Author: Hongying

At the Jewish museum, Rachel Feinstein’s gallery show: “Maiden, Mother, Crone” stood out to me the most. Rachel Feinstein‘s art is based on the exploration of feminism ideas that emphasize on her fascination with opposition and conflict in the nature of cultural expression. Her work has been primarily focused on figurative sculptures centered on the female figure and placed importance in religion, fantasy, and fairy tales. In 2018, She borrowed a look from “Snow Angel” from Victoria’s Secret lingerie show to create the sculpture of Icicles which is made from polyester resin and pigment over foam with a wooden base. When thinking of Victoria’s Secret, we think of women empowerment and a place where women can proudly display their bodies and sexuality. In reality, all of Victoria’s Secret models have a well-formed, curvaceous, impossibly slim build and symmetrical body. Not every female being has such bodies. Feinstein’s sculpture, however, depicts a young female figure with a horrific, discolored, messy, lumpy and awkward appearance that represents her realistic approach to displaying a female being. Feinstein unpacks how women have been shaped through a public imagination and tried to institute the idea that women are not all perfect. They have their own flaws and deficiencies. 

This abstract work of art constitutes a concept of feminism and opposition. She draws attention to the idea that there is no fact without fiction and the concept of beauty and decay. The conflict of reality and expectations for women has sparked her interest in creating this work of art. Icicle is mostly made with black and white pigments with bits of brown and pink. The pink signifying the human flesh while the black and brown showing the rotting of skin. This shows that women under societal pressure and expectations have constantly changed their bodies to fit the standard causing decays. This sculpture also has little rings around her arms and legs. I believe those might demonstrate how women are trapped from their freedom and chained to the imaginations and fantasies of others. Icicle is a mimesis of women and at the same time an abstract art that presents the difference between reality and fiction. Feinstein tried to change the audience’s view of women through the display of this sculpture showing that gorgeous women do not need to have a gorgeous body to be gorgeous. We do not know what was behind the scenes of those that obtained Victoria’s Secret kind of body, therefore we should not judge females based on their body figures. Models are only part of the female population, they do not represent all female figures. Rachel Feinstein’s work was effectively showing the audience this concept.

Icicles  2018

Our project’s central concept is revolved around relationships within the city. It is these everyday lives of New Yorkers that shapes the poems itself. We want to bring attention to these New Yorkers that come and go to look at those around them and interact. These poems are about the idea of love in the city, the idea of love that changes the lives of people, and the idea of love that shape societal interactions. In a busy city, human interactions are rare. You barely see people take a moment to stop and look around themselves. Everyone just rushes to work and get to wherever they had plans for. When love is involved, however, the people begin to feel, invoke emotional responses and looking for responses. They take the time to think, think about the environment, and think about the people that are on the streets of the city. The poems within our project will focus on expressing these ideas and the theme of love and social interactions. These poems will describe how love comes to life in the city.

The wooden box symbolized unboxed memories, hidden feelings, and the unknown. Love, a complex emotion, is full of mystery. The thrill of falling in love is just like the thrill of opening up the unknown box, not knowing what’s going to happen. The act of searching for someone you love in the city is like flipping through endless poems trying to find the perfect one. The idea of a box relates to the city because it shows how people are trapped in their own state of mind. People are trapped inside their own schedule. The cravings on the box will be the engraved memories of love, the drawings will be what visually aids the reader and the poems are what the reader relates to.

When viewers first see our project, their eyes will land upon the cover. This cover will either be engraved or painted, immediately catching their attention. Our cover is a wooden box; it is very different and unusual, which will hopefully make people want to pick it up, feel it, open it, and see what it’s about. Their fingers will run across the title, our names on the bottom, and near the lock of the box. Once they open this box, there will be a big drawing of New York City. It will be a general drawing, and beneath this drawing will be our packet of poems. They will be able to flip through these poems like a book, touch our writing, and feel the burnt, brown paper that adds to our vintage look. Each poem will be different; even though there is an overall theme of love, some poems are intimate and sentimental while others are more general about love in the city. They will hopefully read through some of these poems, some longer and more descriptive while others are shorter and more open to interpretation. After they are done looking through the packet, they will put it back in the box and lock it up.

Our overall theme in these poems is love: love for the city, love for a significant other, and love for a stranger. The goal of our project is to invoke an emotional response in the viewer. It is meant to make them think of a time where they experienced this type of love and make them nostalgic. It is meant to bring back memories or even provide them with goals for the future where they will search for this specific type of mysterious love. It is meant to help them see the world differently where everyone is going through different experiences and hardships, but one thing that unites us all is love. Love keeps us grounded, love gives us something to look forward to, but love can also be painful. We are hoping that our viewers walk away with the thought in their minds that love gives us life, but it can also take away our lives. Love is almost like a drug wherein the beginning gives you a pleasant high, but once it is taken away from you or it hurts you, you can experience excruciating withdrawal symptoms or even death. But it is high that makes it all worth it.

6th Ave, West 55th Street

I hear the music roaming in the air, festival beats lift the spirits, and colors fill the night with unrestrained joy. 

The occasion pierces the air with happiness as it captivates me as well as you.  

The glittering light reflect streets radiantly, 

Shines the city, brought darkness back to sleep, and keep us alive at night.

Sing! Sing along with the music of the night. 

Loudly and musically, sing out the voice you been hiding.

Increasing the excitement, and so we continue to move forward.

On that very corner, I see…

The man with the big black beard, stared at the lizard;

The man with plaid shirt and woman with off the shoulder striped top, stared at the lizard;

The woman with Louis Vuitton bag and the man with a blue cap, held and stared at the lizard. 

Look at the crowed line waiting anxiously, you have waited, and I have waited. 

Look at the colorful prices hanging vibrantly, big and small, but still tempting

Look at the jagged lizards catching attention countlessly, rough by the touch, and still dry as a dessert

Look at the cloudy sweets spun into cotton candy magically, large and light, but let it melt in the mouth

What a colorful night!

Unique voices, diverse ethnicity, strong voices, endless footsteps;

A perfect paradise for celebration. 

When the sun rises, it is over, or maybe not. 

Copyright to Katrynna

Part 1

I imagine (this is all I can do, since I am not a photographer) that the essential gesture of the Operator is to surprise something or someone (through the little hole of the camera), and that this gesture is, therefore, perfect when it is performed unbeknownst to the subject being photographed. From this gesture derive all photographs whose principle (or better, whose alibi) is “shock”; for the photographic “shock” (quite different from the punctum) consists less in traumatizing than in revealing what was so well hidden that the actor himself was unaware or unconscious of it. Hence a whole gamut of surprises” (as they are for me, the Spectator; but for the Photographer, these are so many “performances”). 

Page 32 ,Chapter 14

This passage interested me because Barthes explained how he views surprises in photography defines the performance of the operator. Barthes view that when an operator photographs the subject without the subject knowing; they have performed perfect photography. He explains the principle of “shock” in five different surprises. He mentions that the photograph must be rare, a stop in motion and time, prowess, uses of unusual techniques, and “lucky find”.  This part of the passage is crucial because it notes the element of history and the idea that the photograph won’t be seen again. The surprises that Barthes mention emphasized that a good photograph will need to be those that “normal eyes cannot arrest it (page 32). ” It captures a moment of time that stops the motion of time. The photograph must be immobilized as it depicts a rapid scene. Once a photograph is taken, it occurs in the past. He also mentions that a good photograph must be those that are “lucky find”. It is those that are not arranged or manipulated. It is important as it shows that the illustration of the photograph once occurred will no longer exist for another to copy.

Part 2

For once, photography gave me a sentiment as certain as remembrance, just as Proust experienced it one day when, meaning over to take off his boots, there suddenly came to him his grandmother’s true face, “whose living reality I was experiencing for the first time, in an involuntary and complete memory.” The unknown photographer of Chennevieres-sur-Marne had been the mediator of a truth, as much as Nadar making of his mother (or of his wife-no one knows for certain) one of the loveliest photographs in the world; he had produced a supererogatory photograph which contained more than what the technical being of photography can reasonably offer. Or again (for I am trying to express this truth) this Winter Garden Photograph was for me like the last music Schumann wrote before collapsing, that first Gesang der Friihe which accords with both my mother’s being and my grief at her death; I could not express this accord except by an infinite series of adjectives, which I omit, convinced however that this photograph collected all the possible predicates from which my mother’s being was constituted and whose suppression or partial alteration, conversely, had sent me back to these photographs of her which had left me so unsatisfied. These same photographs, which phenomenology would call “ordinary” objects, were merely analogical, provoking only her identity, not her truth; but the Winter Garden PhotOgraph was indeed essential, it achieved for me, utopically, the impossible science of the unique being.

– Page 70, Chapter 28

The passage adds to the theme of grief for Barthe’s mother. I chose this passage because it elaborates Barthe’s feelings towards his mother in this part of the book. He was looking at a photograph of his 5-year-old mother as it brings back memories. His mother is gone but photographs still exist. He missed his mother and looking back at the picture allows him to ” gradually [moved] back in time with her( page 67)”. This passage talks about how the photograph is able to the feeling of remembrance back to Barthes but he also realizes the reality that what is dead can not be turnback. Photographs can show her identity but do not help him feel her presence as she is already dead.

Part 3

How can the idea of photographs telling the truth about the past change as modern technology like photoshopping manipulates the truth?

Part 4

Meindert Hobbema,  Hamlet in the Wood, 1660-65

The display of art in a gallery space draws the attention of the people as they walk past the building. Artists fully use the space to express their artwork in a way that can bring out the aesthetic view of the art. Chelsea, New York, is one of the greatest visual pleasing places to find rich works of art exhibitions. The display of art is inseparable in the expression of the artist’s vision for the artwork. Factors that can be considered when displaying a work of art can consist of spacing, background, lighting, and even the size of the building. On 24th street, Anna Zorina and C24 have to both presented exhibitions of powerful art in galleries. Both galleries are displayed in a traditional white cube style where all the walls are painted white, the floors are polished, lights coming from the ceiling, and no window in sight. 

Anna Zorina Gallery showcase artwork of artists that promotes a powerfully positive image. These artists interact with the world by expressing their artworks with joy and a sense of humor. Jay Stuckey’s art was on display in the gallery on the day that I visited. His work of art is composed of abstract elements that visual disturbs many. When looking at these paintings, the viewers are hit by intricate and unique images. These images are familiar to the audience as it represents realism in which people interact and yet unrealistic through exaggeration of violence. The paintings in the galleries each possess their own set of walls. Undisrupted by other paintings, each painting is presented on a singular white wall. 

C24 gallery exhibits contemporary and international art that holds the mission of diversifying art displays and broadening their community. On the ground floor of the gallery, every one of the artworks on display is completely unique to itself. Each represents its own set of ideas as they vary in size, shape, and color. Some artworks are vibrant in color, while others are neutral and monocolored. One is shaped like the leg of a human, another is shaped like the bottom of a cow. All the art is clustered on the wall randomly showing the intention of promoting underrepresented artists and address current political and social issues through diversity. One piece of art that appealed to me was the table that consisted of multiple modern models of phones. On the screen of the phones, there were text messages that show how current society communicates with one another. The ground floor has thoroughly utilized the space and displays multiple artworks within one area. Visually, it is appealing to the viewer giving off an aesthetic strike to the eye.

On the upper level of the gallery, there is a solo exhibition for the artist, Mike Dargas. This exhibition focuses on the theme of “ Reflection of dreams,” consisting of oil paintings of women. One of the paintings that showed honey running down a woman’s face reflects the intimacy and personal experience that explores different emotions. His photorealistic painting draws the viewer in as if they are actually looking at a picture. This hyperrealistic style is created through extreme attention to detail and focus on the texture of the painting. Only 2 to 3 of Mike’s paintings on each white wall; However, these paintings cover nearly the wall entire space. Unlike the ground floor, the focus of the upper floor completely lies in Mike’s paintings with reasonable spacing between each artwork. Different use of the gallery space can express art in different ways. Some might be spaced evenly while others can be clustered in one area. Display of art in space can affect the viewer’s perspective of the art. One can closely observe a single painting on one wall but they can also enjoy the colorful and diverse display of multiple arts.

New York, the city of the inventors, comprised of distinctive and astonishing art that appears to be all over the place. From the eye-catching tall architectures to the aesthetic looking sculptures, but everything appears to be so ordinary as people just fast pace around the city and ignoring what is around them. The endless footsteps, the constant chitchatting, the pigeons flapping its wings, the car beeping, and the erection of the construction constantly reminds you that New York is a busy city that never sleeps. As you stroll through the city on the 23rd street in the Flatiron South Public Plaza, you will find yourself staring at a 15 feet hippo ballerina. If you continue to walk towards the entrance Union Square park, you will find yourself stepping on bronze plaques mapping out the street. You never know when you will encounter a piece of work; it can be right under your foot. If everyone takes a moment to stop and look around all the pieces of art might be right in front of your eyes. 

In February of 2017, NYC has shone its light on a newly arrived dancing ballerina, making its debut in Denta Park on 64th Street across from Lincoln Center. Standing 15 feet tall and over 2.5 tons, this bronze and copper hippo is nearly impossible for the people of the city to miss. The size of the Hippo Ballerina realistically match hippopotamus you would see in a zoo. The Danish artist Bjørn Okholm Skaarup created this sculpture as a result of inspiration and payment of homage to Walt Disney’s beloved ballet hippos in Fantasia, as well as French artist Edgar Degas’ famous statue, “Little Dancer Aged Fourteen.” The placement of the sculpture was coordinated with the New York City Art in the Park program as it was fund accordingly. Degas’s portrayals of the little dancer demonstrated the delicacy and gracefulness of stereotypical ballerina. Skaarup’s use of hippopotamus as ballerina precisely shows the irony of the art. When thinking about hippos, you would imagine powerful, enormous, and barren shaped bodies that are completely opposite of the body of a ballerina. “I think a fun way to revitalize themes from art history that have been forgotten lately is through animal allegories because we are so used to that through animation and fables,” said Skaarup. Inspired by the two pieces of art, Hippo Ballerina completely illustrated the artist’s intention of bestiary for animals in the ancient myths and art history that is closely related to the human culture. 

In August of 2019, the Hippo Ballerina has been welcome to the Flatiron District on 23rd street as part of the Flatiron Partnership program. The hippo has its eyes wide open with a gorgeously big smile welcoming as if it is welcoming the visitors of the city to have a dance with her. Its arms are placed at its back looking like the military at-ease stance. Dressed like a ballerina, the hippo is wearing a yellow button-up top with a white tutu and a pair of yellow pointe shoes. This statue is placed right in the middle of the street taking up space in the Flatiron South Public Plaza facing the Empire State Building. When referring to Miwon Kwon’s One Place After Another, the sculpture of this Hippo Ballerina would be considered as “Art in Space.” Being placed right in the plaza, the sculpture has been exposed to nearly everything around the area. There are people biking around it, people walking past it, and even people sitting in the plaza drinking their daily cup of coffee. This sculpture is site-specific as it is embraced by the public to show the significance of the artist’s installation. The Hippo Ballerina with its enormous size captures those that walk by and without the intent, they want to share the spotlight with the hippo. The visitors strike their favorite dancing pose with the hippo and post on their social media to mark their presence. Serving as the art in place, this sculpture has fully been integrated into the site as people are able to interact with pose with it. 

On the floor of Union Square Park, there lies a bronze plaque sculpted by Gregg Lefevre installed in 2002. People of the city are probably too busy trying to get to work, jogging, walking their dog, listening to music and talking to friends to even realized that they have stepped on this beautiful work of art. Near the sculptures, there are a countless number of shops nearby and people eating their food in the park. You can see the environment full of bushes, flowers, and trees. If you take a look down on the street near Union Square, you will find numerous sculpted plaques providing a unique lens of what has happened near the park in the past years. Everyone is however too distracted to take the time to look down, but if you do you will find the depicted history of art. One of the plaques in the west of Union Square, in front of the entrance to the parks, depicts a map of the place in 1872. It shows the location of 14th, 15th, 16th and 17th Street, as well as areas for each building that existed. It has specifically shown where the art is as respect to the park. For example, there is the James Fountain of 1881 on the left of the main fountain of 1842 right in the center of the map. There is also the Lafayette Statue right near the corner of the map, and outside the park, there is the Washington Monument. It is interesting to see how the place has changed compared to what has been depicted in the map of 1872. The bronze plaque is characterized as “Art as space” because it is part of the floor. People are able to step on it and walk past it without having the trouble of blocking anyone. Unfortunately, the art placed on the floor might be overlooked by many. Damages can also occur on the plaque. There pigeons and birds everywhere in the city; their urine and excretion of body waste might accidentally get on the sculptures. Most of the sculptures by Gregg Lefreve is funded by the National Endowment for Art. His works can be found underfoot in all types of pedestrian spaces, from plazas, parks, bike paths, and trails. Since he is contributing to the beautification of NYC, his installation is supported by the art commissions.

Both the Hippo Ballerina and the bronze plaques are part of the NYC public art. Both placed in the middle of the street presented to the public as a way of showing appreciation. Hippo Ballerina act as “Art in place”  where there is more interaction between the people and the artwork. Visitors, tourists, new yorkers, and students are able to enjoy the ironic sculpture of the hippo as a ballerina. On the other hand, the historical art of the bronze plaque is characterized as “ Art as the place”. It has been adopted into the environment. People can walk on it and pass it. Every day there is someone stepping on it. It has become the site itself.

Detailed Information: 

The statue is a sculpture of a lion made of volcanic stones known as nenfro to depict lions with wings and sphinxes. It is carved around 550 B.C. and discovered during the excavation of tomb monuments in the Etruscan city of Vulci. The discovery of this sculpture in excavation of Necropoli was intended to protect the entrance of chamber tombs which was covered by a tumulus. The lions, often in appeared in pairs, acted as guardians of the tombs representing the traditions of ancient Egypt and Near East.

Analysis: 

This sculpture of a lion is uniquely presented, with wings and fearful looking eyes. The emphasis on the wings showed that lions are godly creatures. It is standing tall and proud appearing to be guarding something.  The abstractness of the wings strikes the audience’s eyes and enhances the idea the lions are symbolism for authority. The sculpture has accurately represented the strong and compacted body of a lion and its powerful jaws and teeth looking as if it is ready to take down its prey.  Its jaws are wide open as if it’s about to eat its prey.  Its muscular legs showed its ferociousness. The size of the sculpture is relatively medium but does not take away from the fierceness from its sharp eyes. Lions, king of the jungle,  are loyal and powerful.  Lion sculptures in the entrance of cemeteries show that back then people believed that lions are able to protect them as guardians. This piece of art might not have fully represented an actual lion but all the characteristics have been shown perfectly.