Prof. Laura Kolb, Baruch College

Author: Molly Ottensoser

Steps Forward and Steps Backwards

Though today New York symbolizes a place of diversity and acceptance, under English colonial rule in the late 17th century existed a rigid slave system that treated African slaves harshly and strictly. Not only were slaves unable to own property, but they could not even practice their own religion. As Steven Jaffe writes in, “Educating the Enslaved in Colonial New York”, “Many New York slaveholders resisted the idea of baptizing their slaves or teaching them to read the Bible, fearing that Christianity and literacy might embolden their human property to ask for freedom, or even try to seize it through violent rebellion.” However, Elie Neau directly challenged this notion in 1704 when he opened a revolutionary institution that for the next 19 years would teach the enslaved how to be “thinking literate Christians”. Though he wasn’t an abolitionist, his belief that all people had the right to be educated and religious set the foundation for antislavery activism in the future.

As Jaffe writes in, “Leather Aprons & Silk Stockings: The Coming of the American Revolution in New York”, this brutal treatment of slaves and the taxes and regulations on working New Yorkers sparked a sense of rebellion within them. The New York Tea Party on April 22,1774 showed Parliament that New Yorkers were no longer willing to be oppressed. Workingmen known as “leather aprons” and lawyers known as “silk stockings” felt these similar sentiments. Prior to and during the American Revolution, these groups were forced to work together. However, the aristocratic patricians and the laborers who protested in the streets often couldn’t see eye to eye. Nicholas Lampert in, “Visualizing a Partial Revolution” explains this when describing Paul Revere’s publication of, “The most influential Boston Massacre image.” His image did not accurately depict reality because it showed a revolution led by educated and wealthy whites, while in truth it was led by a diverse and multi-cultured mob. Jaffe concludes though that despite it being a violent war with the tensions between the “leather aprons” and the “silk stockings” constantly arising, in 1783 George Washington triumphantly rode into the streets of New York. However, though the victory was shared between both groups of Patriots, “Those divisions would spark future conflicts and future activism in the name of the revolution’s principles of liberty and independence.”

Lampert mentions that farmers and artisans were left out from the Constitutional Congress and were not invited to draft the new Constitution. This was particularly troubling because the absence of the working class meant that if a strong federal government was created, one again they would be oppressed. Liberty Poles were set up and resistance by laborers one again began. Simply put, “The success of the Conservative elites did not defuse class tensions during the War of Independence (1775-1783) or after. If anything, the tensions heightened.”

This is evident when looking at the 3/5 compromise. The decision to count three fifths of the slaves in a state’s population, “would help to elect slaveholding presidents” from 1800 to the 1850s. It is also evident when looking at the U.S. Voting Rights Timeline. In 1776, only landowners could vote, and the majority of landowners were white male Protestants over the age of 21. In 1787, because there was no national standard for voting, white male landowners still controlled voting for the most part. This is why George Washington was elected in 1787 by only 6% of the population. And lastly in 1790, only “free white immigrants” could become naturalized citizens.

Therefore, despite their undeniable success in the mid-18th century, it seems that at this point in history, many New Yorkers must have questioned how much progress they had really made since the days of Elie Neau.

Steps Forward and Steps Backwards

Though today New York symbolizes a place of diversity and acceptance, under English colonial rule in the late 17th century existed a rigid slave system that treated African slaves harshly and strictly. Not only were slaves unable to own property, but they could not even practice their own religion. As Steven Jaffe writes in, “Educating the Enslaved in Colonial New York”, “Many New York slaveholders resisted the idea of baptizing their slaves or teaching them to read the Bible, fearing that Christianity and literacy might embolden their human property to ask for freedom, or even try to seize it through violent rebellion.” However, Elie Neau directly challenged this notion in 1704 when he opened a revolutionary institution that for the next 19 years would teach the enslaved how to be “thinking literate Christians”. Though he wasn’t an abolitionist, his belief that all people had the right to be educated and religious set the foundation for antislavery activism in the future.

As Jaffe writes in, “Leather Aprons & Silk Stockings: The Coming of the American Revolution in New York”, this brutal treatment of slaves and the taxes and regulations on working New Yorkers sparked a sense of rebellion within them. The New York Tea Party on April 22,1774 showed Parliament that New Yorkers were no longer willing to be oppressed. Workingmen known as “leather aprons” and lawyers known as “silk stockings” felt these similar sentiments. Prior to and during the American Revolution, these groups were forced to work together. However, the aristocratic patricians and the laborers who protested in the streets often couldn’t see eye to eye. Nicholas Lampert in, “Visualizing a Partial Revolution” explains this when describing Paul Revere’s publication of, “The most influential Boston Massacre image.” His image did not accurately depict reality because it showed a revolution led by educated and wealthy whites, while in truth it was led by a diverse and multi-cultured mob. Jaffe concludes though that despite it being a violent war with the tensions between the “leather aprons” and the “silk stockings” constantly arising, in 1783 George Washington triumphantly rode into the streets of New York. However, though the victory was shared between both groups of Patriots, “Those divisions would spark future conflicts and future activism in the name of the revolution’s principles of liberty and independence.”

Lampert mentions that farmers and artisans were left out from the Constitutional Congress and were not invited to draft the new Constitution. This was particularly troubling because the absence of the working class meant that if a strong federal government was created, one again they would be oppressed. Liberty Poles were set up and resistance by laborers one again began. Simply put, “The success of the Conservative elites did not defuse class tensions during the War of Independence (1775-1783) or after. If anything, the tensions heightened.”

This is evident when looking at the 3/5 compromise. The decision to count three fifths of the slaves in a state’s population, “would help to elect slaveholding presidents” from 1800 to the 1850s. It is also evident when looking at the U.S. Voting Rights Timeline. In 1776, only landowners could vote, and the majority of landowners were white male Protestants over the age of 21. In 1787, because there was no national standard for voting, white male landowners still controlled voting for the most part. This is why George Washington was elected in 1787 by only 6% of the population. And lastly in 1790, only “free white immigrants” could become naturalized citizens.

Therefore, despite their undeniable success in the mid-18th century, it seems that at this point in history, many New Yorkers must have questioned how much progress they had really made since the days of Elie Neau.

No One Left Behind in The Jungle

On December 5, our class was fortunate to receive tickets to a production of The Jungle at St. Ann’s Warehouse. Because I did not know what the play was about and therefore had no expectations, I was completely blown away by the performance, actors, and story of the refugee camp called the Jungle. I enjoyed it so much that I even recommended it to family members of mine, telling them it is a must see.

Though I found it very difficult to pick one specific moment that stood out to me since there were so many profound and emotional moments, there was one moment I kept thinking about long after the performance was over. It was striking when the refugees refused to leave Salar alone in his restaurant even though the French police were going to evict that side of the camp. Mohammed and many of the other refugees tried to convince him to leave, telling him that they would rebuild the restaurant on the other side, but to no avail. Suddenly, one by one the refugees started marching into the restaurant because they refused to leave Salar alone. It was an intense scene and I could see the emotion on the actors faces as they embraced one another. Seeing them cling to each other as they awaited the French authorities was a beautiful moment that I kept picturing over and over again.

Watching this sense of unity and togetherness unfold on stage helped the performers convey an important message to the audience. The refugees all came from different parts of the world. This means they had different ideologies, points of view, struggles and opinions. However, once they were in the Jungle, all those differences didn’t matter anymore. The only way the refugees would survive and even find success in the camp was by working together, depending on each other, and supporting each other. This is why no one in the camp was going to leave Salar behind. Of course, they were going to try to convince him to come to safety. However, he was steadfast and unwavering in his decision to not abandon the restaurant that he had worked extremely hard for to build. Though dangerous, the other refugees therefore decided to stay with Salar and even risk their lives so he would not be alone. This moment taught me an important lesson about the need for people to come together and rely on one another, rather than argue with each other. I am joyed by the fact that I got to witness this and partake in the special opportunity of seeing The Jungle.

Plane or Elaborate

Martha Rosler’s show at the Jewish Museum called “Irrespective'” is full of avant-garde and political art. Each of her pieces pushes boundaries and is politically charged, however what stood out to me most were the selections from her work called “Airfare”. Projected on a small digital screen that is mounted on the wall is a slideshow of pictures that show different meals given to different passengers who travel on planes. The pictures show that first-class passengers are served meals that include salmon, wine, pasta, and even creme brulee, while economy passengers receive nuts, water, jam, pizza and bagged snacks. The contrast between these different meal plans is apparent at first glance and makes a statement in different ways.

This piece is an example of avant garde art because it pushes boundaries. It is art that forces the viewers to look at a very present hierarchical difference right in the face. It does not shy away from issues or hard conversations, but rather encourages these conversations, which is not typical of regular paintings that hang in museums. It is forward-looking by inciting these types of dialogues. Therefore, this piece is not only avant garde, but is also political. There is an important message being made. As the blurb next to the digital screen in the museum writes, this “offers a pointed comment on the hierarchies of privilege in that system of mass movement.” These photos clearly show the class differences in society that manifest themselves in many ways. Martha Rosler herself is critiquing this disparity and is trying to send the message to her viewers to take a closer look at the disparity as well.

The art work’s experimentalism is related to its political content because Martha Rosler attempts to convey her political message subtly, as there are no words or verbal critiques. However, she still manages to make her point very effectively, and perhaps it is even because of the medium she choses for the work of art. By using a television screen very non-traditionally, it causes those who see it to be taken aback. This wakes them up and tells them to dissect America’s prevalent issues. There is nothing plastered on a huge white wall, nor is there anything hanging from the ceiling, like some of Martha Rosler’s other works of art. Rather, there is just a small black screen with eight to ten pictures on repeat that each show for no more that six seconds. But this innovative way of presenting the pictures causes viewers to become fixed on the photos, and therefore helps make her political message very clear.

My Afternoon Stroll Through Gramercy Park

I recently moved into an apartment located at 150 East 18th Street in Manhattan. The building is in Gramercy Park, and I had been meaning to walk through the area and take in my surroundings for a few weeks. So, I felt this presented me with the perfect opportunity to do so.

With no destination in mind, I began to walk. It was Wednesday afternoon, the sun was shining, and the air felt crisp. I walked down the street and the first place I noticed was Pete’s Tavern on the corner of 18th and Irving. Though it was daytime, the well-known restaurant was hopping and bustling with people. I immediately thought of my friends from elementary school who I haven’t seen for a while. All of us have gone to different universities, we want to study different things, and we have veered off into several different directions, despite our similar backgrounds and upbringings. I couldn’t help but think how interesting and funny life is. As I finished peeking through the windows of the restaurant, I made a mental note to contact my friends and check in on how they are all doing.

The next think I noticed as I walk through Gramercy was the Gramercy Park Hotel. I stood still to take a look at the massive building, and the doorman standing right inside the door noticed me. He peeked out, asked me if I was looking to check in, and I responded by saying “I wish, but not today!” He laughed, nodded his head, and then returned to guarding the door. I imagined sitting in the hotel lobby, drinking a soda, and looking at the magnificent art that is known to be hung in the Gramercy Park Hotel. I think I would have a similar thought in many parts of the city, including the Upper West Side and Midtown. This is because Manhattan is known as the city that never sleeps, and every time I hear this phrase, I think of hotels like the Gramercy Park Hotel, all filled with friends drinking at bars, business meetings, and guests of the hotels people-watching in the lobbies.

I continued on my way and found myself back on Third Avenue. The sky was a beautiful blue and the light wind felt extremely refreshing on my face. These are my favorite kinds of weather days being that fall is my favorite season. Suddenly the conversation regarding blue skies that my family constantly has came to mind. Though I was only two on September 11, 2001, my parents often reminisce about that morning. Both remember waking up and the sky being a shade of blue that was unlike any other day. There wasn’t a cloud in the sky, and the sky was bright as ever. Every time my siblings and I think the sky may be as blue as that day, we ask my parents “Is it a 9/11 sky?” and the answer is usually no. I thought that maybe today the answer would be different, but then I noticed the white clouds in the distance.

I ended up walking for over 30 minutes, though it felt much shorter than that. These are just some of the things I noticed and thought about as I strolled through Gramercy. I enjoyed the experience of letting my thoughts roam freely and my imagination take me where it wanted to. I hope to take more liberating walks like this in the future.

 

Poems and Pizza

This past Wednesday on October 31, I attended the poetry revel at Baruch. While there, I was fortunate to hear from multiple readers who either read poems that they had written themselves or poems that they were particularly fond of. Professors and Baruch students alike were amongst the presenters. Although each presentation was impressive and interesting to listen to, there were four readers that caught my attention most.

The first person to present was Professor Kelly from the english department. Her poem was titled “Ombre” and it was inspired by the poet Mary Oliver. She stood tall and upright and read her poem in a calm and mellow voice, rather than in a dramatic one. I believe this soothing style of reading was intentional since the content of her poem was about love. Her voice did modulate a few times throughout the reading, which helped convey a sense of passion in the words she was reciting. I believe it was also strategic because it helped her ensure that the audience remained engaged the entire time.  For this particular poem, I enjoyed the experience of listening to the poem be read because the words were easy to absorb, despite the fast pace of her speaking, and she presented in a way that gave life to the words of her poem.

Professor Kelly then presented a second time and read a six-part poem titled “Zombies Love Poems”. Again, her voice was calm. However, because this poem was about gory and gruesome zombies, it created an eeriness that was prevalent the whole time. The dramatic pauses and good eye contact kept me listening and interested, but unlike “Ombre”, I didn’t enjoy the experience of listening to a reading of the poem because her fast-paced speaking made it too difficult to absorb the content as much as I would have liked to.

The third presenter was a student named Kalani and her poem was titled “Daddy’s Little Girl”. Her reading was far different than Professor Kelly’s reading. She was extremely emotional, made no eye contact, and was completely transfixed on the text that she had written. This forced me, and all other audience members, to really focus on her and engage in what resembled a one-sided conversation. The combination of her sighs, cries of emotion, and shaky voice made me sympathize with her, and this truly enhanced the experience of listening to her read the poem. I therefore think that if i had read this poem to myself, it would not have had the same dramatic effect on me, and so I am grateful she chose to share her personal words at the revel.

Lastly, I heard from another male student whose poem was titled “She Loves when I Randomly Come Over”. While he read his poem, he leaned against the wall and basically whispered his words. Both these things forced the audience to lean in as well as feel for him. I believe this was strategic since it seemed that he was reminiscing about someone who he missed and was yearning for. His shaky voice and unhappy expression also helped support this belief. However, although I felt sorry for him, the graphic details of his poem that made me feel a little uneasy. I would have preferred to read his poem to myself, rather than listen to it out loud amongst a room full of people.

I am very happy that I chose to attend the poetry revel at Baruch because it allowed me to experience poetry in a different way, and I look forward to hopefully attending more readings in the future.

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Molly Ottensoser and Alexandra Sanoulis – Putting New York on Paper

For the STEAM festival, we have two  proposals.

The first one would be a New York themed book. On the left side of each page, there would be famous poems related to New York. On the right side of each page would be famous photographs of New York that relate to the content of the poem on the left side. Our book would probably consist of 10-15 pages of poems, and the amount of photographs would vary based on the content of the poem. This would relate to the themes and readings of the semester in many ways. First, we will be starting an entire unit on poetry, so we plan to incorporate the lessons we will learn about analyzing poems when we choose which ones to incorporate into our book. In addition, we  will be using New York City as the subject matter of our work. Therefore, we plan to look at Ameena Walker’s article titled “New York’s best public art installations this season” to serve as inspiration for the pictures we choose. We also plan to incorporate excerpts from Camera Lucida, and specifically about Roland Barthes’s definition of the studium, in explaining our methods of choosing which photographs to display, as the studium is a main source of inspiration for us when we decide which photographs we like.

At this point, we plan to display this book in one of two ways. Either we will print it and have a hard copy, or we will create a digital book that can be scrolled through on an iPad or computer. We think both options will function as an interactive way for viewers to engage in our work, and we are looking forward to seeing the finished product.

Our second proposal for the STEAM festival is to create a large poster board in the shape of the New York City skyline. However, as people move closer, they will realize that the large picture is actually made up of very small pictures of New York City artwork. The idea is to create a mosaic. This will include both art work that can be found in the city, or art work that depicts the city. Public art, street art, and artwork in museums will all be used, and we will make the big picture of the skyline come to life by using these smaller pictures. Like the first proposal, we plan to incorporate many of the themes and readings from the semester into our project. Again, we will be using New York City as the subject matter of our work. We will be looking at the many ways in which art is displayed, from art galleries and museums to the physical streets of the city. Therefore, we may analyze Brian O’Doherty’s “Inside the White Cube” and Ameena Walker’s, “New York’s best public installations this season” to help us focus in on all these different art forms.

We hope to display this work of art at the STEAM festival on a large white oak tag or poster board that will be cut into to shape of the skyline. The smaller pictures  will vary in size to accommodate the larger image. We plan to print these pictures on paper in high resolution and then paste them on to the poster. We think it will be a unique way to draw viewers in from far because of the desire to take a closer look.

 

Don’t Mind Us

Dmitry Markov is a Russian Photographer who was born on April 23, 1992. “Gray Brick Road” is a series of photographs he took in 2015, and they depict a disabled father and his family in the city of Pskov, Russia.

The studium of this photograph is a father sitting on his bed, accompanied by his two young children. The hut is, crammed, dark and dilapidated. The family’s objects are few, and are piled on top of one another. Lastly, the children are staring directly at the lens of the camera, innocent and wide-eyed.

After looking at this photo, I immediately feel sorry for the family, and sympathize with them and their living conditions. I can’t help but wonder about the safety and security of the children, and what their futures hold. Are they destined to a life of poverty and uncertainty, or will they overcome the challenges of their childhood and create a better situation for themselves?

In my eyes, the punctum of this picture is the cat that the father is clutching. It immediately makes me think that the father focuses more of his love and affection on the animal, rather than on his two young children. Perhaps the father feels ashamed of the life he has created for his children. He finds it difficult to look at them because their innocent faces are a constant reminder to him that he has not properly provided for them, which is something he has always dreamt of doing. He wonders whether there is anything he can do to fix this, and to finally make these dreams a reality. However, my mind then goes to an entirely different place, and I no longer sympathize with the father, but rather resent him. Perhaps the father clutches onto the cat, and not onto his children, because he is more concerned about the cat’s safety. Therefore, the fact that he has not provided the best living conditions for his young family is not at all surprising, and my heart aches for the children even more.

I believe that this is why the cat is is the punctum. It is subtle, however it allows the photograph to take on a whole new meaning, even two meanings, and I interpret the work differently because of its presence. The way the father holds it tightly, to ensure that it doesn’t jump off its lap, hurts me. I can’t help but hope that everything will be okay for this family.

I’m Drawn to Art

As a new resident of New York City, I love to take advantage of all that Manhattan has to offer. On every third block of the city is a piece of public art that grabs my attention and catches my eye, but Keith Haring’s statue located at 51 Astor Place was one that literally stopped me in my tracks when I passed by it. What Haring designed is a sculpture called “Self Portrait.” It is a 3-dimensional, green, dancing stick-figure with the dimensions of 48 x 27 1/2 x 33 inches, so it cannot be missed when walking down the street. The stick figure is standing on one foot, looking as though it is mid-jump. One of the statue’s hands is on its waist, while the other one is in the air. Lastly, it is a 360 degree work of art, so it can be viewed and taken in from all sides.

Perhaps this sculpture is extremely intriguing because of its strategic placement. Since it is downtown on Third Avenue, one of the busiest streets in New York City, thousands of people walk by it every day. After observing it for a few minutes, I feel that this statue has true potential to bring joy to anyone who passes by it, like it did for me. It looks as though this green stick-figure is just another person who finds himself in this bustling part of the city. However unlike all the other active participants of the area, this person looks like he is taking a second to truly enjoy the moment, encouraging others to do the same. Therefore this environment truly enhances the work of art because it fits perfectly as a piece of street art, rather than in a museum or gallery. It has the real ability to bring smiles to many busy people’s faces.

After I finished at 51 Astor Place, I continued down Third Avenue and found myself at the Sperone Westwater art gallery located at 257 Bowery Street where there was a group of paintings by Malcolm Morley. When I walked in, directly across from me hung a vibrant painting with all different shades of pink, green, and yellow. I came closer and was able to make out two soldiers with spears riding beautiful horses in battle. With a green and yellow sunset, gold mountains in the background, yellow flags on a grey and pink monument, and figures dressed in garments with many abstract shapes on them, the painting gives off a strong sense of royalty, courage and honor. It is a stunning work of art.

Like many art galleries, each piece of work in this exhibit had its own large and bare white wall to itself. When I immediately stepped in, there was a narrow hallway with an archway that I walked through. Then all of a sudden the room completely opened up, with one very large painting on the right wall, and one on the left wall. Then came another narrow hallway and archway. Directly through this, and across from the first entrance, hung the painting that I chose to take a closer look at. Like the other paintings in the  gallery, this painting too was extremely large and had the entire wall to itself. I found that the completely bare wall simply served as a background to the painting, and did not add much to the art itself. What I did notice however was that the white wall did make all the colors pop and jump off the canvas, due to the obvious and apparent contrast it created. I believe this environment definitely affected the way I viewed this art because it forced me to focus my attention strictly on the painting. Had there been more paintings on the wall competing with this unique and intricate work of art, it would have shown that sometimes more is less. However, I would be interested in seeing what it would like with a wall designed as a field, forest, or even a town square, since those sceneries would contribute to the sense of fighting and war that the art depicts. I truly enjoyed seeing both of these works of art, and look forward to seeing what I’m drawn to next.

Quiet Please for the Sleeping Gypsy

https://www.moma.org/collection/works/80172

The Sleeping Gypsy was painted by self-taught painter Henri Rousseau in 1897. This oil painting was created in Paris, France and is now on view on the fifth floor of The Museum of Modern Art. The dimensions of this piece of artwork are 51″ x 6’7″.

What I immediately noticed about the painting were the vibrant colors on the Gypsy’s clothing and in the scenery. The contrast between these colors and the dark figures made the figures pop out and come to life. The lion therefore looked real, far off in the distance, but ready to approach if I spoke too loud. Most emphasized I believe was the lion’s eye. It was large and bright and looked like it was about to turn on me. In addition, the lion’s large mane seemed textured and soft, making it look like it was actually blowing in the night’s wind. Lastly, what eventually grabbed my attention most was the way the lion looked like it was tiptoeing past the Gypsy, making sure not to wake her from her peaceful sleep. The unplayed musical instrument helped create this sense of silence and calmness.

Although my initial reaction to this painting was fear for the Gypsy, I began to feel calmer as I realized the lion was not going to attack. I came to respect the lion for his ability to restrain himself and allow the Gypsy to stay sleeping. I believe that this realistic and moving representation of the lion combined with the bursts of color caused me to turn away from the painting with a sense of serenity and a smile on my face.