Memory Magazine 2023 Issue: Get Obsessed!

Memory Magazine Issue: Get obsessed!

Dec 2023 Issue: Get Obsessed!

What does it mean to be deeply curious about an art or design artifact? How can this curiosity lead to new questions, new understandings, and become inspiration for new works?

In this issue of Memory Magazine, we’re getting obsessed with a wide range of artifacts, objects and provocations. From ancient mythologies to designed phenomena to cultural mashups, we look to these artifacts of inspiration as generators of cultural ideas, and offer a collection of new voices and visions. Arranged in a rough chronology, each author offers new insights, compelling questions and has created a new work of their own in response. Let’s get obsessed!

– Jess Irish & Pamela Roskin Parsons First Year, Integrative Studio / Seminar Essays & Works by: Aanyka Kapoor Dia Parikh Rylee Sada-Ghiani Katharine Whitman Mandy Xiang Ava Fox Esther Deng Nicole Li Eric Huang Hobbs Lillygreen Jessica Saadia Isabella Sanchez-Lopez Lucas Mihnea Taylor Bauer Adeline Beador Aria Pleczko Jean Kim Tessa Fonstad

AANYKA KP AOOR

HANDS BEHIND THE GODDESS

Goddess Durga slaying the demon Mahisha- 12th century

WHAT DOES THE HANDS OF GODDESS DURGA REPRESENT?

Goddess Durga the most powerful god/goddess in Indian mythology has eight “helping” hands that are all from gods who reincarnated her to fight off the evil devil Mahishra.

Each hand holds a special object/meaning that helped her in battle. Her helping hands hold, chakra, conch, bow, arrow, sword, javelin, trishula (trident), shield, and a noose.

Each hand also has its own symbolism. Going in order from top right hand to bottom left hand, the objects hold symbolisms like, righteousness, discrimination, loyalty/love, forgiveness/blessing/, happiness, courage, character, detachment, and finally, passion.

Each one of these objects are from another mythological Indian god. Furthermore, Goddess Durga is worshiped in many different ways.

Navarti is an Indian holiday that most Hindus celebrate which lasts for nine days. This holiday is to celebrate Goddess Durga's win against Mahishra or the overall concept of good over evil. Each day celebrates a different god that was reincarnated as Durga. In the modern world people celebrate Navarti by dancing for nine nights and enjoying yummy foods. India’s most popular holiday, Diwali, is then celebrated to highlight good over evil, light over darkness. The light symbolizes Goddess Durga and the dark symbolizes Mahishra. In almost all Hindu holidays people pray to the gods and goddesses that fought in these ancient mythological stories. Almost all of the stories have an end takeaway, a moral. The most common moral of this story is “empowerment through knowledge”. Goddess Durga used her wisdom to overcome her fear and battle the demon who was supposed to be immortal. She was able to use her resources like her eight hands to fight Mahishra.

My drawing shows one of Goddess Durga’s “helping hands''. I chose to do one of her hands because it is what she is well known for. While I think all of her hands hold special meaning and knowledge, I decided to do her hand that symbolizes forgiveness and blessing. It is important to know the meaning behind her hands. I decided to do this hand especially because I resonate with it completely. Most Hindus commonly pray for her forgiveness, which can help one forgive themselves and others for mistakes that have been caused. I agree with the meaning behind the hand because we all make mistakes and whether that's big or small, we all deserve a second chance to make these situations better.

Dia Parikh

Nataraja : Unveiling the Cosmic Dance of Lord Shiva

Late 12th- early 13th centaury

How does this version of Shiva resonate with the other incarnations of himself and in this incarnation, how does he solve a problem?

In the vast history of Indian Mythology, the multifaceted Shiva dons many roles, each incarnation carrying certain symbolism and significance. Among his multiple incarnations, the one that stands out the most is Shiva as Nataraja, The Lord of Dance. Lord Shiva in other contexts in most commonly known to be Lord Ganesh’s father, the creator and destroyer of the world and is one of the only gods that has a family.

The name “Shiva” itself holds profound significance. In Sanskrit the word “Shiva” means auspicious, benevolent and gracious. He is often referred to as “The Auspicious One” or “The benevolent One”. The name encapsulates the compassionate nature of this deity. Shiva’s significance as a destructor adds another layer to his character. It highlights that for new creation to arise destruction must take place, throwing light on the sheer nature of existence.

In Hinduism, it is believed that god comes down to earth in the form of a human or creature when innocent people of the planet are facing hardships and struggles caused by the evil forces. For instance, according to Southern tales, the catalyst for “Nataraja” to take his form was the existence of a demon named “Apasmara Purusha” who wrecked havoc on the planet by putting innocent people’s daily life into jeopardy by causing them to suffer from epilepsy and seizures. Apasmara was also known as the embodiment of ego and ignorance. However, Lord Shiva took matters in his hands when the vicious demon targeted his wife, Goddess Parvathi, causing her forgetfulness.

However, Apasmara was also given the gift of immortality, as his death would lead to an imbalance of ignorance and knowledge on earth, but his misuse of power had to be addressed.

Lord Shiva, intervened and took on the incarnation of Lord Nataraja and performed a cosmic dance, Thandava, while crushing the demon under his foot as represented in the statue. This divine dance performed by Lord Shiva, is symbolic of rhythm and the nature of the universe.

The Tandava dance I have drawn on the third page is the dance that is more intense and destructive. Lastly, the dance is an artistic representation reflecting the eternal cycles of life, death and rebirth.

The representation of my original inspiration from the sculpture, is depicted on the following two pages of the magazine. The centre of the piece is Lord Shiva in his signature form. The third eye can detect evil, and when opened can annihilate evil. On the right side is my zinterpretation of Nataraja performing the Tadava and on the left is a powerful prayer dedicated to Lord Shiva.

Learning about Indian mythology through this project has been a highly rewarding experience and I cannot wait to delve deeper into the stories behind Lord Shiva’s eighteen other incarnations. To conclude, whether it is a dynamic dance or a battle against evil forces these stories provide a lens for us into past beliefs, values and spirituality.

Rylee Sadaghiani The Nidge Carpet

Made in Northwestern Iran, 18th Century, Rug: H. 298 in., W. 121 1/2 in.

What is the significance of Persian rugs in my life?

My parents both grew up in Iran and their families fled during the Iranian Revolution. Neither of them have been back home in more than 40 years. I want to learn about the things that were made in Iran that have so much craftsmanship and history. The Nidge Carpet is on display in what some consider one of the greatest museums in the world, The Metropolitan Museum of Art. The dimensions of the Nidge Carpet are 298 inches in height, and 121 ½ inches in width. t is dated 18th cent ry and was s pposed y disco ered in 19 8.

I was specifically drawn to Persian carpets because I grew up surrounded by them in my own home and in my family members' homes. During this exploration on the Nidge Carpet, I found that it is one of the most famous Islamic carpets in the world. It was allegedly found in the Central Anatolian city of Nidge which is in present day Turkey. Even though the carpet was found in Turkey, experts say that this carpet was most definitely produced in Iran, more specifically the northwest of Iran.

The design is absolutely Iranian, especially its ogival forms. An ogive is the rounded tapered end of a two dimensional or three dimensional object. Ogive curves and surfaces are used in engineering, architecture, woodworking, and munitions. Its form is thought to be inspired by silk textile layouts. To an untrained eye, the patterns seen in the Nidge carpet could look angular and geometric, but this carpets design is made up of Chinese cloud bands, lotus flower palmettes, and curved leaves which are all distinct aspects of Safavid carpets. The Safavid dynasty ruled Persia (now Iran) from 1501 to 1736. It was made from cotton in a warp and weft technique and wole in a pile and a symmetrically knotted pile.

These rugs are important to me because they are a way for me to connect with my family and my culture without having been to Iran. It brings a sense of community to my family since they have been passed down from one generation to the next. y parents bro ght with them pieces of their culture during one of the most difficult times in their life which shows me how important it is to them. They didn’t just move to a different town, they moved to another continent.

For my st dio piece I too inspiration from encyclopedia books. I’ve included the materials used to create a Persian carpet that range from beetles to flowers for color, and sheep wool to cotton for the weaving.

Philosophy Unveiled: Albrecht Dürer Katharine Whitman

Melencolia I, Albrecht Dürer, 1514 Engraving Plate: 9 7/16 × 7 5/16 in. (24 × 18.5 cm)

Shifting my focus to the human mind, encompassing mental health, “Melencolia I” is a peace surrounding the topic of depression, as Dürer depicts a brooding, winged figure surrounded by various tools and objects. What aresome interpretations of these items, and how do they enhance the piece’s complexity and meaning?

Through my curiosity, I discovered a harmonious convergence between art and philosophy, particularly in Albrecht Dürer’s Renaissance works.” Dürer’s departure from medieval conventions to embrace humanism and ancient philosophy captivated me, providing rich material for both studio and seminar classes.

In 1514, Albrecht Dürer crafted the mesmerizing engraving “Melencolia I,” a masterpiece that continues to captivate art enthusiasts with its intricate symbolism.

The central focus is a melancholic angel, seated amidst scientific instruments and geometric shapes. Despite some divine elements, an unmistakable sense of introspection pervades the scene. A rhombohedron, symbolizes mathematical precision yet introduces an undercurrent of chaos.

Set against a darkened backdrop, the mysterious atmosphere deepens, emphasizing uncertainty and introspection. The interplay of creativity and melancholy, order and disorder, and reason and emotion invites varied interpretations. Some see the artist’s struggle with knowledge’s limits and the elusive nature of inspiration, while others view it as an allegory for the delicate balance between genius and despondency.

Creating a replica of the inspiring piece using ink and graphite was a fulfilling experience for me. The intricate details and complexity of the original work posed a unique challenge, but I enjoyed the process. Using a medium I don’t typically work with added to the novelty of the experience.

Starting the project was a bit challenging, but once I got into it, I found myself immersed and unable to stop. The act of recreating the piece became a peaceful and meditative activity, offering a welcome distraction from the stress around me. Achieving a flow state while drawing allowed me to focus and fully engage in the process.

“Melencolia I” is a profound exploration of the human psyche and the challenges inherent in the pursuit of knowledge and creativity. Dürer’s masterful use of naturalistic studies, symbolism, and composition invites viewers to unravel layers of meaning, establishing it as a timeless and thought-provoking piece in Renaissance art.

Study of Albrecht Dürer “Melencolia I”

Mandy Xiang The Nostalgia of a Foggy Eve

“The Evening, Honfleur”(1886) – Georges-Pierre Seurat

How do dots of color convey light and a sense of time?

“The Evening, Honfleur” by Georges-Pierre Seurat, invites the audience to engage with the work both visually and physically. Unlike his most famous work “A Sunday Afternoon on the Island of La Grande Jatte ” and many others works, this piece doesn’t include any figures but pure landscape, adding more timelessness to the painting. Seeing and processing the colored dots, I feel emotionally connected and engaged with the painting itself. The pastel colored dots provoke a nostalgic feeling for me, which is the allure of this piece and drew me into it. The blurriness of the painting also gives a foggy atmosphere. The soft glow of the purple and pink evening sun, the reflection of sunlight on the pastel blue sea, and the rocked harbor, in combination with Seurat’s unique pointillist techniques, sparked my curiosity of how he achieved a vibrant, vivid depiction of an ordinary moment.

In the course of my research and exploration, a fascinating revelation emerged – Seurat, not merely a traditional artist but a scientist, bridged art and science. Scientific theories of color perception played a crucial role in Seurat's innovative pointillist style, as he passionately states: “Some say they see Poetry in my paintings; I see only science.” By controlling the colors and lights, Seurat successfully conveyed a timeless serenity in "The Evening, Honfleur". Although the dots seem to be simply in isolation, they collectively create a scene that invites contemplation and introspection of the viewers.

As Wikipedia explains, pointillism is to apply small, distinct dots of pure color to the canvas and let the viewer's eyes to blend the colors optically. To finish the meticulous painting, the artist needs to plan the process and sketch the composition of both of the overall scene and each dot very carefully.

Seurat manipulated the contrast of colors to convey both the tranquility of warmth and refreshing calmness of the coldness.

Researching and observing the piece in person, I learned about Divisionism, in which the two pure colored dots could interact optically. The use of local color, which is the dominant element of the painting or the true color of subjects, and other colors of direct sunlight, reflected light, and shadows are all important elements for consideration before making the paintings.

In addition, Seurat’s choice of Honfleur as a subject transcended the replication of physical features.

The town held personal significance, and he sought to convey the mood of the landscape and preserve not just a moment in time but the emotional resonance he experienced – to preserve the nostalgia and the timelessness of the special moment. My fascination with this nostalgia with the interplay of time, color, and light in “The Evening, Honfleur” has inspired me to create my own landscape painting in relation to pointillism, creating and finding the timeless, nostalgic serenity in my work.

Among the photographs I took, several candid photographs stood out, each evoking a vivid memory. I decided on a specific one, which is a green landscape, for its timelessness and the nuanced color. That photo held a personal significance for me, because it was a trip to Austerlitz near our high school with my best friends after our graduation. The photo commemorates a memorable time period for me. I also chose to leave the person in the original photo out to give the painting countless possibilities of time and location – reaching the ultimate timelessness and nostalgic serenity.

“The End Of The Day, Austerlitz” (Acrylics on Bristol)

Ballet as an Art Form Ava Fox

The Dance Class -Edgar Degas

What inspired Degas to paint ballet dancers?

What caused Edgar Degas to be drawn to dancers, where was he when he was inspired?

Looking at The Dance Class painting, these are some questions that came to my mind and sparked my curiosity about Degas and ballet itself.

Edgar Degas’s career was launched by his painting called “the painter of dancers.” He was at the Paris Opera which he had said was where he had found he belonged and where he painted his very first dancers. His ambition and inspiration was developed at the Paris Opera and the dance, stage, and rehearsal rooms were his inspiration for his work. Edgar was thirty-five years old at the time he started his debut of ballet scenes and there were multiple opinions on his work. Some critics thought his obsession with such close attention to young womens dance and body movements was strange and could even be perverse. Degas had picked up a reputation for misogyny, along with ballet dancers already being demoralized at the time, it didn’t make a good look for him.

Edgar Degas is a renowned French painter and impressionist artist. He’s most well known for his depictions of dance. Through his work you can tell Degas has a passion for capturing the movement and emotions of dancers through art. He’s worked with many mediums such as painting, sculpture, and pastels. Degas was also adventurous in that he was known for capturing strange angles, cropping figures, and bold colors.

Ballet played a big role in my childhood and has recently been something I’ve been reinterested in. I did ballet from the age of three to twelve and have performed in many performances including the Nutcracker, Swan Lake, and Alice in Wonderland so I’m familiar with the feeling of being on stage, the rush of being backstage before performing, and the rigorous hours in ballet class. I choose to draw a pair of pointe shoes with the dancer being in a coupe which means to cut. The drawing is colored with colored pencils and like Degas, I captured the movement of the dancer.

The Dance Class by Edgar Degas was done with oil on canvas in 1874 and is currently on view at the Metropolitan Museum of Art on Fifth Avenue. This piece is one of the most ambitious of Degas’s series of ballet paintings. It depicts a dance class with many ballerinas positioned around the room with Jules Perrot, who was a famous ballet master from the Paris Opera, leading the class. This is an imaginary scene and is meant to take place at the old Paris Opera which had burned down. This piece is a clear example of Edgar Degas’s ability to express the elegance and movement of ballet dancers clearly through art.

While Edgar Degas depicted the beauty and grace of ballet, he also showed the rigor and ambition that dancers had to have to succeed. He had a great effect on the trajectory of art as a whole by pushing “real life” instead of traditional paintings. He was the one who really opened up the world of ballet in art form and it will always show the beauty of the ballet world through art.

Esther Deng Beauty, Ballerinas, and Bows

Little Dancer Aged Fourteen Edgar Degas

Why is the Met displaying works by Degas, famous for his ballerina paintings, now?

Does it have something to do with the recently trending “ballet core” aesthetic? Is it an aspect that even museum curators have been noticing? Are the viewers at the exhibit also completing their ballet core instagram feed or is there some other reason? The famous ballerina statue is one main impression most have of Degas and this was the piece I chose to dive further into.

At the museum, I learned that this was the one sculpture that Degas publicly displayed despite creating over 70 others in the same collection, and she was a controversial subject. Viewers disliked it for being “ugly,” an opinion many share upon seeing it today. On the other hand, it was also undisputed for its realism that at the time was revolutionary. This little ballerina is made of wax and decked in real hair, silk ribbons, and linen shoes. These mediums served as a precedent in sculpture to use anything that can create the desired effect.

The subject is Marie van Goethem, a student at the Paris Opera Ballet. Ballerinas were often referred to as “opera rats” at the time partly because of the way they scurry about the stage, but the negative connotation was intentional in depicting them as poor and lower class. Her arms and hands are intentionally placed in an uncomfortable position behind her back, reflecting the difficult position she stood in both physically and psychologically. But contrary to the stereotype, the statue I saw was of a young girl who had her head held high, fearless of the hard work it took to be able to stand on stage.

Speaking to a member of the staff, I asked about the audience who stopped to see the ballerina sculpture. Different from its initial appearance, the crowd this time was younger, and most who took the time to stop and admire were women. In 1881, the ballet was for men, girls like Marie were then the target of men, but now their essence is preserved in a work of art that is being admired in a different light.

For my own work, I focused on this change of gender roles from then until now. Before, frills and bows were made to appeal to the masculine eye, but now they are being worn because women are embracing these motifs as a sign of confidence, confidence associated with skill that stands alone from beauty. A girl can be just as smart as she is beautiful and wear it proudly. I want to channel this idea into my own work, creating my own bow that is frilly and powerful. I used real ribbon to echo the original piece, but in contrast to the Degas ballerina, I focused solely on the bow. Using recycled paper, bows of various sizes deck the ribbon. How else would I subvert a traditionally girly fashion item other than to add even more bows, more drama, more emphasis? Choosing the color blue, I want to take a color associated with the male gender as my own, to point out that the stereotype doesn’t matter, anyone can be anything. The struggle depicted in the figure of the ballerina itself is erased in my piece as it is stripped down to only the accessory. An accessory that anyone can wear, anyone can feel powerful.

Lucas Mihnea To See or Not to See…

Olympia by Édouard Manet, 1863

Why is Manet’s Olympia a provocative work of art?

Hanging on the walls of the Met’s new Manet Degas Exhibition is the portrait of a nude young woman with an assertive glare in her eye named Olympia. Originally from room 14 of Paris’s Musée d’Orsay, the painting is being borrowed by the Met until January 7th, 2024.

Provocative art is powerful art, and Olympia is no exception. Manet's bold depiction of a woman confidently asserting her sexuality and social status as a mistress clashed with the moral and social values prevalent in 19th-century Paris, resulting in the painting being perceived as scandalous and controversial. It was completed in 1863 when female nudity was exclusively reserved for subjects that were goddesses and high deities. Manet used Titian’s Venus of Urbino, a 1534 portrait of a young, nude woman modeled after the Roman goddess Venus, as inspiration for his piece. Despite the surface-level similarities between both works of art, two nude women lying down on a bed, Manet’s Olympia was seen as scandalous.

Olympia’s gaze is directed assertively at the viewer, almost as if she’s challenging her audience not to look away. When I viewed the painting in person at the Met, this was one of the first aspects that struck me; it was undeniably compelling. Women who possess the power and confidence to challenge societal norms are often met with fear, likely one of the main reasons why this piece was so controversial in Manet’s time. Against the darkened, cool-toned backdrop of her chambers, Olympia’s pale skin radiates a stark whiteness. The deliberate use of color palettes in both the setting and Olympia's appearance creates a distinct ambiance, and the use of high-contrast cool colors in Olympia’s portrayal makes the piece appear less inviting and more sinister.

Furthermore, the flower adorning her hair and the black bow around her neck serve as symbols signifying her role as a mistress. Olympia’s black cat, a traditional symbol of infidelity and promiscuity, adds another layer of meaning. An African woman, depicted as her servant, presents Olympia with a sizable bouquet. At the time, her mere inclusion was viewed as a sexual symbol, due to racism in French society. The flowers in her hand were most likely a gift from one of the men Olympia entertained. These meticulous details and deliberate distinctions embedded within Olympia contribute significantly to its memorability.

Olympia’s portrayal of sexuality and her identity as a mistress challenged societal norms and was met with disapproval. During that period in Paris, sex work was emerging and heavily stigmatized. So for the subject of Manet’s painting to be a sex worker and confident in her social standing, was unheard of. Luckily in today’s world, Manet’s Olympia remains one of his most renowned contributions to the art sphere, adorning the walls of one of the world's most iconic museums. It stands as an early example of provocative impressionism, depicting a more realistic woman in contrast to the multitude of idealized female portraits that preceded it.

For my work, I chose to focus on highlighting society’s scrutiny of the female body, a prevalent theme in Olympia. I created an illustration of a female figure similar to Olympia, with a flower

and bow around her wrist. However, she’s trapped by a large male hand beneath a magnifying glass and unable to escape. Creepy eyes surround the woman like vultures, waiting to go in for the kill at any sign of weakness or imperfection. The glass mimics the male gaze and the eyes represent the impertinent people who enable it. Her heart is the only visibly colorful feature and focal point on her body, signifying the value of inner qualities over external appearances that others cannot perceive.

Physical Love Replaces True Love

Nicole Li

The Lovers, 1928 by René Magritte

Was René Magritte’s painting, "The Lovers," partially inspired by his childhood trauma?

Upon learning more about Magritte’s intention behind this piece, I discovered that Magritte’s mother committed suicide by drowning, and he witnessed her nightgown wrapped around her face as she was being fished from the water. This incident led to speculations that Magritte’s subjects’ faces being covered in his artworks were inspired by his traumatic childhood. This speculation is quite valid, in my opinion. It is fairly common for artists to create work based on personal experiences, especially traumatic events. Trauma often serves as a catalyst for artistic expression among artists due to the ability to explore profound emotions.

Therefore, this theory of Magritte’s works being based on his mother’s death resonated with me.

As I closely analyzed Magritte’s painting, "The Lovers," the apparent correlation between trauma and his artworks surprised me when I learned that his paintings had nothing to do with his mother’s death. Magritte denied those rumors by stating, “My painting is visible images that conceal nothing; they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question, ‘What does it mean?’ It does not mean anything because mystery means nothing either; it is unknowable.” After learning about his denial, I couldn’t help but wonder if he unconsciously expressed his suppressed trauma through his artworks. In other words, his traumatic childhood had a subconscious influence on his identity as an artist. The kind of influence that he may not have been aware of, or even wanted to admit due to the potential triggers. This research process of getting to know the artist’s background story/childhood had been quite an emotional rollercoaster as well as an informative journey. I believe that although Magritte has consciously denied the correlation between his works and his trauma, the subconscious mind has the potential to play a role in his artistic expression.

As I was examining "The Lovers," I pondered the idea that no matter how intimate two individuals are towards each other, true vulnerability remains evasive in romantic relationships.

Therefore, the veil symbolizes concealing one’s true identity and emotions, as a possible form of self protection. Another theory I had for this piece was a fear of intimacy between a couple, a commonly rooted issue in romantic relationships. The veil acts as a barrier to genuine emotional connection directing it towards shallow, physical love.

After forming my theories of the possible meanings and messages behind this piece, I was inspired to create my work depicting individuals sharing intense physical intimacy but having shallow emotions about one another. When looking at the piece I’ve created, I encourage viewers to pay attention to the lovers sitting on top of their locked hearts, representing suppressed feelings. In addition, the locks on their hearts show locked away emotions while the handprints scattered across their bodies signify physical intimacy. This alludes to the irony of the convenient access to the physical body’s private areas, yet touching each other’s heart feels hopeless.

Die Aktion, ol. 1 Conrad Felixmüller

Magazine Issue (1920)

What does a political magazine reveal about art's fundamental foreignness and mystique?

What does a political magazine reveal about art's fundamental foreignness and mystique?

The evolution of art from the 19th to the 21st century has seen a significant diversification in both aesthetics and purpose. Beyond traditional commissioned works, I've been intrigued by the overlooked aspects of art history and pop culture. A recent visit to MOMA led me to discover a series of political magazines titled 'Die Aktion,' specifically an edition from the Weimar Republic in 1920.

The cover art of this magazine captivated me with its minimalistic yet refreshing aesthetic. Unlike familiar works, this piece felt entirely new, and the foreign language (German) and origin added to its intrigue. Dating almost a century back, the magazine's content and messages were also relatively unknown to me, further drawing me.

Attempting to unravel its mysteries, I sought information from both museums and the internet.

MOMA's description provided basic context, and my subsequent online search revealed that 'Die Aktion' was a political magazine aligned with the radical left, offering critiques of World War I and the Weimar Republic. The cover's slogan, 'Es Lebe Die Weltrevolution' (Long Live the World Revolution), hinted at its political stance, possibly referencing the Bolshevik revolution in Russia.

Further research led me to the art style of the cover, categorized as 'German Expressionism.' While this style wasn't entirely foreign to me, the specific minimalist, black-and-white approach with thick, aggressive strokes was certainly something new. Despite visiting the Neue Galerie in New York, which focused on German and Austrian work from the early 20th century, information on Die Aktion remained limited.

The scarcity of information on 'Die Aktion' could be attributed to its leftist nature, as extremism faced government opposition during that era. Additionally, the destructive impact of World War II and the prioritization of wartime necessities likely contributed to the loss of context and similar historical artifacts, such as magazines like 'Die Aktion.'

Although my knowledge about 'Die Aktion' remained limited, this exploration deepened my understanding of German Expressionism. The lack of information spurred my interest in the concept of 'lost art’, pieces that didn't survive various upheavals. Drawing parallels with something more personal to me, the cultural revolution in China, where traditional art was destroyed, I contemplate the existence of hidden revolutionary Chinese art.

My next step involves delving into archives, driven by the fascination of uncovering lost art in corners of museums or digital archives. This assignment has ignited my curiosity not only about this particular project but also about the broader theme of lost art waiting to be rediscovered.

Marcel Breuer’s Wassily Chair: A Lesson In Comfort

Hobbs Lillygreen

Photo of Marcel Breuer’s Wassily chair at the Museum of Modern Art taken November 15th during a class field trip.

What Makes Something Comfortable?

What makes something comfortable? While on a visit to the MoMA, I was able to see Marcel Breuer’s Wassily Chair in person, a chair I feel plays with standard ideas of comfort. Marcel Breuer’s chair is a famous design but it doesn’t necessarily scream comfort. The use of steel and leather give an edge to the chair that makes it so interesting, and they aren’t the first materials you think of when you hear the word “comfort.”

Personally, I think of steel in a chrome finish as cold and uninviting. Leather is a material that is more inviting, and definitely more comfortable, but its application here doesn’t allow for those qualities to shine. On the same visit, I noticed Eileen Gray’s E1027 adjustable side table. I had the realization that it makes use of similar materials. The adjustable side table was made out of tubular steel in a chrome finish and glass, once again materials that fall on the colder, more industrial, side of the scale.

These two small pieces of furniture got me thinking about material usage in design and why certain materials are considered comfortable and others are not. What materials are used for a table, which of them create a feeling of stability? Does a table need to be stable? Which materials create a sense of comfort, and which combinations? As an aspiring interior designer, it fascinates how materials are assigned labels.

To dive deeper into my exploration of comfort, I ended up at the Smithsonian Museum and explored a textile exhibit about Dorothy Liebes, a multidisciplinary designer

and innovator who defined modern American design.

Much of what was on display at the Smithsonian Museum were samples of Liebes’ textural drapery from an assortment of projects. There was a sparkling blue and green sample from the Persian Room at The Plaza Hotel, checkerboard fringed drapery with copper yarns that reflected light from Doris Duke’s Honolulu residence at the Shangri La, drapes inspired by freshly minted pennies at the City National Bank in Houston, Texas, and many more remarkable samples from throughout her career.

Glitter fabric sample from Dorothy Liebes exhibit at Smithsonian Museum. Taken December 3rd.

silk and rayon, along with metallic yarns, allowed candle light to reflect and glitter around the room. To combat the harshness of new modern architecture, Liebes created fabrics with varying piles, loops, trimmings, and metallic yarns that were tactile, inviting, and comfortable.

The exhibit highlighted texture as a means for comfort.

The last thing I saw at the Smithsonian happened to be another Marcel Breuer chair, it was the Isokon Long Chair this time, and it played with some of the same ideas found in the Wassily Chair. It was created out of birch wood, another solid material, and had holes between the armrests and seat, and it looked way more comfortable. It was made out of an organic material that had a warm color and had structure the Wassily Chair didn’t. I think Marcel Breuer’s chair doesn’t appear comfortable because the planes of thin leather the seat is made out of lack structure, it looks like you could flip right out of it. The use of metal, and its coldness is only one factor in the chairs’ uncomfortable appearance. The thin planes of leather and the holes in the chair are the other players.

I wasn’t finding much about comfort, but learning about how Dorothy Liebes picked materials for her textiles and how she considered multiple factors, was a lesson on being a talented designer.

Liebes chose materials that would accentuate the light. For daytime spaces, she used materials like nylon cord and acrylic rods to capture and bounce sunlight, brightening a room. For nighttime spaces,

Long Chair designed by Marcel Breuer in 1936. Manufactured by Isokon out of birch plywood. Taken December 3rd.

After researching the topics of comfort and textile design, I created a textile that played with the same ideas found in Marcel Breuer’s work and Dorothy Liebes’ fabrics. Taking inspiration from my visit to The Met, I incorporated the coldness of metal I saw in Marcel Breuer’s chair and Eileen Gray’s table by using metal wire of varying thickness to create a textile that was inspired by the texture of Dorothy Liebes’ fabric I saw on display at the Smithsonian Museum.

I wanted to play with contrast, using metal, an uncomfortable material, to create a fabric, something that’s supposed to be soft and comfortable.

I created a loom myself to weave the fabric. I ripped apart a canvas, and nailed many tiny nails around the edge of it. I looped one size of wire back and forth horizontally and then used a thicker wire to weave vertically. Further inspired by Libers, I wanted to create texture and did so using the varying sizes of wire. The material was pretty

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hard to work with and my hands began to hurt while creating the mesh, but I kept telling myself “under over, under over,” while weaving, and I ended up with a mesh I was proud of.

I had to deconstruct the frame to remove the mesh, and it brought up more ideas about metal as a material.

It felt permanent yet it was pliable once removed from the frame. It had a smell, it left a black residue. It was fascinating.

It had all these qualities I didn’t realize, and working with the material revealed how complex just this one material could be. The weave itself was further complicated as I worked, and as these new material qualities were exposed.

The mesh comments on solidity.

Metal is a hard material, but the mesh is soft and bendable, not soft enough to be comfortable though. It’s textural, making use of thinness and thickness.

It explores permanence. It leaves a scent on your hands and a residue that’s hard to wash off. It’s made out of metal,

something that feels forever, but mesh unravels. It’s beautiful, but it cut me all over my hands. It’s strong because tension holds it together, not because it’s metal, but the associations with metal still remain. It plays with light, partially blocking some.

Image of wire mesh woven onto handmade loom.

Made from a canvas with canvas fabric removed and small nails. Taken on the 7th of December.

The first prototype of the wire mesh was made without a loom and was very difficult to create. Only using one gauge of wire that was hard to bend, I didn’t feel like it honored the textural work of Dorothy Liebes. It lacked depth and interest, so I made another version, new and improved.

Inspired Work: WIRE MESH

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The second, and final version of the wire mesh, was created using a loom to create a more precise and taught work. The second version also differs in its use of multiple wire sizes. If you were to hold the work, you could feel the tension in the wire holding it together. I chose to leave the weave unfinished, I think it further honors the work it was inspired by. It feels raw and more natural, like caning, which is usally left unfinished.

Beyond The ‘White Box’

Jessica Saadia

(The Guggenheim Lobby Interior 2021)

The Guggenheim Effect: How does the iconic design enhance the museum experience and captivate visitors?

Walking past the Guggenheim, its unconventional structure immediately drew attention.

The uniqueness prompted people passing by to turn their heads in wonder, enticing me to explore further. I was excited to explore the structure I had only ever seen on my computer screen. Upon stepping inside, I was immediately drawn to the iconic spiraling ramp. Having researched the bio-inspiration behind the structure, witnessing it in person is nothing short of mesmerizing.

The Museum's distinctiveness lies not only in its architectural marvel but also in its innovative approach to showcasing art. In contrast to the prevalent 'white box' interior design adopted by most twentieth-century museums, the Guggenheim challenges the norm with its captivating structure. While other institutions like MOMA and the Whitney embrace a neutral canvas, the Guggenheim crafts nuanced displays, emphasizing the storytelling potential within its walls. The interplay of ascending and descending, along with the smaller side pocket rooms you could get lost in, brings curiosity to the viewers.

As I ascended the museum's ramp, I noticed an empty display—strange yet compelling. It was only during my descent that the purpose became clear. Nestled in the corner was a cut-off sweatshirt hood, initially seeming out of place. However, the symbolic significance unfolded upon reflection and discussion with a friend and a museum attendee. “The Hood,” once a symbol of concealment, had become a target associated with danger. Similar to how the hood of the shirt remains initially concealed, the piece symbolized people who live in the Hood who also behave in that discreet manner.

As I reflect on my time within its spiraled walls, I am left with a long-lasting fascination.

This museum defies expectations of a conventional ‘white box’ layout by bringing in biomimicry designs. It goes beyond the traditional museum experience, making each visit an exploration of creativity by inviting visitors to see art in a new light.

Nature is filled with spiral structures that went through centuries of evolution—think seashells, galaxies, and hurricanes—all of which may contribute to the Guggenheim's appeal. It’s compelling to me that Humans can use nature’s evolutionary designs and leverage them to solve our own challenges. This will end up, in turn, leading to more resource-efficient and sustainable designs.

This spiral structure stood as a testament to our capacity to derive innovative solutions from the intricacies found in nature. This building structure seamlessly combines aesthetic beauty with functional efficiency. In the face of such novelty, I found myself pondering: what might have prompted Frank Lloyd Wright to design such a building with abilities to captivate and inspire visitors for generations.

Frank Lloyd Wright's Guggenheim sketches discovered.

The commodification of New York’s public transit Isabella Sanchez Lopez

The 1972 New York Subway Map, designed by Massimo Vignelli

What has fostered such attraction for the New York City subway map?

What is the attraction behind the New York city subway map? How is the map, station names and other subway features, in the timeless Helvetica font, sold on mugs, t-shirts, hats and hundreds of other knick knacks? The New York City subway map is incredibly recognizable by people across the world. Featured in movies, books, music videos and countless other forms of art, there is no surprise that an aesthetic solely for the city's transit exists. The 1972 version of the subway map, by graphic designer Massimo Vignelli and the Unimark International Corporation, was disliked by most native New Yorkers. This was due to its lack of details in locations and topography. Overall, the map was very different from what they knew and they had very much to say. Nonetheless, in the eyes of everyone else, with its bright 70s colors and simple organization, it was perfect.

New York City alone is beyond well-known. Thus it has copious amounts of merchandise, the iconic I love NY graphic is found on tees, hoodies and anything you could think of. Its extensive transit system is no different, but to allow a city to produce so many goods, there has to be a demand coming from somewhere. I learned that this appeal for the subway map and the subway itself comes from the ‘glamorization’ of the city and the everyday lives that take place in it. New York is continually a place of inspiration and hope for most people, to visit, to study or to live in. Consequently, the core part of the city, what moves it and connects it, is the subway. It has been around for so many years it feels it has always existed and is incredibly recognizable. The desire to live in New York and be a New Yorker fuels this obsession with the city's transit. It creates a yearning for urban grit and being independent.

Merchandise allows people to take at least one little piece of New York home, whether it be in the form of a picture or a mug.

For my own work I focused on portraying the subway aesthetic and deconstructing the subway map.

Demonstrating how it is still just as recognizable. I constructed my piece using Adobe Illustrator and Photoshop. Using pieces of the subway map, the subway lines and line numbers. My final pieces were also inspired by David Carson's graphic design works, combining his style with the 70s colors of the subway lines; it serves as an homage to him. In addition, I included photos I took of the subway carts, map and different signs to demonstrate the usage of Helvetica and what exactly makes up the New York lifestyle. When looking at the piece I’ve created, consider how these individual symbols and images have all come together to represent a city. How they have become engraved in the minds of locals, tourists and dreamers.

TAYLOR BAUER Bo's PUNK AND GOTH ZINES

PROPAGANDA No. 3, SUMMER1984

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PICTURES FROM PROPAGANDA AND LIP SERVICE CATALOGS EST 1982

How did the styles and politics of the punk movement of the 80’s show themselves in magazine catalogs of the time?

I was curious to see how the fashion that I am interested in existed in the magazines of the 1980’s. Punk rock was a social, political, and fashion movement that shook the 80’s to its core. From the punk movement was born the gothic movement. These movements became widely popular mostly in Britain and New York. They were loud and unapologetic, questioning fashion standards and social norms of the time. Viewing photos of early punk style gives evidence of how it was mismatched, lacking standardized flow, and possessed its own reckless charm. Goth fashion takes a dark, elegant, and romantic approach to this style. Both were meant to be accessible to everyone. This is reflected in the magazines of the time that were managed by people with a passion for fashion and the taboo.

These trends were notably featured in two magazines, The first one being Propaganda. A counterculture magazine that actually started as a zine in New York in 1982. Dazed quotes Propaganda as “The cult magazine that pioneered goth.” This magazine talked about fashion, politics, bands, art, literature, and featured images of icons of the time, like Peter Murphy, Robert Smith, and other bands like Siouxsie and the Banshees, The Damned and Christian Death. The other one being Lip Service. This was a catalog that featured Lip Service, the fashion brand. The models were usually very goth, with big hair and lavish dark lipstick and eyeliner. They were posed either by themselves or together, the way they were posed had a lot of personality. I have found that anyone in the goth and punk subcultures of the time were more inclined to be more expressive and break societal and cultural boundaries, using their bodies as art, wearing raunchy clothing and posed in ways that were oftentimes very seductive or unnerving (especially on more goth centered side, Peter Murphy is a good example of body contortion, he was featured in Propaganda). The people in this catalog wore lots of leather, lots of sunglasses, and honestly looked cool as hell. Big hair was centre to 80’s fashion, but goths liked to take things to extremes naturally and created their own style of big hair which is still used today and commonly called teasing your hair into a ‘bats nest.” They also had a lot of gender equality in their models, which was really refreshing. I feel like especially in the early 80’s it was either “mens clothing” or “womens clothing,” but this shows a progression of breaking out of that. Which is what goths and punks did best, breaking out of societal norms and doing it with style.

These magazines showcased the stylized aspects of a seemingly reckless group of subcultures. A lot of people didn’t like these movements because they were anything but “normal,” but they gave other people with similar political beliefs and fashion taste a place to belong, which is something that is still seen to this day. Creating magazines was important to early punks and goths because it gave these people a way to express themselves and put their art out there in a mainstream culture that didn’t wish for them to do so. The DIY aesthetic of the scene created a thriving underground press.

Seeing these magazines and learning more about my subculture helped me to feel more connected to New York. There have been people like me fighting and living here for years, liking the same things that I like, believing the same things that I believe in, wearing the same clothes, jewelry, and dark makeup, since the 1980’s.

Adeline Beador The Art of a Simple Phrase

WEN OUT FOR CIGRETS N NEVER CAME BACK Ed Ruscha

Why was Ruscha inspired to make such a real and powerful piece of art?

Why was Ruscha inspired to make this piece? Was it to bring light to a space that is not talked about? Was it because of personal experience? When looking at the Ed Ruscha exhibit at the Museum of Modern Art, the piece “WENT OUT FOR CIGRETS N NEVER CAME BACK'' was the most special to me. The meaning, the look, and everything behind Ruscha’s piece is an aspect of art that is rarely touched on, but the most important art that gives so much emotion and meaning to people who view it.

This is a kind of artwork that you do not see everyday in museums. This piece is something that you have to think about that means a lot to people who can relate to it, and also educate others on personal experiences like this. “WENT OUT FOR CIGRETS N NEVER CAME BACK'' is about a father who left his family and never came back. When speaking about this piece, Ruscha stated, "I'm interested in glorifying something that we in the world would say doesn't deserve being glorified. Something that's forgotten, focused on as though it were some sort of sacred object." I believe that Ruscha’s attempt to relay this message was successful and creates an impact on anyone who either relates or has no connection to the art.

I was intrigued to find out if Ed Ruscha made this piece about his personal life, or if it was related to someone else. When I was researching Ruscha’s childhood and family life, I found that Ed Ruscha grew up in Oklahoma City with his mother, father, brother, and sister. His father had a stable job and he was never not in his life when he was growing up. I concluded, after finding all of this information, that Ruscha was relating this piece to someone else in his life and everyone who has had to deal with the feeling of being left.

Comparing my piece to Ruscha, they are completely different. I wanted to show hope by making a completely different phrase but keeping the same look as Ruscha’s piece. My piece has the saying, “THEY ALWAYZ COM BAK”. I used the type of spelling Ruscha uses in his piece to bring similarity to them. Instead of portraying an upsetting story, I wanted to give an endearing message. In Ruscha’s piece, he used a three-quarter circle to show something missing in one’s life that can’t be fulfilled. I wanted to make my piece a full circle to relay an opposite message, that you can still be whole. Hopefully people will consider the message and how it is unrealistic, but offer a sense of hope for people who believe there is none left.

I believe that studying this piece and seeing what an impact it truly has the more you look into it is so powerful and not something that one sees in everyday art. Ruscha has created something so special and it deserves so much more recognition than it has gotten. I hope with my piece and his, viewers can understand the importance and the impact of bringing uncomfortable, devastating, and “forgotten” topics to life.

Aria Pleczko Curiously Comfortable

Cries and Whispers, 2003

How Can We Feel Without Feeling?

How can we feel without feeling? I am curious about the concept of portraying “comfort” and other emotions through wool and textiles in art. In essence, you feel the texture and the emotions without even touching. What inspired this question was the art piece “Cries and Whispers” by Hill Jephson Robb at the MOMA. When I first saw this piece, It ensnared me, it felt like it was almost looking at me, telling me to come inside it. It seemed comfortable to me, in the sense of feeling comfortable and its texture, just by looking at it with no context. As I went closer to look at the placard, it all became clear.

After researching the piece, I learned that to cope with his grief of losing his younger sister who left behind a seven-month old daughter, Robb put all his energy into creating an art piece that can recreate the safe space created by the mothers womb. ‘Robb wished to create a “feeling of security” and chose wool to portray this.

I gain almost the same feeling of comfort from wrapping myself in a blanket. Yet I am still able to feel the wool and the comfort without feeling it. How? Why is it so familiar? These are the questions that popped up in my mind after pondering Robb's piece.

After delving into more research, I discovered Textile sculpting was mostly used for practical purposes such as making baskets and quilts. It only recently became involved with art because of the rise in female artists, especially those of color, as they have utilized textile sculpting more so than men. These materials are often affiliated with comfort and coziness. With the increase of the virtual world, the popularity of escapism rises as more people seek comfort in their own space. This is why I believe the opening of Robb’s piece calls to us.

We're compelled to stare back at it because we want to feel this comfort.

When making my rendition of what I see in this piece. I wanted to display the aperture of the piece as a gazing eye. There are many “Cries and Whispers” placed throughout the canvas. However, instead of seeing entire bodies of them, it is only their eyes as they stare at you in the piece. The only three eyes with for I wanted to portray that as people of different ages to represent that you can feel these feelings of security and comfort at any age. This reflects how the original piece universally compels others and draws the audience in no matter which demographic they are. People can be compelled by this next of security at any age, from the womb, onward. I believe my piece is a more uncanny spin on the original, yet keeps the comfort level to its minimum. This then creates a balanced composition that fit an array of the audiences emotions.

Tessa Fonstad Garment Construction as a Statement

Alexander McQueen Razor Shell Dress - VOSS Spring/summer 2001

How are garments constructed and how can that make a statement?

My favorite fashion designer is Alexander Mcqueen, and when thinking of choosing a piece for this project, I knew I wanted it to be from the 2011 Alexander Mcqueen: Savage Beauty exhibit that was shown at the MET and the Victoria and Albert Museum in London. The garment I was specifically drawn to in this exhibition was a spring/summer 2001 dress. I was intrigued by this piece because of its material, as it’s made of hundreds or real razor-clam shells collected by Lee Mcqueen himself from a beach in Norfolk, UK. I love fashion that blends the natural world with design, and this dress is the embodiment of that. When reading about the creation and presentation of the dress at his spring/summer 2001 runway show “VOSS”, Mqueen stated that “The shells had outlived their usefulness on the beach, so we put them to another use on a dress. Then Erin [O’Conner] came out and trashed the dress, so their usefulness was over once again. Kind of like fashion, really.” The comparison of fashion to the “usefulness” of the shells – that like the clam shells, it is used for one purpose and then often discarded or destroyed once that purpose is fulfilled – is a really interesting concept. Mcqueen was clearly making a statement about the fashion industry with this dress, by highlighting its non cyclical nature with a dress that was immediately destroyed once worn. This dress is a perfect example of how fashion can be evocative, and make powerful statements about the industry itself.

This piece uses shells picked up from beaches in Lee Mcqueen’s community, which serves as the main inspiration for a work of my own. I also explored the concept of creating something that is meant to be destroyed as the original dress was. My McQueen-inspired work is a paper bodice that is adorned with naturalistic ornaments meant to mimic the ridges and shape of shells, that will be crumpled up and thrown away once the project is over. I equally explored concepts of garment construction by creating a homemade corset pattern for this garment. The paper is a natural material that is impermanent – it will tear, crumple, and ultimately decompose in some way. For me, this represents the non-cyclical nature of the fashion industry at its current state, as McQueen was attempting to point out with his razor-clam-shell dress. Clothing is thrown away like a used piece of paper, and this garment will too be crumpled up and thrown away immediately after its use in order to represent that. The delicate material – like delicate shells – will not last forever, in fact it might barely even last a day on the body; this symbolizes the impermanence of fashion.

Paper bodice with seashell textural motifs - an homage to Mcqueen’s shell dress

Destroyed