Posts by reannahyatt
Tabboo!
This painting named “Untitled” (1982), part of a collection called Tabboo! by Stephen Tashjian at the Club 57 exhibit at MOMA caught my eye as I walked past it. The painting seems roughly done yet full of emotion. The jagged brush strokes influence the eerie and dark tone of the painting; as the mouth seems to be painted in a way that makes it look like the mouth is bleeding, the eyes look bloodshot, and dark rings are formed around the eyes of the person in the painting. The extremely warm color palette used and the disturbing image portrayed makes the painting almost unpleasant to look at. However, what really stands out to me was the name of the collection, Tabboo!, as it captures the essence of the entire exhibit. Everything in the Club 57 exhibit was taboo. The taboo issues and artworks of the 1970s-80s flowed throughout the exhibit, representing topics such as the counterculture, sex, and the LGBT community. Like the Tabboo! painting by Stephen Tashjian, other emotional and outlandish art was shown that portrayed deep social issues but also served to make the viewer uncomfortable and think about the topic/issue at hand, such as the art created during the AIDS epidemic of the 1980s. These abstract pieces were infused with emotion and it was apparent they most likely had great significance to the artist. The odd choice in colors and peculiar representation of people throughout the exhibit are a representation of how what was considered “taboo” was now becoming normalized in several communities, as many artists pushed past the limit of what was viewed as normal in society and began expressing themselves based off their passions revolving around certain issues at hand. These painting are a reflection of how the 1970s-80s were a time of creative expression, an expression that refused to conform to any social standard and embodied the taboo nature of not only the art but the mindsets of those involved in the countercultures of the 1970s-80s.
M. Butterfly
One of the most intriguing and unique aspects of M. Butterfly by David Henry Hwang is how the actors fully acknowledged that they were indeed acting and that they were just retelling their story. Multiple times throughout the play, Gallimard or Song would argue over whether it was necessary to tell a certain scene to the audience and in one instance Gallimard even decided to stop the play, and the lights went on and the stage crew began bringing the props off the stage. I thought this was extremely unique, as I don’t recall any other play where the actors acknowledged they were acting. Further, I think this practice also added doses of humor into the play, as the dialogue included stopping the storyline to discuss whether it was necessary to actually tell that scene or not, for example the scene when Song wants to tell about her giving information to the Chinese Communist Party and Gallimard asks if that’s really necessary and Song replies yes, that it is part of her story.
Another intriguing aspect of M. Butterfly was the set design. The set design was loud and proud, the exact opposite of the fragility of the butterfly. Notably the Chinese opera, which include walls of several beautifully designed and also very intimidating characters from the opera. All the colors and sounds were bold and strong, which foreshadows the fact that Song is not the true butterfly of the story, but Gallimard is. The set design also stood strong and intense during the Communist Revolution scenes. The rich red color with the bold black print and the many faces of Mao Zedong represented the power and strength of the revolution, which Song was apart of. The bold set played a major role in the storyline, as it symbolized the strength of Song’s character and the implied weakness of Gallimard’s character. Also, worthy of mentioning was the efficient use of the many walls to create different rooms and atmospheres. Many of the walls were painted on both sides for dual purpose, had free rotation (as many hung from the ceiling), and had different representations when placed at different angles. This concludes that the set design was extremely well thought out, as every side and angle of every wall was put to use.
Joy at Coney Island
The second visit that my group and I took to Coney Island was on a Saturday afternoon, contrasting to our first visit on a Sunday morning, which made Coney Island seem like a ghost town. On Saturday, people of all demographics were having fun with family and friends. Many were jogging or just taking a stroll along the boardwalk, enjoying a hot dog from Nathan’s or gazing in awe at the many attractions Coney has to offer. During the second visit, my group and I decided to take a more detailed look at the art that gives Coney it’s old-carnival yet modernly artist vibe. We discovered more of the Coney Art Walls; murals in which people express their artistic perspective on either the attractions of Coney Island or anything relating to the themes and diversity of Coney Island’s visitors. Unfortunately, the rides close in the end of October, so we did not have close access to them, however we managed to take several pictures of the major rides such as the landmarks The Cyclone and The Wonder Wheel from a far perspective to see how these grand rides impacted the overall landscape of Coney Island. While walking through the streets of Coney, we realized that there was so much to look at at all times and therefore we decided that our video should be in the format of someone’s eyes, as if the camera is the eyes of someone that is walking around Coney and taking in all the eccentric landscape has to offer. I chose this picture because to me it represents the overall essence of Coney Island. Pleasing signs such as “Don’t Postpone Joy” on pastel-colored walls represents how art is used in Coney Island to bring happiness and joy to visitors in order to brighten up their visit. This uplifting sign next to a mannequin, named Miss Coney Island, shows the quirkiness of Coney and how it is a place for people of all ages, races, and genders to have fun and enjoy the scenery around them.
The Many Faces of Coney Island
As I walked through Coney Island, I felt at home again. Growing up in Coney Island allowed my childhood to be engulfed in culture, color, and exploration. Everywhere you look, whether you are on the boardwalk, on the streets where the old freak show used to be, or where the first Nathan’s still stands, you will see splashes of color strewed across old amusement park rides, carnival-style food stands, or murals, painted by those that have a profound love for the neighborhood. But one piece of art really spoke to me, the one pictured above. A wall titled “Faces of Coney” presented pictures of people from all different cultures and backgrounds that were either visiting Coney Island or called Coney Island their home. Unfortunately, may of the pictures were ripped off, however the ones still standing reminded me of the richness of Coney Island’s culture. Walking the boardwalk hundreds of times in my life, I remember seeing people of all races, from different cultures, speaking a vast amount of languages. To those visiting Coney for the first time, it is spectacular, with the grand Wonder Wheel or its spectacular beaches filled with joyous friends and family in the summertime. Elderly people come to chat, as they sit on benches and look out into the glittering ocean. Children come to enjoy the rides. Young adults enjoy the nightlife of Coney, especially in the summer. People from all different backgrounds come to jog or just stroll along the boardwalk, enjoying the beautiful and eccentric scenery along the way. The diversity of Coney Island’s activities reflects the diversity of the people that visit. This picture encompasses the memories that people all over the world have shared at Coney Island, and represents the continuous influx of cultures that flows into Coney, leaving it’s everlasting mark for future visitors to see.
1996 Production of Sam Shepard’s “Buried Child”
The 1996 production of Sam Shepard’s Buried Child brilliantly captured this dark play’s twisted themes surrounding a dysfunctional and damaged American family. I felt this production did an amazing job at expressing the true nature of the play’s setting, characters, and relationships. The ’96 production brings to life the image of the setting that Shepard describes in the beginning of the play; pill bottles are all over the table, the carpet and couch are frayed and worn, and the rural Midwestern home is perfectly displayed as described. The ’96 production sheds light on the true nature of the characters as well; you can truly see how irritated and frail Dodge is, especially in the first scene where Dodge struggles when yelling back and forth with Hallie. The visual of Dodge on the couch, looking ill and ragged while sneaking whiskey from the couch, perfectly portrays the essence of Dodge’s character. Seeing a visual of the other characters too, such as Tilden, also helps to better shine light on the true nature behind the characters. I felt the ’96 production better portrayed the simple-mindedness of Tilden than just reading the written play does. Also, the true nature of relationships was successfully expressed in this production. The true dysfunctional nature of the family is given a visual representation in the scene where a drunk Vince, Hallie, and Father Dewis come home and everyone is arguing with each other. The absence of Hallie and Dodge’s love for each other is shown in the opening scene. Also, Shelly’s strong and at times humorous presence is given visual representation in the ’96 production, especially when she screams at the entire family or runs away with Bradley’s wooden leg. The 1996 production also successfully portrayed the tones of Buried Child, such as the splashes of humor as well as the underlying darkness of the play; especially in the last scene when Dodge is dead and Hallie is screaming to him from upstairs telling him about the harvest, while a drunken Vince is sitting on the couch in Dodge’s hat (taking on the role of Dodge), and Tilden walks by with a baby’s corpse in his hands. Being able to visually see this scene shows how the ’96 production excellently captures the darkness behind the dysfunction of the flawed family destroyed by a secret that Shepard illustrated in Buried Child.
Bausch’s “Cafe Müller” & “The Rite of Spring”
Pina Bausch’s Cafe Müller and The Rite of Spring were explosive dance performances that were enriched with body movements that convey meaning and a story to the audience. Cafe Müller began with a woman in a sheer dress walking into scattered chairs. Other characters appeared exhibiting similar behaviors. It appeared to me that several of the dancers were sleepwalking. The dance continues in a chaotic yet mysterious way. Everyone seems to have a specific role. For example, there is a man in a suit that performs a sequence of embracing positions on two dancers compulsively. The repetitiveness of this action outwardly seems comical, but there is a sad undertone. This also repeats when the two dancers who seem to care for one another slam each other against walls in an aggressive manner. The repetitiveness makes it seem comical, yet there is once again a sadness to it. Throughout this dance, you can’t help but laugh at some parts but there is a consistent eerie, sad, and mysterious tone that never seems to fade. Peculiarity and sadness combine when the main dancer repeatedly takes off her dress and puts her head down on the table. The dance focuses on relationships through body movement, while telling a mysterious story simultaneously. The Rite of Spring similarly told a story through body movement. The setting is solely a large plain of dirt. Division based on gender plays a major role. The female dancers come out first; then the male dancers. They dance separately at first and several times throughout the dance. At times, the two genders dance in unity. There is unity, yet also separation. There is masculine and feminine energy throughout the dance, as at times the female dancers seem petrified when approaching the male dancers and when the male dancers lift the female dancers. The dance is extremely intense and aggressive. The music is loud and overwhelming. The dancers are covered in sweat and dirt while heavily breathing, making you feel the forceful tone of this piece. The intensity of the dance is portrayed through vigorous dance moves, often performed in unity in a circle formation and through harsh actions such as the dancers punching themselves in the stomach. The red dress is symbolic throughout the dance, as it is constantly held, laid on, or passed on throughout the dance, yet in the end it is worn by one captivating dancer who seems to not fit with either gender role, and dances both boldly and powerfully. While both Cafe Müller and The Rite of Spring have different tones, both dances are purely up to the interpretation of the audience. Their stories are unclear, making the audience challenge themselves to figure out the loose storyline and symbolism in the dances. Both contain symbolism as well, such as the chairs and repetitiveness in Cafe Müller or the dirt and red dress in The Rite of Spring, yet it is up to the audience the determine what these symbols mean and what each dancer’s role truly is in each performance.
The Division Between the Natural and the Artifical
This photo represents how man-made structures have the power to dominate over nature not only on the High Line, but throughout New York City. The very prominent metal ramp divides the surrounding forestry into two. The bright, green leaves have no choice but to hug the ramp, while the ramp stands strong and proud. It is the focus of the photo; the first thing that attracts the eye when the picture is first looked at. The ramp, most likely made of steel and/or various other metals, expresses how the High Line’s modern, metal, and man-made structures were built around organic plants and trees. Along the High Line, you can see a man-made structure and an element of nature anywhere you turn. Nature and man-made constructions live in unison. This is not only exclusive to the High Line, but also New York City. Overwhelming skyscrapers and other man-made structures engulf NYC while nature has no choice but to share it’s original home with these powerful structures. The photo has a crispness to it; the color palette is clean and simple. The bright greens and yellows of nature coexist with the dull gray and silver tones of the ramp, balancing each other out. The modern sensation the ramp provides eludes to the modernity of the High Line, which is surrounded by unique buildings with eccentric, but simple, designs. The ramp in the photo serves a similar purpose to the High Line; it carries visitors to the next point on the High Line, just like the High Line carries visitors to different parts of NYC. The necessity of the ramp parallels to the necessity of other man-made structures such as roads and sidewalks, which serve to carry visitors throughout the city. Further, the photo displays a person towards the back of the ramp who appears to be looking towards the ramp. This person represents the millions of people that come to visit NYC daily, that are surrounded by both natural and artificial structures, but whose attention is only drawn to the immense and compelling man-made structures that NYC is home to. While these structures may belittle the surrounding nature, nature is still prevalent in the city, alive and well.
Comments by reannahyatt
"I too agree that the Club 57 exhibit was one of the most engaging exhibits at MOMA. I found it very eye-catching and vibrant as well. The deep social/political issues were the underlying major factor of the exhibit; I found it interesting how so many social issues and topics were presented in one exhibit, yet they were all somehow connected as they all broke past social norms and were about emotional and creative expression of important issues/topics during the 1970s-80s. I find your choice in painting interesting, it is simple yet portrays immense social significance. The simple yet dark color choices give the painting even more meaning and draw even more attention to it."
--( posted on Dec 5, 2017, commenting on the post
Club 57 Visit Response )
"I really like your analysis of Song's character. The actor did an incredible and convincing job of portraying a female, despite his male characteristics. He was feminine in manner but had a strong, more masculine personality. Both feminine and masculine characteristics were equally emulsified in Song. Interesting how you brought up Gallimard's personality; perhaps he knew Song was male all along and was in denial about his sexuality. Yes, the representation of communism in the play was absolutely loud and bold but also very powerful; it did represent the gravity of the communist revolution and Song's involvement in the revolution. Interesting how you noticed that the dances in the Chinese Opera and the by the revolutionaries were very similar, good observation."
--( posted on Nov 22, 2017, commenting on the post
M. Butterfly )
"I love how the location that your group chose is a hidden gem. That gives dual motive to your project, as you can showcase the artwork at the space as well as bring awareness to the space. I find it interesting that people walk by the African Burial Ground everyday and don't even know the impact that the area has on history and culture. I also think the "Draw My Life" style for your video will be super interesting, as it isn't the typical documentary video style used when making videos about art and it's impact in a specific space. The unique approach of video style as well as the unique location chosen should make a very fascinating project."
--( posted on Nov 7, 2017, commenting on the post
A Map of the Ground )
"I really like your iMovie project idea. The subway system is something that I think many New Yorkers tend to take for granted, as we view it as an inconvenience while we struggle to get to our destinations. However, there is so much culture and life on the subway systems that we are so immune to that we under-appreciate its value. I really like how your group is bringing attention to this and I believe the Q train is a perfect train to use. As an common rider of the Q train, I feel like I have seen literally everything go down on that train so I can't wait to see what you all will document. Also, I agree that going over the Manhattan Bridge is astonishing literally every time. Really interesting project idea!"
--( posted on Oct 24, 2017, commenting on the post
Views from Different Perspectives )
"I like how in the beginning of your analysis, you discussed the idea of the American Dream and how it ultimately fails throughout the play. Connecting the corn and carrots to Dodge's inability to accept reality as well as a chance of renewal was very interesting, as when I first read the play I did not regard the corn and carrots to be symbolic. I also like how you pointed out that the family only accepts someone when they act like them, which portrays the truly dysfunctional nature of the family. Great character analyzation towards the end of your response; I agree that Dodge was portrayed to be depressed and that Vince is the new "alpha male"."
--( posted on Oct 8, 2017, commenting on the post
Buried Child – The great Renewal )
"I think it is interesting how you said that Cafe Müller's set was chaotic while The Rite of Spring's choreography was unpredictable. I thought both dances contains elements of chaos and unpredictability, which entwines the dances with one another. They were different, yet similar. I like how you brought up repetition, as that was a clear symbol in both dances and expressed how the repetition contributed to affecting your mood by making you feel uneasy. The dance patterns that you pointed out in The Rite of Spring were not super apparent to me so I found that part of your post very interesting. We had similar reactions to the dances as well, they were confusing and presented a real challenge to understand."
--( posted on Sep 26, 2017, commenting on the post
Pina Bausch’s “Cafe Müller” and “The Rite of Spring” )
"Great photo and analysis! I admire how you were able to capture a "photography chain", a picture where everyone in that moment was taking a picture, including yourself. It definitely represents how the High Line is mainly about aesthetics and it is meant to be looked at at every angle. Everyone in the photo was similar, yet different simultaneously. I also liked how you mentioned that the buildings represent a stark contrast to the nature and natural glow in the picture. I feel this correlates to your use of juxtaposition between nature and modern technology. I like how you brought up a similar theme that I mentioned in my post; how human-made structures have the power to overwhelm nature. Also, your application of how "form enhances function" sheds light on the High Line's purpose. Great job!!"
--( posted on Sep 11, 2017, commenting on the post
Photography Chain )
