The stuff dreams are

made of
1. Artists sometimes rethink what materials can even be used to make art.
Consider the butter sculptures of Caroline Brooks, or the cassette tape
sculptures of Erika Iris Simmons, in which the artist crafted portraits of
famous musicians out of their own recordings. Discuss with your team:
should more portraits be made of materials related to their subjects? Do
works such as Dominique Blain's Missa-an assemblage of one hundred
army boots—force us to reconsider old topics in new ways, or do they rely
too much on novelty instead of skill?

Pros of creating portraits with materials related to their subjects:

1. **Enhanced Connection:** Using materials relevant to the subject

deepens the connection between the artwork and its subject matter,
offering a more immersive experience for viewers.

2. **Symbolism:** Alternative materials can add layers of symbolism and

meaning to the artwork, providing insight into the subject's identity,
profession, or legacy.

3. **Innovation:** Experimenting with unconventional materials

encourages artistic innovation and pushes the boundaries of traditional
portraiture, sparking creativity and new ways of thinking.

Cons of relying too much on novelty over skill:

1. **Superficial Impact:** Artworks that prioritize novelty over skill may

capture attention initially but could lack lasting impact if they fail to
convey a meaningful message or evoke genuine emotions.
2. **Risk of Shallow Interpretation:** Emphasizing novelty without a
strong conceptual framework may lead to shallow interpretations of the
artwork, diminishing its potential to provoke thought or spark important
conversations.

3. **Longevity Concerns:** Artworks relying solely on novelty may

struggle to stand the test of time, as trends change and novelty wears off,
highlighting the importance of combining innovation with technical
proficiency for lasting impact.

Exploring alternative materials in portraiture can offer a fresh perspective

and deepen the connection between the subject matter and the artwork.
For example, crafting portraits of musicians using their own recordings or
creating sculptures out of relevant materials like army boots adds layers
of meaning and symbolism to the artwork. It can serve as a way to honor
the subject's legacy or highlight important aspects of their identity or
profession.

However, the success of such works depends on the artist's ability to

skillfully execute the concept. While novelty can initially capture
attention, the longevity and impact of the artwork rely on the artist's
proficiency in conveying their message and evoking emotions through
their chosen medium. Works like Dominique Blain's Missa-an assemblage
of army boots challenge viewers to reconsider familiar subjects in new
ways, sparking important conversations and encouraging critical thinking
about societal issues such as war and identity.

Ultimately, the balance between novelty and skill is crucial in creating

impactful artwork. Experimenting with unconventional materials can be a
powerful tool for artists to push boundaries and offer fresh perspectives,
but it should always be accompanied by a strong conceptual framework
and technical proficiency to ensure the artwork resonates with viewers on
a deeper level.
2. A scholar from New Zealand once revealed that her artistic talent also
involved an unusual medium: she painted on pizza dough-with tomato
sauce. (This approach works less well on existing paintings.) If she had
been born 40,000 years ago-and to an egalitarian society with access to
foreign fruits—she might have painted on cave walls instead. While
tomato-based pigment wouldn't have survived to the modern era, some
ancient cave art has. Consider recent efforts to reconstruct the earliest
cave art, including this 35,000 year-old illustration of a babirusa deep in
the Maros-Pangkep caves of Indonesia. Then, discuss with your team:
were these early cave dwellers artists? Is there a difference between
painting and documentation-or between drawing and doodling? Are
Charles Darwin's surviving sketches of finches in the Galapagos fit to be
called works of art?

The concept of art and its definition have evolved over time, making it
challenging to apply modern standards to ancient practices. Early cave
dwellers who created cave art, such as the 35,000-year-old illustration of
a babirusa in the Maros-Pangkep caves of Indonesia, undoubtedly had a
creative impulse and a desire to express themselves. Whether we classify
them as artists depends on our definition of art and the intentions behind
their creations.

While some may argue that early cave art served primarily as
documentation or communication rather than artistic expression, others
believe that the skill and aesthetic choices evident in these ancient works
suggest a level of artistic intentionality. The lines between painting and
documentation, or between drawing and doodling, can blur in the context
of ancient art, where practical and symbolic purposes often intertwine.

Similarly, Charles Darwin's sketches of finches in the Galapagos may not

conform to traditional notions of art, but they offer insight into his
observations and scientific inquiries. Whether they are considered works
of art depends on the context in which they are viewed and the criteria
used to define art.
Ultimately, the classification of early cave dwellers as artists and the
designation of works like Darwin's sketches as art reflect our evolving
understanding of creativity, expression, and the diverse forms they can
take across different cultures and time periods.
3. If it were a Starbucks, they'd just build another one across the street.
It's harder to know what to do when a historical site is overcrowded.
Some governments impose quotas, as Peru did in 2019 on visitors to the
Incan city of Machu Picchu.Facing a similar situation when tourists
swamped its Lascaux Caves to see the art on their walls, France-built
another one across the street. Is it misleading to present such recreations
to tourists as worthwhile destinations? Does it matter whether the
duplicates were made by human hands or a 3D printer, or how far they
are from the original?

Presenting recreations of historical sites such as the Lascaux Caves as

worthwhile destinations for tourists can be controversial, as it blurs the
line between authenticity and replication. While these recreations may
offer valuable insights into the original site's cultural and historical
significance, they can also raise questions about the preservation of
authenticity and the integrity of the visitor experience.

Whether a recreation is misleading depends on how it is presented to

tourists and whether they are aware of its status as a replica. If visitors are
led to believe they are experiencing the original site when they are
actually visiting a recreation, it could be considered misleading. However,
if the recreation is transparently presented as a replica, it can still offer
educational and enriching experiences for tourists.

The method of reproduction, whether by human hands or a 3D printer,

may influence perceptions of authenticity and quality. While both
methods can produce faithful reproductions, the craftsmanship and
attention to detail involved in manual replication may lend a greater sense
of authenticity to some visitors. However, advancements in technology
have allowed for highly accurate and visually impressive recreations
through 3D printing.

The distance between the original site and its recreation may also
influence perceptions of authenticity. While a replica located across the
street from the original may feel less authentic to some visitors, especially
if they can easily compare the two, a recreation located farther away may
be perceived differently.
In summary, the presentation, method of reproduction, and proximity to
the original all play roles in shaping perceptions of recreations of historical
sites. While they may offer valuable educational experiences,
transparency and context are key to ensuring visitors understand the
distinction between replicas and the original sites.

4. Consider this proposal to build another

Egyptian pyramid in Detroit or this second
Eiffel Tower, named Eiffela by creator Phillipe Maindron. The world is full
of such
efforts: learn more about these other
Eiffel tower replicas, including those in Texas, Pakistan, and China, then
discuss with your team: what other historical landmark would you want to
duplicate?
Where would you put it, and would you make it exactly like the original or
would you reimagine it in some way?

Duplicating historical landmarks can be a fascinating endeavor that sparks

creativity and cultural exchange. One historical landmark that could be
intriguing to duplicate is the Parthenon in Athens, Greece.

Imagine a replica of the Parthenon situated in a prominent location in a

city like Rome, Italy, known for its rich history and architectural
significance. This replication could serve as a symbol of cultural exchange
and appreciation between Greece and Italy, two countries deeply
intertwined in ancient history.

While the exterior of the replica could closely resemble the original
Parthenon, there could be opportunities to reimagine the interior space.
For example, instead of housing ancient artifacts and sculptures like the
original, the interior could be transformed into a modern museum
showcasing Mediterranean culture and history, with interactive exhibits
and multimedia installations.
Additionally, incorporating sustainable and eco-friendly design elements
into the replica could serve as a nod to contemporary environmental
concerns while paying homage to the ancient architectural marvel.

By reimagining the Parthenon replica in this way and placing it in a

different cultural context, we can celebrate the enduring legacy of ancient
civilizations while also embracing innovation and creativity in the present
day.

5. Even if these sites weren't overcrowded— more Baku than Kuala

Lumpur-they would still require us to travel to them.Not everyone has the
means. But, at least in theory, far more people could visit reconstructions
of them in virtual reality, or VR. (VR was the last trendy two-letter
acronym before Al.) Explore the offerings of the Australian company
Lithodomos, then discuss with your team: would you support this
technology being used in classrooms? Should more real-world tourism be
replaced with VR visits? Check out the following VR implementations at
museums, then discuss with your team: are these VR interpretations of
past works themselves new works of art?
* The Ochre Atelier | London TateMuseum
* The Opening of the Diet 1863 |National Museum of Finland

Lithodomos and other companies offering virtual reality (VR)

reconstructions of historical sites present an exciting opportunity to make
cultural heritage more accessible to a wider audience. Integrating this
technology into classrooms could enhance learning experiences by
allowing students to virtually explore historical sites and gain a deeper
understanding of their significance without the need for physical travel.

However, while VR can be a valuable educational tool, it should not

completely replace real-world tourism. Physical visits to historical sites
offer sensory experiences and a sense of connection to the past that
cannot be fully replicated in virtual environments. Additionally, real-world
tourism contributes to local economies and fosters cultural exchange and
appreciation.

Regarding VR implementations in museums, such as those at the London

Tate Museum and the National Museum of Finland, these VR
interpretations can be considered new works of art in their own right.
They offer innovative ways to engage with and interpret historical artifacts
and events, adding layers of immersion and interactivity to the museum
experience. While they may not replace traditional exhibitions, they
complement them by offering visitors alternative perspectives and deeper
insights into the past.

6. Artists have been experimenting with integrating VR directly into their

work.
Consider the pieces below, then discuss with your team: would they still
have as much artistic value without the VR
elements? How soon do you think Al will be integrated into art in the
same way, or is this integration already happening?
• | Came and Went as a Ghost Hand |
Rachel Rossin (2016)
• La Camera Insabbiata | Laurie
Anderson & Hsin-Chien Huang (2017)

"Came and Went as a Ghost Hand" by Rachel Rossin and "La Camera
Insabbiata" by Laurie Anderson & Hsin-Chien Huang are both fascinating
examples of VR integrated into art. Without the VR elements, they might
lose some of their immersive qualities, but their artistic value would likely
still be present in other forms, such as video documentation or interactive
installations. As for AI integration into art, it's already happening to some
extent, with AI-generated artworks and collaborations. However,
widespread integration similar to VR might take a bit longer as artists and
technologists continue to explore the possibilities and refine the tools and
techniques involved.
7. Sometimes, a work isn't copied as much as it is reinterpreted. In the
1980s, two Soviet artists-in-exile, Vitaly Komar and Alexander Melamid,
painted the head of Josef Stalin perched on a woman's hand.
Judith on the Red Square was just one of many takes on a historical
moment that may never even have happened. Compare their version with
those below, then discuss with your team: how do their styles and
meanings vary? If, as critics argue, they celebrate "female rage", should
we still be studying any of them?
Pay special attention to the Mannerist style of Giorgio Vasari, in which
artists abandon the pursuit of realism in favor of imagined ideals. When is
it better to make something less realistic?

Vitaly Komar and Alexander Melamid's interpretation of "Judith on the

Red Square" presents a bold and provocative statement, merging
historical and political themes with a surrealistic twist. Their depiction of
Josef Stalin's head on a woman's hand likely conveys a sense of power
imbalance and subversion.

Comparing their version with other interpretations, such as Giorgio

Vasari's Mannerist style, reveals distinct differences in approach. While
Komar and Melamid employ surrealism to convey their message, Vasari's
Mannerist style focuses on exaggerated forms and elongated proportions
to evoke a sense of idealized beauty and elegance.

The celebration of "female rage" in these interpretations adds another

layer of complexity, highlighting the power dynamics and societal
pressures faced by women throughout history. Studying these artworks
offers insights into the artists' perspectives and the socio-political context
in which they were created.

Regarding the use of realism, sometimes departing from strict realism

allows artists to convey abstract or symbolic meanings more effectively. In
the case of Komar and Melamid's work, the surrealistic elements amplify
the emotional impact and provoke deeper reflection on the subject
matter. Therefore, it's not necessarily about making something less
realistic, but rather about choosing a style that best serves the artistic
intention and message.

8. Sometimes, a work isn't copied as much as it is reinterpreted. In the

1980s, two Soviet artists-in-exile, Vitaly Komar and Alexander Melamid,
painted the head of Josef Stalin perched on a woman's hand.
Judith on the Red Square was just one of many takes on a historical
moment that may never even have happened. Compare their version with
those below, then discuss with your team: how do their styles and
meanings vary? If, as critics argue, they celebrate "female rage", should
we still be studying any of them?
Pay special attention to the Mannerist style of Giorgio Vasari, in which
artists abandon the pursuit of realism in favor of imagined ideals. When is
it better to make something less realistic?

Vitaly Komar and Alexander Melamid's interpretation of "Judith on the

Red Square" presents a bold and provocative statement, merging
historical and political themes with a surrealistic twist. Their depiction of
Josef Stalin's head on a woman's hand likely conveys a sense of power
imbalance and subversion.

Comparing their version with other interpretations, such as Giorgio

Vasari's Mannerist style, reveals distinct differences in approach. While
Komar and Melamid employ surrealism to convey their message, Vasari's
Mannerist style focuses on exaggerated forms and elongated proportions
to evoke a sense of idealized beauty and elegance.

The celebration of "female rage" in these interpretations adds another

layer of complexity, highlighting the power dynamics and societal
pressures faced by women throughout history. Studying these artworks
offers insights into the artists' perspectives and the socio-political context
in which they were created.
Regarding the use of realism, sometimes departing from strict realism
allows artists to convey abstract or symbolic meanings more effectively. In
the case of Komar and Melamid's work, the surrealistic elements amplify
the emotional impact and provoke deeper reflection on the subject
matter. Therefore, it's not necessarily about making something less
realistic, but rather about choosing a style that best serves the artistic
intention and message.

9. Sitting astride a gallant white steed in Jacques-Louis David's Napoleon

Crossing the Alps (1801) is purportedly Napoleon, but Napolean didn't
want to pose for the work-despite having given David very specific
instructions on what to paint.
"Calme sur un cheval fougueux," he requested. Calm on a fiery horse. For
a model, David resorted to his own son— who stood calmly on a fiery
ladder. To achieve more drama, he replaced the mule from Napoleon's
actual journey (on a fair summer day) with a stallion (battling a blistering
storm). The most accurate thing about the painting was the uniform. It
had only been a year since the actual event happened; surely some
people knew how inaccurate the work was, and his own face in it was
bland and undetailed-but Napoleon reputably loved the finished product.
"Nobody knows if the portraits of the great men resemble them
[anyway]," the victorious general offered, by way of justification. Discuss
with your team: was Napoleon right in recognizing that history would
remember how David had portrayed him? You should also take a look at
this piece by Paul Delaroche in 1853, which tried to reconstruct the past
more accurately than it had been reimagined in the present-should an Al
be used to transplant some of the details from this version into the
original piece?

Napoleon's recognition that history would remember how Jacques-Louis

David had portrayed him reflects an understanding of the power of art in
shaping public perception and historical memory. Despite inaccuracies in
David's painting, Napoleon likely valued its symbolic representation of his
leadership and prowess.
As for Paul Delaroche's attempt to reconstruct the past more accurately in
his painting from 1853, using AI to transplant details from this version into
the original piece could be an interesting exercise. It could provide
insights into how historical events and figures are interpreted and
reimagined over time. However, it's essential to approach such
interventions with caution to preserve the integrity and artistic vision of
the original work. If done thoughtfully and transparently, AI could offer
new perspectives on historical accuracy and artistic interpretation.

10. Napoleon rode his white "horse"; George Washington rode a raft.
Emanuel Leutze's Washington Crossing the Delaware (1851) captures a
key moment in America's founding myth: the future first president leading
his men against on the British. As paintings go, it is iconic; it is also
inaccurate. In 2011, Mort Kunstler reimagined the scene more
realistically.
Compare his take to Leutze's, then consider a version that critiques the
myth behind all of it: Robert Colescott's
"George Washington Carver Crossing the Delaware: Page from an
American History Textbook (1975). If you could print only one of these
three works in a history textbook, which would you choose? Did Leutze's
become the most iconic only because it was first?

Comparing Mort Kunstler's more realistic portrayal of Washington

Crossing the Delaware to Emanuel Leutze's iconic version highlights the
differences in artistic interpretation and historical accuracy. Kunstler's
rendition provides a more accurate depiction of the scene, capturing the
harsh conditions and the challenges faced by Washington and his men
during their crossing.

On the other hand, Robert Colescott's "George Washington Carver

Crossing the Delaware: Page from an American History Textbook" offers a
satirical critique of the mythologized narrative surrounding George
Washington and American history. By subverting the traditional portrayal
and inserting George Washington Carver, an African American scientist,
into the scene, Colescott challenges viewers to reconsider historical
narratives and the individuals typically celebrated in them.
Choosing which work to include in a history textbook depends on the
educational objectives and the context in which it will be used. Leutze's
painting may have become iconic partly because it was the first, but its
significance also lies in its portrayal of an important moment in American
history. However, Kunstler's more realistic depiction and Colescott's
satirical commentary offer valuable perspectives that can enrich
discussions about historical representation and interpretation. Ultimately,
including all three works could provide students with a well-rounded
understanding of the complexities of history and its portrayal in art.

11. In Puerto Rico, tourists can visit an old fort, the Castillo (Castle) San
Felipe del Morro, which is now a museum with grand views of the sea.
Those of us who grew up watching Disney might think of castles as places
from which princesses emerge to build snowmen, but in real life they
more often served as military bases and seats of regional power. Explore
some of the techniques used to reconstruct castles that have lost the
battle with time, such as LED lights, 3D models, and VR - then discuss with
your team: should they be rebuilt in real life instead?

Reconstructing castles that have fallen into disrepair involves a

combination of historical research, architectural expertise, and modern
technologies. Techniques such as LED lights, 3D models, and VR play
crucial roles in bringing these historical structures back to life for visitors
to experience and appreciate.

LED lights can illuminate the castle walls and interiors, highlighting
architectural details and creating a dramatic ambiance. 3D models allow
historians and architects to digitally recreate the castle as it would have
looked in its prime, providing insights into its layout and construction. VR
technology enables immersive experiences, allowing visitors to virtually
explore the castle and its surroundings, even if parts of it are inaccessible
or in ruins.

When considering whether castles should be rebuilt in real life, several

factors must be taken into account. Rebuilding a castle can be a costly and
time-consuming endeavor, requiring extensive research and skilled
craftsmanship. Additionally, there may be ethical and cultural
considerations, especially if the castle is considered a heritage site or
holds significance for local communities.

In some cases, partial reconstruction or restoration efforts may be

feasible and beneficial for preserving historical landmarks and promoting
tourism. However, it's essential to strike a balance between preserving
the authenticity and integrity of the original structure and utilizing
modern technologies to enhance the visitor experience.

Ultimately, the decision to rebuild a castle in real life should involve

careful consideration of its historical significance, practicality, and the
wishes of local stakeholders. Collaborative efforts between historians,
architects, preservationists, and communities can ensure that these iconic
landmarks are celebrated and enjoyed for generations to come.

12. When rebuilding castles in real life, should we update them to reflect
modern values such as sustainability, inclusiveness, and indoor plumbing?
Consider the controversy in Japan over adding elevators to Nagoya Castle
for guests experiencing limited mobility, then discuss with your team: at
what point does rebuilding something become reimagining it? Attempts
to restore the Notre-Dame Cathedral in Paris also raised similar questions.
Should these rebuilt structures still be considered as UNESCO World
Heritace Sites?

When rebuilding castles in real life, there's a delicate balance between

preserving historical authenticity and incorporating modern values and
amenities. Updating castles to reflect modern values such as
sustainability, inclusiveness, and accessibility can enhance their relevance
and usability for contemporary visitors. This might include incorporating
eco-friendly materials, ensuring accessibility features like ramps and
elevators, and adding amenities like indoor plumbing.
The controversy over adding elevators to Nagoya Castle in Japan
highlights the tensions between preserving historical authenticity and
meeting the needs of modern visitors, particularly those with limited
mobility. While some argue that such additions detract from the historical
integrity of the castle, others see them as necessary for ensuring
inclusivity and accessibility.

At a certain point, rebuilding something can indeed become reimagining

it, especially when significant modifications are made to the original
structure or its purpose. Reimagining may involve modernizing the
castle's functions, layout, or aesthetics to better suit contemporary needs
and values.

Regarding UNESCO World Heritage Sites, the rebuilt structures should still
be considered for designation if they maintain their outstanding universal
value and adhere to the principles of authenticity and integrity. UNESCO
recognizes that some level of reconstruction or restoration may be
necessary to ensure the preservation of cultural heritage sites, especially
in cases of damage or destruction.

However, it's crucial for rebuilding efforts to be conducted with sensitivity

and in accordance with established conservation principles to avoid
compromising the authenticity and significance of the site. Transparency,
consultation with stakeholders, and adherence to best practices in
heritage conservation are essential to maintain the UNESCO World
Heritage status of rebuilt structures.

13. The Queen King of England doesn't live in a castle; Buckingham Palace
has neither a moat nor a drawbridge. Castles and palaces are often
confused—
unsurprising, as both are large structures with no real purpose in the year
2024.
Research the following castles and palaces that have found ways to open
their doors to modern visitors, then discuss with your team: would their
original residents have liked "what we've done with the place"? While
most renovated castles and palaces are converted into hotels or
museums, what else could be done with them? Should they be converted
into low-cost housing for those in need?
• The Winter Palace (Russia) | Rambagh
Palace (India)
• Parador Alcaniz (Spain) | St Donats
Castle (Wales)
• Alnwick Castle (England) | Doune
Castle (Scotland)

The Winter Palace in Russia, Rambagh Palace in India, Parador Alcañiz in

Spain, St Donat's Castle in Wales, Alnwick Castle in England, and Doune
Castle in Scotland have all found ways to open their doors to modern
visitors while preserving their historical significance.

Considering whether their original residents would approve of the

renovations depends on the extent to which the structures have retained
their historical integrity and cultural significance. While some might
appreciate efforts to preserve and showcase their former homes, others
might have reservations about the commercialization or adaptation of
these spaces for modern purposes.

While many renovated castles and palaces are converted into hotels or
museums, there are other possibilities for their use. They could be
repurposed as cultural centers, educational institutions, event venues, or
even community spaces. Converting them into low-cost housing for those
in need could also be a viable option, provided that it's done sensitively
and in a way that respects the historical and architectural value of the
structures.

Ultimately, the decision on how to repurpose castles and palaces should

involve careful consideration of their historical significance, architectural
integrity, and the needs and preferences of local communities. Finding a
balance between preserving the past and adapting to the present can
ensure that these iconic landmarks continue to be valued and enjoyed for
generations to come.

14. Castles aren't the only instances of old infrastructure finding new life
in the modern world. In medieval times London Bridge was a living bridge,
serving not just as a river crossing but as the host of an entire community
of shops and houses.
Now it's just a song lyric and a thoroughfare. In New York, an old elevated
rail line has been reborn as the popular High Line park; in Hong Kong and
Athens, retired airports-with their massive footprints-are being
redeveloped into entire neighborhoods.
On a smaller scale, many urban rooftops are becoming organic farms and
suburban parking lots solar farms.
Discuss with your team: what other aspects of older infrastructure could
be used in new ways with minimal changes?

There are numerous possibilities for repurposing older infrastructure in

new and innovative ways with minimal changes. Some examples include:

1. Adaptive reuse of industrial buildings: Old warehouses, factories, and

mills can be transformed into mixed-use developments featuring
apartments, offices, retail spaces, and cultural venues. Their spacious
interiors and robust structures make them well-suited for creative
adaptations.

2. Canal revitalization: Unused or neglected canals can be rejuvenated

into vibrant waterfront promenades, offering recreational opportunities
such as walking and cycling paths, cafes, and public art installations.
Canal-side development can also contribute to revitalizing surrounding
neighborhoods and fostering community engagement.

3. Railway station redevelopment: Historic railway stations can be

repurposed into transportation hubs, cultural centers, or commercial
spaces. Adaptive reuse of railway infrastructure preserves their
architectural heritage while meeting modern needs for connectivity and
urban development.

4. Urban green spaces: Vacant lots, underutilized spaces, and disused

railway tracks can be transformed into urban parks, community gardens,
and green corridors. These green spaces contribute to improving air
quality, enhancing biodiversity, and promoting physical and mental well-
being in urban environments.

5. Waterfront redevelopment: Abandoned docks, piers, and waterfront

industrial sites offer opportunities for waterfront redevelopment projects
that incorporate mixed-use developments, public spaces, and recreational
amenities. These projects can reconnect communities with their
waterfronts and stimulate economic growth.

By creatively repurposing older infrastructure, cities can breathe new life

into underutilized spaces, promote sustainable development, and
enhance quality of life for residents and visitors alike.