationalities, classes, and cultural and racial affiliations, and presumably identified
with both the «
essentialist» and the «constructionist» brands of feminist theory and politics, not to mention the many strategies of feminist art, from craft work to political exposé to canon - busting to the deconstruction of gender mythologies to body - centered investigations.
Art made by women becomes necessarily and solely about feminist activism (or worse, some
essentialist archetype of women's work, as was the case
with Ken Johnson's review in The New York Times of Michelle Grabner's recent show at James Cohan Gallery), and queer individuals must always make art that is about non-normative sexuality.
In addition to specific stylistic affinities
with European Modernism, Catlett's work comported
with the drive towards reduced,
essentialist forms.
In that sense, the mounting heat of the work helps us break
with cold
essentialist and reductionist - based opinions about each other, and to visualize all the innocent visible and invisible interactions that occur between and within our habitual perceptual modalities.
As Prof. Kneebone's career progressed, however, he began to take a more
essentialist and materialistic approach to his work, and it occurred to him that perhaps he was in fact more closely related to professionals who, like him, completed delicate work
with their hands or instruments.
McKeown's book is all about «The Way of the
Essentialist,» which replaces the «I have to do everything» mentality
with the pursuit of «the right thing, in the right way, at the right time.»