Cheng Dong – New York Times Art Blog Post

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On Tuesday, November 5th, a need member of the Call of Duty series family was released to the thousands of eager fans. This tenth, and newest, member of the series was named Call of Duty: Ghost. While met with great enthusiasm from the fans of the series, Call of Duty: Ghost was criticized to be ridiculous and somewhat overly repetitive of old themes used by older games over and over again.

No matter how much the fans may say otherwise, there was a substantial amount of evidence that supported the criticisms made by New York Times writer Chris Suellentrop. The biggest repetition of theme was definitely the plot of foreign invasion into the United States. We see similar stories in Call of Duty 8: Modern Warfare 3, where the U.S. was invaded by Russia, and in the game Homefront, where a new Korean superpower successfully occupied the United States. All of these games feature adventure stories of main characters fighting back invading evils through a series of massive gunfights and eventually save the nation. After seeing so many games featuring the same topic, it is hard not to associate such trend with a sense of superiority the United States expressed as the leading nation of the world today. In all of these games, producers placed the United States in such a place of absolute justice, without even slightly describing the hardships or the pursues of the oppositions. It is rather unsurprising that the people would get bored of such topic after going through so many games that featured the same theme.

On the other hand, some traits Suellentrop also described to be obsolete were actually evident of the series producers’ efforts to better the game and not at all obsolete. The greatest example of which was the new feature of being able to actively control vehicles. Compared with the previous works, Call of Duty: Ghost has greatly improved that feature. Now, it may be true that being able to use a vehicle in a First Person Shooting game is nothing new, but the Call of Duty series have always lived under the shadow of the Battlefield series in this prospect. It is only natural that the producers of the Call of Duty series would put better feature of using vehicles into the games.

Despite some obvious points of obsoleteness there was a lot of opinions on Sullentrop’s article that could be further discussed. As a fan of the Call of Duty series I do not deny the possibility of holding an subjective point of view on this matter. Yet, I still hope the readers could consider contents of this piece before making any decisions regarding the game.

Suellentrop, Chris. “A Fantastical Shootout, Moving Across Space and Time.” New York Times. N.p., 5 Nov. 2013. Web. 25 Nov. 2013. <http://www.nytimes.com/2013/11/06/arts/video-games/call-of-duty-ghosts-begins-with-an-attack-on-the-us.html?ref=video-games&_r=0>

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My group decided that we would like to explore not only the influence of power on the human condition, but more specifically the influence of abuse on people’s responses. As we showed in class, some people respond to power by completely caving into the authority while others fight back fiercely and others respond somewhere inbetween those two extremes.

My group has is also leaning towards a more abstract representation of these ideas. Influenced and inspired by some of the video’s we saw in class, my group decided that the narrative type-style of making a point was not for us. Using animation combined with sounds produced by the objects we come into contact with every day (and possibly my own piano playing) to compliment our visuals.

My group is also tampering with the idea of making our own music to play on the piano. This is not settled yet however.

Final Project (Creative Project 3)

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A major theme and motivator in this class is to venture into the unknown; to place ourselves in unfamiliar situations; to challenge our expectations and assumptions about art, and a larger scale, about life.

We decided to capture this theme of learning through the unfamiliar or “the different” by highlighting the diversity of the different members in our group. We have a few ideas that we’re currently wrestling with on how to capture these theme that encapsulate our idea.

Our foundational idea was that we should use the diversity of our group as an analogy for the diversity of art.  We wanted to do something interesting that we won’t reveal yet.  We wanted to challenge our IDC’s preconceived notions about art through displaying difference.  Our idea started at a very basic like having the different members speak showing the different colors of their lips. We then though about displaying a physical and metaphorical melting pot by fusing our bodies together. We continue to brainstorm as we decide on the most expressive way to demonstrate this idea.

 

Violence in Advertising

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Kevin Cheng

IDC 1001H

Professor Wollman

November 25, 2013

Violence in Advertising

Posters advertising violence are seen everywhere from newspapers to public transportation. Often these instances are marketed in a way that highlights the violence in the medium of entertainment that is being advertised. An example of this is advertisements for Grand Theft Auto V. One of the advertisements promoting Grand Theft Auto V features a man with a tattoo across his neck that says, “Cut here.” Another one on the Corner of Lafayette and Bleeker features several different scenes from Grand Theft Auto V, one of which includes a man with a gun in his hand. The question of why such instances pique the attention of the public reinforces the concept that humans are obsessed with violence. This can be attributed to the success of countless video games that have been released. The anticipation for Grand Theft Auto games was ridiculous, with regards to all of the hype that the game received before its initial release on September 17th. Sales of a billion dollars in three days is no laughing matter, it also puts Grand Theft Auto at the pinnacle of reception of any form of entertainment. What is it about violence that attracts so much attention? Is it the need to satisfy the primal urge for violence by living vicariously through video games or other mediums of entertainment?

A study by the National Coalition on TV violence reported that 70% of the 150 games they surveyed included high levels of violence. With video game development further progressing, video games will have better graphics than ever before. Blood and gore will become more and more realistic. An instance that comes to mind with regards to blood and gore is the Mortal Kombat video game series, a series that was so obscene and violent that it caused a need for the video game rating system. The popularity and success of games similar to Mortal Kombat further the human obsession with violence; advertisers then exploit this obsession.

The phrase “Sex sells” is one that is commonly heard and associated with marketing strategies that feature attractive men and women to get the attention of the possible consumer. However, “Violence sells” is not something that people usually say much about. Both are very important issues that have to be addressed, because they affect and influence people that are exposed to their influence. The prevalence of violence in video games is present from even the most basic video games that children play. These games even reward the player after they kill or defeat an opponent. Violence is not something that should be encouraged with positive reinforcement. By rewarding the young gamer after he or she kills his or her opponent, it causes he or she to think that violence is ok to practice.

Art is said to represent the zeitgeist of the times. With respect to this, advertisers appeal to the zeitgeist of the times with the art that are their advertisements which are specifically created to cater to this love of violence. The growing concern for the prevalence of violence throughout the world is highlighted by the prevalence of violence in not only the video games people play but also its prevalence in other media that people use to entertain themselves. Everything people watch or play with features some form of violence. This is furthered by the concept of how conflict makes things interesting and fun to watch. People would be completely bored by a show where a family is completely perfect in every way, because there would be nothing going on. Advertisements that reflect these shows and give sneak peaks about them that often feature conflict, fighting, and guns just to name a few examples.

According to an article from the American Academy of Pediatrics, media violence is a major contributing factor to the real life aggression and violence. Children learn from observing, imitating and adopting behaviors. Violence in the media is not something that the public would want future generations to be imitating or adopting and practicing. Guns are shown in a way that makes it seem that they solve so many problems in the media. Guns are often also a symbol that represents power and as a weapon to instill fear. This general image of the gun is not one that should be fostered.

The issue of violence in the media also causes people to see the world in a negative manner, with the preconception of it as an extremely dangerous place. With regards to this, people will be more likely to be fearful of their safety so they will be more likely to carry a weapon with them. This in turn causes people to be more susceptible to acting rashly with their possibly concealed weapon. The NRA has used the argument that the only way to protect oneself from a bad guy with a gun is to have a good guy with a gun. This argument is very heavily flawed with how easily someone can cause peril harm to another with such weapons.

Films in the media often do not address the issue of violence as it stands. Violence is glorified and the aftermath of it is not addressed. Violence causes pain and suffering, loss and sadness to those impacted by it. However in the media, when a bad guy is killed how often does the media talk about how they were affected? Their death is just treated as collateral damage in the journey to accomplishing something.

Foremost, the influence of violence in the media desensitizes the public to violence. It is not at all uncommon for an advertisement to have weapons or explosions from the movie or media it’s promoting. With regards to these instances, people do not even hesitate at all while viewing them. Violence is so prevalent and prominent that people do not even seem to care enough to bother considering the brevity of the actual consequences that would occur with the violence in the media.

Advertisements cater to the zeitgeist of the times, and currently feature large amounts of violence. This violence heavily influences the public and causes people to become desensitized to the violence or even sometimes questions their outlook on the their safety in the world. The influence the media has on the public is immense and should be more carefully regulated to facilitate a safer world. The exploitation of violence in advertisements is an issue that must be addressed if there is any hope for a more peaceful world.

Works Cited:

Anderson, Craig A., Douglas A. Gentile, Regina M. Milteer, MD, and Donald L. Shifrin, MD. “Media Violence.” Media Violence. American Academy of Pediatrics, 19 Oct. 2009. Web. 24 Nov. 2013.

“Violence and Video Games.” Violence and Video Games. Game Zero Magazine, n.d. Web. 24 Nov. 2013.

 

Feature Article – Power of a Name: Banksy

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Andrew Chen

Professor Wollman

IDC 1001H EMWCH

November 25, 2013

Power of a Name: Banksy

            A newly created work of art appears on the roof of a building, the side of an alley, on the gate of store, and even on a small strip of cement on the bottom of a building. From political themes, to just stencils of people and animals, Banksy, graffiti artist, “purported millionare, activist, filmmaker and prankster” (Smith) has artwork spread throughout the five boroughs. However, what exactly is the definition of art? Yes sure, the Oxford dictionary defines art as “the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power,” but what is art?

Can graffiti be called art? Popular artists such as Banksy and Meres One have turned graffiti art into something more than art. It is a way of expressing ideas, demonstrating political values, and addressing social themes. But what lies behind Banksy’s work? He made New York City, a huge art hub and portal to art history and culture, his own personal canvas for a month. Dubbed “Better Out Than In”, Banksy’s post in New York City brought new graffiti stencils that appeared in the middle of the night and caused a lot of publicity and hysteria. Not only do his stenciled works address some problems in society such as the corruptness of humans, but they also come in the form of street sculptures, videos, and performance art. Definitely a sight to see, with the sphinx made out of rubble, as well as a piece titled “The Sirens of the Lambs,” which consists of robot sheep and cow heads bleating on the way to slaughter.

Sebastian Brady of the Guardian sums up Banksy’s controversy in a single sentence: “Is Banksy really just an act, a name, a cultural phenomenon?” This brings up the question of what exactly is the significance of Banksy’s name. Does his name carry any weight to it? However it also leads to such questions about his reputation. Is his fame due to his actual work or his notoriety? Did the general public hype up his name and work so highly, such that he is a phenomenon? When Banksy altered a painting he bought from a charity thrift shop, “The Banality of the Banality of Evil,” and gave it back to the same thrift shop, it ended up auctioning for $615,000. However, when Banksy set up a small stand selling some of his works for $60, without advertising and making it known that they were Banksy works, sales were slow and few. This suggests that the name of Banksy, which is attached to many of his works, plays an important role in his popularity. It even suggests that the general public isn’t interested in the actually art, but rather, Banksy’s name.

Such graffiti stencils created by Banksy during “Better Out than In” address “underlying human problems that are hard to think about.” However, why does it seem that the public is more attracted to the name attached to this artwork, rather than the artwork itself? Every time a new Banksy work is discovered and revealed, crowds of Banksy fans and Banksy haters alike stalk it. There are even those who try to steal the artwork, if possible, for themselves or to just for the sake of destroying it. Had the name of Banksy not be revealed as the artist for these works of art, there would be no people tracking it down, and no hype for it. Publicity would greatly be diminished due to no mobs and vandalizing attempts. With the rise of stories about Banksy and his work, he is becoming a controversial topic amongst fans and haters alike.

The use of Banksy’s name also brings out the greed and competitiveness in society. Every time a new Banksy work was revealed, people who had never heard of him were joining the bandwagon to try and catch a glimpse, and join the Banksy hysteria during his stay in New York City. Owners of buildings that Banksy used as his canvas, even if they have not heard of him, hire guards and frame the works in plexiglass. This is interesting as the notoriety of Banksy automatically gives a higher value for a work of art he’s created or retouched. This leads one to believe that Banksy’s title and reputation, as well as renown affects the prices of his work, and makes up the value of his work in general. Subtract the name, as seen with the anonymous selling of his art at a stand, leads to little publicity and sales, although revenue isn’t the main point for Banksy.

All in all, the legend of Banksy thrives on his anonymity and mysteriousness. The seemingly sudden appearances of stenciled graffiti from the middle of the night attract viewers and bystanders, Banksy fans and dissenters alike. The value of his art and name are synonymous – they both provide an important aspect in terms of notoriety and political statements. Whether the general public understand the propaganda and messages Banksy is trying to convey with each piece or not, the fact still remains that Banksy is engaged in promoting his ideas actively. As a true artist seeking to protect graffiti as an art, Banksy states, after his month long residency in New York City, “Save 5Pointz.”

 

 Works Cited

Boyette, Chris. “Banksy Bids Farewell to New York with Balloons.” CNN. Cable News Network, 01 Nov. 2013. Web. 24 Nov. 2013.

Brady, Sebastian. “Banksy May Be Popular, But Is He an Artist? |.” Banksy May Be Popular, But Is He an Artist? |. N.p., n.d. Web. 25 Nov. 2013.

Dilts, Elizabeth. “First Pieces from Banksy’s New York Stunt to Go on Sale.” Reuters. Thomson Reuters, 22 Nov. 2013. Web. 25 Nov. 2013.

Smith, Roberta. “Banksy Makes New York His Gallery for a Month.” Nytimes.com. NYTIMES, 30 Oct. 2013. Web. 25 Nov. 2013.

Mood Diary: Final Project

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This is very short but we didn’t want to give too much away. Also, we believed that the simpler the idea, the easier it would be to capture. Our short summary:

Our group discussed the theme of rejection that was evident in all three fictitious works we studied. In The Metamorphosis, Gregor Samsa was rejected by his family because he changed into an ungeziefer. In The Nose, Major Kovalyov was rejected by society because of the loss of his nose. In Nosferatu, Count Orlak was rejected because of his vampirism. Ultimately, all three works capture the rejection that results after a transformation. We decided to use this theme to make a music video that consists of rejection and rebirth. Since all music and sounds have to be original, we decided to use everyday normal objects as percussion instruments to help tell a story.

Group: Amy (SiJia) You, Julian Tsang, JJ Wu, Rebecca Drabczyk, Shirley Yau, Alexandra Szilagyi, Cinderella Chan

 

Final Project Mood Diary:

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Group 9-116 Z

Our ideas for our final project will be taken from the theme of weirdness. Each story we have worked on through the semester dealt with this theme in varying ways, with different outcomes. Thus, it will be our greater theme, the one that will color each aspect of our film.

One of the specific themes we discussed was the idea of an alter ego. In each story we looked at, there were at least two versions of the central character. In the ballet of The Metamorphosis, Gregor was shown in two forms: an overworked man, and an abhorred cockroach. In The Nose, Kovalov’s alter ego was his nose, since it was part of him and similar to him in some ways, but was also sentient and had its own will. Finally, in Nosferatu, Dracula passed himself off as human (albeit a very strange and very intimidating one), but eventually it was revealed that he was a vampire. In a way, the idea of an alter ego is a variation of the theme of transformation, since an alter ego is a version of oneself that is simultaneously similar and very different to the original. Our second specific theme is that of not belonging, both in the sense of being an outcast and being out of the ordinary. This theme, in the second sense, is seen in a three pieces, whereas the image of the outcast was particularly prominent in Metamorphosis. 

We had a vision for how we might combine these themes. One of us will play the central character, who is something of an outcast and will appear to have no friends. Other members of the group will take the role of normal people, and of monsters. In one shot, the central character will be seen watching a group of kids hanging out, laughing together, and a number of other normal activities. In the next shot, they’ll be harassed, chased, or otherwise haunted by monstrous versions of the kids. This will represent a contrast between reality, and the way the central character views each situation. Our goal is to create a sort of nightmarish state, a film saturated in weirdness and uncertainty.

Mood Diary- Final Project: Inspired by New York City

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By: Group 9116 Y

 

Our inspiration of the final project came from the New York City. We wanted our theme to be relatable but not obvious. Like the other videos we watched, we wanted the theme to be defined not by literal explanation but by the characters, the scenery, and the music. Without giving too much away, our project will be a combination of narratives and each of us will have a part to play. We took some of our inspiration from the stories we read and plays we viewed during the semester, but our overall (and overarching) theme goes beyond that. We wanted to portray a key concept behind “The Arts in New York City”: the idea that everything is intertwined. What we’ve seen through the analyses of different works of art is that things you may have believed to be separate are not so. And what many people may feel after living in New York is that the sheer mass of people drowns you, but this is also not the case. You don’t get lost in the crowd; you become a part of it.

As a part of this diverse population with eclectic interests, we want to create a film that can successfully capture the essence of NYC. Thus, we decided to portray different characters that are independently immersed in their lives, yet unified in the end. One photographer will serve as a liaison between these differences and connect us. To make the depiction of the city clearer, the five characters (not including the photographer) will belong to the five boroughs—Bronx, Brooklyn, Manhattan, Queens, and Staten Island.

As of now, we are not completely sure of how we will go about encapsulating the city’s fervor and incorporating the five stories in a smooth way. However, we have a general idea for the storyline. We have also decided to include colors and sounds for different characters. Sound will be used to define the character and thus, will correspond to their nature and lifestyle. In addition, we will use music to depict our theme that ultimately, the world is small and regardless of our differences (in social status, work, or lifestyle), we are all intertwined by a fundamental aspect of the city.

When How It Looks Matters More Than What It Says

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When you see the picture above, would you look into the letters and read between the lines to figure out what on earth it means? For me, it just makes no sense, but I actually really appreciate the way these letters are arranged. This is a work by Carl Andre, an American minimalist artist recognized for his ordered linear format and grid format sculptures. The picture suggests a form of chanting.

This is how the article When How It Looks Matters More Than What It Says in The New York Times teaches me to approach art in a distinct way. The article introduces a provoking show named “Drawing Time, Reading Time” at the Drawing Center. The author examines the nine works at the center and explores the relationship between form and content of a artwork. “Asemic”, a word for mark-making that resembles writing but actually has no linguistic meaning, is  highlighted in the article.

An intriguing exhibition called “Dickinson/ Walser: Pencil Sketches” displays handwritten manuscripts by two famous writers: Emily Dickinson and Robert Walser. Dickinson wrote her draft on torn scraps of paper and the insides of cut-open envelop. Her draft is described as a “grocery lists made by a hurried domestic.” Walser’s wrote his context in antique German on small rectangles of paper and cardboard in tiny letters difficult to read by our naked eyes.” According to Ken Johnson, their writings exemplify some “kind of writing meant to be legible not by others primarily but by the person who produced it.”

“Dickinson/ Walser: Pencil Sketches” by Emily Dickinson and Robert Walser

Nina Papaconstantinou creates a kind of minimalist, visual drone by hand copying onto single sheets all the pages of whole books using blue carbon paper to transfer her handwriting.

The Lost Island by Nina Papakonstantinou

In 1993, Sean Landers hand wrote on 451 yellow pages an entertaining, autobiographical account of his trials and tribulations as an artist and a pursuer of sexual, romantic and other gratifications. It’s titled “[sic].”

“[sic]” by Sean Landers

Some exhibitions do have some legibility and are not totally “asemic,” but their ways of ordering texts still make the style outshine the content. Deb Sokolow’s “Chapter 13. Oswald and Your Cousin Irving,” a poster-size drawing, consists of neatl made letters as wells a photographic images that tells a remarkable story of John F. Kennedy and it’s aftermath.

“Chapter 13. Oswald and Your Cousin Irving” by Deb Sokolow

“Not to be confused with mystic or surrealistic automatic writing, which is supposed to tap into unconscious depths, asemic writing in art highlights the relationship between ‘the written word’s communicative transparency on the one hand and visual art’s material opacity on the other,’” as the organizer of both exhibitions and the DrawingCenter’s curator, Claire Gilman, puts it in her exhibition catalog essay. From this point, Gilman also questions the nature of meaning itself: “Is it some kind of transcendental substance that may or may not be incarnated in some physical form? Is the relationship between meaning and material form like the relationship between your body and your soul?”

The concept of “asemic art” brought up by the article is really riveting. I think I am exposed to a new form of art which emphasizes more on forms than content. These works are not surrealistic; they contain the thoughts of their authors if we really explore text and their historical background. However, there is no necessity to do so because the texts are produced for the authors themselves. Instead of meaningless work on analyzing, why don’t we sit down, take a sip of wine, and enjoy how words themselves could be expressed as a form of art.

Personally, I believe the artworks I saw before were always mysterious and difficult to understand, but I enjoyed most of them. Whether or not I know about the purpose, history, or context of the art work weighs much less than how I was struck by the intense feelings provoked by the work, no matter the feeling is visual, auditory or tactile. “I don’t know what this picture is about; but it just looks awesome, and I like it.” This is how I perceive an artwork at the first second. After some analysis, I realize I just like the style of the work. But what is the style? I do not know. Perhaps this is the magic of art.

  Art is also about individualism, from the stances of both the observers and the creators. Emily and Walser didn’t write their scripts for us; they expressed their thoughts somehow in their own ways which are appreciated by contemporary artwork curators. As observers, we are entitled to interpret an artwork however we want. The most important statement I learned from our Arts in New York seminar so far is that “Art could be anything.”

Johnson, Ken. “When How It Looks Matters More Than What It Says.” When How It Looks Matters More Than What It Says. The New York Times, 22 Nov. 2013. Web. 23 Nov. 2013. <http://www.nytimes.com/2013/11/22/arts/design/drawing-time-reading-time-at-the-drawing-center.html?_r=0>.

An arts education-useful or useless?

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As Macaulay students we are all required to take a class that focuses on art. From my own experience and from what I’ve heard, many students find such a class to be a waste of time-especially Baruch students. Many are majoring in finance, or accounting, or something in the field of business. How is analyzing a piece of art going to help me in my career? What skills can an arts class provide me with that I can utilize when I’m an employee or employer? A variation of these questions and comments have been uttered after class on a near consistent basis but the value of an arts education should not be underestimated.

The article Art Makes You Smart makes a case for the importance of an arts education. In Bentonville, Arkansas, a new museum called the Crystal Bridges of American Art has opened. The authors of this article used the opportunity of a new opening of an arts institution to examine the relationship between an arts education and desirable outcomes that range from higher test scores to social responsibility. The researchers used students from schools in order to conduct this experiment. They drew from a lottery which school groups would come in for tours due to an overwhelming number of applications and afterwards administered surveys to both students who were in groups that had won a tour (treatment group) and those who did not (control group). The survey consisted of items that assessed knowledge about art, as well as measures of tolerance, historical empathy and sustained interest in visiting art museums and other cultural institutions. The results were as follows; students who had undergone a tour experienced an increase in critical thinking skills of 9 percent of a standard deviation, an increase in historical empathy of 6 percent of a standard deviation, and an improvement in tolerance of 7 percent of a standard deviation. The students from the control groups who were from rural or high-poverty regions had even larger gains, of 18 percent of a standard deviation in critical thinking, 15 percent in historical empathy, and 13 percent in tolerance.

The results of this study shows that an arts education is far from a waste of money and time. The part of this study that truly struck me was the effect art exposure had on students who come from poor backgrounds. Often, the first things administrators of schools in low-income neighborhoods seek to cut is the arts section. But this can greatly harm students and leave them at a disadvantage-not just in academics but also in social skills and general knowledge about the world and cultures around them.

Nationwide studies that have been conducted by independent groups and researchers over the years have also found that students who invest in an arts education tend to do better than those who don’t-both academically and socially. Art equates to creativity which is essential for innovation which in our day and age is critical as times are constantly changing and there is a rush for the next new, big thing. Arne Duncan, the US Secretary of Education says that to be successful one can no longer be relegated to only being proficient in the technical sense-one must now also be inventive, resourceful and imaginative.

Comprehensive studies have also showed that children who have music education do better in math, and economically disadvantaged students who have arts classes are far less likely to drop out.

So after reading this (and the article and whatever subsequent online articles you may or may not have researched after reading this) has your view of an arts education changed or are you still adamant that it is a waste of time?

http://www.nytimes.com/2013/11/24/opinion/sunday/art-makes-you-smart.html?_r=0

http://educationnext.org/field-trips-to-art-museums-improve-critical-thinking-promote-historical-empathy-and-increase-tolerance/