The Heuristic Power of Art

The Heuristic Power of Art - Elizam Escobar

From the book 'The Subversive Imagination - Artists, Society and Social Responsibility' Edited by Carol Becker

Heuristic: enabling a person to discover or learn something for themselves.

‘There was a time for me when art was a simple, spontaneous, pure, innocent, pleasurable activity. However, in my first years of grammar school I discovered that art, besides being materially or symbolically rewarding, could also mean me “social status”, a reputation among my young peers as well as my elders.’  (page 36)

• Why is it that art brings a social status with it? Does this social status relate to class, maturity and/or personal morals?
• In what ways can this social status be used? Can it be abused? 
• Does the idea of social status tie your profession to your personal life? Is it possible to keep these separate? On the same note, is it possible to keep your personal morals separate to the basis of your practice?

‘I failed because, among other significant reasons, no one seriously thought that my art work was a “real job.” Art was a privilege, and I felt guilty using the time that others devoted to “real work” to do something that had “nothing to do with necessity or reality,” with the “real world,” unless it was put directly in the service of political ideology.’ (page 38)

• At what point does making art become a real job? Is it only a job when you are making enough money or making enough of a difference?
• This quote suggests that if art does not have a political purpose of some sort, it is not a job, but a ‘privilege’ . 
• Can art be a job if its purpose is purely decorative and has no serious purpose in society?
• This quote states a sense of guilt for not doing ‘real work’. This does suggest a social consciousness and a sense of responsibility for the ‘real world.’

‘Some lessons became clear: Art is not considered a “real job” unless it is commercial or politically direct, or you are a recognised artist within a market.’ (page 38)

• This is an interesting point, being commercially viable makes art a ‘real job’ but also being recognised within a market. This suggests that the starting platform for an artist’s success is not an even one. I can see the connection between social status and being recognised within a market. Is it more a case of who you know rather than what you stand for?

[In relation to prison…] ‘“Creativity” means cultivating the manual ability to assemble ready-made craft objects, the reduction of art to an “elevator music” kind of painting.’ (page 45)

• It could be said that his is not true creativity, instead it is a structured process of following instructions. Not stimulating but mind numbing. 
• This quite suggests that the authoritative body in prison do not encourage true creativity and free thought. Could this be mirrored on the outside world through censorship, the education system and selective sharing of information?

‘Neither independent thinking nor creativity is encouraged in prison. The criterion of truth is authority. Everyone is supposed to follow or give orders. Everyone is below someone else who gives orders and follows orders. The chain is infinite, and no one is the real author of these orders. Orders simply circulate from functionary to functionary. Anything else disrupts the “inherent logic” of the prison code.’ (page 45)

• Again, continuing on the theme of authority and how it inhibits creativity. This example is in prison but you can see this in effect in society too. 
• The use of the word ‘disrupt’ suggests that anyone who goes against the system is a disturbance and a problem. Do artists have a responsibility to go against the system or comply with it?