Q & A: Ian Berry on the persistence of optimism

As Malloy Curator of Skidmore’s Tang Museum, Ian Berry organizes exhibitions, edits and oversees the catalogues, and arranges special events like this weekend’s symposium, "YES: The Persistence of Optimism."

The event—three days, free and open to the public, will explore the concept of optimism in art and teaching. In a time marked by war, recession, and global anxiety, the symposium offers the chance for lively discourse among a group of speakers—artists, architects, and publishers—whose work shares a richly collaborative and community-based foundation. Among the speakers are the two internationally acclaimed artists, Tim Rollins and K.O.S., and Oliver Herring, whose works are currently on view at the Tang in Tim Rollins and K.O.S.: A History (through Aug. 30) and Oliver Herring: Me Us Them (through June 14).

Where did the idea for the Yes symposium first come from? Were you inspired by the harmonic convergence of upward- and outward-thinking artworks by Tim Rollins and Oliver Herring or were you picking up on a subtle trend?

The original catalyst was definitely the two exhibitions now at the Tang, and how to celebrate the energy both artists put into making work that wants to push beyond a museum or gallery to make a real physical difference in a community.  They use different methods but they both use art and conversation to create that difference:  Tim worked with kids from the South Bronx to build an artists’ collective that turned into a workshop that traveled the world. Oliver broke out of his studio to invite the public in, to make art.

Then I became interested in how artists act in the world in a time of such great anxiety.  Maybe this is an even more important time for artists to step up and lead. In moments of transformation artists can be great catalysts for change.  

Why did you select these particular speakers for the Yes symposium?

All the artists invited to the symposium use some familiar forms to make something very different. They use their role as artists to get people out of their routines and try something special, by doing creative things that are often funny, enjoyable, and surprising.   
Allison Smith adapts the format of Civil War reenactments to create a forum for community members to step up and say what they believe. Pedro Reyes, trained as an architect, uses architectural structures to create surprising new artworks.  Hope Ginsburg is a teacher who uses the framework of a college seminar to make art. Ben Kinmont would give out invitations to his gallery and if people came, he’d invite them to breakfast the next morning for pancakes and conversation—it was all about exchange.  Paula Hayes is a Skidmore alumna who makes artworks out of living plants and trees.  Tod Lippy publishes Esopus, a print and online gathering place/bulletin board for artists of every kind.  Inviting these artists, architects, and teachers was a way to extend what Oliver and Tim are doing, to explore their legacy and the impact of their work on artists working now.  

And it’s very timely—a moment for us to think about how to use this time of world change in a positive way.  

Speaking of timely, when did you plan this optimistic event, before or after the start of the global recession and the hard times that followed?

Before, although the recession was really already beginning. But even though the markets have collapsed and there’s ongoing war, there are also signs of hope. We have a black president who is very inspiring, whose rhetoric is empowering and optimistic. During his campaign, people came out in droves to hear him—a strong, smart, positive leader. His campaign exposed a desire in people to hear that hopeful language, to look to an optimistic future. He showed us what we as a country and a world were looking for. Regardless of white or black, Republican or Democrat, the world wants that language, that passion. Artists are regularly involved in that kind of moment.  We turn to artists often for clarity, to push beyond the norm. Artists are used to that—it’s part of why we turn to them in times like these.~Interview conducted by Barbara Melville, Office of Communications