“Huh?”

Yeah, that’s what I thought too. It’s possibly the single least likely phrase I expected to stumble upon in a book about an artist. But there it was. Out of context, I suppose it really doesn’t make any sense. But if I said that the book I was reading was about M.C. Escher (called The Magic of M.C. Escher), it would probably be an “Aha!” moment.

Escher's famous "Drawing Hands" explores the idea of paradoxes and "strange loops"

The well-known, innovative 20th century artist M.C. Escher was the creator of, in a phrase, “art for science and math lovers.” Infinity, polyhedra, geometric distortions, tessellations, impossible constructions – they’re all there somewhere in his work. Crazy, no? He didn’t even have any formal mathematical training. That’s even crazier.

I cannot pretend to comprehend much of what I read about him. There isn’t exactly a lot of discussion about technique and aesthetic. Instead, it’s more about Penrose triangles and orthogonal forces of gravity. Not quite the type of thing that I like to involve myself with. I have nothing against it. I just admittedly don’t understand much of it.  That’s what I think makes Escher so remarkable. I’ve spoken to quite a few Mathletes about art, and many of them told me that they just don’t “get” it. It’s markedly outside their comfort zone. Well, here comes Escher to the rescue. Scientists and mathematicians arguably enjoy his work more than anybody else.

It’s a remarkable feat, but Escher effectively managed to tether the worlds of art and technical logistics in a way that I do not believe anyone ever has. I mean, it’s art that penetrates a world that is inhabited by its theoretical opposite. In that way, it’s art that almost transcends the barriers that usually serve to confine it. We’ve talked a lot about the ever-expanding artistic intersection in our class – which includes politics, industry, and commerce, among others – and I think that Escher, with his mind-boggling work, adds mathematics to the list. So to those with a penchant for science I say you’ve found a remarkable associate in Escher. To those who are not quite so scientifically inclined (myself included) I say Escher is yet another brilliant artist to marvel at.

While perusing Facebook, I came across an interesting link on a friend’s wall to this blog and Discovery News article about Lego brick bending, discovered and refined by Jeff Sanders while playing with Legos with his daughter. Sanders discovered that the old-time Lego bricks were somewhat flexible and could be reshaped into various geometric structures. Over time, he has made several artistic pieces of various shapes and colors. His most recent creation is a Lego sunflower.

Lego has always been a classic form of children’s art, but unfortunately does not quite seem as popular a toy and form of art as it once used to be thanks in good part to the fact that it is not “technologically advanced” enough. However, this is a prime example of modern art – some guy comes along with a brand new idea and it becomes popular (maybe not quite MoMA material, but maybe one day). The concept also requires a basic knowledge of geometry, so when people (kids or adults) create these masterpieces, it is an educational experience as well. Modern art is not limited to de Kooning’s blobs and streaks, or a guy giving out candy; it can even be normal things and normal artistic material, but with a novel “twist” (pun intended).

Since we were unable to go to the Metropolitan Museum of Art as a class, I decided to go myself to see the new exhibition, “The Art of the Arab Lands, Turkey, Iran, Central Asia, and later South Asia.” The exhibit was organized coherently and cleanly even though there was a lot of art, textiles, and ceramics to be displayed. The careful placement and display of all the acquisitions were purposeful and very important as this opening of this gallery has been anticipated and built hype for since 2003. As I entered the exhibit, I was greeted by a large ceramic bowl. It was a spectacular and lustrous 10th century, Islamic bowl. The galleries are organized in a circular manner with an open atrium in the middle which is where the Roman and Greek statues are located. The choice of how to display the pieces was something at the forefront of the curators minds since they knew that many people would be seeing the exhibit. Only decades earlier curators aimed their exhibits and displays to the local community, but now, as we’re deep in the age of the internet, curators must keep in mind that the exhibits will be viewed all over the world. Much of the Islamic community will be watching the exhibit and curators have widened their audiences when designing their galleries.

The new Islamic Art Wing at the MET is a prime example of how the new age of technology has revolutionized art and how people think about art. The world is now interconnected and in constant communication. This has affected the arts and how art innovations and movements are now on a global scale. The audience is no longer a local one, but a global one as the internet has become the most accessible medium to view art. So, as we see through the Islamic Art exhibit, curators not only have their museum visitors in mind, but also the rest of the technological world.

Even without our Macaulay ID, as New Yorkers, we have free access to one of the biggest museums, the borough of Brooklyn. As a New Yorker I sometimes realize that I am jaded to have access to some of the greatest art outlets in the world. It is sometimes a good idea to step back and realize though that art didn’t originate in museums, but rather it originates from everyday (talented) people. Yes, there is great art found in the MoMA, and the MET, but what about on the streets?

Jaime Rojo and Steven Harrington has taken this idea of street art, although I wish there was a classier name for it, and has compiled a video showcasing the art pieces that are seen every day, whether one is passing it on the train or just walking to get a slice of pizza. This street art genre, if you will, can be added to that never ending question in class of  “what is art”. For me personally, this is art. The technique on some of the morals is incredible! If one would give me a can of spray paint or a bucket of paint, you would be lucky enough if I could write my name out clearly rather than it look like a combination of squiggly lines. Not only is there technique, but there is a thinking process to many of the art pieces. They aren’t just doodles; they require time to think what the piece should look like and how it can be connected with other works surrounding it.

The video itself has a touch of artistic genius inspired by the streets of Brooklyn itself. The soundtrack of the video is made up of sounds heard in Brooklyn and then mixed by electro duo Javelin.

Step back from being the art snob that would only look at the trendiest style and newest exhibit in the MoMA, and appreciate the art that surrounds you. Watching the video above might help you to realize the truly cultural and artistic land that you live, and to not just shrug off the next mural you see on the side of the street as some deadbeat with extra time on his hands.

Being an Arts in New York City class, we have been primarily focused on how New York is home to such varying styles of art, and the art contained within. What I think is sometimes missed is how New York can be made into art itself. There is so much beauty in the city, which I feel is ignored for the more obvious beauties like paintings and shows. It is important to see the cities inherent loveliness as well.

What really put this into focus was a 1 minute long timelapse video I was recently directed to. It is made up of many different shots taken from a single point in the city, namely the 51st floor of the Bank of America Tower at 1 Bryant Park. The video captures the life of the city from its single vantage point in a way that I feel is missed when walking along on the streets. It is a reminder that the city has big picture, one that can only be seen from above. Even in this one minute long video, the city screams with life and passion. But don’t take my word for it; watch the video yourself:

Zach mentioned in our last class that second graders are more familiar with Da Vinci and Picasso than with any of the modern artists on the scene today. I think that it’s a good observation, but like most good observations, I’m not about to leave it at that. Zach suggested that the reason behind this “deficiency” (for lack of a better word) is that so many people are considered artists today that it’s almost impossible to determine who is worth telling kids about. I do agree with that explanation, but I’d like to offer an alternative one. Perhaps – and this could be entirely off the mark – it has something to do with censorship.

Renoir's "Mademoiselle Legrand, 1875" is an innocuous painting, both graphically and conceptually, that is most definitely suitable for a younger viewership

I make sweeping statements a lot in these posts of mine, and I guess this one will be no exception. Take this with a grain of salt, okay? So this is my gross generalization: Classic/older art = more subdued, less questionable content. Modern/post-modern art = brow-raising, sometimes downright shocking content. I know it’s not entirely true regarding every individual work (and it might not even be true as a generality), but I think that part of the reason kids don’t know about say, Tracey Emin, but do know about Da Vinci is because of a certain hesitance on behalf of parents and educators to expose children to certain, um, mature elements of art. Maybe not. You can just scratch this whole theory if you want. Now that I’ve worked it out in writing, I’m not sure I agree with it so much either.

But onto my next point – censorship need not imply filtering out potentially corrupting material. As in, determining age-appropriate content in general involves considering conceptually age-appropriate content as much as it does visually age-appropriate content. Ready for my next generalization? Classic/older art = more point-blank and concrete. Modern/post-modern art = more malleable and abstract. On a pedagogical level, it would be ridiculous to expose children to abstract art and expect them to appreciate it without first determining whether or not they are cognitively capable of comprehending it (my post about The Willing Suspension of Disbelief touches on this). That’s why, like most kinds of effective instruction, art education comes in progressional drips. First – Rembrandt/Da Vinci. Next – Monet/Renoir/Degas. Then – Dali/Picasso. A while after that – bring on the big guns. What I mean to say is that there has to build-up to the cerebral crescendo that is conceptual art. It takes time, and it is probably most effectively conveyed to those who have passed adolescence and tweenhood. That’s why third graders don’t go around displaying their knowledge about De Kooning and Duchamp (not that many adults go around doing that either). I think this aspect of “censorship” might play a big part in Zach’s observation. It’s not censorship in the negative sense of the word. It’s merely in the pragmatic sense of the word. It opens up a whole new discussion about the nuances of art education – when to begin, how to begin, what to include, what to leave out, etc. Thankfully, that is not what my post is about, as those are all questions that I don’t think a day’s,week’s, month’s, or year’s worth of deliberation can effectively answer.

This article that I found in the New York Times describes Leironica Hawkins, a woman who lives in a homeless shelter who was recently diagnosed with Asperger’s Syndrome, and her interesting story of how she uses art as a form of escapism and used it as a form of expression. She lived a hard life with social problems, sensory issues, periods of depression, involuntary twitching, and didn’t know what was wrong with her until she was recently diagnosed with Asperger’s Syndrome and placed in a New York City shelter in harsh conditions because she could not support herself. The routine she found most satisfying was to walk around New York from early in the morning until the 10 pm curfew of the shelter and check out art museums and other art venues, the only form of escape from the harsh reality of living in the shelter (another connection between homelessness and the arts!) and the terrible disease that continues to plague her. Her favorite places include the Metropolitan Museum of Art and the New York Public Library on 46th Street between Lexington and Third Avenues.

Recently, she saw that the Library was looking for art to display. Hawkins had a talent for drawing that she discovered early on, and decided to take a crack at getting her artwork displayed. She worked tireless hours in her shower in the shelter drawing and sweating over her piece, but in the end, it all paid off. She made a comic book using characters that all had Asperger’s Syndrome and were based on her experiences of the hardships she went through. The Public Library ended up posting the artwork and it is on display until December 30th.

This article is an excellent example of how art can be used as a form of expression, not just in the artistic sense, but also in expressing life experiences and challenges. Art is also a great way to escape life for a little bit. I must admit that whenever we went to an arts event this year (especially the interesting ones), I tended to forget about the outside world and focus on the art at hand. If you’re looking for a healthy and legal way to escape life for a bit, why not turn to art?