Author: angelikapokovba

Christmas Spirit in Arts of New York City

Our group, Nabila, Sophia and Angelika, went to see ZERO: Countdown to Tomorrow at the Guggenheim Museum, The Christmas Spectacular Starring the Rocketts and Disgraced on Broadway. The three events are essentially completely different forms of art, related by their ability to express different elements of human nature in distinct manners. While I enjoyed tremendously the three events, it is that time of the year when one wishes to talk primarily Christmas, coincidently this is also my favorite time as a skier. The Christmas Spectacular was wonderful and even magical. We were very surprised to see a full house at Radio City because we went before Thanksgiving. We had great seats in the orchestra and thus, our interaction with the action going on the stage was very personal and perhaps even intimate. It is not often that one watches a Santa Claus running around before his eyes.

I believe that the Christmas Spectacular is already an intrinsic part of New York’s culture because it prepares the city for the Holiday season. The intent of the show is to entertain the audience, but also to sparkle some love, happiness and magic into the atmosphere. After the show, everyone felt incredibly elated. Sometimes one needs this kind of event to relax and accept the moment. Before the event we all had lots of college work, exams and worrying, but the show forced us to relax and enjoy.

The show highly emphasized the Rocketts and nearly every other number was a dance number. The Rocketts performed different dances ranging from ballet, to tap dancing and even some acrobatic movements. One of the most wonderful numbers was The Nutcracker ballet performance in which the dancers were dressed in oversized animal costumes from the story. Even though they had enormous costumes, they were still gracious ballet performers. This was a very humorous performance. In addition, Tchaikovsky’s accompaniment was great because even though there are no words, Tchaikovsky’s music speaks itself. The music conveys the story line. Further, the Rocketts performed to some very cliché, but charming, Christmas carols such as “Rudolf the Red-Nosed Reindeer.” The outfits in each performance were stunning as well.

I also realized that the Rocketts perform three times a day, or perhaps even more when it is closer to the holidays. It must take lots of love for dance to be able to take on this profession. Their dances take months to coordinate so that the dancers can dance in unison. The line-leg kicking still amazes everyone because it is so incredibly hard to do with thirty dancers at the same time. Even though the Christmas Spectacular seems as if just another entertainment show, it takes a plethora of hard work from the dancers, musicians and costume designers.

Overall, I believe that the Christmas Spectacular is a wonderful production because it has the intent to bring happiness to the audience and it does so efficiently. It is a very carefree show that is suited for both adults and children. In fact, it brings adults back into their childhood where everything was magical and lighthearted. This show is a time travel to a different dimension, Santa-land, which leaves behind the troubles and the New York rush. I enjoyed this show because it presented all forms of art.

-Angelika Pokovba

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Having to listen to the orchestra and German singing on a Thursday evening before an exam in French on Friday morning. #notfun #notimetostudyforFrench #singingwasrepetative #Germansoundsangry #buttchaikovskywasgreat

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ZERO: Countdown to Tomorrow

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“The Yellow Picture” Gunther Uecker (Yellow Monochrome and different materials such as nails)

Our group, Nabila Akthar, Sophia Ebanks and Angelika Pokovba went to see an exhibition at the Guggenheim. The New York Guggenheim Museum presents the ZERO: Countdown to Tomorrow, 1950s-1960s exhibit that is shown in the United States for the first time. The artists that are displayed began a completely different art movement using dynamics and distinct media to convey their seemingly meaningless pieces.

The ZERO Network initially began with Otto Piene and Heinz Mack in 1957; Gunther Ucker joined the German post World War 2 group in 1961. The group further became associated with distinct international artists that identified themselves with the Zero philosophy; the Guggenheim presents the works of 37 artists. They chose the name in order to indicate the post-war situation in wounded Europe, ZERO represents “a zone of silence and pre possibilities for a new beginning as at the countdown when rockets take off” (Piene). The artists shared a desire to redefine the art in the aftermath of World War II by rejecting the existing European styles such as Tachisme and Art Informel. These styles emphasized personal expression and spontaneity, but Zero artists wanted to banish any trace of personal style or signature from their work and rather bring in elements of the “non-artistic” world into their art. In essence, the artists started with a completely clean slate and let their art be their guide from there. They denied all art that was a precedent and instead focused on making their own art without any influences; ZERO was completely unprecedented and utterly unique to its artists.

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Yves Klein “Blue Monochromes”

ZERO artists concentrated on pure color, pure light and pure media as the fundamental premise of their art. The artists reduced their color palette to only ONE color and often their work was bland because the use of vivid colors was limited. Further, the artists incorporated a wide range of materials, such as aluminum, plastic, and sand into their work. They used lines and grids to emphasize the structure of their works. Some members even used destructive elements, such as burning, cutting and nailing in order to create something new in the aftermath of the war. The artists emphasized the creation involved in destruction, thus fulfilling their main objective by “making it new”(Ezra Pound).

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“Concetto Spaziale, Attese” (1959) Lucio Fontana (destroying the canvas by cutting it to make it new)

For the exhibit, artists employ space as both subject and material, and they explore the “interrogation of the relationship between nature, technology, and humankind.” Light, movement and space were the central themes for the ZERO network. The audience is not supposed to ponder about the artwork because the artist completely rejects his trace in the piece and wants the viewer to simply see the final product. The artists emphasized a sense of nihilism; their art works are not supposed to have meaning but because the art pieces are meaningless they in turn gain meaning. The ZERO network incorporated some of the most avant-garde artists of the 20th century that defined the post-war era. ZERO art screams despair, yet at the same time it provides a sense of tranquility and hope.

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“Bottle Wall” (1962) Jan Hendrikse

 

Angelika Pokovba, Nabila Akthar & Sophia Ebanks

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the best of Arts in New York City …

The Best of Arts in NYC was the opportunity to join the art world of New York at least at several occasions, such as Fall of Dance. I am sure that this course will further stimulate us to involve ourselves in the world of creative expression more. I know that I will be definitely visiting City Hall on several other occasions. I have this course to thank for that!

-Angelika

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