Author: steven wang

I visited Poster house located at 119 W 23rd St, New York, NY 10011 a 14 minute walk from baruch making it very accessible for students who would like to visit. The exhibit has heavy environment/smoking and car/plane themed pieces on display and is created for viewers to walk through and see the chronological development of Art Deco.

Brief History 
Art Deco finds its roots in a captivating blend of influences that shaped a design language with enduring appeal that is an influential style of impressionism that influences everything from fine art to film and fashion. This exhibition guides us through the genesis, zenith, and eventual decline of Art Deco, showcasing its evolution from regional modernism to the first truly international design movement. Before the term “Art Deco” was fully established in the 1960s, the style existed under various names, reflecting regional nuances of Modernism. Influences from the Ballets Russes in Paris and the discovery of Tutankhamun’s tomb in 1922, post World War I, technological advancements jazz age, etc. triggered the emergence of Art Deco, with the 1925 Paris Exhibition solidifying its identity. France, aiming to reclaim its artistic reputation post World War I it set the stage for a new era, establishing space for only the new and modern to be displayed. The Paris Exhibition of 1925 drawing over 16 million visitors, marked the glamorization of industry and postwar reconstruction. This event resonated globally, inspiring subsequent international exhibitions and establishing Art Deco as a truly global design style. The 1930s saw the decline of Art Deco amid the Great Depression and rising global tensions. Fascist regimes notably Mussolni in Italy  criticized it and found it to be degenerate, and its last major showcase was at the 1939 World’s Fair in New York symbolizing a optimism post world war II. 

Larrañaga, 1929 by Jean Carlu

Carlu’s transformation of a cigar into a monocled admiral in the Larrañaga poster is a masterful blend of commercial intent and artistic ingenuity. Originally crafted for the French tobacco monopoly, service d’exploitation industrielle des tabacs (SEIT), the poster showcases how Art Deco seamlessly merged with commerce and advertisement. The use of a monocled admiral conveys a sense of sophistication, appealing to a consumer base that associated smoking with a certain refined lifestyle; it also communicates a sense of authority and strength tapping into the cultural zeitgeist of the times.. It was rejected by SEIT and later presented to the British importer of Larranaga, a prestigious cigar brand. This rejection by SEIT and subsequent adoption by a British importer adds layers to its significance; having crossed cultural boundaries it underscores the international nature and appeal of Art Deco. The global appeal of the Larrañaga poster demonstrates how Art Deco transcended national borders, “In the wake of the paris exhibition, art deco became the first truly international style” (Arnold Schwartzman). In contemporary context, the piece prompts reflections on societal attitudes toward smoking, health implications, and the economic interests tied to the tobacco industry highlighting how marketing strategies can transcend cultural boundaries. In the present day, this resonates with discussions about the promotion of products that may have adverse health effects, and the potential for misleading advertising.

XVe Salon de L’Aviation, 1936 by Dolbeau

Dolbeau’s poster for the Paris Air Show in 1936 is a testament to the evolving aesthetic of Art Deco in the 1930s. The increasing minimalism in the design reflects the era’s embrace of streamlined forms and simplicity. This aligns with Art Deco’s shift from the elaborate ornamentation of the 1920s towards cleaner, more modern aesthetics.  The incorporation of avant-garde elements like Orphism, offshoot of Cubism that focused on pure abstraction and bright colors,  and Futurism highlights the poster’s connection to the prevailing cultural and political sentiments of the time. The focus on promoting national strength and innovation through aviation resonates with the era’s fascination with commitment to technological progress and the anticipation of wartime developments. The merging of art and advertisement in this work aligns with  A.M. Cassandre’s quote “the poster is not a painting but a machine to advertise”. And so Dolbeau’s aviation poster not only reflects the aesthetics of Art Deco but also provides a lens into the societal values and political climate of the 1930s. In a contemporary context, this artwork resonates with discussions surrounding the military-industrial complex. The poster’s emphasis on aviation as a symbol of national strength raises questions about the modern-day implications of the military-industrial complex, with discussions on the technological advancements in military capabilities and pursuit of military strength this dual nature also makes us contemplate the consequences of war when thinking about current day conflicts.

In “Ching Chong Chinaman,” Grace’s character undergoes a significant transformation from a more obedient and conforming individual to someone who becomes more independent under Ed’s patriarchal family structure, as she learns to embracing her own identity and desires discovering more of herself.

Ed, in stark contrast to traditional Chinese values, wholeheartedly embraces American ideals such as the American Dream and consumerism. Shown as he talks about his ideology and manifest destiny, again exemplified by his fondness for golf, meticulous lawn care, and his inability to use chopsticks or order Chinese food. Ed’s dialogue, “Now, now, there’s plenty of money for everyone to buy lots of things they don’t need,” reflects his embodiment of American consumerism and a stark contrast from Chinese values of saving money (China Gross Savings Rate was measured at 45.9% in Dec 2021). His status in the family is evident when he calls himself “the boss” as he leads this family and values are echoed into the rest of the family. 

Grace, early in the play, conforms to the standards set by her husband Ed. She appears obedient and subservient, lacking an individual identity and copies those American ideals. She grapples with her feelings of inadequacy, particularly due to her inability to have children, and tries to please Ed by ordering takeout instead of preparing authentic Chinese food revealing another aspect of inadequacy her cultural inadequacy. Her inability to cook, traditionally seen as a woman’s role, makes her feel out of place along with her other roles that are at risk as her children grow up. She realizes this in a scene where she asks Ed for guidance on the matter and is met with more traditional women roles. This initial portrayal of Grace paints a picture of a woman who is willingly entrapped by patriarchal norms and struggling to find her own voice. Ed’s actions, such as placing notes in the laundry for Grace to see and read, and instructing Grace to wake the kids up, a role designed to keep her occupied and provide a sense of purpose within the household as she fails to do independently.

Another scene that is important to her character arc is when she damages Ed’s golf club and is likely more passionate about golf than her in many ways and symbolizes part of his American identity. He talks about the importance of golf to doing business and rants about it in depth in intricacies of a swing to J, more attention than he ever gave to grace. It was surprising to see her do something so bold and out of character but does show immense growth and signals for change.  

And so as the play unfolds, Grace’s transformation becomes more evident. She begins gradually asserting her own desires and individuality. A pivotal moment is her dance and kiss with J, signifying her newfound independence and a personal discovery of something uniquely hers that she decided to do. This act represents a significant departure from her earlier compliance, highlighting the internal conflict she has been experiencing and her evolving identity that she discovers.

The use of real video mixed with animation is a notable artistic decision that does a great job of drawing viewers into Amin’s world helping to personalize the refugee experience. The use of animation helps him express the story he wants to tell while also making up for any missing footage that only exists in memory while also allowing for a personal and creative artistic exploration to help create the story he wants to tell. Nonetheless, certain aspects, such as the use of a pseudonymous name and the omission of faces in many scenes, may raise doubts about the authenticity and accuracy of Amin’s account. While this may introduce an element of skepticism, it also underscores the anonymity and invisibility that often shroud refugees, reinforcing the overarching theme of identity and displacement. Perhaps Amin is not yet ready to fully present himself to the world, which speaks volumes about a possible ongoing struggle. My initial impressions were that this was a typical refugee story but I came to find out it is much more than that. Amin’s personal story is skillfully intertwined into the film’s investigation of his sexuality. His struggle with his sexual identity initially seems to be unrelated to the experience of being a refugee, but it gradually becomes clear that it is integral to his overall journey

The moment Amin and his brother were captured by Russian authorities was one scene that particularly stuck out to me. This scene effectively illustrates the ongoing danger and vulnerability that refugees experience in their journey revealing Amin’s helplessness and moral predicament as he sees another female who was also apprehended by the Russian police and is presumed to have then been likely sexually assaulted later on in the van. This scene draws on a major subject of the film, the loss of agency and ethical compromises that frequently plague the lives of refugees and forcing them from making choices and taking measured risks to navigate dangerous situations the constant fear and concealment he endures also echo in his journey of self-discovery, underscoring the chronic fear and trauma that he carries as a refugee and as someone who was gay. His story and the story of countless others finding their path towards a new home is not just physical but a spiritual journey. 

Another scene that I wanted to bring up that is both heart wrenching and inspiring to see is when Amin asks a doctor for a “cure” for being gay. It illustrates the significant impact of society conventions and self-imposed expectations, maintaining a pervasive sense of unacceptance, and illuminates the cultural constraints that drove him to repress his true self. Amin eventually accepts his sexuality and enters a gay bar, the anxiety and tension leading up to this moment were intense as he revealed to his family that he was gay, but that moment when he fully accepted himself with the assurance that his family accepted him stands as a testament to his unwavering resilience and triumph over the difficulties he has faced. This narrative arc underscores that even amid adversity, individuals like Amin can draw strength from their authentic selves, knowing that their family will always embrace them.

To maintain focus on this response when examining photography’s ability to reveal and conceal I and going to examine it under the pretense of concealing and revealing as relative deviation from an experience that would be firsthand.

There are philosophical questions to consider regarding this topic. Firstly, is the experience offered by photography a degradation of the real experience or something separate, with intrinsic value as a unique medium, despite its limitations? It serves as a form of documentation, capturing moments in time that undeniably occurred and often offering more accuracy than our own memories. Photography is an art form that mirrors the truth, conceals it, and reveals it to the world, granting immense power.

Secondly, what is truth? Is it your truth, my truth, the objective truth, or the truth an artist wishes to express and frame in a photograph, distorting the image into something new and unveiling what was hidden in plain sight?

There is a duality when examining photography’s power as a medium that can simultaneously unveil and obscure the truths of the world. Overall, it has democratized knowledge, but its mass accessibility has profoundly influenced contemporary culture attitudes engendered a false sense of certainty and serves to conceal.

Our world is analogous to Plato’s cave, an allegory Sontag used to discuss the deceptive appearances of things we encounter in reality. Photography, as Sontag argues, offers us “mere images of the truth” (1), constituting the initial layer of concealment in our experience like mere shadows observed in a cave. Photographs freeze moments in time and space, transforming our relationship with the true experience into a secondhand one through the medium of photography—a deviation from the truth. This secondary experience also desensitizes us to the actual experiences captured, as it cannot fully communicate the depth of those moments, thereby it can numbs and conceals the horrors and tragedies in our history.

Secondly, in a world flooded with easily accessible photographs capturing nearly everything, a dilemma emerges: the human experience is not as limitless as the photographs we collectively accumulate. Consequently, we must become selective with our attention, reshaping our notions of significance and altering the way we engage with the world. This unique relationship leads us to choose, for instance, what is worth photographing at the expense of mundane aspects of life that we cast aside, or rare sights that have become overly accessible, losing their sense of urgency.

Thirdly, the manipulability of photographs can work to conceal the truth. “Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out.” (2) Photos are mere snapshots without context of complex situations which can be highly misleading. It reminds me of an optical illusion where one person’s foot is positioned in a way that, when viewed from a certain angle, creates the illusion of the knife depicting a situation where the truth was the reverse of what is depicted.

“But the concept of cultural heritage is even wider than that, and has gradually grown to include all evidence of human creativity and expression: photographs, documents, books and manuscripts, and instruments, etc. either as individual objects or as collections.” Is very actuate in describing what is heritage and more specially in this case tangible heritage. My family has photographs of me wear traditional garments, religious books, cloths, etc that we have kept shows our heritage and culture and it is passed down and saved physically making it tangible . Another aspect of of culture is the intangibles things within our minds like food recipes its tangible when you eat it but once you eat it is only a memory and these memories and ways of life and mannerism is stored in the mind and the feelings that is created are experienced and cannot be passed down like an object. It is passed down my showing others the experience. Growing I experience holidays like lunar new years, qingming festival, dragon boat festival, etc that is special to my heritage and is a visual memory stored in my mind making it intangible. I can pass it down my showing it to others or orally trying to explain it. At the end of the article it states ” In an era of globalization, cultural heritage helps us to remember our cultural diversity, and its understanding develops mutual respect and renewed dialogue amongst different cultures.” In terms of persevering our heritage and passing it down I think it would be respectful to keep to the traditional so that it is not diluted. But again we can build new heritage on top of it that combines cultures in our age of globalization and this is normal as cultures always developed and got richer as time goes on. My parents were immigrants to this country and that is an unique experience and an example of an globalization that effects my families cultural heritage and my experience of the tangible and intangible. I won’t have the same experience here compared to if I lived in China of the culture and my perceptions of it would be different too, my taste of what is good food for example could be different. I went to temple a lot and that is sort of the cultural enclave that my families is part of but the surroundings culture and American culture (mix of everything) permeates to my experience so its very hard to fully pass down the heritage intangible or tangible. But going back to the quote I do think that the era of globalization does help us remembers our culture diversity. Since the era of globalization fosters a heightened appreciation for our cultural diversity as it exposes us to a rich tapestry of traditions and customs from around the world, prompting us to reflect and recognizing the unique aspects of our own heritage and value it more dearly.