grappling with representation in the age of the comments section · 2018-08-28 · problematic...
TRANSCRIPT
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GrapplingWithRepresentationintheAgeoftheCommentsSection
RyanHartleySmith
Thefieldofillustrationhasalonghistoryofestablishingandreinforcingharmful
stereotypesaboutmarginalizedcommunities.Withanemergentcriticaldiscourse
developingonlinetochallengethecontinuedusageofproblematichistoricaltropes,
itisimportantforeducatorstochallengethemselves,theirpeersandtheirstudents
tocriticallyengagewiththislegacyasconsumersandcreatorsofinfluential
imagery.
Thispaperfocusesonavarietyofapproachestothisobjectiveinstudio-based,
undergraduateillustrationcurriculumatQueensCollege,CityUniversityofNew
York.Itdescribesarangeoflectures,discussions,writingassignments,andstudio
projectsteacherscanusetoengageandempowerstudents.
Introduction
Let’sstartbylookingattworecentcontroversiestoilluminatewhatImeanby
“emergingcriticaldiscoursedevelopingonline.”Ipickedtheseparticularexamples
because:
a)Theyrepresentdifferentgenreswithinthefieldofillustration.
b)Therole(s)illustratorsplayinthedebateisdifferent.
Thefirstcontroversywewilllookatinvolvesthreechildren’sbookauthor/
illustratorsconsciouslyrespondingtoaninstitution’scontemporaryreproduction,
prominentdisplay,andunwillingnesstocontextualizearacistcaricaturebyDr.
Seuss.
OnOctober5,2017MikeCurato,MoWillems,andLisaYeereleasealettertothe
publiconsocialmediatoexplainwhytheywerepullingoutofascheduled
appearanceattheinauguralSpringfieldChildren’sLiteratureFestivalatthenewly
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opened“TheAmazingWorldofDr.SeussMuseum”inSpringfield,MA.Belowisan
excerptoftheirletter,whichexplainstheirreasoning:
“…werecentlylearnedthatakeycomponentofthisinstitutionhonoringDr.
Seussfeaturesamuraldepictingascenefromhisfirstbook,'AndtoThinkI
SawItonMulberryStreet,'andwithintheselectedartsisajarringracial
stereotypeofaChineseman,whoisdepictedwithchopsticks,apointedhat,
andslantedsliteyes.Wefindthiscaricatureof'theChinaman'deeplyhurtful,
andhaveconcernsaboutchildren'sexposuretoit.
Whilethisimagemayhavebeenconsideredamusingtosomewhenitwas
published80yearsago,itisobviouslyoffensivein2017(theyearthemural
waspainted).Forsomechildrenwhovisitthemuseum,theironlyinteraction
withAsianrepresentationmightbethatpainting.Forothers,seeing
themselvesrepresentedinsuchastereotypicalwaymayfeedinto
internalized,evensubconsciousshameandhumiliation.Itisincumbenton
ourpublicinstitutionstopresentallracesinafairmanner.Displaying
imagerythisoffensivedamagesnotonlyAsianAmericanchildren,butalso
non-Asiankidswhoabsorbthiscaricatureandcouldassociateitwithall
AsiansortheirAsianneighborsandclassmates.
ThecareerofTedGeisel,writingasDr.Seuss,isastoryofgrowth,from
acceptingthebaserracialstereotypesofthetimesinhisearlycareer,to
challengingthosedivisiveimpulseswithworkthatdelightedhisreadersand
changedthetimes.ItwasourhopethattheadministrationofthenewSeuss-
ianinstitutionwouldbeabletotakeinspirationfromMr.Geisel’sjourney
andfindcreativewaystoallowchildrenofallbackgroundstofeelwelcomed
(or,attheveryleast,providecontextforthishurtfulpainting)."
Curato,Willem,andYeegoontoexplainthatthemuseumwasunwillingtorespond
totheirconcerns,claimingthatthemuseuminsistedthatitwastheresponsibilityof
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visitorstocontextualizetheirrecentlycommissioned,oversizedreproductionofthe
“Chinaman.”
Figure1:MuralinSpringfield,MADr.SeussMuseum(BostonGlobe,2017)
Whentheopenletterispublishedontwitterandbeginsgeneratingdiscussion,a
seriesofeventstakeplaceontwotracks:
Thefirsttrackisthatthemuseumreconsiderstheirinitialpositionandpromisesto
removethecaricatureinaresponseletter.Then,theauthor/illustratorsreleasea
secondletterthankingthemuseumandindicatingthattheywillhappilyattendan
eventthereinthefuture.
ThesecondtrackiswithinthebroaderSpringfieldcommunity:Twoprominent
businessownersoffertobuythemuralandinstallitinamoreprominent,public
locationinthetown.One,AndyYee,isChineseAmericanandstates:
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"That'smyancestorscomingtothiscountryinthe1930s.Wedidnotcome
wearingLouisVuittonandGucci.Whydoyouwanttochangehistory?"
Insupportofthebusinessmen’sproposal,theDemocraticmayoroftheSpringfield
says:
“Thisispoliticalcorrectnessatitsworst,andthisiswhatiswrongwithour
country.Wehaveextremefringegroupsonboththerightandtheleft
dictatinganagendatodivideinsteadofworkingtogethertowardsthe
bettermentofourcountry.Wefeelitshouldstayasis.Ifnot,wehavethe
cavalrywiththePicknellyandYeefamiliessavinganotherSpringfield
institution.”
Asofthiswriting,thefateofthemuralremainsunclear,butonecanclearlyseehow
theillustrators’actionsarebeingconnectedtomoreprominentnationaldebatesby
theiropponents.
Nowlet’sjumpovertothegenreofeditorialillustration.Thiscontroversystems
fromaneditorialillustratorbeingaccusedofcreatingasexistmagazinecoverfora
prominentpublication,andthedebateandorganizingthatoccurredasaresponse.
OnFebruary5th2015,Newsweekpublishesthecoverstory“WhatSiliconValley
ThinksofWomen”byNinaBurleigh.ThecoverisillustratedbyEdelRodriguezand
artdirectedbyGraceLee.Thearticleiswell-receivedandisinmanywaysa
precursortoreportingdoneinthelastyearaboutsexismintheentertainment
industry.Thecoverillustration,however,generatescontroversy.Thecontroversy
stemsoverwhethertheillustrationusesconceptualsymbolismandrepresentation
tocritiquethesexismdocumentedinthearticle,ortofurtherperpetrateit.
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Fromthiscentralquestion,ripplesof
relatedquestionsanddebateexpandin
variousforumsandwithvariousdepthsof
inquiry-fromtheTodayShowtothe
HuffingtonPosttothePBSNewsHourto
Illustrator/Educator’sSteveBrodner’s
Facebookwall.Thereareopinionpieces,
interviewswithEdelRodriguez,interviews
withcontemporaryfemaleillustrators,657
commentsrespondingtoSteveBrodner’s
Facebookpost,andtheformationofa
Facebookadvocacygroupforfemaleand
non-binaryillustratorsnamedHumorless
Mutts(thenameisareappropriationofwhatillustratorTomDoughertyreferredto
criticsofthecoverillustration)thatcurrentlyhas988members.Belowareexcerpts
fromtwopublishedinterviewsthatreflectsomeofthediscourse:
ExcerptfromHuffingtonPostarticle“6FemaleIllustratorsWeighinonSexism,
FeminismandtheNewsweekFiasco”
AuthorKatieTandy:DoyoubelieveEdelRodriguez’sillustrationdepicting
SiliconValleysexismwasitselfsexist?Dideveryonejustmisstheentire
damnpointandpublishanillustrationthatwasassexistastheattitudesit
wasattemptingtocriticize?Orwasthishis(perhapsfailed)attemptto
illustratethat,yes,sexualizing,infantilizingandhumiliatingwomenisSilicon
Valley’scurrentmodeofoperationinregardstowomen?NinaBurleigh(the
authorofthearticle)hasgoneonrecordinsistingthatiswassupposedtobe
ugly,becausethatworldisugly.
IllustratorCelineLoup:Icanonlyspeakformyself,bothasanillustrator
andalsoassomeonewhohasdevotedyearsofherlifetounderstanding
Figure2:EdelRodriguez“WhatSiliconValleyThinksofWomen”(Newsweek,2015)
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intersectionalfeministtheory.ThemostIcansayabouttheillustration*by
itself*isthatitisamediocreconceptdeliveredinamediocrepackage.It
succeedsinportraying“whatdudesthinkofwomenintech”withoutactually
subvertingthenarrative—theresultisfrustratinglysuperficial,places
men’spointofviewatthecenterofthisissue,andtellsmenothingabout
whatit’sliketoactuallybeonthereceivingendofthatmalegaze.
Intheaftermath,twothingshappened:one,itbecamepainfullyobviousthat
Edel,SteveBrodner,andmanymanyothermen(andsomewomen)havean
incrediblylimited,simplisticunderstandingofwhatsexism*actuallyis*and
worse,thattheyusethatignorancetoderailandharassandgas-lighttheir
femalecolleagueswhodarespeakup.
Two,Iwatchedaclassfullofsophomoreillustrationstudents(mostofwhom
werewomen)comeupwithtonsofbetter,farmoresubversiveideas.
Contextiseverything,andallthistellsmeisthatEdelandmanyofhismale
colleagueslacktheempathyrequiredtohandleasubjectaspainfulassexism
intech.
ExcerptfromPBSNewshourInterview“ArtistbehindNewsweekcover:it’snotsexist,it
depictstheuglinessofsexism”
AuthorRuthTam:Didyouanticipatethebacklash?
IllustratorEdelRodriguez:Ithoughttheremightbeafewlettersor
something.Ididn’trealizetherewouldbethatmuchcommentingonit.Many
womenthinkthiscoverisrightonthemoney.Theremightbe30to40
percentwhohaveaproblem,and70to60whothinkitshowsitperfectly.
That’sthesignthatit’sgettingpeople’sattention.Andthat’swhatamagazine
covershoulddo.Togetpeopletotrytofigureoutwhattheimageis.The
articlecouldpossiblyeliminatewhattheywerefirstoutragedabout,butyou
havetoreadit.Thecoverissupposedtogetthemtoread.
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Tosurveytherangeofcontentwritteninresponsetothiscontroversyistofinda
wealthofintentionalandunintentionalcommentaryabouttraditionaldepictionsof
womeninillustration,inadditiontosexistbusinesspracticesandpowerdynamics
withinthefield.Onecanalsofinddialogontherelationshipanillustratorhastothe
contentofanarticletheyareassigned,andhowthatshouldorshouldnotbe
assessedwhenconsideringthevalueandethicsofaneditorialillustration.
ApproachestoCurriculum
Howshouldstudio-basededucatorsinterrogate/incorporatethehistorical,
contemporary,ethicalandprofessionalconundrumspresentintheseexamplesin
ourcurriculum?Whatisnecessarytopreparestudentstothoughtfullyaccountfor
andrespondtothisgrowingdialogintheirdeveloping,creativeoutputand
professionalconduct?
Fromtheoutset,it’simportanttokeepinmindthatthecreativechoicesandcontrol
illustratorshavewhenmakingimageryvariesgreatlybasedonthedivergent
structuresofthegenreweareworkingin.
PartI:DesiredLearningOutcomes
Asmentionedearlier,thispaperwilldiscusspedagogicaltechniquestohelp
studentsdevelopthetoolstheyneedtonavigatethesecurrentconversationsin
illustration.Thesetechniquesseektoachievethefollowingthreegoals:
• Studentsunderstandtheroleillustratorsplayinestablishingandreinforcing
harmfulstereotypes
• Studentsdevelopavocabularyandareempoweredtocriticallyengagewith
thisongoinglegacy,regardlessoftheirpersonalrelationship.
• Throughthedevelopmentofapersonalcodeofconduct,studentshavetools
tobetterevaluatethepotentialculturalweightoftheirworkduringthe
creativeprocess,andbeabletothoughtfullyrespondtopotentialcriticism
aftertheirworkispublished.
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PartII:SettingupaFramework,LecturesandClassDiscussion
Syllabus
Similartoarticulatinggradingcriteria,includinglanguageaboutrespectfor
diversityinasyllabussetsclearexpectationsforwhichstudent/teacherconductcan
beevaluatedandnavigatedinanethicalmannerthroughoutthesemester.Thisis
helpfulforhavingpotentiallydifficultconversationsandassignmentsabout
problematicrepresentation.Iincludethefollowinginmysyllabus:
DiversityStatement
Itismyintenttopresentmaterialsandactivitiesinthisclassroomthatare
respectfulofthediversitythatmakesQueensCollegeastrongintellectual
community:thisincludesrace,gender,sexuality,disability,age,
socioeconomicstatus,ethnicity,andculture.Thisisconsistentwiththe
MissionStatementofQueensCollege,whichemphasizesacommitmentto
fosteringanatmosphereofcollegialityandmutualrespect.Throughoutthe
semester,yoursuggestionsonhowtobetterachievethisgoalare
encouragedandappreciated.Thisincludessuggestionsonwaystoimprove
theeffectivenessofthecourseforyoupersonallyorforotherstudentsor
studentgroups.
IhavebasedthisoffoflanguageandpolicymycollegedescribesinourMission
Statement,existingdiversitystatementsfromotherinstitutions,andinputfrommy
college’sCenterforTeachingandLearning.Ifyouteachatapublicinstitution,you
likelyhaveasimilarresearchofficethatcouldoffersuggestions.Ifnot,many
prominentuniversitieshavesimilarcentersthatdigitallypublishsuggestionson
howtocrafteffectivediversitystatements-eitherasstandalonesectionslikemine,
oradditionstosectionsonstudentconductorparticipation.
Theseinstitutions,inparticulartheUniversityofOhio,theUniversityofMichigan,
YaleUniversity,andBrownUniversity,alsopublishresearchandteacherguideson
accountingforimplicitandexplicitbiasinyourteachingpractice.Somehave
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interactiveteststhatyoucantaketoassessareaswhereyoumightbebiases,and
suggestionsforhowtoaddresstheminyourteachingpractice.
PlannedDiscussion&PresentationofControversialImages
WhenIdevoteclasstimeforanassignmentorreadingtofocusexplicitlyonthe
legacyofstereotypinginillustration,IreviewtheclassDiversityStatementwith
students.Ialsoworkwithstudentstocreateacodeofconductfordiscussion,based
ofthisguidefromtheUniversityofMichiganCenterforResearchonLearningand
Teaching:
Guidelinesforclassparticipationcanbedesignedbyyouornegotiatedwithyour
students.Byaskingfortheirinput,yougivestudentsthesenseofownershipthat
canhelpthemtaketheguidelinesmoreseriously.Thefollowingguidelinescan
beusedtodevelopanatmosphereofmutualrespectandcollectiveinquiry.
• Respectothers’rightstoholdopinionsandbeliefsthatdifferfromyour
own.Challengeorcriticizetheidea,nottheperson.
• Listencarefullytowhatothersaresayingevenwhenyoudisagreewith
whatisbeingsaid.Commentsthatyoumake(askingforclarification,
sharingcritiques,expandingonapoint,etc.)shouldreflectthatyouhave
paidattentiontothespeaker’scomments.
• Becourteous.Don’tinterruptorengageinprivateconversationswhile
othersarespeaking.
• Supportyourstatements.Useevidenceandprovidearationaleforyour
points
• Alloweveryonethechancetotalk.Ifyouhavemuchtosay,trytohold
backabit;ifyouarehesitanttospeak,lookforopportunitiesto
contributetothediscussion.
• Ifyouareoffendedbysomethingorthinksomeoneelsemightbe,speak
upanddon'tleaveitforsomeoneelsetohavetorespondtoit.
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Ifindthatmydesiredlearningoutcomesarebestachievedwhengroupdiscussionis
basedonpreviouslyassignedreadings,doneinbreak-outgroups(4-6students)
determinedbyrandomselection.
BelowarequestionsthatIaskmystudentstorespondtowithassignedreadings:
RESPONSETOREADINGSONCONTROVERSIALIMAGERYANDSYMBOLISM
• Whatisthetitleofyourarticle?
• Wherewasthisarticlepublished?Describetheformofthepublicationand
anyrelevantinfo(likeitsfocusormission,targetaudience,etc…)
• Whoistheauthorofyourarticleandwhatistheirprofessionalbackground?
Dosomeonlineresearchandprovideatwo-foursentencesummary.
• Whatisthesubjectofthearticle?
• Whatisthethesisofthearticle?
• Whatexamplesdoestheauthorusetoarguetheirthesis?
• Doestheauthorsuggestanalternativeworkingprocessforartists/creatives
thatwillhavemoreethicalresults?Ifso,whatisit?
• Ifnot,canyoudescribeaworkingprocessthatmightbemoreethical,based
ontheauthor'sthesis?
• Arethereanyterms,words,orsentencesinthearticlethatyoudon't
understand?
• Comeupwithalistof5questionsyouwouldliketoasktheauthorabout
theirthesis?
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Whenstudentsmeetingroups,theyhavealreadyrespondedtothesequestions.I
thenhavethemdraftagroupresponse,whichIread,andthencomeupwithfollow-
upquestions.Ithenmeetwiththegrouptohaveaconversationabouttheir
individualandgroupresponses.Myrole,asItellthem,isprimarilytoaskquestions
tohelpclarifytheirperspectives,andiftheyrequest,I’mhappytodescribe
experiencesinmyprofessionalcareerthatmightberelevant.
LectureswithOffensiveImagery
Decidingwhetherornottoshowcontroversialimagerytoaclassisoftena
complicatedquestion.Thereiscertainlyawell-establishedlineofbeliefinthefield
thatitisantitheticalorbizarretotheprinciplesoffreespeechthatmanyconsidera
centraldemocraticprincipletonotshowacontroversialimageaspartofa
discussionaroundit.
Anexampleofthiswouldbe:
“ShouldwehaveadiscussionabouttheJyllands-PostenMuhammadCartoon
Controversywithoutshowingthecartoon?”
Regardlessofwhereyoulandonthisquestion,Iconjecturethatthereisageneral
consensusthataprofessorhasaresponsibilitytocontextualizewhateverimagery
theypresenttoaclass.OnetacticIusewhenputtingtogetherlecturesthatfeature
potentiallyoffensiveillustrationsistoalsoincludeimagerycreatedinoppositionor
incritiqueofoffensiveimageryandthelegacyitrepresents.Ifitisahistorical
illustrationthatwouldnolongerbeacceptableinthepublicationinwhichitwas
originallyprinted,Ialsodescribehowsocietyandpublishingstandardschangedto
makethistypeofimagenolongersociallyacceptable.
Forexample,ifI’mdoingalectureonearly20thcenturynewspapercartoonsand
animation,IwillcertainlywanttoincludetheworkofWinsorMcKay-particularly
LittleNemoinSlumberland.Iwanttoincludethesestripsfortheirpopularityatthe
time,theincrediblevisualinventiveness,andtheinfluencetheyhadonhis
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contemporaries-particularlyMauriceSendak.YettodothisIwillbegatheringand
presentingimagesthatlikelycontain“theJungleImp,”or“Impie,”Nemo’ssidekick
who,despiteallappearancestothecontrary,happenstobeoneoftheleastovertly
racistdepictionsofblackpeopleWinsorMcKaypublishedthroughouthiscareer.
ThereareanumberorwaysIcouldhandlethis:
• Icouldremovethepanelscontainingtheproblematicimagery,andjustshow
workbyWinsorMcKaythatdoesnotincludeovertlyraciststereotypes.
• IfIfindthatintakingtheimagesoutI’mnotabletocommunicatewhat
makeshisbodyofworkrelevant(let’ssaythemostcompositionallynotable
workcontainsImpie),orifIfeelthatremovingtheimagerywhitewashesa
painfullegacythatisworthtalkingabout,Icouldsaysomethinglike:
o “Thischaracterlooksshockingandoffensivetoustoday,butitwas
sociallyacceptableatthetime.”
o “WinsorMcKaywasaproductofhistime.”
IfIgowiththelatteroption,(whichisusuallymycourseofaction),Iwillgobeyond
thegeneralstatementsabovetobettercontextualizewhatImeanby“socially
acceptableatthetime”and/or“productofhistime.”Iwilldescribelargersocialand
politicalstructuresthatcreated,protected,andpromotedthisproduct.Iwillalso
describesomeoftheforces(activists,advocacygroups,otherartists,etc…)that
madesuchworksociallyunacceptable.ForWinsorMcKay,Iwouldexplainthe
segregationofnewspapersatthetime.IwouldshowexamplesbyAfricanAmerican
cartoonistsworkinginblacknewspapersfromthesameera:thecartoonsofChester
Commodore,andtheearlyworkofRomareBearden-who,likeWinsorMcCay,
startedasaneditorialcartoonist,beforebecomingarenownedcollageartistlaterin
life.
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Iwillalsoshowtheworkofartistswho
havere-appropriatedthesestereotyped
formsofillustrationasaformofsocial
critique.IdothisparticularlywhenIam
notabletospeakfrompersonal
experienceabouthowaparticularlegacy
affectsme.So,ifI’mplanningonshowing
imageswithImpie,Iwillalsobeshowing
theworkofKaraWalker.Iwillscreenthe
recentJay-Zanimatedmusicvideofor
“TheStoryofOJ”whichreappropriates
racistcartoonimageryfromtheearly
20thcentury(Iwillalsomentionthatthis
songgeneratedcontroversybecauseJay-
ZincludedJewishstereotypesinthelyrics).Wewillreadaninterviewwiththe
animationteamofthisvideowhodescribe,amongotherethicalandstylistic
considerations,howtheywantedtomakesuretheywerecritiquingthesymbolism
theywereinvoking,ratherthanjustrecreatingit.Theydescribeachievingthisby
creatingintentionalcontrastbetweenthehistoricallyreproducedstyle,movement
andexpressionsoftheenvironmentsandsecondarycharactersandthemore
contemporarymovementandexpressionstructuresofthemaincharacter(voiced
byJay-Z).
Separatefromcontroversial
images,butrelatedtohaving
studentsthinkcriticallyaboutthe
rolesillustratorsplayinrelationto
theirsocialinfluence,whenIput
togetherlecturesIprovide
conflictingnarrativesand
Figure3:WinsorMcCay"LittleNemo"(NewYorkHerald,1910)
Figure4:KaraWalker"ASubtlety,ortheMarvelousSugarbaby"(NewYorkTimes,2014)
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perspectivesofthetraditionsthatIam
presenting.Forexample,whenIhavea
classcreatepoliticalcartoonsIwillcreatea
lecturethatcoversthetraditionalbases:
examplesofprominentcartoonists
workingfromacrosstheideologicaland
politicalspectrums,thedifferencebetween
HoratianandJuvenalianformsofsatire,
compositionalstructuresforsettingupan
effectivevisualjoke,andhigh-profile
instancesofcensorshipandpersecution.
Inadditiontothis,Ialsopresentbroader
theoryabouttherolepoliticalandsocial
satireplaysindifferentsocietiesandat
differentpointsinhistory.Idothis
because,intheinstanceofpolitical
cartoons,thedominantnarrativeIhaveencountered(inartisttalks,panel
discussionsateventssuchasICON),isasomewhatfuzzywebofDavidvs.Goliath
metaphors,beingonthefrontlinesdefendingfreespeech,beingequalopportunity
offenders,pillarofhealthydemocracy,etc…withoutalotofhowandwhy.
Asaneducator,Ifeelwehavearesponsibilitytochallengestudentstointerrogate
suchbeliefsandclaimswithquestionslike“Whatdoesanequalopportunity
offendermean?”and“DoestheDavidvs.Goliathmetaphorholdinthecurrentmedia
andpoliticallandscape?”
Tointerrogatequestionslikethis,Italkaboutdivergentrolessatiristshaveplayed
insocietiesaroundtheworldthroughouthistory.Thisrangesfrompublic,satirical
shamingofordinarycitizensasaformofjusticeandsocialcontrol,tothepublic,
satiricalshamingofpublicofficialsandpowerfulinstitutionsasaformofdissent
Figure5:RomareBearden"TheWatchDog"(BaltimoreAfro-American,1936)
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andadvocacyforsocialchange.Asanexampleofthefullrangeofthisspectrum,I
presenttheworkandlegaciesofCubanpoliticalcartoonistRenédelaNuez,whose
workpriorto,during,andfollowingtheCubanRevolutionencompassesthe
progressive,conservative,reactionary,andpropagandistrolesasatiristcanplayina
society.
I’mnotnecessarilytrying
todisprovenarrativesor
critiquetraditionwiththis
approachtolecturingand
lineofquestioning,but
rathertocommunicatethe
multitudeofwaysan
illustratorcanimpactand
beimpactedbythe
evolvingsocialcontracts
oftheirsociety.
OrganicDiscussion
However,evenwiththe
approachestocurriculum
I’vedescribedsofar,when
youdiscusssomething
thattouchesonbothpainfulhistoryandprinciplesoffreespeech,there’salwaysthe
riskofaltercationsbetweenindividualstudentsorgroupsofstudents,altercation
betweenfacultyandindividual/groupofstudent(s),presentationofproblematic
assumptionsandfalsestereotypes,theexpressionofoffensivespeech,andsilence
fromstudentswhofeelintimidatedorfearconflict.I’vefoundtheseunintentional
outcomestoberare,butwhentheyhavehappenedinmyclassroomtheyhave
Figure6:RenédelaNuez"Loquito-SubiendoLaSierra"(1958)
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arisenincritiquesofstudentwork(unrelatedtoplannedconversationsabout
stereotypes).
Incritiques,I’vefoundthemostfrequentsparkfordialogthatleadstoproblematic
assumptionsandfalsestereotypesiswhenI,orafellowclassmate,interrogates
whetherornotastudenthasintentionallyorunintentionallycreatedanimagewith
datedorcontemporaryfalsestereotypesorothercontentiousformsof
representation.
Acommonstudentresponsetothisaccusationis:
“So,areyou’resayingIcan’tsaythat?”
Or…
“You’resayingIcan’tdrawthat?”
HereisthetypeofresponseItrytoofferwhenpresentedwiththislineofinquiry:
“I’mspeakingfromtheperspectiveofwhatIunderstand,basedonmyown
experienceasaprofessionalillustrator,tobesociallyacceptableinthe
professionalfieldthatIworkinandthatyou’repreparingtoenter.I’msaying
thiswiththeassumptionthatyoureducationalgoalsarelinkedtothe
professionalgoalofestablishingandultimatelysupportingyourselfinthis
field.Iacknowledgethatthisasubjectivejudgment-butit’sasubjective
judgmentmadeinafieldofmanyformsofsubjectivejudgments,and
learningtoabsorb,navigateandreacttocontemporarytrends,technology,
anddialogisnecessaryinthisfield.Oneofthethingswe’vetalkedabout(or
willtalkabout)thissemesterishowtheselinesofacceptabilityandtaste
formandchangeovertime-withtheinputofcritics,creative,andusuallyin
conversationwithlargersocialmovements.Ifyoufeelstronglythatmy
perspectiveonthisimageistoolimited,hopefullythesetalkswillgiveyou,as
acreatorofinfluentialmedia,someideasforhowyoucanadvocatefornew
standardsoftastethatwouldaccommodatesuchanimageinmainstream
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mediainthefuture.Or,likemany
illustratorbeforeyou,youcan
locateorcreatealternative
publishingplatformsforthistype
ofimage.”
Inmyexperience,studentshavebeen
receptivetothislineofreasoning,orit
movestheconversationawayfromthe
specificsoftheirimageandintoamore
nuanceddiscussion.If,inthecourseof
thisdiscussion,astudentintentionally
orunintentionallyarticulatesa
stereotypetotheclass(usuallyto
defendanimageinquestion),Imakeapointofcallingitoutasastereotype.
PartIII:StudioAssignments
TheprojectsIwilldescribearefromintermediateorupper-levelstudiocourses.For
themostpart,Iweavethelectures,readingsanddiscussionsdescribedinPartIwith
traditionalstudiocurriculum.
CompositionAssignment
Forexample,ifweareworkingonanassignmentwherestudentsarerequiredto
createcompositionsfromavarietyofviewpoints-orperspectivestakenfrom
cinema,thestandarddiscussion(atleastbasedonmyeducation),usuallyfocuseson
therelationshipbetweentheviewerofanillustrationandthesubjectofan
illustration.Aclassicexampleofthiswouldbethepowerdynamicsofanaudience
lookingatasubjectfromabird’seyeview,versuslookingatasubjectfromaworm’s
eyeview.Whiletheclassexploresthisconcept,Iampresentedwithanopportunity
tointroducesomerelatedconceptstoconsider:
• Cantherebeauniformaudienceunderstandingofapowerdynamicbetween
themselvesandtheimagetheyareviewing,whyorwhynot?
Figure7:KeithNegley"ToStopViolence,StartatHome"(NewYorkTimes,2015)
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• Intheworldoffineart,anartist’sintentionandrelationshiptotheirsubject
isconsideredfairgameforcriticism.Whymightthisbe?
• Shouldtherelationshipbetweenanillustratorandtheirsubjectmatterbe
takenintoaccountbytheaudienceorcritics?
EditorialAssignment
Asanotherexample,Ichallengestudentstocreateaneditorialillustrationforeither
apreviouslypublishedarticleinNewsweek(“WhatSiliconValleyThinksof
Women”)ortheNewYorkTimes(“ToStopViolence,StartatHome”).Bothofthe
illustrationspublishedalongsidethesearticlesgeneratedcontroversy,andboth
illustratorsrespondedwithpublicstatementstoaddressthebacklash.Studentsare
notshowntheoriginalillustrations,ortoldthatthepublishedimagesgenerated
controversy.Whiletheyareworkingonthisstudioproject,theyarealsodoingthe
groupreading/responseactivitythatIdescribedinthegroupdiscussionsectionof
thispaper.
Whentheyturnintheirfinishedillustration,Ialsoshowthemtheoriginally
publishedimagesandcriticalwritingandresponses.Ithenaskthemtousetheir
readingstoassessthefollowing:
• Howcouldthedifferentthesisofthearticlesweread,andtheexamplesthe
authorsuse,beappliedtoassessingtheNewsweekandNewYorkTimes
illustrationcontroversies?Breakthisdowninthreeways:
• First,totheimageitself
• Second,toreaders'negativereactions
• Third,totheillustrator'sremarksafterthereaction
Ithenaskthemtoanswerthesamesetofquestionsabouttheimagetheycreated.I
findthisapproachusuallycreatesdynamiccontradictionsbetweenstudents’
creativesolutions,andtheirstatedopinionsaboutthereadingsand/orthe
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originallypublishedillustrations.Thegoalbecomesappreciatingthedifficultyof
creatingillustrationsforsociallyorpoliticallychargedsubjectmatter,appreciating
differentlenseswithwhichtheworkcanbereceivedandcritiqued,andexamining
twoillustrators’divergentresponsestobeingaccusedoffurtheringharmful
stereotypeswiththeirwork.Thegoalisnottoformconsensusonewayoranother
aboutwhetherornotoriginallypublishedillustrationsare“offensive,”thoughthat
iscertainlypartofthediscussion.
ComicsAssignment
WhenIdocreateassignmentsforstudentstoexplicitlyexplorepotentiallydifficult
historicorsymboliccontent(likethelegacyofharmfulstereotypesinillustration),I
findthatcomicsareanidealformat.Differentgenresofillustrationshavedifferent
legaciesofproblematictropesandlargerissuesofidentitypolitics.Thegenreof
independent/smallpresscomicshasarelativewealthofcontemporarymaterialand
emergingscholarshipthatinterrogatestheseissues.
Makingcomicscanbeusedtohavestudentsexplorethemeslikecontextualizing
historicalevents,imagininganinterviewwithanancestororprominenthistorical
figure,orconductinganinterviewwithafamilymemberorfriendaboutaspecific
socialorpoliticalissue.
Amulti-panelcomicsformatisalsousefulinthatyouarenotaskingstudentsto
makeasinglevisualstatement-soifIinterrogatewhetherornotsomethingintheir
workmightbeproblematicinacritique,it’slesslikelytobeacritiqueofanentire
projectandmorelikelyacritiqueofaparticularsection.Thisisusuallyamuch
easierandmorenuancedconversationthanwhenaddressingasingleimage.
Anotherwaycomicscanbehelpful,regardlessofwhatgenre(s)astudentwantsto
pursue,isthatbyforcingstudentstocomposewrittencontentandimagery,it
deepensastudent’sunderstandingofpotentialrelationshipsbetweenimageand
textandcreatesopportunitiestodiscusstextinacriticalmanner.OnethingIfeel
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embarrassedaboutinmyowneducationanddevelopmentasacriticalthinkeristhe
latepointIcametotherealizationthatIcouldhaveacriticalopinionaboutwriting-
particularlynon-fictionwriting.Sinceourworkasillustratorsoftenhassucha
centralrelationshipwithwrittencopy,Ibelievethatchallengingstudentsto
create/considerthechallengesandprocessesofwritingandeditingcanonlyleadto
morethoughtfulwork.
EstablishingaCodeofConduct
Forseveralsemesters,followingthereadings,discussions,andassignmentsIhave
described,Iaskedstudentstocreate“ethicalcodesofconduct.”Iwouldtellstudents
tothinkoftheircodeofconductasaseriesoflooselystructuredquestionstoask
themselvesand/ortheirclientduringvariousstagesofacommission,andideasof
howtorespondtonegativepublicfeedback.
However,Ifounditinitiallydifficulttomakethisassignmentrelevant,applicable
andengagingforstudents-becauseIwasnotmakingtheparametersandprompts
specificenough.Nomatterwhatgenreanillustratorisworkingin,thereisa
spectrumofartdirectionrangingfrom“Here’stheheadlineandtext,make
something”to“Here’sapredeterminedconcept,pleaseexecuteitinyourstylewith
thesethreecolors.”Similarly,thereareavarietyofproductionstructuresand
processes,eachwithuniqueopportunitiesandlimitationsforincorporatingand
addressingtheethicsofimagerybeinggenerated.Becauseofthis,Iwashoping
studentscouldcreategeneralguidelinesforthemselvesthatcouldapplyformany
frameworks.However,Ifoundthatitiseasiertodothisifyoustartbyhaving
studentsexploretheethicsofaspecificcommissionandthenadaptthatresponseto
moregeneralizedprinciples.
IhavealsofoundthatwhenIcombinecontractandpayment-relatedclassexercises
andlectureswiththecodeofconductexercisestudentsaremoreengaged.
Illustratorsconfrontasimilarrangeofvariableswhenitcomestocontracts,
paymentschedules,andcopyrightsfromprojecttoproject,andstudentsare
21
Ihavemadethestartingpointofthecodeofconductexercisemorespecificby
challengingstudents,ingroupsoffour,torespondtoaninitialemailfroman
imaginaryartdirector.Ibasetheartdirector’sinitialandsubsequent
correspondencesoncommunicationIhavehadwithartdirectorsinmycareer.I
combinedifferentcommissions,butinmanycasesincludewordforwordsentences
fromoriginalcorrespondences,andIletstudentsknowthis.Imakesuretoinclude
somefinancialandethicalambiguitiesthatstudentsmustgetclarityonastheyput
togetheracontractanddecidewhethertheywanttotakethecommissionornot.
Afteraninitialemailresponse,wedoamock-phonecall(betweenthegroupsoffour
studentsandmyself)andthenstudentsarerequiredtocraftacontractwithaseries
ofclausesthatseemmostrelevantbasedonthebackandforththeyhavehadwith
meandthenatureoftheproject.Whenthestudentgroupspresenttheircontracts,
thisbecomesanopportunitytotalkthroughbothfinancialandethicalconcernsand
questionsthatcameupthroughtheprocess.Ihavefoundthatthisleadstonuanced
conversationsandfocusedstudentengagementthatwasmissingfromwhenIasked
studentstocraftageneralizedethicalcodeofconduct.
Willthisexercisehelpreducethecreationofproblematicrepresentationinourfield
oncestudentsgraduate?Willasignificantnumberofartdirectorsbewillingto
engageinethicalquestionsalongsideproductionandlegalquestions?Unclear.Toan
illustratorenteringthefield,gettingyourfirstcommissionsarethrillingand
terrifyingopportunitieswithmanypotentialrisks.Theoutcomescangreatlyhelpor
hurtone’scareer,givingitmomentumorstallingit-whichisadistinctpossibilityif
youbecomeknownas“difficulttoworkwith.”Iimaginesomelinesofinquiryinthe
mockcorrespondencewithmeplayinganartdirectorandcertainsectionsof
students’codesofconductruntheriskofartdirectorsapplyingthe“difficultto
workwith”label.
22
Withthisinmind,foradditionalcontextItellstudentsaboutprofessionalprojects
I’veworkedonwhereI’vebroughtupethicaldilemmasupwithartdirectors,and
describethevariousresponses,projectoutcomes,andanecdotaltakeawaysI’ve
made.Ialsospeculateabouthowtheseinteractionsmighthaveaffectedmycareer-
andhowmygender,raceandotheraspectsofmyidentitycouldhavebluntedor
heightenedtheaffects.
However,Ialsobringupthefactthatartdirectorsareincreasinglybeingbrought
intothepublicdiscussion-asillustratorscalledoutforproblematicimageryexplain
theirprocess,orinsomecasesdefendtheirprocessbyimplicatinganartdirector.
Or,likeinmanyindustriestoday,somearebeingpublicallycalledoutonlinefor
sexualmisconductandotherunethicalbehavior.Ibelievethatultimatelythiswill
makemoreartdirectorsmorereceptivetoconversationsaboutrepresentationand
stereotypesinthecreativeprocess.
Conclusion
Ethicalquestionsaboutillustrators’rolesinestablishingandreinforcingharmful
stereotypescannolongerbeignoredwithinourfieldthankstotheworkofonline
activistsandcritics-aswellasillustratorslikeMoWillems,MikeCuratoandLisa
Yee.Aseducators,itisincumbentuponustobringthisdialogintoourclassrooms
andexpandtheconversationinwaysthatbetterpreparestudentstocreate,reflect,
andsituatethemselvesandtheirworkwithinalargerhistoricalcontext.©
Copyright©2018,RyanHartleySmith
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