Elvin Lim is Assistant Professor of Government at Wesleyan University and author of The Anti-intellectual Presidency, which draws on interviews with more than 40 presidential speechwriters to investigate this relentless qualitative decline, over the course of 200 years, in our presidents’ ability to communicate with the public. He also blogs at www.elvinlim.com. In the article below he looks at the national immigration debate. See Lim’s previous OUPblogs here.
Immigration is likely to become the new theater of the culture wars because Arizona’s new immigration law has further nationalized the immigration issue. Illegal immigrants in the state would be more likely to move to nearby states like Texas and California, and especially to those cities where sanctuary ordinances have been passed. Since immigrants settle disproportionately in California, New York, Florida, Texas, Pennsylvania, New Jersey and Illinois, we would expect these states to be most affected by Arizona’s new law.
Arizona is correct, then, that there can be no state solution to the illegal immigration problem. But that is not so say that the state is doing anything to alleviate the problem by taking things into its own hands. In fact, Arizona’s new law is only going to worsen the national problem.
What is missing in the contemporary debate is the asymmetry of support for legal sanctions against those who are here illegally, but not against those who hire illegally, namely businesses who hire illegal (and also lawyers and lobbyists who help them defend the conditions which make this possible). This puts the illegal immigrant in the worst of all worlds, harassed and harangued by the law, and in no position to bargain with prospective employers who are still relatively free to hire them at any price because of half-hearted enforcement of the Legal Arizona Workers Act. This puts downward pressure on wages, and even more native animus against illegal immigrants.
If Arizona is serious about controlling illegal immigration, it should proactively punish employers who hire illegals rather than focus its energies on a hit-and-miss strategy of authorizing law enforcement officials to check the immigration status of suspicious persons. This policy would then escape the “racial profiling” controversy because employers would have to check the immigration status of all potential employees (and not just those who look a certain way). It is somewhat disingenuous for Arizona to disproportionately target illegal immigrants but not legal citizens acting illegally, for at the very least this asymmetry about our tolerance of different kinds of illegality tells us that Arizona’s law isn’t purely about respect for the law qua law. Rather than focus on the supply of illegals, shouldn’t the state equally address the demand thereof?
The national immigration debate, which has currently centered on racial profiling, misses out on this central defect of federal immigration policy, which is that we focus too much on border security and not enough on the glaring fact that over a third of illegal immigrants became illegal because they over-stayed their visas, and the only reason why they could afford to do so was because they were able to find employment.
President Obama was wise, nevertheless, to have taken immigration reform off his agenda for this year, for if he hadn’t, Congress would have been forced to enact a quick-fix law that would have exacerbated the pathologies of our current immigration regime. In the long run, t
Here’s a question that comes up quite frequently when artists talk about their portfolios:
Should I include all my different styles or just one style?
It’s an excellent question without a hard and fast rule as an answer. Here’s why.
When you’re prepping any art portfolio, the first question you need to answer is, “Who is my audience?” The answer to that question is going to narrow down your options of what samples to include.
The business of art is a widely varied marketplace. If you’re selling retro Japanese-style killer robot art, then the creative director of Mother Earth is probably not your best bet. If you sketch cuddly critters in pastel fields of love and rainbows, the hiring manager of RazorbackKillerz Graphic Design Studio is going to look at you a little funny. There may be laughing after you leave.
Very simply, you need to structure your portfolio toward the industry and type of work you’re trying to get.
I had a great conversation about this with Richard Miller of Calyx Design. We’ve both been in the position of having to hire artists and we’ve both been equally frustrated when we saw awesome talent that we couldn’t hire.
In the animation world I once had the responsibility of bringing in a new storyboard artist. A week after posting an ad, I sat in the office surrounded by over 100 portfolios and demo reels. Several times I pulled one out of the pile and marveled over the amazing artwork in front of me. Incredible stuff. Sometimes I brought in producers and other directors to gaze in wonder at the mind-blowing talent and beauty that lay before us. I think we even wept. There may have been fainting, it’s a blur.
Couldn’t hire them. Sorry. No can do. Throw another ‘folio on the barbie, mate.
I looked at gorgeous oil paintings that I would have loved to hang in my home, but what I needed was an artist who could quickly sketch an idea in a fast-paced story meeting under pressure of producers, directors,writers, and designers. I needed to see sequential drawings. I ached to see that the artist knew the language of film and how to visualize a script.
Think about that.
Your portfolio may be awe-inspiring but if it’s not appropriate for the person or company you sent it to, it’s a complete waste of time.
Do not waste your time. Do not waste someone else’s time.
So you have lots of different styles and mediums and skills. What to do?
Take a close look at the kind of work the company you’re targeting produces. Do your homework. If you think you have something that fits, then show 8-12 examples of your work that’s closest to it. Better to show fewer that hit the mark than more that confuse the viewer.
If you feel strongly that your alternate style is just so outstanding that it must be seen, then include it – but put it in the back of your book with a short note explaining that you understand it’s different. This shows that you’re paying attention and if it’s truly good work, you might make an impression.
Can you tell that I hate hard and fast rules? You know, I just don’t think they exist. For every artist that’s heard, “you shouldn’t show two styles,” there’s another that shows four styles and always gets work.
It’s not a science, it’s an… well. It’s an art. And it’s just good marketing.
The only time I would say that you should blanketly include a little of everything you do is when you’re applying to a school. The reason is that the whole purpose of an art school (a good one) is to guide you in a direction based on your skill and talent so you can have a successful career. A Career Counselor’s job is to review the work you’ve done and help you decide where to apply your strengths. They want to see that you’ve been using your skills (so they know you’re not there on a whim), but showing something that isn’t well-developed isn’t seen as a weakness; it’s a window to your potential.
It’s quite different in a professional setting. It’s brutal and no one is there to guide your career. People want to hire artists that can do the appropriate work without any doubt. Period.
Now let me show you something really cool and more fun than that last sentence.
In the world of children’s literature, Richard Scarry is very well-known (to understate the case). He’s known best for his Busy People books, with silly characters like Huckle Cat and Lowly Worm. Take a look at this.
These are three very distinctly different styles from different periods, all done by Richard Scarry. The thing to take away is not that cramming all your styles into a portfolio is suddenly okay because a famous illustrator did it. Nope-i-tee nope-i-tee no.
Take a look at the work here. Richard Scarry mastered these styles. They are all beautiful and finely illustrated in their own right.
What’s important to learn from this is to not limit yourself because you think developing different styles is inherently bad. You’re an artist, your job is to create art in the way you see the world. Never bend to the voices that tell you it’s wrong. Do it! You have to love your work or there’s no point.
But if you’re going to show it to get work, make sure you’ve mastered it first. If you look deep inside yourself with honesty, you’ll know when that is. If you’re still doubtful, find a group of trusted pros to give you feedback.
If you have questions about what to include in your portfolio, I’m happy to steer you in the right direction. Send an e-mail to sparky [at] sparkyfirepants [dot com] with the subject line, PORTFOLIO HELP. Include a link to your online portfolio if you want and I’ll check it out. Write a short note about the industry or field where you’re trying to get work. I’ll reply as soon as I can, largely depending on how many e-mails I get after this post. It’s a first-come, first-served kinda thing.
If you’re feeling bold and fearless, you can do the same in the comments here and I’ll answer you publicly. I also invite others to join in, but I caution you that nasty, hateful comments will be deleted at my discretion. Please be constructive and say something positive. If you can’t think of anything positive, then remember what Mama said and don’t say anything at all.
