Sarahstudent's Weblog

Karen Kilimnik at the MCA

sarahstudent — Tue, 18 Mar 2008 00:34:56 +0000

Walking into the first gallery of the Karen Kilimnik exhibition at the Museum of Contemporary Art in Chicago, it feels as though one has stumbled upon a robbery. To the left, there is nothing but white walls and a black couch. To the right lies one of Kilimnik’s “scatter works,” “Hellfire Club Episode of the Avengers.” The piece lies in the corner and features ripped, crumpled, and blown up black and white photos haphazardly scattered about the floor and indelicately pasted onto white cardboard-looking stands. There is a broken chandelier on the floor with it pieces spread around it and other household items strewn about, such as an oval mirror propped up against the wall, and its golden frame propped up on another wall. There is a black backdrop hanging on the two walls, with chalk markings in a grid-like fashion. On either side of the backdrop hang burgundy velvet curtains of different lengths, as if to frame the piece. Two swords hang on top of the curtains on the left side, crossed over one another.

As the first piece in the survey of Kilimnik’s work, “Hellfire Club Episode of the Avengers” sets the tone for the entire exhibit. The title refers to the 1960s British Television show “The Avengers,” which features “the crime fighting duo John Stell and Emma Peel.”[1] The pop culture references continue throughout the remainder of the show, not only in Kilimnik’s other “scatter works” but also in her paintings, drawings, photography and video installations. Through most of the works included, Kilimnik explores the celebrity obsession in modern day culture and the iconic status that society applies to celebrities. She also extends her exploration of the icon with her recent paintings. By commenting on the way icons have been portrayed historically and fleshing out feelings such as “nostalgia” Kilimnik delves into the fantastical, blurring the lines between reality and the imagined, all the while bringing romanticism to the forefront

After “Hellfire…” the next gallery in the exhibit showcases the majority of the work in the survey. Kilimnik’s paintings, drawings and photography adorn the walls on either side. On the floor, in the middle of the space, lie more scatter works. In particular, a few works stood out as representations for the other pieces. For example, the space showcased a number of drawings done in crayon and ink, or crayon and acrylic. Most of these piece featured models, such as Elizabeth Hurley, or others involved in the fashion industry. Of these, “Andrea Blanche- travel essentials” was a favorite of mine. The crayon and ink drawing features a full body portrait of the noted fashion photographer Andrea Blanche, with long flowing hair, glamorous sunglasses, and streamlined clothing. Around her portrait Kilimnik wrote quotes from an article that describe Blanche. For example, one says “Andrea Blanche is packing again. This week she is off to Rome. Next stop, who knows?” The crayon drawing has a childish air, as does the messy handwriting of the quotes. Also, similar to “Hellfire…” the drawing looks as if it was thrown together haphazardly. There are typos in the quotes and some of the words are crossed out. Additionally, the paper itself appears rumpled underneath the glass casing. It resembles the drawings that children give to their parents to hang on the refrigerator at home.

The other standout piece in this gallery is the scatter work “ I don’t like Mondays, the Boomtown Rats, Shooting Spree, Schoolyard Massacre” The title refers to a 1979 song by the Boomtown Rats, whose lyrics were about Brenda Spencer, who opened fire on the elementary schoolhouse across from her house. [2] Among the other scatter works in the room, it is the most prominent, because of its location at the end of the hall, and also because of its size. It is much vertically taller and wider than the other scatter works, creating more of a visual draw. Here, large shooting targets are propped up against a wall, and children paraphernalia, such as t-shirts, a tennis racket, a lunchbox and composition notebooks, lie on the ground. On the wall behind these items, more rows of targets are lined up, but these targets have bullet holes in them, with red blood-like paint dripping from each of the holes. In this way, the items in the foreground are more fantastical, reminiscent of child’s play, while the items on the wall represent the reality of violence’s role in today’s society. The juxtaposition of the two creates an eerie portrayal of the way in which violence pervades childhood, especially in the wake of recent school shootings.

Off to the side of the main gallery are three smaller rooms, which house more of Kilimnik’s paintings, as well as some of her video installations. The paintings, like Kilimnik’s crayon drawings, all have a very childish, naïve air to them. The small canvas size, loose brush strokes, kitschy frames and simplistic subject matter make them appear as though they were done by an amateur painter. For example, in one work, “Gretel in the Snow Queen’s Palace,” the name alone harkens back to a child’s fairy tell. The painting features a portrait of a young ballet dancer who is seated. The background is punctuated by white, broad brushstrokes, as if she were sitting in a mountain of snow. The color scheme is pastel- mostly pale pinks, yellows, and white. Additionally, the frame is lined with silver velvet ribbon, only further heightening the young and feminine vibe of the painting. On the other hand, the video installations seem to explore the intersection between reality and fantasy, similar to “I don’t like Mondays…” For example, in “Nice and Introducing Tabitha” the video pans between close-ups of a black, long-haired cat, shots of an airport, and scenes from a disco-type night club. All the while, upbeat elevator music plays in the background, and the shots disjointedly switch from one scene to the next, as if it were a home video. The airport scene and the cat sitting in someone’s house represent the more mundane activities of everyday life, while the disco club portrays glamour and celebrity.

In the last gallery, the exhibit comes full circle. While it began with the works Kilimnik originally became famous for- her scatter works- the exhibit ends with what the artist has been known for more recently- her paintings. In this last installation, “The Red Room in Modern Architecture,” Kilimnik fully immerses the viewer in the final, and perhaps most powerful, work of the exhibit. From the outside, the installation appears to be a plain white box. However, as one walks through the doors of this seemingly uninteresting cube it is almost as though one is transported back to the days of the salon. The walls of the room are painted a deep burgundy and a plush velvet red circular sofa sits in the middle of the room. Paintings of all shapes and sizes, many with golden frames, as well as some photographs, cover the walls. The molding, heavy wallpaper, and great amount of paintings almost makes the room seem gaudy, overdone. The paintings themselves, similar to the ones mentioned before, are almost forgettable individually. However, combined with their context, the piece reminds the viewer of the place of art and aesthetics in contemporary times as opposed to the past, and how the perception of beauty has changed over time. With such an overwhelming, almost stifling atmosphere, the paintings, along with the setting, force the viewer again to examine the line between theatricality and reality, or between today and the past.

At first glance, the survey of Kilimnik’s work seems somewhat unorganized and difficult to process. After all, the artist explored so many different mediums that it was difficult to connect the separate works along the context of materials used. From video, to drawing, the painting, to installations, Kilimnik utilized many different ways to express her artistic interests. However, after examining the show, there were many overlapping elements that brought everything together. For one, the emphasis on theatricality and drama was a constant. In “Hellfire…” the red velvet curtains and celebrity imagery harkened back to the days of old Hollywood glamour. In “I don’t like Mondays…” the stark contrast between children’s blankets and toys, with guns and targets, dramatically played to one’s emotions. Especially in the last piece mentioned, “The Red Room..” the blood red color of the walls created strong emotion.

Another factor that connected the works was the notion of iconic symbols. All of the celebrity images used were not just representations of that particular celebrity, they were portrayals of the notion of the icon in general. For example, the portrait of Andrea Blanche and the other crayon drawings were not meant to represent those specific individuals. Andrea Blanche was not just a fashion photographer, she was the fashion photographer, a symbol for the glamour that is associated with the fashion industry in general. The quotes that surrounded her picture only sought to emphasize her status, as if to directly and succinctly communicate to the viewer Blanche’s importance and untouchable persona. In “Hellfire…” the photos scattered on the ground were not about each celebrity, they were about the concept of celebrity. For Kilimnik, the people she chose to portray are almost mirrors. In these celebrities, with their childish crayon outlines, and crumpled paper photos, we can see a reflection of the superficial way in which we as a culture hold them up as fascinating and glamorous. Kilimnik’s childish renderings of celebrities remind us of their humanity and connection to other “normal” people. Even in the “Red Room…” with the copies of old masters’ paintings Kilimnik has redefined the notion of the icon. These portraits stare out at you from the red walls, as representations of important figures in history and in art, instead of portraits of that specific person.

Kilimnik also used her work to examine fantasy in every day life. Her paintings, remind one of childhood and the vast imagination of the child. For example, the painting “Avalanche” is merely a small white circular canvas covered in white brushstrokes. At first it is frustrating to look at. You don’t see a visual representation of an avalanche occurring, the way one might expect. It causes one to question the importance of the painting, because it looks as though a child painted it. But, without the visual cues, one is forced to imagine it. It is almost as if her painting represents what it would be like to be covered in an avalanche- with white snow all around. Another painting, “Gretel…” with the ballet dancer and velvet frame, seems to be concocted from a young girl’s dream. The ballet dancer’s delicate features and pale pink outfit are reminiscent of The Nutcracker ballet, again bringing up a child’s fantasy.

All in all, I think the first and last works in the exhibit best connect all of the pieces. Other than the fact that they are the representations of Kilimnik’s best known mediums-her paintings and scatter works- these two pieces also summarize the entire exhibit and showcase the best conceptual ideas of the artist. Hellfire…” touches upon the notion on the icon, the celebrity with its randomly placed photographs. Its dramatic elements, such as the curtains, bring up the theatrical. Also, like many of her works, one has to look at it up close. With all of the scattered elements, it is not clear where the piece ends and begins. Thus, the viewer wants to come closer, giving the piece a tactile feel. This is also true of Kilimnik’s paintings. Because they are so small, one wants to look at in close proximity, heightening the intimacy between viewer and subject. Lastly, “Hellfire” incorporates the chaotic, unfinished style characteristic in Kilimnik’s works. You can also see this in her drawings, which look like practice sketches, as opposed to a finished work. “The Red Room…” brings in these same elements, as well as the notion of fantasy and the historical, as also expressed in her paintings. Thus, although the show might be somewhat disjointed throughout, the beginning and the end bring all of the pieces together, and demonstrate Kilimnik’s strength as an artist.

[1] Museum of Contemporary Art, brochure

[2] Museum of Contemporary Art,brochure

Magazine comments

sarahstudent — Mon, 10 Mar 2008 02:45:00 +0000

Memorable quote:” Everything about a magazine should revolve around its central idea. Take i-D, for instance. From the winking, sideways title that seems to taunt Anna Wintour, who shares a motherland with the magazine, to the way it gobbles up said-and-done models, W‘s sloppy seconds—it’s a giant middle finger to high fashion magazines. ” – Alan Boccadoro 3 Comments:1. Overlook Magazine- “Overlook focuses on art and culture in the cities, towns and regions in the United States that are just that—Overlooked.” Overlook magazine proposes to examine art from cities that are typically ignored. But what about art that is made in big cities such as Los Angeles and New York that is still ignored? On the one hand, it could be because the art is “bad” or “unworthy” of attention. But what about those artists who are genuinely talented and are still overlooked because of lack of connections within the art world? I think this brings up the point of the place of art in society in general, as opposed to specific regions. Art that is not “overlooked” has to adhere to a series of societal tests in regards to its value, importance, skill, etc. But who decides the parameters for these factors, and why are they imposed upon artists at all? At some point these art “rules” seem almost arbitrary. 2. Prorsum Magazine: “Prorsum is irreverent. It’s like what Marc Jacobs says about fashion—how important and fashion shouldn’t be used in the same sentence. Fashion is indulgent, a luxury.” I thought this was a great point, and I think in this sense fashion is comparable to art. Many people talk about the importance of certain works of art, and how they changed the way we view the world, and so on, but in the end, art, like fashion, is in some ways more of luxury more than a necessity. After all, when it comes down to it, no one needs fashion or art to survive the way the way one needs food or shelter. Yes, they can both be inspiring, and even life changing, but they aren’t needed for life itself. Can you attach a value to things that are not necessities? And if so, are they intrinsically devalued because of their comparison to actual needs? I am not sure. I do think art enriches life. Not to mention the fact that detaching art from value can become a slippery slope. If one cannot attach value, or “importance” to things that are seemingly unessential, I think life in general is at risk of becoming mundane. 3. Art on Your Sleeve: ” Think of the most interesting trend you noticed on the runway, flatten it out, and think hard about the patterns, the nuances of the fabric, the effects of a pinch here or a pleat there. No doubt you’ll recall a memorable work from the Met or MoMA, reframing fashion in your mind as a functioning piece of art. “ I thought this was in interesting perspective, to compare “flattened” clothing to art in a museum. Of course, fashion can be considered artful.But in many ways, this comparison also made me think about the difference between art and fashion. Fashion in considered beautiful and artful because of its relation to a person’s body. In some ways it is an expression of that person’s personality/persona/etc. in the most physical sense. On the other hand, art is considered beautiful (or not) because of the quality that it holds within itself. True, a work of art must be considered within its context, and it can be shown in relation to something else, but that is not the only aim of art. On the other hand, fashion is forever tied to the body. A garment truly comes alive once it is seen on the body of a woman or man. In this way, while there are certainly intersections between fashion and art, I think this one component will forever divide them.

Four Tropes

sarahstudent — Wed, 05 Mar 2008 18:16:29 +0000

Metaphor:Feminine Figure, Enric Casanovas Metonomy:,Rhythm 5, Marina Abramovic Synecdoche: Tourists II, Duane Hanson Irony: Untitled (A Curse), Tom Friedman

Intersect Magazine

sarahstudent — Tue, 04 Mar 2008 06:00:47 +0000

Editor's Note:

When you move through a busy intersection, either by car or foot, you have a few options available to you.

1: The light is green. You keep going, full speed ahead.

2: The light is yellow. You slowly come to a stop, probably wishing you had made the green.

3: The light is red. You are forced to stop before going on. In the meantime, you watch as cars and people move in front of you.

Here at Intersect Magazine, we hope that we can be option #3 in the schema of your day-to-day life. We hope that we can be the “red light” that makes you to stop for a second and examine the overlaps, the connections, the “intersection” that exist between the arts and pop culture. We will take this approach from both a local and national scale, zeroing in on the Chicago art scene, but also looking at the influence of national artists as well.

The vision of Intersect Magazine is to help readers create a more democratic perspective toward art. Most times, an interest in art is cultivated in a very authoritative and institutionalized manner- through school or family. But it doesn’t have to be that way. By talking about the connections between art and something we are all familiar with- popular culture, we hope to break down the misconception that a p.h.d is prerequisite for an interest in art.

And why call the magazine intersect? As a verb, “Intersect” means “to meet and cross at a point.” This implies action, both on our side and yours. Don’t just read what we come up with every month in the magazine. Participate! Each month we will have an “Ask the Artist” series, where you can send in questions to that month’s featured artist. We will also have a “You Decide” section, where you can be the guest curator.

Don’t forget that the word “intersect” also means “to pierce or divide by crossing through.” In this way, we want to facilitate dissension, division among our readers’ and contributors' opinions. Intersecting isn’t just about finding the overlaps, but about discovering discrepancies. In our section "The Great Divide" we hope to propose provocative questions that raise questions about the art world today. Readers can continue the debate online, on our internet forum.

The accessibility of the online site brings up another point. At Intersect, we want to incite intersections between all sorts of people, not just those who have their p.h.d in art history. Maybe you took an art class once, and you wish you could take more. Maybe you visit the Art Institute of Chicago occasionally. Maybe you think classifying art into modern, post modern and contemporary is a waste of time. So what! Art is about more than categories or difficult theories, and we want you to be a part of that.

Welcome to Intersect Magazine. Where art intersects your life.

Editor at Large,

Sarah Lemas

The mission of Intersect Magazine is to examine the intersection of popular culture and the visual arts. In this way, Intersect hopes to create an accessible context in which to discuss art, thereby democratizing the approach and critique of it.

Audience: Intersect hopes to target a wide audience. We hope to attract art scholars with the “Out of Sight” section, which discusses the overlap between past influential theories/people and today’s art world. We also hope to attract the novice with sections like “Hot Topic,” where he or she can learn about what’s current in art. We also want to grab either one of these groups through the sections that call for readers to voice their input. By prompting readers to think about the issues and send in their own ideas, we expect to get feedback not only from the seasoned experts, but also those who are interested in art in a more superficial way.

Circulation/Distribution: Intersect will come out on a monthly basis and will be distributed throughout the city in kiosks similar to Red Eye or Chicago Style. We will place the magazine in galleries, coffee shops, book stores, as well as on busy street corners, such as those near “L” stops. To make the magazine accessible to everyone, it will be free. Each month we will distribute between 35,000-50,000 copies. Also, the magazine will be available online, where readers can subscribe to a service that has the magazine sent directly to them through e-mail.

Contributors:

Cristiano Siquiera, illustrator. Siquiera is a 28 year old from Sao Paulo, Brazil. He fell in love with art at a young age, and up until now he was working from his home office. We recruited him to work at Intersect because of his innovative approach to design and his experience in the field.

Rodrigo Damian, illustrator : Damian is a 26 year old from Argentina who draws on surrealistic themes to create his work. We are happy to have him join the design staff at Intersect. We hope that he can draw on his unique aesthetic to create arresting images for the magazine.

George Baker, critic: Baker, who frequently contributes to Art Forum is a seasoned critic. We hope that his experience in this area will help him edit the “Hot Topic” section, where he can give his opinion about the most relevant artists today.

Sections:

Hot Topic: This section will feature profiles of new and upcoming artists who are creating a lot of buzz in the art world and beyond. We will also include bands, books, and other people who are on the rise. By looking at who, and what is currently “hot” we will keep readers in the know about current trends in art, music, fashion, literature etc.

You Decide: Every month, one lucky winner from our readers will be chosen guest curate this section. We will pick a topic each month to narrow the reader’s selection and make the selection relevant to the rest of the issue.

Ask the Artist: We will feature a different artist every month for an in depth look at his/her inspiration and approach toward art. In addition to the questions posed by our staff writers, readers can send in questions for the “You Wanted to Know” sidebar.

The Great Divide: In this section we will pose a question about a current intersection between popular culture and art. Two writers will be featured, each with opposing views. For example, for their spring’08 collections, many fashion designers drew their inspiration from artists. Does this connection between art and fashion represent a further commercialization of art, or can it be considered art in itself?

Out of Sight: Out of Sight will draw on the past to make sense of current movements. By analyzing a former influential person, theory, or movement in the context of today’s art world, we will find the intersections between past and present.

Mark Wallinger’s “The Human Figure in Motion”

sarahstudent — Thu, 14 Feb 2008 06:00:24 +0000

Previously on view at the Donald Young Gallery, Mark Wallinger’s “The Human Figure in Motion” discusses just that: the constant shifting of the human form. Through three distinct works set up in separate galleries, the exhibit discusses this issue not only on a purely physical level but also comments on more subtle themes such as motion in relation to stationary objects, and motion in relation to depicted dimensionality.

The first gallery showcases the installation “The Human Figure in Space.” This piece is a direct reference to the Alberti screen developed by 19^th century photographer Eadweard Muybridge. Muybridge photographed moving subjects in front of a black wall superimposed with a grid made out of white string.[1] In “The Human Figure in Space” Wallinger refashions Muybridge’s screen to include an entire room. When one walks into the gallery, one sees three black walls. On each of the walls, Wallinger recreates the Alberti screen grid pattern with kite string. Also, near the bottom of each wall there is an ordered sequence of white numbers, which are painted on the wall backwards. On the remaining fourth wall, there is a panel of mirrors. In this way, when one looks directly into the mirror, the backward numbers are reversed and can be viewed normally.

The second gallery displays the video installation “Landscape with the Fall of Icarus.” This piece alludes to another artist, Peter Bruegal. In his identically titled landscape painting, Bruegal explores the fable of Icarus, in which the mythological character is given wings made out of wax. Icarus was so excited about the wings that he flies too close to the sun and his wings melt, causing him to fall to the sea. This fable expounds upon the idea that moderation is necessary part of life.[2] In the video installation, there are five television screens lined side by side that each display a different example of a person trying to combat their surroundings. The videos seem to reference Bruegal’s painting in that the individuals are seeking to find balance, i.e. moderation of movement. The slow motion videos continuously play forward and backward. The first video to the left shows a man struggling to control kite strings and the second shows a man attached to a parachute taking off from a beach. The third displays a man trying to balance over a river between two ropes and the fourth displays a man coming down a zip line into a pool of mud. Finally, the last video to the right broadcasts a man with a parachute getting stuck in a telephone line.

The last gallery contains Wallinger’s Turner Prize award-winning video, “Sleeper.” In “Sleeper,” Wallinger filmed himself dressed in a bear suit walking aimlessly around Berlin’s Neue Nationalgalerie at night. The bear is a symbol for Berlin itself, and the piece is an allusion to the city’s role in the cold war. [3]The video chronicles Wallinger as he wanders throughout the space and attracts onlookers from outside. The 154-minute piece is shot almost like a home video, and the perspective alternates between shots from inside and outside the building.

The most notable thing about the exhibit is the lack of cohesiveness between the different pieces as a whole. Overall, “Human Figures in Space” and “Landscape with the Fall of Icarus” seem more related to each other than to “Sleeper.” In “Human Figures in Space,” one can watch oneself move through the mirrors, thus fully interacting with the piece in a way not possible with the original Alberti Screen. The viewing is both an observer and participator. In this manner, different dimensional possibilities are combined at once. For example, the view one sees in the mirror is the illustration of a two dimensional image. Furthermore, the space itself can count as a three dimensional space. Thus the viewer takes part in a two dimensional world depicted in a three dimensional way. Lastly, the viewer is both part of the piece and separate from it, possibly commenting on a fourth dimension. “The Landscape with the Fall of Icarus” also depicts a connection between dimensions because the video is shown two-dimensionally, but the actual events happened in 3-d. In this way, both works are commenting on the ability to demonstrate motion on a flat plane. Additionally, both pieces address the ability to methodically plot movement. In “Human Figures in Space” the grid stands as a stationary marker to study how the body changes as it moves across the grid. Similarly, in “The Landscape with the Fall of Icarus” the video is slowed down so that individual moments of movement can be analyzed. Each screen is still for a few seconds before moving on to the next shot in order to illustrate how many changing stationary actions lead to an overall fluid movement. Furthermore, both pieces directly comment on another artist to enhance the meaning of the work. In contrast, “Sleeper” does not share any of these elements. “Sleeper” is more of a political commentary than an observation of movement. It only seems connected to the idea of motion because the entire video focuses on following the bear as he moves around. However, I wonder if one could draw this meaning from the piece prior to its place in this particular exhibition. Outside of the context of this particular gallery, “Sleeper” is a representation of Berlin’s position in the Cold War, not an exploration of the bear as he moves in the space.

In my opinion, the strongest piece in the show is “Landscape with the Fall of Icarus.” There are two very effective elements Wallinger uses to convey the message of the fight to regain balance and control over one’s movements. One of these was the decision to play the videos backward and forward. This continuous motion conveyed a sense of tension between the bodies and their environments because it is difficult for the viewer to understand when the motion begins and ends. It is necessary to watch the video a couple of times to fully comprehend the situation. In this way, the viewer is intentionally frustrated, similar to the emotions of subjects of the piece. Also, the use of slow motion successfully added to the piece. The slow motion is projected in a disjointed, almost jarring fashion. It isn’t fully continuous slow motion. An image appears on the screen, remains, and then abrubtly moves onto the next shot. Again, this conveyed the idea of tension well because it created a disconnect between the time in which the events happened, and the time in which the viewer watches the events. When watching the video, I wanted to see the events in real time. Seeing them occur so slowly was exasperating because it wasn’t immediately clear what was taking place. I was forced to examine the overall movement as a summary of many separate parts. In this way, with these two aspects of slow motion and constant playback, Wallinger created an appropriate mood in relation to his objective.

[1] http://www.donaldyoung.com/wallinger/mark_wallinger_index.html

[2] http://people.virginia.edu/~djr4r/icarus.html

[3] http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2007/10/19/baturner119.xml

Dragons, Devils, and Sparklers, oh my!

sarahstudent — Fri, 18 Jan 2008 04:22:13 +0000

I took this picture in Barcelona, Spain during a parade the city hosts every year in celebration of their patron saint, “The Virgin of Mercy” or La Mercé. The parade is named the “Correfoc,” or Fire Run because “Dragons” and “Devils” run chaotically down the street with firecrackers, sending sparks out into the crowd. The picture is significant to me because it reminds me of the wonderful time I had in Spain. I think living abroad a) was a real growing experience and b) was one of the best times of my life so far. To me this picture represents that experience and reminds me that I hope to have many more great adventures in the future.

Objective analysis of the photo:
This photo is divided into two parts: the guy standing in the foreground and everyone else around him. First, let’s talk about the man in the front of the photo. The main thing I notice is that his face is pretty blurry. His expression isn’t clear. His mouth is somewhat open, so he could be smiling, but he also could be shouting or talking. Also, he is holding up a stick of some sort. His arm and the stick (rod, pipe, who knows?) extend upward, splitting the photo in half almost directly down the middle. He holds the rod of high above the crowd and himself. And he is facing the opposite direction as everyone else in the crowd. Most people are facing away from the photog’s view with their heads down, but he is directly facing it, almost looking at it dead on. The last thing about him that I notice is his clothing. Most people are wearing hooded sweatshirts, but he’s only wearing a striped beanie and what looks like a long sleeved t-shirt.
As for everyone else, the crowd is made of people who are wearing almost identical outfits to one another. Everyone has sweatshirts with hoods. Some have backpacks and some have baseball caps, but the sweatshirt is the unifying element. Also, like I said before, they all have their heads down, or at least they aren’t looking toward the sky, where the sparks are flying. There are a few people, like the man in the foreground, who are holding up sticks in the air. In particular, there is one person with a printed hoodie holding up the rod, and if you look closely it seems like most of the sparks in the picture are coming out of some circular disk that sits on top of the rod. There are also sparks in other parts of the photo that don’t seem to be coming from anywhere in particular.
Culturally, one has to think about what these people are doing here. It’s not clear where they are because it’s so dark and smoky. It was probably taken at night, but where? They could be in a park, in the street or any open space that could fit a crowd of people. Also, why are they together? It could be a party, a festival, or a protest, among other things. There seems to be a lot of people, but because of how crowded together everyone is, I wonder if they are just in a small space, or if there are a lot more people who aren’t included in the photo. Additionally, the expression on the man’s face is telling. Although it is blurry, he definitely isn’t afraid of what’s going on. If anything, he excited. This suggests that at least him (if not everyone) is happy about something in the situation. The fact that everyone is wearing similar clothing is also interesting. That means that there was some kind of dress code that everyone knew about before coming. Or it could imply that this event has been held before, so everyone already knew what to do. Considering there are fireworks going off, they are probably wearing hoods to protect themselves. But because everyone is completely covered, there is a certain amount of ambiguity. What kind of people are they? They could be black, hispanic, male or female, young or old. Their clothes unifies them, but also masks their identity. Again, when I look at this photo I immediately think who are these people and what are they up to?

Top 5

sarahstudent — Fri, 18 Jan 2008 02:06:01 +0000

1. Postsecret.com

In 2003 artist Frank Warren had a startling dream about postcards that eventually led him to found this art project, postsecret.com. For the project people send in their anonymous secrets to the artist, who in turns posts them on this website. As of now, Warren has posted over a hundred thousand secrets and millions of people have visited the site. At first glance it’s obvious why the site has become such a hit. The secrets range from the hilarious, to the sad, to the bizarre. But more than their face entertainment value, the site brings up a lot of questions. First of all, you have to wonder how much the people who sent in their secrets needed to tell them to someone, anyone. They did have to take the time to write their confession on a postcard and send it via snail mail to the artist. Their effort took a little more than the click of a mouse. Obviously, some (or maybe many) of the “secrets” probably aren’t even true, but I’m assuming some of them are, or the project wouldn’t be so popular. The other thing to consider is that the secrets are anonymous. I’m guessing that the artist wouldn’t receive nearly so many submissions if people actually had to own up to their secrets, so it could be a practicality issue. But I’d like to think there was a little more to it. After all, if the secrets were attached to a name, you might think more about the person that the actual secret. Without ownership, the secrets become universal. They don’t just belong to one person, but to everyone. I even dare you to go the site itself and see if you don’t recognize some of your own secrets starting back at you.

2. Fashionista.com

As the name of the website might suggest, this website discusses all things fashion, from news updates to debates on the latest trends. Although I wont say that discussing the virtues of blue mascara is particularly intellectually stimulating, I do think the website is a good example of the increasing democratization of fashion. First off, you have to consider who is writing this blog. It isn’t authored by Anna Wintour or some other fashion “authority.” In fact, the people who write the blog seem like someone you could meet for coffee. Also, the blog pokes fun at some of the most ridiculous aspect of the industry. It shows that fashion is only as important as the people who are actually willing to take part in it. Just because Vogue Magazine deems that transparency is big for Spring doesn’t mean any normal, non-supermodel person could actually pull it off. How many of us would consider wearing a completely see-through dress in public? It just doesn’t happen. Fashionista.com is interesting because it shows how people fit fashion into their life, not the other way around, which is what personal style is about anyway. And with designer partnerships such as Roberto Cavalli with H&M springing up everywhere, it’s obvious that the fashion is no longer something only for park avenue princesses and celebrities. In many ways, fashion blogs show how increasingly mainstream the industry is becoming, so it seems that fashionista.com is right on trend.

3. Antoni Tapies

I first came across Antoni Tapies’s work while studying abroad this fall in Barcelona. He is most well recognized for his innovative use of mixed media, which he started working with in the 1950s and 60s. Out of all of the Catalan artwork I saw, I thought his pieces most accurately captured the rebellious spirit of the Catalan society. Having lived under a dictatorship for most of the twentieth century, the people in this region of Spain aren’t shy about expressing their relatively newfound liberation from an oppressive regime. In his paintings, the spontaneous splashes of paint, seemingly randomly placed numbers, and textural layers of clay seemed to express Catalonia’s character perfectly. At the same time, while the distinct elements of the works seem all over the place, they actually produce aesthetically intriguing and unified canvases. Plus, since most of the works incorporate 3 dimensional aspects, such as mounds of dirt or thick rubber cement, Tapies does a good job of breaking down the barrier between the viewer and the piece. Even if you don’t actually touch the canvas, it feels like there is a physical connection with the work.

4. Burton’s Collaboration with the Andy Warhol Foundation

This past year, Burton Snowboarding announced that it would be collaborating with the Andy Warhol Foundation in a limited edition collection of soft and hard goods. The collection would feature the artist’s pop art prints on everything from snowboards to outerwear. The collaboration brings to mind the many connections that have “popped” up this year between fashion and art. Dolce and Gabbana featured fifties inspired gowns splashed with paint and many designers mentioned artists as their main inspiration for their spring collections. Can these pieces, the Andy Warhol collection included, be considered artworks themselves? By stamping the artists prints on jackets and bindings, are these items an extension, even a continuation of the artist’s work? Or is it just a mere copy, a cheap imitation? Of course, the fact that Warhol didn’t design the collection himself is an issue. But even when he was alive, Warhol was controversial for his methods of collaboration with other individuals. Also, there is the issue of function. Typically we think of art as something we hang on a wall or place in a display case, not something we wrap around our bodies. But at what point is art distinguished from fashion? And vice versa? Art and fashion collaborations make this line harder to determine.

5. I-pod touch

As one of apple’s newest electronic gadgets, the i-pod touch is a one stop shop for an mp3 player, calendar and portable internet access. As more technology devices include multiple and diverse capabilities, there seems to be a connection between these advances and our society’s lifestyle, the United States in particular. When I was in Spain, I noticed there was a much lesser dependence on technology in general. Most people didn’t even have the internet in their homes, and answering e-mails seemed optional to many. Some might say that Spain and other countries just need to catch up. Technological advances are the sign of civilization’s progress into the future. At the same time, I couldn’t help but notice the differences in human interaction that technology provides. It would be unheard of to break for a two or three hour lunch every day in the States. It would be even stranger to consider going home to eat with your family then, too. In some ways I feel like technology can be isolating, limiting our need to communicate with others in a physical way. As more and more electronic devices meet many of our entertainment and communication “needs,” it seems like we are depending more and more on technology, and less on each other.

Hello world!

sarahstudent — Fri, 18 Jan 2008 01:50:38 +0000

Welcome to WordPress.com. This is your first post. Edit or delete it and start blogging!