As HAMS sifts through the museum’s collection with the hope of pinpointing a theme for our Spring show, I can’t help but take particular interest in Lotte Jacobi’s work. Our investigation through the Johnson’s selection has led us to think about “celebrity” as a large umbrella topic – artists being photographed by other artists, the circumstances that make a photo famous, controversy through photography, famous places or time periods – which leads me to Jacobi’s work because of its celebrity-oriented nature. As a passionate photographer Jacobi’s range of images includes portraits of prominent figures, providing an intriguing perspective on well-known names whose faces we might not usually recognize. The list of celebrities that she had the opportunity to shoot is long, but the ones we have here at Cornell to choose from include Albert Einstein, Robert Frost, Käthe Kollwitz and Max Liebermann. Although Einstein’s face is obviously instantly recognizable, she shot him in places and situations that we don’t usually see him in – standing in his living room with his wife, for instance. The other three, Frost, Kollwitz and Liebermann, are equally as interesting. Before seeing these photographs the majority of viewers probably will not have known what these influential people actually looked like. We might know a name, or an iconic image, or a piece of produced work; but the idea that we have the notion of “celebrity” regarding certain people without knowing who they are, is a vastly intriguing one.
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The day is almost here. All of our hard work will soon pay off at our opening this Friday, April 17, from 6-9 PM. We’ve been working on this project for months. Here are some pictures of the work and time we have put in! Thanks to everyone in HAMS for being so committed to our final goal! We hope to see everyone at the opening!
By Ekaterina Savelieva
A few weeks ago, I visited MoMA PS1 and was particularly captivated by the Anne Imhof exhibit DEAL and its various obvious and subtle relations to our theme of revolt. By addressing the question “What constitutes a deal?” Imhof delves into issues of human interaction and the power structures, codes, and rules that govern it.
DEAL consists of two parts: a durational performance and a gallery exhibition. In the former, nine performers enacted movements that traced formal, informal, legal, and illegal deals. This performance spanned two days and occurred simultaneously in two locations. The gallery installation contains etched aluminum panels that mirror the horizontal motion of the performers. In the center of the room is a concrete basin with a tongue emerging from a vat of buttermilk, which served as currency during the performance. The exhibit also has three fluffy bunnies, hopping around the gallery. This was the most peculiar aspect of DEAL, as well as the part that captivated a majority of visitors.
While many media are no longer seen as a revolt when exhibited in galleries or museums, I think that live animals are still a rebellion against the conventions of the exhibition space. Furthermore, the bunnies create an internal revolt for visitors, as they are so tempted to touch and photograph them, but are reprimanded by guards when they do. Viewers then become part of the exhibition as they engage in deals with themselves and with the guards, and through their choices exhibit the rules behind human interaction.
Imhof’s DEAL also revolts against the conventions of exhibiting performance-based work. Her exhibition does not serve as documentation of the performance; rather, all parts of the show contribute to a work that is constantly developing, with no hierarchy of importance. Every component of DEAL, from the performance to the bunnies, develops an investigation into human interaction and the invisible structures that govern it.
You can read more about DEAL and Imhof’s own words on the performance here: http://momaps1.org/calendar/view/528/
By Oscar Rieveling
Art Young was a recognized artist best known for his political cartoons which could be found in many early 20th century socialist publications. However, he did not always identify with left-wing ideals, originally considering himself a Republican with little political involvement. Through his association with individuals such as Piet Vlag and John Sloan, he would begin to embrace the radical ideas burgeoning in Greenwich Village during this time and advocate for issues such as labor issues, women’s rights, and sexual equality.
Born in Stephenson County on January 14, 1886, Art Young was a recognized artist best known for his political cartoons which could be found in many early 20th century socialist publications.Young continued to work until his death in the year 1943 at the Hotel Irving in New York City. His artistic training was extensive, attending the Chicago Academy of Design, Art Students League of New York, and the Académie Julian in Paris before participating in the creation of the socialist magazine The Masses. It was in this publication that the first version of Reward, Jesus Christ appeared as the cover for a special holiday edition. Still, the work that will be on display at the Johnson Museum will be a later example that appears to have been made by the artist independently from the magazine, indicated by the alternate color and text utilized.
Young offers a startling representation of Jesus Christ’s historical personage in the sense that it is not an idealized or devotional image. Instead, the poster emphasizes Christ’s revolutionary and agitative role that openly challenged the government of his time. The work also expands upon the fraught relationship between religion and politics, while underscoring the human nature of this iconic figure.
By Daniela Pimentel
MoMA PS1 has on display what could easily be called the most revolt-centric exhibition of the year. Zero Tolerance is a show focused on the documentation, interpretation, mechanics, and aesthetics of protest. From static pieces like Joseph Beuys’ Democracy is Merry print of the 70s here in the US to video footage of Pussy Riot’s “Punk Prayer” of 2013 on loop, the exhibition spans a wide geography and a variety of issues under the engaging and enraging umbrella of revolution. A room of 20 screens by the artist Artur Zmijewski depicts various assemblies, formal political and religious statements by different leaders, and general protest from Palestine to Poland. Though headphones are hung for separate monitors, there exists a cacophony of resistance and revolt audible even when listening to an individual channel. The best piece (and one of the most critically acclaimed) is East Side Story (2006-2008) by Igor Gubric. Two projected channels come together in a corner of an empty gallery. On the left, gay-pride parades in Serbia and Croatia reveal a ferocious backlash of anti-gay and neo-Nazi groups attacking parade participants both verbally and physically in television footage so vicious that it’s hard to tear your eyes away. The documentation is paired with four dance performances in the same locations as the parades by dancers responding to the first channel footage. A stunning pairing of the documentary and the interpretive, Zero Tolerance is up at PS1 through April 13.
By Alanna Klein
“Art”: a single word that can be construed in hundreds of different ways. Of course, most people consider art to be anything located within the walls of a museum or gallery – a painting, a sculpture, an artistic film. As an art history major, I typically search for art in these traditional museums, galleries, exhibitions etc. – places that are recognized for their reputable and prestigious art. I spend hours in museums aimlessly wandering the halls of a multi-acre museum, if visiting a new city I will ensure I see every esteemed gallery, and throughout my studies, I search through textbooks and preserved prints to analyze work.
However, my appreciation for art evolved this past winter break when I traveled to India. Embracing my prior predilection of museums, I scoured books and websites for the best museums in Jaipur and Udaipur. However, I was left nearly empty handed and was instead urged to wander the streets, temples, palaces, markets, work factories, and parks. Of course I was disappointed, as for me, art is a lens into a culture’s history. I can learn more from viewing a painting than reading a textbook – art exposes habits, societal norms, family traditions, activities, events, clothing, food, etc., facets that create the essence of any culture. However, I adhered to my guide’s words and followed his recommendations, and, what I found was far more powerful than anything I could find behind the pristine walls of a famous museum or popular gallery. I was immersed in a sea of vibrant colors, potent smells, endless smiles, captivating people, and unique activities. I felt as if I was living in a painting instead of studying one. I was present and I could feel the culture and passion of the people surrounding me. From this experience, I have changed what the word “art” means to me.
I realize now that art is anything that can touch someone. Art instills a feeling inside the viewer. Art transports the viewer to a time or place or emotion. Art creates a memory. For me, I am fortunate in that I now know that I can find art in any corner of any city, park, or room, and that all it takes to garner an internal feeling is for to open our eyes and our senses and be present in the world in which we live, for art and beauty surrounds us at every moment.
By Virginia Girard
HAMS is excited to announce Yuken Teruya will be speaking at the Johnson on April 30th. Born in 1973 in Okinawa, Teruya’s work speaks to his life experiences and the history of his homeland. His ability to create exquisite pieces of art from ordinary objects and materials reflects his appreciation for subtle beauty. The incredibly diversity of Teruya’s projects reflect his ability to constantly innovate and propel his vision forward, while maintaining a core set of values that runs through every series. A prominent theme in his work is the juxtaposition of contemporary consumer culture alongside traditional craft techniques. Notice—Breakfast Street is an example of the works Teruya is best known for, as the intricate tree shapes cut into disposable paper bags addressed the beauty of the resources we tend to take for granted. The series Notice—Forest encouraged viewers to see unique natural beauty in mass produced objects.
Many of Teruya’s more recent projects address Okinawa’s past and present more overtly, including a current exhibition in Berlin, “2014-2015 on Okinawa.” The show combines Teruya’s current works with artifacts from WWII and objects from Okinawa. The narrative is intended to link Okinawa’s history with a tangible present, and the works are displayed as suspended, or floating in their cases to further engage the viewer.
The beauty in Teruya’s projects lies in their combination of aesthetic charm and accessibility. Regardless of background, any viewer may identify with the strength one finds in reaching into the past and maintaining tradition. One of Teruya’s current video installations, “Features,” is part of the touring group exhibition “Go Betweens: The World Seen through Children.” Two separate video projections combined with sounds speak to a current crisis in Okinawa between the development of American military facilities and villagers’ attempts to protect a forest home to an immense biodiversity. True to Teruya’s work, the artist does not shy away from contemporary issues with a complicated past.