Author Archives: lizzho
Posts by lizzho
Untitled Shadowman
There were many interesting pieces in Club 57 but the one that really intrigued me was an untitled painting by Richard Hambleton in the lower gallery. It features a indistinct, shadowy shape that is bending at the knees. The painting utilizes black and white acrylic on canvas. When I first saw this painting, it was the shadowy figure that stuck out to me. It gave an ominous feeling, similar to the one you get when you’re watching a scary movie and you know the serial killer is behind the door. As I looked closer, however, I saw how the artist spread the painting in a circular fashion, forming almost concentric circles. At the top of his work was where the center of the circles and there almost seems to be a sphere. The shadowy person looks like he is holding up the sphere. This made me think of Atlas holding up the sky. The only problem was that the shadowy figure’s stance was not that of someone holding up something heavy.
Later on, as I was leaving the exhibit, I saw the gallery description at the entrance. It talked about the origin of Club 57 and what the theme of the pieces were. When I read that the club closed in 1983, I remembered that this piece was also made in 1983. The club was closed during the AIDS era, and many of the artists featured in the gallery would have felt the impact of this. As I viewed the art piece from this new perspective, I thought that there was a possibility that the shadowy person wasn’t shadowy because he was an antagonist. I felt that there was a possibility that he represented the people who were affected by AIDS, and the way he was drawn was because he was dancing. From my viewpoint, this painting shows the strength of the multiple artists and club goers in Club 57.
M. Butterfly
Two aspects of M. Butterfly that intrigued me were the screens in set design and the portrayal of Chinese Opera. In the original Madame Butterfly, screens were used to depict Japanese culture and give the set a more realistic feel. The screens would just slide back forth like a regular screen would in real life. However, in M. Butterfly, they took the use of screens to another level. The screens had more degrees of freedom and could turn in various angles. This allows them to combine together to form rooms or hallways. The screens also had wallpaper or art, making the set so much more realistic. I remember when they first showed the Chinese Opera and the screens split in half. The top half fell down to reveal intricate art that resembled the Chinese Opera. I was astonished by this level of complexity since in Madame Butterfly, the screens served no other purpose than just being screens. The extra attention to detail in set design really made the play come to life.
The other aspect of the play that intrigued me was the portrayal of Chinese Opera. Everything about it was pretty accurate, which made me unbelievably happy. The use of Chinese Opera was such a clever way of depicting Chinese culture. In Madame Butterfly, Japanese culture was displayed as beautiful and submissive. The music, the cherry blossoms, the lanterns, everything was there to appeal to the audience’s aesthetics. However, in M. Butterfly, the use of Chinese Opera made Chinese culture seem like anything other than submissive. The music was loud, the art was a deep red, and there were scenes where people did acrobats and fought. Everything about it was the opposite of the quiet and soft Madame Butterfly. The intensity of the Chinese Opera made the depiction of France seem bland in comparison, which I also thought was interesting.
The Plaza Hotel
Our group decided to focus on the Plaza Hotel and the unique image of grandeur it emanates. Located near Fifth Avenue, in central Manhattan, its exterior blends in well with the rest of the neighborhood. The area exudes an air of money and elitism. However, unlike the tall, glass skyscrapers that are clearly commercialized, the Plaza has an old-timey aura. It has a chateauesque style that makes me think of the French court. One of the videos we took showed the environment outside the building, which bustled with tourism. There was a stark contrast between the Plaza and the building next to it, which was a typical New York skyscraper. We also took videos that focus on the molding around the edges of the room and the curlicues that decorate the entrances. We plan on emphasizing the Plaza’s ornate architecture and how the building clearly caters to the elite.
The image I took was of the Plaza’s Ballroom Lobby. I had originally planned on taking a photo of the actual Ballroom but there were people inside preparing for an event occurring that night. The last time we went to the Plaza was during the evening when an event was well underway. This time, we went in the early afternoon and there was a clear contrast between this visit and the last one. It was interesting to see the difference between the daytime Plaza, which is much more subdued, and nighttime Plaza, which is exotic and elegant. Both versions, however, are clearly grand. In the picture I took, there is elaborate gold molding in the corners of the room. The chandelier is extravagant and the lighting is dim, reminding me of soft candlelight. However, if you zoom into the image, you can see chairs strewn around beyond the doors. There were men moving furniture around and the faint sound of someone practicing on the piano.
Extravagance and Luxury
Our location for the iMovie is The Plaza Hotel. We went there pretty late in the evening so we had a full view of the night life. It was glamorous and could be described as a social scene for the elite. The picture shows a bar, which is accessed right after entering the lobby. The ceiling is made of glass with vine-like designs. Around the rooms are towering plants and at the centerpiece is a ginormous vase of flowers. In the background, you can see greek-like statue columns. There are also large windows that almost reach the ceiling. However, they are not real windows since the panes are just mirrors. The decorations give the room an air of exoticism and the bar almost seems like a greenhouse. People lounge around the bar in suits and dresses as they sip their drinks and make small talk. Everything in the picture shows how ostentatious and luxurious the Plaza Hotel is.
On the night that we went to see the site, there seemed to be a masquerade ball. As we stood around taking photos, women in gorgeous dresses and mysterious masks passed by. Men in dark suits trailed behind as the employees directed to the ball room a floor above. We could hear the sounds of the party wafting down the stairs. The mysterious atmosphere was only enhanced by the Plaza Hotel. There were plush rugs and marble floors. There were chandeliers in every hallway and well dressed employees in every corner. Art hung on the walls, enhancing the architecture which was looming and grand. In addition, there were various floor to ceiling windows that were actually mirrors, giving the rooms in the Plaza the illusion of being bigger. Everything (the masquerade ball, the architecture, the glamorous people) solidified the Plaza as a social setting for New York’s elite.
Buried Child
The 1996 production of Buried Child successfully captures Sam Shepard’s play. The production does a great job of portraying the tones of the play. The characters are humorous with their dialogue and the way they act. For example, in the beginning of Act I, the conversation between Dodge and Halie is entirely comical. The way they argue over horse racing had me in fits of giggles. However, there was an obvious underlying tone of darkness, which was hinted at by the pill bottles strewn around the couch. In fact, while a lot of the conversation between Dodge and Halie was funny, parts of it was also grim. Dodge seemed to shun his sons, which was shown by how he called Bradley a snake and his disdain for Tilden. Also, even though Halie and Dodge were technically talking to each other, they weren’t really listening to each other. Their dialogue showed the disconnect between the spouses and the rest of the family. This was clear in the play but the production brought it to life.
Another way the production successfully captured the play was the way the actors brought each character to life. The play would not have been as successful or humorous without the actors. One part that I felt captured this was when Halie mentioned that Bradley was going to cut Dodge’s hair. Dodge’s script in the play was already funny but the Dodge in the production was much better. While reading the script, I could hear Dodge’s indignation but the actor took it a bit further. The actor made Dodge act like a child throwing a tantrum, which I thought was a very interesting touch. In addition, the way Dodge says “You tell Bradley that if he shows up with those clippers, I’ll separate him from his manhood!” is loads funnier than anyone can imagine while reading. Overall, the 1996 production of Buried Child was successful in portraying Sam Shepard’s play.
Abstract Emotion
Both The Rite of Spring and Cafe Muller are emotionally strenuous. Although I did not completely understand what I was watching sometimes, the intensity and passion of the performances was almost palpable. In Cafe Muller, Pina Bausch incorporated unpredictable movements that were also repetitive. Each dancer had completely different roles, and in some cases, they hardly interacted with each other. The stage was a slew of movements that were vaguely connected. While this piece was largely abstract, the choreography almost seemed to be stringing the audience’s emotions along. For example, the scene where two dancers were hugging and a third dancer kept trying to “fix” their positions. At first, the movements seemed comical and many people in the audience were laughing. However, as the dancers’ movements became more frantic and their breathing became haggard, the mood of the whole auditorium shifted. While Cafe Muller was hard to analyze and made me very confused, in that scene, I could feel the increase in anxiety and tension.
The Rite of Spring was just as, if not more, emotionally exerting as Cafe Muller. This dance piece was a lot more conventional and organized than the earlier performance. Men and women kept traditional roles, where the women had more delicate movements and men were more aggressive. In addition, the choreography maintained a clear connection between the dancers. Even when they were dancing individually, the dancers would have similar motions that would just be timed differently or scattered throughout the stage. The Rite of Spring is also very abstract but it was a lot easier to interpret compared to Cafe Muller. The overall tone of the piece was ominous. Even though I was enraptured by the movements of each dancer, the performance made me feel like I had heartburn. I was anxious and terrified without clearly knowing why.
Photography Chain
This picture that I took encapsulates the essence of the High Line which can be defined as a highly artistic atmosphere. The photograph illustrates the projection of each persons’ aesthetics, which can be seen by the coincidental photography chain. Every body has its own artistic expression which affects each space and area differently. They each have their own auras that somehow blends and adds to the overall aesthetic. The image is scenic and calm but there is an underlying theme regarding the creation of art without conscious thought. In addition, there are also warm, luminescent undertones around the passageway and the two main subjects of the photo. The yellow glow directs the eyes to analyze certain aspects of the photos aesthetics. In contrast, the buildings surrounding the High Line has a colder atmosphere, showing how the park is one of the many pockets of artistic expression in a bustling metropolis.
In addition, there is also a juxtaposition of nature and modern technology. The High Line is a creation of modern architecture that implements nature in its overall structure. Although the High Line is already elevated, the tall buildings that surround it loom over the structure, showing how human creation has surpassed nature in a way. However, the plants are healthy and their bright green is enhanced by the previously mentioned warm glow. To a degree, this represents how the implementation of nature amplifies the unique aesthetics of the High Line. The plants add a distinctive aura to the artistic space, distinguishing the High Line in a city that is ironically called a “concrete jungle.” In addition the buildings that surround the High Line are examples of function over form. The buildings have their own aesthetic appeal but that comes second to the original purposes they were built for. However, the High Line (which is also a creation of modern architecture) isa prime example of how form enhances function. The High Line is based around aesthetics, which just strengthens the appeal of its overall purpose.
Comments by lizzho
"I enjoyed your analysis on Tom Rubnizt's art piece. It is interesting to put art into context because people sometimes focus solely on what the art is trying to say, not the history behind it. When put into context, the meaning behind the art increases. It is not a piece created just for lust. It shows the beauty of sex by going against the norm. It portrays sex as something natural, not as something taboo. I also like how you point out the artist's reverence for his partner's body, which shows their mutual respect and encourages people to practice sex in healthy ways. "
--( posted on Dec 4, 2017, commenting on the post
Club 57 – Tom Rubnitz )
"I like the way you compared the suppression of China and the act of males "dominating" females. We discussed this parallelism in class, but I like the way you connected it to specific aspects of M. Butterfly. The opening scene where Rene talks about Puccini and Madame Butterfly was a good depiction of how Western culture wants to dominate the East. The fact that Rene still enjoyed the opera even after he grew up and understood its implications made him a symbol of Western domination. I also enjoyed how you showed Rene as a bystander to Marc, outing Rene as someone who also carries dangerous sexual beliefs."
--( posted on Nov 20, 2017, commenting on the post
M. Butterfly )
"I like your idea of the video. It seems so unique and interesting to film it from the view of a visitor's perspective. In addition, I also like the picture you took. It does capture the fun and pastel aspects of Coney Island. It looks like cotton candy, which is often found at carnivals. I also like how you won't be focusing solely on the rides. Coney Island is known for Luna Park but there is a lot more art that can be explored outside of the rides. The neighborhood in general is different and the shops also offer unique art, like murals."
--( posted on Nov 7, 2017, commenting on the post
Joy at Coney Island )
"I like your idea of the video. It seems so unique and interesting to film it from the view of a visitor's perspective. In addition, I also like the picture you took. It does capture the fun and pastel aspects of Coney Island. It looks like cotton candy, which is often found at carnivals. I also like how you won't be focusing solely on the rides. Coney Island is known for Luna Park but there is a lot more art that can be explored outside of the rides. The neighborhood in general is different and the shops also offer unique art, like murals."
--( posted on Nov 7, 2017, commenting on the post
Joy at Coney Island )
"I found your analysis of Coney Island interesting. The juxtaposition between the old and the new could be aligned with the dichotomy of summertime Coney Island and the Coney Island you saw that Sunday morning. Both the old and the new Coney Island has amused and amazed a number of visitors. Although the island has changed and modernized, it's spirit and purpose hasn't. This is also apparent with your comparison of bustling Coney Island and the quiet morning version. Both fill you with wonder, just different kinds."
--( posted on Oct 24, 2017, commenting on the post
The Clash of History with the Modern Age )
"I agree with your analysis. Even though the choreography for each piece was different (Cafe Muller was more chaotic compared to Rite of Spring), they both pulled at the audience's attention and emotions in a similar way. I was also confused about what was happening but at the same time, I could not tear my eyes away from the stage. I didn't want to miss any of the dancers movement, like if I payed proper attention, I could understand what Bausch was trying to show. I also liked how you noticed that even though the choreography was so chaotic, it was clearly planned since none of the dancers bumped into each other or the props."
--( posted on Sep 24, 2017, commenting on the post
Pina Bausch’s “Cafe Müller” and “The Rite of Spring” )
"I really love your analysis of the High Line. The comparison between the design of the bench to the larger structure that is the High Line is so unique. I can definitely see how the bench imitates the High Line in its simple yet elegant form which your picture captures this very well. At first glance, your photo seems like a simple picture of a bench but your analysis gives it another dimension. In fact, after reading your post, when I looked at your photograph again and squinted my eyes, I could almost picture the bench as the High Line. "
--( posted on Sep 11, 2017, commenting on the post
Details in Design )
