Image provided by: Clackamas Community College; Oregon City, OR
About The Clackamas print. (Oregon City, Oregon) 1989-2019 | View Entire Issue (March 1, 2000)
WedNEsdAy, M arc N 1, 2000 SouthTexan artist creates controvers The following comments were made last Tuesd, ’ffitveSttyeMght. tcftiot be in- a Jiostile e»5fonment.” Catholics too. It k w of attacks in this f JOp Wf C'FSf r; 4 f I f ' # f t i t "W^t is the redeeming ■' M ml! Ml « * value °f that drawing?" DIANA SCRIVNER / Clackamas Print Nora Brodnicki and Stewart King, panelists, at the Town Hall style Forum held to discuss the artwork, "Two popes boinking". rcbeingust Over 100 people attend forum to express views, opinions on controversial art piece SANDY LUPO News Editor Questionable Art? The Art Forum to discuss “Two Popes Boinking,” the work of artist Gene Flores that was exhibited at Clackamas and stirred controversy on and off campus in recent weeks, drew about 100 artists, students, instructors and interested citizens from the com munity. The town hall-style meeting was held last week (2-26) in the Gregory forum, hosted by the art department and moderated by Bill Briare, head of religious studies for the social science department at Clackamas. A Panel of Art Devotees The panel of speakers was com prised of Cheryl Snow, executive di rector for the Art Action Alliance of Clackamas County, along with three Clackamas instructors—Bill Zuelke, department chair for counseling and career planning, an artist in glass and formerly a Catholic priest; Nora Brodnicki, art historian and art history teacher; and Stewart King, of die his tory departments at Clackamas and Mt Angel Seminary. Issues and Questions Briare’s opening remarks raised is sues and questions. “One of die things about art,” he said, “is that it moves us, sometimes it distracts us, sometimes it really annoys us, it enlightens us, it challenges us and it angers us.. “What we love to look at, the per son next to us loadles. Is the intent of the artist even important if die experi ence of the viewer is agitation? Should public money go only toward art that makes the majority feel good, or should we investigate themes that cause dis comfort and allow us to plumb die depths of human expression? “Perhaps th is forum will not resolve perfectly all die dilemmas that we face regarding public expositions, but it will give us insight and clarity into die va riety of opinions that are available on the subject” And so it did. Titles, Location and the Press Rick True, art department chair, said the publicity given the Flores exhibit, especially “Two Popes Boinking,” raised concern and created misconcep tions. “I think the media always presents a partial point of view,” he stated. True acknowledged die responsi bility of the artist in his tide selection and of the art department for its place ment of controversial art where a pass erby may not have the choice to view it or not; as in a secure gallery. He also asked if die media, in publishing the work, assumes responsibility for the controversy. Academic Freedom Selectively? King, who wrote a letter published by die “Oregonian” Feb. 7 which ques tioned die “wisdom of the college ex hibiting such a blatant piece of anti Catholic propaganda,” related artistic freedom for Flores, who painted “Two Popes Boinking,” to academic freedom for his friend Dr. Donald Epstein, who recently'“retired under pressure.” “No one (then, in that controversy about homosexual remarks by Epstein) spoke about academic freedom,” said King. “I believe the purpose of a college is to be a place for the discussion of all ideas, even ideas repugnant to me,” King remarked, but “where, were diese people when Dr. Epstein needed them?” Freedom and Cultural Change Brodnicki spoke for academic and artistic freedom. “As an academic institution,” she said, “Clackamas ideal ly depends upon that freedom for its health and integ rity and should promote conditions of free inquiry and further the public un derstanding of academic freedom.” The art history instructor called for the “right for us to present work that might be questionable or offensive.” Brodnicki also reminded the audi ence of the course Of history: “Conflict and disagreement have contributed to some of our most im portant cultural changes,” emphasized the historian, citing the Protestant ref ormation and the women’s suffrage movement “I don’t think that work you hate "Let's draw a line between^ simple perversion and art." ¿‘Art has th niçateeloq hârnessedl that’s not academic si you shouldn’t see,” Brodnicki stated. “We don’t move forward if we hide everything that’s controversial.” Where’s the Rub? Bill Zuelke asked the audience to consider three “pitchpoints.” “Where does academic freedom and responsibility for the consequences of our actions and expressions.. .where do they begin to rub up against each other? “If I yell ‘fire!’ and everybody runs out and gets injured, that’s libelous lan guage—I don’thave the academic free dom to express myself any way.. .students have a right to be in an environment that is not hostile to than.” Secondly, Zuelke again raised the question of placement of controver sial art, and showing or not show ing the tide; and perhaps the need XQur right to say it." ' 1:.: ' "Freedom is always attached to responsibility." Studem pdft F ‘A When students were asked bpinking" by Gene Flores t :: |y for a disclaimer with the art to warn viewers it might be offensive. Zuelke’s third “pitch point”, was the question for identified classes of people, and if academic or artistic freedom has the obligation to con sider what is objectionable to such “minorities,” in this case, Catholics. County-wide and Open Conversa tion Cheryl Snow, through Clackamas County, works “to promote art and culture.” ^jArt is a singularly impactful method of communication,” she said. “Isn’t that proven true tonight by the degree of passion you’ve all exhibited, by the fact that this room is nearly lull? “I’rn always applauding when art creates dialog within our community. “If we can continue speaking about art...opening up conversations about the things which create pas sion in us, we will begin to resolve the issues that reside behind them. “I feel very strongly that when we hide, we are allowing fear to power us. When we open up the veils, we disembowel -the power of fear to guide our dialogs and interactions.” All this debate ensued amidst the beautiful strains of music floating across the hall from the choir—sing ing a Catholic mass. “The ■ was A “1 don'ffoin^’s often- 4 sive; I just think it’s crap.” Rick Canhan). MechanicalEngineering “It’s justaJ?jctu^^ftJs not that big of a deal.” Hannah Schoen, * Genera! Education ■
