I was the Public Programs Coordinator and National Endowment of the Arts grant coordinator for this exhibition that traveled nationwide. As Public Programs Coordinator, I developed partnerships and programs to "to spark discussion on themes within a gallery setting and at public programs throughout the city"
Gene(sis): Contemporary Art Explores Human Genomics funded by the National Endowment of the Arts
In April 2002, on the heels of the Human Genome Project’s historic announcement about the completion of a human genome “rough draft” and the publication of its initial analysis by scientists, Seattle’s Henry Art Gallery (the Henry) opened Gene(sis): Contemporary Art Explores Human Genomics, a national touring exhibition that explores the implications of human genome research on human life and understanding.
Gene(sis) brought together more than 50 works of recent and new artwork representing artists’ explorations and imaginings of the social, ethical and economic ramifications of genetic and genome research. To spur dialogue among Puget Sound residents about the provocative and potentially polarizing issues the Gene(sis) artwork raises, the Henry, together with its project partners and community collaborators, devised and implemented a multi-faceted, cross-disciplinary series of public programs in conjunction with its exhibition. In doing so, the Henry created a “space” for public discourse around a timely and controversial civic issue for Seattle area residents: What is the meaning and impact of current genetic research with regard to our everyday lives?
Through the Gene(sis) project, the Henry sought to harness the power of contemporary visual art to elucidate and provoke dialogue about new developments in the science of human genomics. The Henry employed a range of approaches and formats to spark discussion on these themes within a gallery setting and at public programs throughout the city. The Henry’s exploration of various dialogue methods raised key questions about dialogue concepts and practices: What new innovations can be brought to conducting dialogue about art and, in this case, “controversial art?” How does art function as dialogue between artist and viewer? Does the viewer’s experience in grappling with the ideas evoked by a work of art constitute civic dialogue? And what do existing curatorial and education practices have to offer when designing opportunities for civic dialogue?
~ from the Animating Democracy's The Gene(sis) Project: A Laboratory for Arts-Based Civic Dialogue Case Study: Henry Art Gallery by Lynn E. Stern
In April 2002, on the heels of the Human Genome Project’s historic announcement about the completion of a human genome “rough draft” and the publication of its initial analysis by scientists, Seattle’s Henry Art Gallery (the Henry) opened Gene(sis): Contemporary Art Explores Human Genomics, a national touring exhibition that explores the implications of human genome research on human life and understanding.
Gene(sis) brought together more than 50 works of recent and new artwork representing artists’ explorations and imaginings of the social, ethical and economic ramifications of genetic and genome research. To spur dialogue among Puget Sound residents about the provocative and potentially polarizing issues the Gene(sis) artwork raises, the Henry, together with its project partners and community collaborators, devised and implemented a multi-faceted, cross-disciplinary series of public programs in conjunction with its exhibition. In doing so, the Henry created a “space” for public discourse around a timely and controversial civic issue for Seattle area residents: What is the meaning and impact of current genetic research with regard to our everyday lives?
Through the Gene(sis) project, the Henry sought to harness the power of contemporary visual art to elucidate and provoke dialogue about new developments in the science of human genomics. The Henry employed a range of approaches and formats to spark discussion on these themes within a gallery setting and at public programs throughout the city. The Henry’s exploration of various dialogue methods raised key questions about dialogue concepts and practices: What new innovations can be brought to conducting dialogue about art and, in this case, “controversial art?” How does art function as dialogue between artist and viewer? Does the viewer’s experience in grappling with the ideas evoked by a work of art constitute civic dialogue? And what do existing curatorial and education practices have to offer when designing opportunities for civic dialogue?
~ from the Animating Democracy's The Gene(sis) Project: A Laboratory for Arts-Based Civic Dialogue Case Study: Henry Art Gallery by Lynn E. Stern