divide #3: "Art and Politics"

forthcoming Fall 2005

In the 5th century, B.C., Plato argued to exclude poets from his ideal =
republic because they were too effective at their job. In the 18th and =
19th centuries, musical performances caused riots and fanned =
revolutions. In the 20th century, artists all over the globe were yoked =
to the cause of nationalist propaganda. Now that we are firmly ensconced =
in the 21st century, we need to ask ourselves about the =
interrelationship between art and politics. It's our century, after all; =
if we don't apply ourselves to it, then it will no doubt apply itself to =
us. divide #3: "Art and Politics" will offer a forum for writers, =
critics, and artists to explore various questions clustering around this =
issue. To start the discussion, allow us to pose a series of attendant =
questions:=20

In this age, what are the values and purposes of art? Is it still =
relevant for art "to delight and instruct"?=20

How have movements in the arts--both presently and historically--either =
motivated or been motivated by political beliefs and actions?=20

What kinds of work worldwide are getting writers and artists into =
trouble, causing them to seek refuge in other nations? How does this =
pressure affect their lives and work?=20

With the omnipresent mass media, do artists--as traditionally =
defined--have a audible voice in the marketplace? If not, do The =
Simpsons and South Park constitute our artistic legacy?=20

In which cases is the State obliged to fund artists? Are =
artists--consciously or unconsciously--compelled to play the tune called =
by he who pays?=20

Is the artistic achievement of works that cause public backlash--Andres =
Serrano's Piss Christ, for example--commensurate with the notoriety they =
generate? Should tax money fund such works?=20

What defines the line between art and propaganda? What that line gets =
blurred, does creative expression lose its legitimacy as art?=20

Why does virtually no one today read poetry? Whose "fault" is that? Or =
has popular music stepped in to fill the gap that Modernism and its =
angry stepchild, the avant garde, created between high art and the =
general public? Does the public even care anymore?=20

Can art, as we know it today, be a serious force for social change?

We look forward to lively and surprising submissions that address =
questions such as these. Critical and personal essays (we prefer under =
3000 words in length), reviews, fiction, interviews, poetry, and =
black-and-white art are all welcome. Our editorial staff will consider =
materials between October 1, 2004, and March 31, 2005. Please visit our =
website at http://www.colorado.edu/journals/divide/ for more =
information, or email us at divide_at_colorado.edu.=20

Send work to

d i v i d e

ATTN: Art and Politics

Program for Writing & Rhetoric

University of Colorado at Boulder, UCB 317

Boulder, CO 80309-0317

         ==========================================================
              From the Literary Calls for Papers Mailing List
                        CFP_at_english.upenn.edu
                         Full Information at
                    http://www.english.upenn.edu/CFP/
         or write Jennifer Higginbotham: higginbj_at_english.upenn.edu
         ==========================================================
Received on Tue Aug 03 2004 - 10:01:06 EDT