MHC Seminar 1, Professor Casey Henry

Author: sayrailyas

Kara Walker uses symbols and stereotypes to portray the racist views of the Deep South. She creates stereotypical images of black people with big noses and full lips. Her depiction of the white people seemed demonic in a way, as some were painted with horns like the Devil. She displays shadows in most of her works, adding depth to the images.

At first, when you look at her work, it all seems very chaotic. But as you close into one spot, you notice that individual stories are being told. The setting for a lot of these ‘’stories’’ seem to take place in swamps, or otherwise muddy environments. Walker depicts a lot of bloodshed, with innumerable accounts of beheadings, hangings, and stabbings. In some works, she illustrates Confederate flags standing tall, while the American flag lays ripped up on the floor.

 

The image above sends out a simple, yet powerful message. The religion of Islam has been grossly misconstrued since the wake of 9/11.  A religion whose literal definition is peace today is seen as the forefront for all terrorist activity. The symbolic crescent moon and star of the religion waves proudly on the flags of predominantly Muslim nations. In this picture, however, it is being manipulated,taking on the image of a bomb. A major reason for why the religion has been viewed in a negative light is the because of the media’s portrayal of terrorist activity. Generally, when a Muslim person commits an act of terrorism, they are viewed as a terrorist. If a black person commits an act of terrorism, they are associated with gang activity. But when a white person commits an act of terrorism, the media takes a softer approach, usually blaming it on mental illness.

I found A Doll’s House Part II to be amusing, yet simultaneously illuminating. It touched on issues relating to the rise of feminism in the early twentieth century, while still displaying a sense humor. One example of this was in the beginning when Anne Marie, the Helmer family’s house servant, inquired how it was that Nora, the play’s protagonist, found success. She began listing professions that were stereotypical, like fashion designer, and was surprised to find out that Nora was in fact a writer. After Nora delivers her reasons for returning to the Helmer household, the reason being she needed a formal divorce from her soon to be ex-husband Torvald, the audience begins to sympathize with Nora. Nora prefers to fly solo, and in some instances, that is totally acceptable. However, in my opinion, in her case, it wasn’t. Throughout the play, I developed feelings of animosity towards Nora. The major reason for this was her treatment towards her daughter, Emmy. My rationale is that if you are unhappy with your marriage, and have tried multiple times to sort it out, you have the right to leave, but you do not, under any circumstances, have the right to abandon your children. You brought your children in this world to love and care for them, to put their needs above yours. Nora, selfishly, abandoned her children, and upon encountering Emmy for the first time since she was born, Nora not only did she not want to see her, she made no attempt to apologize for abandoning her. The only reason Nora had agreed to speak with Emmy in the first place was again for her own selfish needs: to get Emmy to convince Torvald into divorcing her. Although I fully despised Nora, I realized that the actress indeed did an exceptional job in portraying her, for I was fuming with rage whenever she spoke thereafter.

In addition to the remarkable acting from all the characters, I quite liked the stage direction of the play. The neon green signs highlighting each character’s name illuminated the dark stage. I thought it was an interesting prop the directors used to segue each scene into the next and to introduce each character’s role in the overall plot. The transition, paired with the lack of a musical score/sound effects, and the occasionally thrown around swear words, made the whole play feel unconventional. Yet somehow, it worked.

 

In the article “ Like Art” Glenn O’Brien addresses the problem that strikes most up and coming artists: job prospects. Realistically speaking, finding a job in the fine-arts is simply not practical. Most students fresh out of college aspire to find jobs that will showcase their talents, while simultaneously providing for a sustainable salary. This is rarely occurs. O’Brien describes how he himself, although reluctant at first, ended up channeling his creativity and talent into advertising. Now, can advertising be seen as an art form? O’Brien addresses the revolution that took place during the 1960s, where fine art was being transformed intro commercial advertisement. Andy Warhol was one of the first titans of this new era, starting out with show advertisements, and eventually, moving up to designing the Campbell’s Soup can.

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Stan Freberg was one of the first to display advertisement on television and radio platforms. It wasn’t long until celebrities began to become involved in the advertising industry. One of the earliest cases of this can be seen in the following Rice Krispies advertisement made by the Rolling Stones.

A modern example of using celebrities to promote products can be seen in the array of Pepsi commercials, ranging from Britney Spears to Beyonce. O’Brien suggest that advertising has indeed become an art form, and art, has become increasingly like advertising. The only difference is the logo.

http://https://www.youtube.com/watch?v=ztpgEy3bCZA

Auguste Rodin revealed his fervent and enduring exploration of the human form in his sculptures. In his work, The Tempest, Roding manages to give voice to the shrieking banshee emerging from the marble stone. As the caption puts it, he “unleashes sound from stone.” His work the The Tempest posed the question: Can artists release life from art? Whether they can or can’t is ultimately up to the beholder, for I personally thinking Rodin captured a life like quality in his sculptures.

While walking around the exhibit, I noticed Rodin crafted an array of hand-like sculptures. Personally, I have an infatuation with hands. They hold so much power and are capable of doing incredible things when given the chance to rise to their potential. Rodin seemed to share a similar belief. He believed that hands hold as much emotion as the face. This notion is best seen in his work entitled The Clenched Left Hand. The hand he sculpted is rigid and tense, and seems to be depicting an air of agony and despair. It’s impressive to think that seems so simple can express such deep meaning.

Continuing on the topic of hands, Rodin also crafted The Hand of God, in which he has an image of Adam and Eva cradled in God’s hand. The sculpture was mean to serve as a homage to his idol, Michelangelo. The sculpture itself is quite the site to see, and it’s meaning is even more bold in that Rodin is trying to equate the hand of God with the hand of the sculpture.

Compared to Michelangelo, Rodin’s work is more raw, whereas Michelangelo has a more graceful appeal. This is best scene in his bronze statue of Eros. At first glance, I thought the figure was that of a fallen angel. It wasn’t until upon reading the description where I realized that it was actually of Eros sleeping.

Mean Streets highlights the everyday lifestyle of an Italian mobster. The movie focuses in on the moral paradoxes of Charlie, the principal character. At the beginning of the movie, the audiences is made cognizant of Charlie’s conscience. He contemplates his life as a Catholic, inquiring other ways for atoning  his sins rather than praying “Ten Hail Mary’s, Ten Our Fathers, ten whatever.” Being forgiven on the basis of prayer doesn’t sit right with him. Instead, he desires to find his own method of atonement.

Mean Streets , like all mob movies, revolves its plot around money. In the beginning, the audience learns oh Johnny’s reckless nature regarding money, given that he spends money despite being in debt to a collection of mobsters. Johnny begins to feel obligated in helping Charlie, given that they are friends and is sleeping with his cousin. He is loyal towards Johnny, a trait that is deemed of the highest importance in such organizations.

“Shakey Dog” further highlights this drive for money seen in partners involved in organized crime. In his rap, Ghostface Killah unveils a specific incident where he tries to get money from his end of a drug deal. The song centers on the violent aspect of organized crime. In it he raps, “Told him Freeze! lay the fuck down and enjoy the moment, Frank snatched his gat, slapped him, asked him Where’s the cash, coke and the crack? Get to smokin’ you fast.” Eventually, the rap ends with Ghostface’s companion, Frank, shooting people with his gun. Frank himself is then taken out, leaving the rap on a bit of a cliffhanger.

Studio Museum

In his song, “Across 110th Street,” Bobby Womack relays the rough and ready lifestyle of Harlem. He takes on issues relating to drugs, crime and prostitution, eventually singing how “In every city you find the same thing going down,” but how “Harlem is the capital of every ghetto town.” I remember when I chose to go to college here, my mom was pretty critical of my decision. She was marked with shame when she told her friends I was going to school in Harlem. Why couldn’t it be Fordham? or NYU? or some other preppy school with unreasonable tuition rates? Because I’d rather have a house than student loans. That’s why the line “ The family on the other side of town, Would catch hell without a ghetto around,” resonated so much to me because back in Staten Island, I rarely experienced any accounts of crime or danger. With Harlem, I’ll see some instances of crime, but as weird as it is to say, I’ve grown accustomed to the nitty gritty lifestyle and actually really like it. I love the liveliness of 125th Street, and walking out the the train station never knowing what to expect. This feeling is best represented in Andy Robert’s “Check II Check” oil canvas painting.

The painting displays a crowded yet lively scene of individuals bustling about a street. The painting really portrays your average outing on 125th street: the line of street vendors, the overly excited children running about, the blaring music from radios, the pounding of drums by musicians, the occasional catcalls from guys leaning against the wall, and the frantic individuals (such as myself) who are just going about their business.  All in all, Harlem isn’t just a place, it’s an experience.

 

Living in New York City is an adventure within itself with the bustling crowds of people, the mess that is the MTA, the occasional cockroaches and rats, and the odors of sewage that fill up the air. But amidst these tiny horrors are the subtle joys in life. The hole in the wall bakery shops, the impromptu visits to museums, the spontaneous get togethers in the village. The little things in life that make up for the rude and crude demeanor of NYC. In his work, “Having a Coke With You,” Frank O’Hara paints the enriching lifestyle that comes with living in NYC and being able to share it with someone. For some it might be their significant other. For others it might be their best friend. Whoever it is, O’Hara describes, no amount of art can come close to the feeling of living life to the fullest with the person or people you love the most. In the poem he composes the following line: “ I would rather look at you than all the portraits in the world” Naturally, the first song I thought of when I read this was Coldplay’s “A Sky Full of Stars.” In the hook, Chris Martin sings “‘Cause in a sky full of stars, I think I see you,” which resonates the themes of O Hara’s poem of life, love, and happiness.

https://www.youtube.com/watch?v=VPRjCeoBqrI

In the video, Chris Martin walks about the busy city seats singing and bring joy and laughter to everyone he encounters.  The video draws attentions to various forms of street art, colorful umbrellas and balloons, playful bubbles, an explosion of flower petals, basically anything that will make you smile. It ends with the echoes of the crowd singing back the lyrics, a moment filled with pure happiness.