READING:
Mirzoeff, Chapter 6: The Changing World
2 quotes and a 1 paragraph explanation of the main points of the chapter that you will share in class
"Globalization is not a set of developments that just happen, nor is it a uniform process that affects everyone in the same way. Rather, it is a set of uneven and sometimes contradictory practices, products, and ideas that must be understood in terms of their local, regional, and national contexts." Mirzoeff emphasizes that globalization is a complicated process in this quotation. Instead, it is a multilayered, intricate process that is influenced by a variety of variables, including politics, society, and economy. He also emphasizes that not everyone will experience globalization's consequences in the same way because they can differ based on the precise context in which they take place. Therefore, it is crucial to comprehend globalization as a complex and varied phenomenon that cannot be summed up in a single story.
"The emerging global culture is not a homogeneous, all-encompassing culture, but rather a dynamic and multifaceted realm in which diverse cultures come into contact and sometimes conflict with one another."
In this passage, Mirzoeff challenges the notion that globalization produces a single, homogenous global culture. Instead, he contends that as various cultures interact and trade ideas, goods, and practices, the growing global culture is marked by diversity and complexity. Additionally, he understands that this process of cultural interchange might result in conflict because various groups may have competing goals and beliefs. As a result, he emphasizes the significance of comprehending the complexity of cultural interchange in a globalized world as well as the diverse and dynamic nature of global culture.
READ ONLINE (all of these should be available without subscription):
Amy Sherald
on her Breonna Taylor portrait
https://www.vanityfair.com/culture/2020/08/amy-sherald-on-making-breonna-taylors-cover-portrait
2 quotes
"I was thinking about Breonna Taylor, her life mattered, and I felt honored to have the opportunity to paint her portrait... This image reclaims a space of honor, celebration, and representation."
Amy Sherald, the artist who painted Breonna Taylor's portrait, describes her thoughts and objectives in this quotation. She is honored to have the chance to produce a portrait that can serve as a monument to Taylor's memory and acknowledges the importance of Taylor's life and the tragedy of her passing. Taylor and other Black women whose lives have historically been devalued and excluded from traditional art settings are among those whose lives are being celebrated by Sherald, who is also stressing the significance of representation.
"In the absence of justice for Breonna Taylor, I was compelled to participate in this project because I believe that art has the power to transform our hearts and minds, and to impact the world in ways that words alone cannot."
Amy Sherald Effect
https://www.newyorker.com/magazine/2019/09/23/the-amy-sherald-effect
2 quotes
"Sherald was making a declaration: she had arrived, fully formed, and was going to be taking up space on her own terms."
The author of this quote is expressing the influence Amy Sherald had when she burst onto the art world with her distinctive and striking portraits. Sherald was defying the conventions of portraiture and reinventing what it means to depict Blackness in art by painting portraits of African Americans with gray skin tones and plain backgrounds. The author is highlighting the fact that Sherald was asserting her own identity and vision as an artist rather than trying to fit into pre-existing ideas of what an artist should be or do.
"Sherald has become known for creating portraits that suspend black life in a state of possibility and grace."
The author of this quote is outlining the characteristics that contribute to Sherald's art's power and effect. Sherald is able to concentrate on the faces and bodies of her subjects while portraying their personalities and feelings with sensitivity and nuance by adopting a limited color scheme and simple backdrops. The author emphasizes how Sherald's portraits include not only Black bodies but also a feeling of dignity and possibility that matches the real-life experiences of the subjects she paints. Sherald's work is viewed as a way to validate the humanity of her characters while also honoring Black life.
Kehinde Wiley
The Exquisite Dissonance of Kehinde Wiley
(be sure to listen to the 8minute audio interview)
https://www.npr.org/2015/05/22/408558234/the-exquisite-dissonance-of-kehinde-wiley
2 quotes
"I want to project a different kind of imagery into the world. I want to see people who look like me on the walls of museums, on the walls of cafes, and not just in a historical context but also in a contemporary context."
In this quotation, artist Kehinde Wiley explains the inspiration behind his distinctive portrait painting style. Wiley is contesting the historical exclusion of Black people from the canon of Western art by painting current African Americans in the manner of conventional European portraiture. He promotes increased Black visibility and representation in art, both historically and currently, and aims to challenge established hierarchies of power by integrating Black bodies into settings from which they have typically been excluded.
"I am in a conversation with the artists who came before me and the artists who are around me right now. And that conversation is about the way in which we as African Americans are seen in the world, and more importantly, the way in which we are seeing ourselves."
Wiley discusses the greater environment in which his art exists in this quotation. He seeks to contribute to a bigger cultural discourse about Black identity and agency and sees his work as a part of one regarding the representation of Black people in art. Wiley acknowledges the history of Black exclusion from traditional art settings while simultaneously affirming the existence and dignity of Black people in modern culture by posing his subjects in a manner that is reminiscent of historical portraiture.
Black masculinity
https://www.newyorker.com/culture/culture-desk/kehinde-wiley-on-painting-president-obama-michael-jackson-and-the-people-of-ferguson
2 quotes
"What I'm doing is creating alternative narratives of empowerment. It's not about creating a dogmatic representation of power, but it's about creating a new concept of what power looks like, and it is coming from the street."
In this quotation, artist Kehinde Wiley explains how he approaches making art that questions established power structures. In his opinion, portraying African Americans in positions usually reserved for historical European figures fosters the development of a new conception of power that is grounded in Black people's lived experiences. Wiley challenges established power systems and develops a fresh story of empowerment for underserved groups by depicting his people in a way that is typically reserved for white elites.
"I am not interested in the repetition of a world that I know is doomed to failure. And, more important, I am not interested in creating a world that would be doomed to failure for my nephew or for your children."
Wiley uses this quotation to explain why he makes work that questions the status quo. He wants to establish a new society where his nephew and future generations may prosper rather than continuing the same power and representation structures that have historically excluded Black people. Through the development of a new visual language, Wiley's work is thought to contribute to the development of a more just and equitable society by challenging how we view ourselves and our community.
READINGS:
Mirzoeff, How to See the World, Chapter 5
In chapter 5 of "How to See the World," Nicholas Mirzoeff discusses the idea of visual activism and how it might be applied to bring about social change. The use of images and visual media to contest prevailing narratives and develop other viewpoints on social issues is known as visual activism, according to Mirzoeff.
Mirzoeff talks on several instances of visual activism, such as the use of street art, graffiti, and murals to oppose oppressive systems and advance social justice. He also emphasizes how social media and citizen journalism play a part in producing and disseminating photographs that might spark activism and increase awareness of crucial social concerns.
According to Mirzoeff, visual activism is a potent instrument for upending established narratives and constructing new ones. He contends that visual activists can contribute to social change and advance a more just and equitable society by producing images that subvert established narratives and emphasize the experiences of underprivileged populations.
In general, chapter 5 of "How to See the World" offers a perceptive examination of the function of visual activism in advocating social change. Mirzoeff emphasizes how images may subvert established narratives and generate new ones, and she challenges readers to think about how they can utilize visual media to advance social justice and build a more just society.
John Berger, Ch 7
The topic of Chapter 7 of John Berger's book "Ways of Seeing" is how oil paintings influence our perception of both art and the outside environment. According to Berger, oil paintings have dominated Western art and shaped how we view the world because of their historical and cultural relevance.
Berger examines the historical context of oil paintings, noting that wealthy people and institutions frequently commissioned them as a way to demonstrate their rank and authority. He contends that the complex details and use of light and shadow in oil paintings give them a sense of realism that can be utilized to support social hierarchies and class differences.
In addition, Berger addresses how oil paintings are often exhibited in museums and galleries, making the case that their placement against stark white walls and separation from other works of art and cultural relics serves to further the notion that they are high art and deserving of particular consideration.
Despite these criticisms, Berger recognizes the strength and beauty of oil paintings as well as their capacity to express and capture meaning and emotion. He contends that we can better appreciate their beauty and significance if we comprehend the historical and cultural context in which they were produced.
Overall, Chapter 7 of "Ways of Seeing" provides an insightful examination of how oil paintings influence our perception of both art and the outside world. Berger urges readers to explore the cultural and historical conditions that influence our perceptions and poses questions about how we interpret and appreciate art.
WATCH:
Jaune Quick-To-See-Smith
In her studio https://www.youtube.com/watch?v=1BtEJqvhosw
The Minneapolis Institute of Art created the little documentary "Meet Jaune Quick-To-See Smith" for YouTube as a part of their "Artist Stories" series. Jaune Quick-To-See Smith, a Native American artist from the Confederated Salish and Kootenai Nation, is introduced in the video, which also features some of her work and sources of inspiration.
Smith is interviewed in the film, which offers details on her creative process and the issues she examines in her pieces. Smith talks about growing up on a reservation in Montana and how those memories have affected her art. She also discusses the value of using art as a vehicle for social change and communication, particularly in regard to problems that affect Native American communities.
READ: Look through and read the website https://www.wereherejc.info
—----------------------
The website's home page gives visitors an overview of the site's goals and objectives. The site's name and tagline, "A guide to the LGBTQ+ community in Jersey City," are shown on a banner graphic along with a succinct statement about the site's goals. Links to the "Events," "Resources," "Businesses," and "Blog" parts of the website are also included on the home page.
Future LGBTQ+ activities in Jersey City, such as Pride celebrations, community gatherings, and cultural events, are listed in the "Events" section. Information on LGBTQ+ support groups, counseling services, legal resources, and other resources that might be of interest to community members is provided in the "Resources" section.
The "Businesses" section includes a list of Jersey City companies and organizations that welcome LGBTQ+ customers. This section contains details on eateries, bars, stores, and other establishments that are dedicated to fostering an environment that is inviting and inclusive for all clients.
In the "Blog" section, you can find articles and blog posts on a variety of subjects that are pertinent to the LGBTQ+ community. These articles span a wide range of topics, including current affairs, politics, personal narratives, and dating and relationship advice.
Overall, the "We're Here" website is a useful tool for the LGBTQ+ community in Jersey City, including data and tools that can aid members in connecting with one another and locating the help and resources they require to thrive.
“The selfie resonates not because it is new, but because it expresses, develops, expands, and intensifies the long history of the self-portrait.”
- Nicholas Mirzoeff, How To See The World
The selfie is an evolved form of the self-portrait. Cameras and modern editing software have allowed people to get more creative with self-portraiture.
“The selfie depicts the drama of our own daily performance of ourselves in tension with our inner emotions that may or may not be expressed as we wish.”
- Nicholas Mirzoeff, How To See The World
Taking a selfie can capture a moment or feeling we experienced. Sometimes when I look back at my selfies, I can see the emotion on my face. When I look at pictures of myself I can tell when I am truly happy vs. faking it. To others, I may look happy in all of them because I’m smiling but I can remember how I truly felt when I took that photo.
My final project is called "For The Glory of Adoring You" and it is a sort of musical collage/montage of clips from my Senior Recital. The goal with this project was to string together lyrics and musical passages from songs I performed in my senior recital that paint a picture of what music means to me. The lyrics and songs I picked were:
"...and the world opened wide, and the world was inside of me."
- No One Else, Dave Malloy
"If she on earth, no more I see, my life will quickly leave me."
- Black is the color of my true love's hair, John Jacob Niles
The title of the work comes from the title of the last song. In a way, I was very fortunate to have this project the same semester as my senior recital, as music is the language I feel most comfortable expressing myself with. Music is my world, and how I share my soul with the world. It's also how I connect with people around me. I consider it to be the one thing I cannot live without, even with all of the street it causes me. When picking these lines, I wanted to use not just lyrics that fit those feelings, but also songs I love performing (although that was most of the 15 songs I performed in my recital). My relationship with music and performance is something that I have explored a lot throughout this semester through my self-portrait projects, and many of those concepts are brought back in this project. My photo series was about the struggle and process of creating music, and my collage brought the idea of using performance to connect with other people.
This semester, I have also taken a Music History course, and in the latter half of the semester, we covered composers from the 20th century. As technology improved with music, the use of recording and playback is something that some composers included in their work intentionally, as opposed to as just a method of preservation. Composer Edgard Varèse took this to a new level by creating a piece that was fully controlled musical playback with controlled visual playback. This work was called Poème électronique, and while my project doesn't have the same level of detail and abstraction as Varèse's, the idea of fixed musical and visual playback as a wholly new musical composition was something I took from Varèse.
 |
| Rosario and San Bernardo Corals |
 |
| Isla De Rosario |
 |
| "I Am Woman" by Allyson Merchan |
My final self-portrait, "Fear's Pressure", I used photoshop to create this image by using multiple images of media in order to create this story whether it is using pixel manipulation, filters, and many other effects needed to create this story. The idea behind the creation and production of my image was based off recent real-life events that has put me through a world of confusing and sad emotions that I had to bare for a pretty long-time that I am still kind of going through. I thought that a good alternative of dealing with my problems and emotions is to express it through my art and being able to show other people some of the human struggles we may share at one point in our lives. This piece also helps expresses the feelings we may have and the pressure you may feel in some situations.
My final piece "Fear's Pressure" is about being within a problems that entangles you in fear and confusion, fearing that the actions you may take will ruin everything around you including the friendships you retain, your reputation, your ability to be confident in your decisions, the way you and other people see your image and the actions you've taken. These thoughts are some of the thoughts that make you feel frozen in time and stuck in the mud, where it feels like the pressure of the world is on your shoulders, knowing that one of those solutions to all of your problems will cause you to lose something you enjoy and find valuable in your life. The piece mainly deals with the problems of fearing for becoming socially isolated, stranded, and the pressure and stress that is created by these thought out fears.
In the piece I am shown standing near a wall being overtaken by ivy plants. The incontrollable growth of the ivy plants on the wall resembles the never ending problems that occur to keep coming into my life, feeling as if there is no end to these problems to face and entangling me into a pit of stress and fear making me feel scared of what to do. The silhouette of the peoples hands resembles the fear of self image, social isolation, and the fear of poor decision making. I think this part really glues all concepts together because of the way you are already stuck in the wall of ivy, there are these hands that aren't really there, but you feel consuming your mind and thoughts being put into that frozen state of time where you're put at a crossroad of thoughts. The red is my finishing detail, resembling that frozen state in time and how these fears create this filter of fear that just consumes your whole mental state. The red makes the whole image bolder, yet suppresses a lot of those warmer emotions. Though red is a warm color, I do believe that this red filter makes the emotion much more colder and dense that ties in all of these feelings of fear and being scared of the future.
One artist that has inspired me and I have been able to relate my art to was Silda. Silda is a digital painter that expresses these uncomfortable ideas through her work. I think that initial idea of showing others really uncomfortable ideas may seem weird, but I also think it is really important to show others in order to understand some of these concepts of facing your fears or how to avoid them. Her art really inspired me to express a really uncomfortable situation that I have gone through in order to show others that these fears are to be faced and to show that you are not the only one who goes through these situations. I also think that showing people these uncomfortable ideas is to teach them not to put themselves through something like this again and to show how they have learned to rethink their own decisions next time too.
Another artist that I felt that I have been able to relate my work to that we've discussed in class is Carrie Mae Weems's. Upon looking at my art, I've seen that Weems's art and mine really show those times of struggles and one way that we can express our problems and troublesome topics is through the use of art. I think that one thing that one quote that has really brought an impact to my work is Weems's stating, "I think that most work that’s made by Black artists is considered to be about Blackness. Unlike work that’s made by white artists, which is assumed to be universal at its core.” Though her quote talks about races, I think that one things that we both are conveying through our art is the concepts that we portray through our art doesn't just relate to people who are going through a rough time or people of a certain color, these pieces can relate to anyone and everybody has their own little issues where they may have felt like this.
Another quote that I have found that has helped me create my piece was, “Being able to exist in your own body and understand that you do not need to be defined by an experience—arrest and incarceration—allows you to move forward with a little more sense of joy,” said by Shaun Leonardo. Leonardo's quote helped me create this piece to show that I won't let the bad experiences that I go through overwhelm me and get the best of me. I take these experiences and learn from them and move forward. This experience that I went through has helped me create a piece of art, but it also helped me create and show others an important concept and lesson.
 |
| LockScreen |
Linocut was a very smart part of Picassos art work but the work he has done was amazing. I like how abstract his paintings were other artist I found did scenery on their prints. To start off drawing myself took me about 30 minutes and transferring the image to the block took about 10, what took the longest was carving out all the lines and details. It's only so time consuming because you have to make sure the lines are deep enough so that when you transfer it onto a canvas or paper it still has detail. While doing this I tried multiple times on different days but I just was not able to get the ink to transfer fully onto a canvas or paper clearly. So instead I decided to paint the in between the carvings to make it stick out more on the linoleum block.
This is my favorite self portrait I've done because of the drawings and the carving. Ive never been good at drawing faces and making them look like the actual person but mine did.