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For my Post Modern exhibit this week, I decided to focus on the “Lowbrow” style of art that emerged during this period–otherwise known as “Pop Surrealism.”  This type of art is characterized by its qualities that made it a significant rebellion against what has always been considered “Fine Art” up to that point in history.  These works were (and are) often fueled by a form of passionate anarchy and presented a new idea of what art should be–which was completely born from the twisted perceptions of these artists.

Mark Ryden– born January 20, 1963– was a pop artist that created pieces of art that were inspired by objects that evoke mystery.  Among his many paintings, he also contributed to the music world by using his talents to create album art for many artists including Aerosmith, Red Hot Chili Peppers, and Michael Jackson.  Pictured above would be “Album Cover Art for Michael Jackson’s Dangerous” created in November 1991.  This is an incredibly busy piece that is simply loaded with many symbols from Michael Jackson’s life.  I really enjoy this piece because of its many intricate layers.  Every time that I look at this piece, I see something new and it gain more–and deeper–meaning.

The next piece I chose for the exhibit would be from Filipino pop-artist Manuel Ocampo–born 1965.  The piece is entitled “Why I Hate Europeans” and it was created in 1992.  Ocampo is famous for his dark, Gothic style of painting in order to tell a beautiful story–and make powerful expressions.  This piece is rather bizarre to me in its grotesqueness, yet I still can’t help but be compelled by it.  This piece, coincidentally enough, was also used as album cover art for the band Skinny Puppy’s 2007 album “Mythmaker.”

Another interesting artist that contributed to the pop-surrealist movement would be Lisa Yuskavage.  A highly educated artists from Philadelphia, Yuskavage uses rich vibrant and earthy colors to portray avant-garde perceptions of reality as in the above pictured piece, “Scarecrow” (2012).  Many of Yuskavage’s works contain nudity and bizarrely proportioned views of the male and female form (larger and smaller than average genitalia, for example).  In doing so, I feel that she speaks volumes as to how much these body parts mean to her individual subjects.  What truly drew me to her artwork, however, was her captivating use of color, and her uniquely cartoon-y view of her subjects.

Takashi Murakami is another artist that brought Pop-Surrealism to the mainstream with his current art exhibits the world over.  The The Japanese artist (born February 1962) has proven himself to be among the most prolific artist of our time, according to Juxtapoz Magazine.  In this piece, entitled “Open Your Hands, Embrace Happiness!” (2010), the viewer cannot help but feel the happiness that the artist conveys.  Within the greater exhibit, it is actually portrayed ironically–however, I really enjoy this piece for the effective way that it makes me feel as a viewer.  The artist has a particular way he wants me to feel, and I certainly feel that way–in this case, happiness.

Inka Essenhigh is another very highly educated artist born in 1969 from Pennsylvania.  She currently works in New York and produces very dramatic paintings.  Inka Essenhigh’s piece entitled “Green Wave” (2002), is yet another powerful piece that conveys both violence and heaviness.  This piece of pop-surrealism is captivating to me through the artist’s use of the beautiful teal-green color.  I also really enjoy the way that the artist creates almost “tentacles” from the wave to keep the subject “tied” down to the water’s surface.  This gives the sea in the painting a subtle quagmire-like quality.

 

Nicola Verlato is an Italian-American artist hailing from the Los Angeles, CA area.  He currently produces works that are very similar to those that were found in the Italian Renaissance.  Oftentimes, Verlato’s works will have religious undertones or fantastic, science-fiction qualities.  What I like most about many of his paintings is the fact that they capture such movement.  Some of his works–as in the above pictured “David” (September 2013)– capture car accidents in the middle of the incident.  The subjects of these paintings are in awkward positions, with limbs akimbo, and flying through the air–but suspended in time and space at the same time.  I adore these pieces because they capture such drama, fear, and action.

Works Cited:

Susanta. “MEANING OF THE MICHAEL JACKSON’S DANGEROUS ALBUM COVER- Bogus Blogging.” SUSANTA. N.p., 08 Nov. 2009. Web. 16 Nov. 2015. <http://susanta.com/meaning-of-the-michael-jacksons-dangerous-album/&gt;.

“A Fistful of Soundtracks: The Blog: Filipino American History Month Painting of the Day: “Why I Hate Europeans” by Manuel Ocampo.” A Fistful of Soundtracks: The Blog: Filipino American History Month Painting of the Day: “Why I Hate Europeans” by Manuel Ocampo. N.p., n.d. Web. 16 Nov. 2015. <http://afistfulofsoundtracks.blogspot.com/2011/10/filipino-american-history-month_10.html&gt;.

“Bio.” Lisa Yuskavage. N.p., n.d. Web. 16 Nov. 2015. <http://yuskavage.com/bio/?m=bio_link&gt;.

“Open Your Hands Wide, Embrace Happiness by Takashi Murakami | Paddle8.” Paddle8: Open Your Hands Wide, Embrace Happiness. N.p., n.d. Web. 16 Nov. 2015. <https://paddle8.com/work/takashi-murakami/37776-open-your-hands-wide-embrace-happiness&gt;.

“Inka Essenhigh.” 303 Gallery –. N.p., n.d. Web. 16 Nov. 2015. <http://www.303gallery.com/exhibition/index.php?iid=10640&exhid=61&p=img&gt;.

Seed, John. “Nicola Verlato: “Pagan Pop” at Merry Karnowsky Gallery.” The Huffington Post. TheHuffingtonPost.com, n.d. Web. 16 Nov. 2015. <http://www.huffingtonpost.com/john-seed/nicola-verlato_b_3944662.html&gt;.

The Great Depression spurred a similarly great movement in the Art World.  Photographers, artists, musicians, and actors all portrayed their struggles and added to the social commentary of the time through their respective mediums.  Several such works were created through the struggles that were inherent during the Great Depression.  Several great artists documented the pain, anguish, and sheer hopelessness through works of visual art, music, theater, and creative writing works.  I have chosen to analyze three works that were created at this time.  These include “Mission House, Skid Row, Seattle, Wash. 1930” by Ronald Ginther; “Union Square” by Reginald Marsh; and the song “Brother, Can You Spare a Dime?” by composer Jay Gorney and lyricist E.Y. “Yip” Harburg.

The first piece in the exhibit would be “Mission House, Skid Row, Seattle Wash. 1930” by Ronald Ginther.  This work captures many of the emotional qualities of the Great Depression.  Every subject appears to be a caricature of a style of the effects of the Depression.  The man in the foreground obviously is packing a type of bed-roll, indicating his state of homelessness.  The majority of the faces in the painting appear worried, anxious, and perhaps even angry.  The man leaning against the wall appears completely despondent and broken, while the man at the foot of the stage is kneeling in what could symbolically be a state of prayer.  The only joy in the watercolor would be coming from the women on stage–who I am sure are only trying to make the best of a desperate situation.  Although the subjects are rather “cartoon-y” in nature, I can still really feel the emotion conveyed by the situation–and I feel that I understand the Great Depression that much deeper.

The next work in the exhibit would be Reginald Marsh’s “Union Square.”  This piece was created in New York City in what was referred to as the “14th Street School” which refers to the art created at and around 14th Street and Union Square in New York City at the time.  Just as in the Ginther watercolor, the anguish is again felt in this work as well.  I believe that the juxtaposition between the statue symbolizing liberty and the destitute people gathered below is both ironic and powerful.  It is also incredibly effective in the emotional description of the era, and the struggles of those who were in the grips of the Great Depression.  The unemployment and weak dollar wreaked havoc upon the American people in a country that promised so much more.  I really appreciate the message that Marsh conveys through this  passionate work.

https://www.youtube.com/watch?v=eih67rlGNhU

The final piece that I would like to analyze within this exhibit would be the song “Brother, Can You Spare a Dime?” by composer Jay Gorney and Lyricist E.Y. “Yip” Harburg.  This song is an incredibly moving testament to the struggles of the time, just as the other art is as well.  The song begins in a major, almost happy and hopeful, feel and then all at once loses its whimsy on the word “time”–switching then to a minor chord where it remains for the remainder of the song.  Rob Kapilow of NPR states of the sudden key change “Now it has lost all its energy; it’s wistful. Now it’s done — the good days in America, pre-Depression.”  The lyrics of the song are from the perspective of a man who is lamenting the woes of the Great Depression and sings of his troubles quite clearly.  The lyrics and music team together very well in this piece and creates for the listener an evocative ride that is both palpable and emotionally moving.

The art of the Great Depression expressed much of the painful struggles of the people that were most affected–people that were hopeless and feeling cheated as the country that had once promised them hope has failed to deliver.  The art projects these feelings quite vividly, and ultimately has withstood the course of time as some of the most affecting art in American History.

Kapilow, Rob. “A Depression-Era Anthem for Our Times.” http://www.npr.org/2008/11/15/96654742/a-depression-era-anthem-for-our-times. NPR, 15 Nov. 2008. Web. 4 Nov. 2015.

“Brother, Can You Spare A Dime?” YouTube. YouTube, n.d. Web. 06 Nov. 2015.

“MoMA.” Reginald Marsh. Union Square from the Portfolio The American Scene, Series 1. (1933, Published 1935). N.p., n.d. Web. 06 Nov. 2015. <http://www.moma.org/collection/works/72586?locale=en&gt;.

“A Depression Art Gallery.” A Depression Art Gallery. N.p., n.d. Web. 06 Nov. 2015. <http://www.english.illinois.edu/maps/depression/artgallery.htm&gt;.

Web. 06 Nov. 2015. <http://depts.washington.edu/depress/culture_arts.shtml&gt;.

It was in the Romantic Era that some of my own personal favorite pieces were written.  A great diversity of classical pieces were created during this time, and each have different facets that a listener can enjoy.  From the great elaborate and complex pieces with many instruments involved, to the small chamber pieces–there are many, many pieces from which a listener could choose as their own favorite.

As a string musician myself, I suppose that I would prefer the smaller, more intimate compositions of this era.  With the smaller group of musicians, I believe that there is more room for evocative expression from individual musicians.  While a fully formed symphony can provide much power, a smaller string orchestra can pull heart-strings and finesse its way into the emotions of its audience.  Felix Mendelssohn wrote a large series of such pieces with his “String Sinfonia”– primarily, the piece that comes to mind for me would be Mendelssohn’s “String Sinfonia no. 7” as seen through the link below:

https://www.youtube.com/watch?v=pm3PXRKhiRk

With this piece–all of the movements– Mendelssohn uses mind-blowing dynamics to convey passion, angst, sweetness, and other emotions to his audience.  The first movement, the Allegro, contrasts a very edgy and biting melodic line with a sweet responding line.  Each of the next movements become successively brighter and brighter until the final movement, the Allegro Molto, is a joyful celebration.  I am currently playing this piece with a local string orchestra, and it is as beautiful as it is powerful and passionate.

Another aspect of the smaller ensemble that deserves merit over the large full orchestra, would be the ability to showcase a virtuosic solo performance.  Two virtuoso composers come to mind when considering the small ensemble: Nicolo Paganini and Franz Liszt.

Paganini was an incredible violin soloist and composer, and was essentially a rock star of the time.  He certainly showed off his musical prowess though the caprices he wrote for his own violin performances.  These pieces are incredibly difficult and are reserved for standard repertoire of the highly skilled stringed instrument players today.  Below is a link to a video of a musician playing his “Caprice no. 24.”

https://www.youtube.com/watch?v=gpnIrE7_1YA

Franz Liszt was a Hungarian pianist and composer who wrote many pieces reminiscent of his home of Hungary.  One of his most famous works would be “Hungarian Rhapsody no. 2.”  The complexity of this piece is outrageous and sounds as though there are six hands playing the piano, rather than just the two.  The piece starts slow, and mournful but moves quickly into the more mysterious section entitled “Friska” where the timbre of the piece changes from dark and cloudy, to a light and sparkly sound, although still in a minor key.  The piece then transitions into its strong, carnival-like theme that is in a major key and is much more familiar to modern audiences.  Below is a video of a pianist playing Liszt’s famous “Hungarian Rhapsody no. 2.”

https://www.youtube.com/watch?v=LdH1hSWGFGU

Overall, I believe that it is with the smaller ensemble that the true essence of the music of the Romantic Era can be felt and understood by the listening audience.  Being a player in both small and large ensembles, my personal preference has always been with the smaller ensemble because it affords the individual musician a chance to shine and emote their own interpretation of the music either as a soloist or as a member of a small ensemble, such as a string orchestra.

Works Cited:

“Mendelssohn: Sinfonia No. 7 in D Minor. Tel-Aviv Soloists/Barak Tal.” YouTube. YouTube, n.d. Web. 26 Oct. 2015. <https://www.youtube.com/watch?v=pm3PXRKhiRk&gt;.

“Hilary Hahn – Paganini – Caprice 24.” YouTube. YouTube, n.d. Web. 26 Oct. 2015. <https://www.youtube.com/watch?v=gpnIrE7_1YA&gt;.

“Valentina Lisitsa Plays Liszt’s Hungarian Rhapsody No. 2.” YouTube. YouTube, n.d. Web. 26 Oct. 2015. <https://www.youtube.com/watch?v=LdH1hSWGFGU&gt;.

I decided to write about how art influenced–and was influenced by–the French Revolution in the 1700’s.  The French Revolution gave way for many powerfully evocative pieces, three of which I explore here.  The first piece that I would like to explore would be Jacques-Louis David’s “Death of Socrates.”  David painted this piece in 1787 shortly before the storming of the Bastille, and its strong political undertones combined with the hostile political climate of the time and place created strong moral depictions that David himself likely did not intend. (http://www.oxfordartonline.com/subscriber/article/grove/art/T021541).  I personally enjoy the anguish that is captured among Socrates’ students as well as the peace that Socrates himself seems to convey.  The piece almost has a Passion of the Christ feel, but the sorrow reflects the death of reason and logic in the tumultuous time.

The next piece that I would like to explore would be Eugene Delacroix’s “Liberty Leading the People” as depicted below:

This piece is an intense one that is meant to stir the emotions and ideals of the lower classes that were to rebel against the Bourgeois aristocracy that smothered them.  Essentially it can be viewed as a propaganda piece, but it is as beautiful as it is effective in its message.  The piece utilizes the personification of Liberty as a strong woman who is leading France to a victory in its rebellion, and hopefully to a glorious new future for the downtrodden.

The third piece of art that I would like to discuss with regards to the French Revolution would actually be a piece of music.  “Le Marseillaise” was written in strong patriotic response to the French Revolution and is actually the French national anthem still today.  The anthem was written in 1792 by Claude Joseph Rouget and is a boisterous and rousing tune that no doubt was the battle cry of the People during the Revolution.  The lyrics in English are essentially a call to action to the people and they paint a picture of the common thread of oppression that was felt among them due to the politics of the day–also it declares boldly that it is the People’s duty and responsibility to make changes for the good. Below is a link to be able to listen to “La Marseillaise.”

marseillaise.wav

Sources:

“The Music of the French Revolution.” The Music of the French Revolution. N.p., n.d. Web. 15 Oct. 2015. <http://soundjunction.org/themusicofthefrenchrevolution.aspa&gt;.

“Oxford Art Online.” Jacques-Louis David. Grove Art Online, n.d. Web. 17 Oct. 2015. <http://www.oxfordartonline.com/subscriber/article/grove/art/T021541&gt;.

The work, or rather the plural works, that I have chosen to analyze would be the Six Suites for Unaccompanied Cello Solo  by Johann Sebastian Bach.  This is a collection of six suites, as the title describes, and each suite is made up of smaller movements.  What is so special about the structure of Bach’s Cello Suites is that each of these smaller movements are representative of a different European culture and style of music.  Each suite begins with a prelude, and is followed by an Allemande— representing a German dance, a Sarabande— representing a Spanish influence; a Courante–hailing from France; the Menuets–of Italy; and the Gigues— representing the British Isles.  Georg Mertens, a scholar of the pieces states “For us today – as players – it means: Each dance has to sound different, has a different shade and colour; they are not just Baroque movements of the same composer in the same key. That would be boring.  With each new dance we are introduced – or have to introduce the listener – into a different culture, language and history, expressed in music after a characteristic dance.”
Given the time period that these pieces were written, it is likely that the worldly structure in which Bach uses is directly influenced by the scientific advances of the time.  In a sense, tourism-type travel was becoming more of a reality due to these advances.  Other cultures and backgrounds became more popular and accessible in this period and it is reflected in the popular music of the day.  I believe that this is one of the greater influences for Bach in writing these pieces.

My favorite suite in the collection would be Suite 2–which is in D minor, a relatively somber and sweet key.  It is said that the inspiration of the piece was the grief that Bach experienced at his wife’s passing.  I believe that the most powerful of all art comes from working through these powerful emotions.  No doubt that Bach found comfort in expressing himself this way, and from that pain comes an incredibly moving and evocative suite.  I enjoy playing it as much as I do hearing it played.  I particularly feel the powerful and palpable waves of sorrow that are evident in the undulating arpeggios in the Prelude of the suite.  In writing these parts for solo unaccompanied cello, Bach no doubt had his struggles–but it is clear that he worked through these challenges to reach a true catharsis.  Stephen Soderberg writes, “Bach was a composer. And what this means (to any serious artist, not just Bach) is that there is an ever-present need – even (or especially) in the midst of grief – to find and overcome technical and aesthetic challenges.”

I am ever thankful that Bach worked through these struggles, both internal and external, to write this standard cello repertoire.  Repertoire that is well thought out and takes his audiences on a journey through Europe without leaving their seats.

Sources:

Mertens, Georg. “The Bach Cello Suites.” The Bach Cello Suites. N.p., 21 Mar. 2012. Web. 05 Oct. 2015. <http://www.georgcello.com/bachcellosuites.htm#harm&gt;.

Soderberg, Stephen. “The Bach Cello Suites.” The Bach Cello Suites. Academia, 15 May 2013. Web. 05 Oct. 2015. <http://www.academia.edu/900243/The_Bach_Cello_Suites&gt;.

In order to further explore the Italian Renaissance Period, I have chosen to analyze one of my favorite sculptures of the period: Michelangelo’s “La Pieta” of Rome. Michelangelo sculpted this famous work in 1499 when he was just 24 years old. The sculpture portrays a seated Virgin Mary supporting Jesus in her lap shortly after he was removed from the cross. It is a very powerful Catholic image, and is one of the many facets of the reinvention of Rome by the Catholic Church—among many other famous frescoes and sculptures that began to redefine Rome. Michelangelo begins with an extremely high quality of marble and uses his skill and incredible attention to detail to create an evocative response within the viewer of “La Pieta.” This attention to detail can be seen in the life-like folds in Mary’s robes as they flow easily from her lap. Such realism almost gives a sense to the viewer that Mary just may get up and walk. These details in the clothing are juxtaposed with the softness and simplicity of the faces of the characters. Impeccable and gentle, these faces help convey a strong sense of both sorrow and peace in the viewers—no doubt was the intention of both Michelangelo and the Church from which he was commissioned.

Hello All;

My name is Jesse and I am excited to take this class with you!  I am a life-long Alaskan from the Interior and have a great love of the Alaskan outdoors.  I just graduated in the Spring with my Associates Degree in Business, with concentrations in Tourism and Outdoor Guiding.  Currently I am in a management position at a locally owned family of hotels and enjoying every minute of it.  I am taking this course as a requirement of my Bachelor’s degree program–working slowly to obtain my degree in Communications in order to enhance my career further.

Meanwhile, I am no stranger to the arts.  Fairbanks always has been–and hopefully will continue to be–a haven for artists and free-thinkers of all types.  I am a string musician and I have been playing violin, cello, and guitar since I was very young…just about twenty years now!  I have taken part of several musical opportunities that have been offered in the community including Fairbanks Youth Orchestras, local bands, and other community string orchestras.  As an audience member, I love art in all of its many forms.  I love the way that the artistic/musical mind works!  I suppose that most of all, I love the process of creating art–the idea of creating something from (nearly) nothing.  This is truly fascinating to watch, whether the medium be clothing, painting, composition, or culinary.  Creativity is a powerful tool.

And here’s a link of a video that a musician friend turned me onto:  this is a cello solo (with piano accompaniment) of “Spiegel im Spiegel” by Arvo Paert–a very minimalist composer that makes a very powerful and emotionally intense musical statement, despite his simplicity–or maybe because of its simplicity. Anyhow, I hope you all enjoy!