W27 December 2019 by W27 Newspaper

FIT

W27

Volume 53

DECEMBER 2019

Issue 3

December 2019

the art issue

MASTHEAD

W27

A LETTER FROM THE EDITOR

Mason Auman President & Editor-in-Chief Lola Cornillon Vice President & Managing Editor

EDITORS Erin Tucker Yajie Niu

ART Mary Helen Guastello Art Director Lara de la Torre Director of Photo Steven Molina Contreras Deputy of Photo Ava Grindley Ariana Paino Dawn Bauer Sara Ricci Designers

CONTRIBUTORS Alexandra Espinosa Ariana Paino Cat Trzaskowski Charlotte Spaid Dillon O’Keefe Elizabeth Scott Jeff Sheldon Jim Liao Lara de la Torre Lauren Breuer Leah King Lola Cornillon Lydia Sant Mav Dooley Micheile Henderson Prerna Chaudhary Shameekia Johnson Siena Saba So Flow Steven Molina Contreras Tamarcus Brown Thaddeus Coates Victoria Rifa Yajie Niu

As students at what is - ostensibly - an art school, we interface with a wide array of young creatives every day. Regardless of your specialty, you will likely find yourself learning and growing alongside a crop of exceptional artists and thinkers whose ideas - while at times, disparate - compound to form a hive of newness and expression. Even those of us in business-leanings areas of FIT find ourselves confronted with the task of combining the “art and science” of seemingly every field presented to us in the classroom. I’ve always been skeptical of the merit of this, perhaps reductive, lens through which we are taught to consider branding, selling, advertising, or even accounting. In a macrosomic sense, however, FIT is unifying the always-overlapping acumens of art, science and technology in a way that places us all in a unique position. As much as we are here to learn from our professors and mentors, we are here to learn from each other. In the process of compiling the Art Issue, I have learned a great deal from our unrelentingly inquisitive staff and the artistic endeavors they detail and communicate in this issue. And, of course, I continue to be inspired by the artists featured here and elsewhere across our campus in our community. As the semester comes to a close, I know that I will be attempting to adjust my own position in this maddening and energetic city to one that encourages more contemplation, appreciation and exploration of enriching experiences devoid of monetary or academic reward. I will be prioritizing a sort of human and healthful experience, and I encourage you all to do the same - at least until we all enter this whirlwind again in a month or so. I look forward to continuing our work here at W27, and engaging with our community to foster a supportive and enriching environment on 27th street.

Ellen Davidson Alexandra Mann Faculty Editorial Advisors Professor Albert Romano Faculty Advisor

Until Then,

COVER DESIGN: Thaddeus Coates Illustration Steven Molina Contreras Cover Curator

Mason Auman Editor-in-Chief, W27

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FIT

DECEMBER 2019

Contents THE ART ISSUE

Dr. Kathrine Varnes: Dismantling Paragons Through Poetry

Patriot Act: How an Unconventional Show Fell into A Conventional Hiring Trap

Runway 27’s Artistry Show: A Dreamy Look Towards the Future of Fashion

Mav Dooley Interview

Artisan Chocolate: A Tasty Form of Art

Home Has Always Been Closer Than I Thoughts

Getting Active at FIT

Introduction by Steven Molina Contreras

Weaving the Future and Unraveling the Past: Exhibition Review

Thaddeus Coates

Stigmatization of Artistry

Siena Saba

Kusama Exhibit

Alexandra Espinosa

Animal Testing in Fashion

Dillon O’Keefe

Ten Artists You Need to Be Following on Instagram

ARTIST FEATURE

W27 is PRINTED ON RECYCLED PAPER. PLEASE RECYCLE AFTER READING. A FIT STUDENT ASSOCIATION PUBLICATION.

W27

ART ISSUE

Dr. Kathrine Varnes: Dismantling Paragons Through Poetry BY LYDIA SANT Dr. Kathrine Varnes writes poetry for women, she writes poetry for personal expression, but mainly, she writes poetry to make sense of life itself. Here, she sits at her desk, the antithesis of the lonely, meandering poet trope that is often painted. With plumpurple hair and an unpretentious yet graceful sensibility, the 53 year old professor shares in whispers her love of poetry, femininity, and selfacceptance. Dismantling idealistic images of womanhood, she brings a tenacious approach to poetry that belies her gentle demeanor. Her love of poetry took firm root from a young age, as did the hope to one day publish a book of her own. Her mother, a therapist, wrote poetry as a private means of self-awareness, but Dr. Varnes writes with an audience in mind— typically women. Dr. Varnes writes in a “rollicking, loose iambic meter” which allows room for ample substitutions and implementations during the writing and revision process. Working with a five-beat per line structure, she writes sonnets, preferring to use a more traditional framework for her poems. Writing in traditional formal verse was something that, on occasion, she had to fight to exercise. Often, she received pushback from older male professors who saw traditional forms as something to be used by advanced or established poets, not by a ‘young girl.’ During her undergraduate degree, she began to study under a professor who wrote in form like herself. However, when she wrote in formal verse for an assignment, said professor scolded her in front of her whole classroom. “These traditional forms are only for professional poets,”

PHOTO COURTESY LYDIA SANT he insulted. Dr. Varnes composed a quick retort. This response came in the form of a satirical poem about her chiding professor. She posted the poem all over the English department, in the most difficult poetry form she could find. “It was a gutsy move, but I felt that he was doing a disservice to his students and poetry,” she says. Dr. Varnes, despite her quiet disposition, was able to voice this disservice using poetry. “Professional poet,” she scoffs, “whoever heard of that?” Female colleagues and professors urged Dr. Varnes to leave behind the well-worn structure of sonnets and other traditional forms. The feminist movements of the ’70s and ’80s were celebrating the free woman and with it the free verse. “I wanted to be a feminist, but I didn’t see a kind of feminist that I felt like I could be.” After college, she began to organize collaborative sonnets with other poets, typically women. After putting out a call for three to six people to write a sonnet crown together, Dr. Varnes would write a fourteen-line poem, with her last line becoming someone else’s first line. Through writing the sonnet, these women forged bonds as friends, and through the revision process improved their writing. Dr. Varnes fostered a community of growth within the traditional sonnet poem. The women supported one another in their work and sought to challenge each other inside it. The sonnet seemed antiquated for some feminist poets, holding a Shakespearean like stigma. However, Dr. Varnes has no issue addressing progressive matters with the style. While some admonished her for her

love of formal verse, Dr. Varnes did find luminaries who encouraged her writing. She studied in Delaware under a great figure of the confessional poetry movement, W. D. Snodgrass, who held honest brevity in his work that inspired her. A professional, unprofessional poet. She saw that poetry could be grounded, clear and real, ideas confessed from a person to an audience. “You know how you get a song stuck in your head, that’s how I am with poetry,” she says wistfully. “Poetry can create a mental space, as imperfect as it may be, which inspires a level of thinking that I love.” She adds that the dualities of poetry allows the human mind to go beyond the topical, surface-level denotation of the words given, revealing meaning underneath. She goes on to dissect this abstraction by quoting Insomnia, a poem by Elizabeth Bishop; “The moon in the bureau mirror looks out a million miles...”

PHOTO COURTESY LYDIA SANT

ideal,” Dr. Varnes laughed. “It may sound cliché but self-acceptance is no joke, and it’s not easy.” This act of becoming yourself is a continual effort, she says, not something you can do once a week, it’s a constant thing. Dr. Varnes engages with female stereotypes and addresses them in her work. She does this in her poem, “His Next Ex-Wife,” a conversation in which an ex-wife and current spouse of the same man realize they have more in common than they thought. “It’s a male fantasy for the woman to end up hating each other,” she said. The two women defy the unfair trope of divorce-related animosity and discover the unfaithfulness of the man who hurt them. This text acts as the focal point for her collection of poems, Paragon. Women are often expected to be mere shadows of themselves. With iconoclastic vitality, she urges women to learn to exist in who they are. The title is simply ironic, she said, this collection is about wanting to be a paragon, and failing at it.

The subject here is looking not at the moon itself, she explains, but a reflection of it. This takes place in the subject’s bedroom, you know where you are already— and can almost sense the subject’s state of mind. The swaying power of rhythmic, pointed words in poetry leaves the reader in a state of active thought.

Throughout the rhapsody of her writing evolution, Dr. Varnes has faced disapproval for the untraditional ardor within traditional poetry structures. Using her words, she effortlessly juggles the notion that women aren’t perfect, and therein lies their beauty.

The female experience has become a recurring theme for her writing, something she continues to flesh out in new ways. One idea she continues to come back to is becoming “the woman that you are, not some other

When asked why she writes poetry, Dr. Varnes responded with certainty, “I write to make sense of things, because things are complicated.” Dr. Varnes is a walking contradiction, which makes her a woman, a poet, and unquestionably real.■

FIT

DECEMBER 2019

PHOTO COURTESY CAT TRZASKOWSKI

Runway 27’s

Artistry Show

A Dreamy Look Towards the Future of Fashion BY LOLA CORNILLON At its core, fashion emulates the change that we wish to see, the vibrancy we imagine our life could have, the vibrancy our life does have – and our most daunting fears. As eloquently said by French director Jean-Luc Godard (and one of my favorite quotes), “Art attracts us only by what it reveals of our most secret self.” A fashion show has the ability to bring our secret selves to the surface, to be shocking and intimidating, and to thread the life and times of fashion into a bold and bright exhibition. Runway 27’s Artistry show was a sweet weaving of Stephen Burrow’s “When Fashion Danced,” The Great Gatsby, Sofia Copolla’s Marie Antoinette, and the inside of a well-organized piñata – which luckily for me, is how I would like to see the world.

body else does” standing out as the most diverse collection of FIT students graced the stage.

Often in duos and sometimes alone, on Thursday evening at the Haft Theater on FIT’s campus, models walked alongside the music of Saint Vincent, Chance the Rapper and an electric rendition of “Singing in the Rain.” The Smiths’ “How Soon is Now” played, the lyrics “I am human and I need to loved, just like every-

The Artistry show was broken into four segments: Blank Canvas, Rococo, Pop Art, and the Contemporary segment. The Pop Art segment stood out as my favorite – which is probably predictable, as I said I’d view the world like a well-organized piñata – but mainly because of the energy. In my notes during the show, I wrote down “looks genuinely fun,” a product of the Andy Warhol prints on stage, the colorful dresses and soft poses – creating dramatically tender relationships between the models who walked aside one another. The models were of all ethnicities and gender-identity – representing a dream-like alternative to the fashion industry as it stands. The reminder of FIT community through an exhibition of “campy” and inclusive representation felt strong on Thursday night, and makes me hopeful. Hope, as the realization of our dreams, and a world that will remain wilder than our imaginations – fashion, as an important role in those imaginations.

PHOTO COURTESY LEAH KING

PHOTO COURTESY CAT TRZASKOWSKI

The models walked across the stage, to Blondie’s “Dreaming,” in front of hundreds of Fashion students. They wore bikinis, Nike sets, vintage vests, glitter jumpsuits and gowns that looked like watercolor paintings and the feeling of running through the wind (in a meadow). Heads were topped with tall hats, eyes covered in big sunglasses, long ponytails flowed and color-block puffer coats bounced. The models walked through each segment, dressed differently and shockingly new with each art period. The show felt like kid’s dress-up, in a really really good way. This year’s Runway 27 show is an important look at how at its best, fashion can be fun. Fun, existing alongside an inclusive “cast” – with models of all body types, ethnicities and gender-identity. Fun, that is showcased when fashion dances, and exhibits the dreaminess of fashion looking forward – connecting community and art, as it always should. The Artistry show is an exciting look at what FIT is going to bring us in the years to come.■

PHOTO COURTESY CAT TRZASKOWSKI

W27

ART ISSUE

Artisan Chocolate: A Tasty Form of Art

PHOTOS COURTESY OF SALON DE CHOCOLAT

BY YAJIE NIU

ll of us must’ve been told “Don’t play with your food!” at the dinner table by parents at least once while growing up. As we grow up, some of us gradually start to treat food as food to be properly eaten at the table. There are, however, culinary artists who refuse to believe that food can only serve one purpose. As a result, food is eventually transformed into a masterpiece of art after going through a process of various treatments. At Salon du Chocolat last week, I was fortunate to witness several artists transform chocolate, a common treat, into wonderful pieces of edible art. Salon du Chocolat is an expo for chocolate lovers to experience chocolates from all over the world, as well as for chocolate vendors to promote their newest products. Most of the chocolate vendors sold bars, truffles and bonbons, made from cocoa beans sourced from mostly South American countries. One chocolate vendor, Maggie Louise Confections, sold handmade chocolates in fun shapes such as lipsticks, guitars and snowflakes. They were painted with dazzling colors, blurring the line between premium chocolate and fine art. According to the owner, Maggie Louise, her chocolates combines classic flavors with bespoke details in order to elevate gifting experience. She designed several collections of chocolates which each tell a story. For example, the holiday collection made exclusively for Christmas features chocolates shaped as a gingerbread man, a snow-

flake and a snowman; all of the chocolates look too perfect to be eaten. On the other side of the expo, artist Hakan Martesson was carving a dragon out of a huge block of dark chocolate. It was standing on top of a mountain built out of chocolate, everything was carved in detail, even the scales and teeth could be seen clearly. There was also a stall set up for kids to experience chocolate sculpting, raw cocoa was mixed with palm oil to make a soft dough like chocolate plasticine for kids to mold them into anything they wanted. The highlight of Salon du Chocolat though, was the chocolate capsule fashion show, themed Fashion Time Warp. Each designer was paired with a chef to create a look inspired by a decade. Most garments were made with a combination of base fabric and 3D printed or sculpted chocolate constructed on top, there were some made purely out of chocolate, with only few wires as support; others utilized edible fabrics and introduced other tasty ingredients such as fondant or candy. When the models walked down the stage, audience members witness garments inspired by either ancient times or looking into the future. Some garments combined chocolate with technology, for example in a Jean Paul Gaultier’s famous Madonna corset inspired dress, with bra cups molded with chocolate, instant fireworks shot sparkles from the model’s chest as she descended the runway. In another couple of garments, the use

of LED lights was introduced, adding a dreamy effect to the dresses. Some designers used their garments as a fashion statement. For example, Filipino designer Ia Faraoni created a gown that shows ties between sustainability and technology. Faraoni is a designer that supports sustainability and zero waste. In her garment, the use of LED light strips and the chocolate vessel building that represents the fast forward digital age in New York; the leaves at the back of the gown is a reflection back to her culture and also a representation of textile science and eco-friendly fabrics used in her other works. There was also a Golden Age inspired dress, with an additional tier skirt made out of an edible fabric called flexin, which is converted from gelatin, then mixed with chocolate and food colorings. The tier skirt is colored into a rainbow, which makes it a little weird compared to the aesthetic of the rest of the dress. According to the designer, his was also trying to express support to the LGBT community with the design. A 1960s style hippie dress, consisted of a classic A-line dress and colorful flowers made of fondant with a huge peace sign pieced out with M&Ms on the model’s hat was by a chef from NY Cake Boutique, a baking school established and run by women. My favorite of all was a Victorian steampunk inspired gown that consisted of a corset, a hat and a petticoat. It was created by designer Libat Ohayon and chef Moran Etstein, they were probably the

designers that utilized chocolate to the maximum. The gears on the corset and top hat, the ruffles on the skirt and the top hat itself were all molded out of chocolate. White, milk and dark chocolate were all used accordingly for different parts of the dress. Moran Etstein is an expert in creating miniature fashion pieces out of chocolate, it was very fitting for her to do the job. Even so, she admits the process was very time consuming and intensive: “We had to create molds for each of those gears, chocolate was poured in and we patiently waited for it to dry and patiently scraped out the additional pieces of chocolate to get to the form we desire. Every piece of chocolate was individually cut, it typically takes 2-3 weeks just for experiment and trial and error. When we finish cutting out the ruffles, we polish it and emboss on ornate Victorian era patterns.” It was a miracle that none of the chocolate melted, otherwise it would’ve been a catastrophe. “When we were in the process of making [the dress],” says Moran, “we have to control the temperature to keep it below 80°F, otherwise if the chocolate melts, we’ll have to start over again. The metal crinoline cage under her skirt functions as support for the ruffles as well as preventing the chocolate from dripping.” The expo soon came to an end. I left the eye-catching feast with my stomach full of chocolate, and due respect for all the amazing chocolate artisans that made the artistry of chocolate come true. ■ ■

FIT

DECEMBER 2019

Thaddeus Coates Siena Saba Alexandra Espinosa Dillon O’Keefe

INTRODUCTION BY STEVEN MOLINA CONTRERAS

rtists, for me, deconstruct and evolve ideas of representation, of humanism, and of emotion. Their work allows for an unrestrained perspective on critical ideas of the changing times, and a chance for contemplation and reflection. Illustration, photography, and painting have their set styles and practiced standards, but for artists such as Coates, Espinosa, O’Keefe, and Saba, their artwork sets to break free from that - delivering a sense of individuality and style that continues a conversation in which communities co-exist and are exposed to our demanding eyes. When curating the features in our December Art Issue; the first art issue, I aimed to bring together a coalition of artists whose different genres and styles will cater to the diverse readers of W27 and be represented in unity - in a way they have not been able to before. The art featured herein is generally found amongst its own “genre,” but what happens when we weave the different styles and techniques that are made within our 27th street campus? What ideas directly influence all of us, and how do they connect our own experiences in society? I believe that these artists, like many within our FIT community, provide insight into these questions, and deliver creative responses that captivate the eye - asking us to question our own perspectives.

them - reminding me of the powerful images made by great photographers such as Nan Goldin, and Ryan McGinley. Espinosas’ paintings bleed into one another; evolving from abstract form into solid portraits - filled with duality and contemplation. As each work phases into one another, the movement they carry transform the way in which I encountered them. The atmospheric quality in the shades of the red faces within her piece “Show Me the Real You,” is balanced by a tranquil blue self-portrait, where impulse and assertion are met by depth and serenity. The way you see her works first is not where you “end,” - and I suggest you look closer to find the humanity and attitude in which her psyche prevails. The great abstract artist Ivonne Thomas similarly used color theory, repetition, and abstract form to evolve the resulting paintings she made. O’Keefe’s reimagined depictions of businessmen, banal items such as bongs and computers, and leaders like Donald Trump, reflect a comical and critical view at the way we interpret one another. Everything in O’Keefe’s illustrations is treated with the same intent, and transformed into a psychedelic experience, overstimulating our eyes and showcasing O’Keefes ability to define every detail that fills his worn sketchbooks and illustrator files. The literal does not matter and is replaced by an imaginative reflection of what is possible. His work reminds me of the bizarre and intriguing work of illustrators such as Skinner, and Robert Beatty - and bring me back to my pre-teen days of falling asleep to the mayhem world that engulfs Adult Swim.

Coates work for example; in a current moment where representations of black/POC bodies are emerging and continue to be challenged within our culture, Coates adds to the conversation by illustrating beautiful black bodies in moments of serenity and celebration. The visual language in his pieces’ “Big Boys Dance Too, Honey Milk Drop, My Melanin Matters,” and “Universe in One Drop,” rewrite the experience shared by many in his community; reminding me of While these young artists have yet to reach the pinnathe resilience the late artist Charles White had in his work. cle of their careers, they have accomplished much within their short tenure here at FIT. They are visually talented and stand out alongside the plethora of great makers and Saba’s images of her friends within the studio and person- thinkers that exist within our campus. I believe they ask us al spaces deliver an immediately sincere and complex view to look, to reflect, and to engage with their subject matter on their existing relationship, and help recontextualize the in hopes of inciting something deeper within ourselves. As way documentary image making, and staged portraiture can you flip through the pages within our December Issue, I ask live within one artist’s body of work. The stark, saturated and that you consider their work, their words and accomplishgrainy qualities delivered by her film camera add a formal ments, so that you can reach out and engage with them - in context and help us to consider our own relationship to the a motion of solidarity - as many of us prepare to enter the image we are viewing - and the process it has gone under art world alongside them. Perhaps, if there’s anything to be before being shown to us. When viewing her works, “Kydz said about the students that attend the Fashion Institute of Lyfe, AVA,” and “Luke Seven,” I am captivated by the indi- Technology, it is that their voices provoke us, and are truly viduality of each subject, and by Sabas intimate access to a reflection of FIT’s branding of “Unconventional Minds.” ■

ARTIST FEATURE

W27

Thadd eus Coates “Making art means to me cultivating a world that opens a conversation and sparking dialogue in hopes to cause a cultural shift. I tackle concepts of self-worth, identity and many socio-economic conversations that others might feel uncomfortable with even discussing. I want to make you feel, make you question and self reflect.” - Coates

PHOTO BY STEVEN MOLINA CONTRERAS

Known as @hippypotter on Instagram, illustrator Thaddeus Coates is a quirky afrofuturistic artist who’s mission is “redefining social stereotypes through provocative and vibrant images”. That intention reverberates throughout his portfolio of beautiful black faces which feature inspiration creatives like Solange and Janelle Monae and intersectional representative characters that promote self-love, body positivity, and of course #BlackExcellence. He has worked for clients such as Instagram, Refinery29, Marvel’s Black Panther, Giphy and Afro-Punk to name a few. You can view his work online at https://www.hippypotter.com.

“BIG BOYS DANCE TOO” “UNIVERSE IN ONE DROP”

FIT

DECEMBER 2019

“MY MELANIN MATTERS”

“KYDZ LYFE” - 2019

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FIT

DECEMBER 2019

Siena Saba “Art is an extension of ourselves. To me, it’s an outlet to document the way I experience the world. To provide proof that these things and people existed. All I hope is that my art touches people in any type of way; I want them to leave questioning everything. My art becomes a reflection of who I am, every subject I face is like a mirror. Because of this, creating art could never be a competition because nobody has your vision. Nobody is you and that is your power. “ - Saba

PHOTO BY STEVEN MOLINA CONTRERAS

“AVA” - 2019

Siena Saba is currently in her senior year studying photography at FIT. Her work explores documentary style which focuses on music and youth culture. She draws a great deal of inspiration from NYC and the people she finds herself surrounded by. She’s particularly interested in the creative process of artists, which becomes evident in the way she approaches her subjects, always aiming to capture the most honest parts of people. She has been commissioned for projects with Samsung US, Rolling Loud NYC: Preroll, Move Forward Music, AnimalxHouse, and Treble. She can be found on Instagram at @siena.saba or at sienasaba.com.

“SOUTH JAMAICA” - 2018

“LUKE STEVEN” - 2019

ARTIST FEATURE

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Alexandra Espinosa “Art is an extension of who I am. It has granted me an escape, a path to where I can finally not only express myself as a person or artist, but to explore, experiment, and experience life differently, more freely. Growing up, my youth was robbed by depression and anxiety. I was merely existing, not living. Despite those unfortunate circumstances, with time it has allowed me to use that negative energy that has harbored within to create such pieces centering what I envision and the core of who I truly am. Simply liberating myself to finding myself once again.” - Espinosa

PHOTO BY STEVEN MOLINA CONTRERAS

Alexandra Espinosa is a junior majoring in Fine Arts at FIT. Through contemporary and abstract art, her pieces are embodiments of her psyche as well as human nature and culture. Whether it’s painting, drawing, printmaking, or sculpting, Alexandra uses her art to express her visions, enabling her audience to engage with them. Her works are emotionally driven, emphasizing both the importance of connection and beauty within destruction. She has been and is currently shadowing under her mentor, Alan Reingold, commissioning for commercial art. Alexandra can be found on Instagram at @iz_alex.

Phase 3 of 7 - 9’x12’ Oil on Canvas

PHASES

Phase 7 of 7 - 9’x12’ Oil on Canvas

Phase 1 of 7 - 9’x12’ Oil on Canvas

FIT

DECEMBER 2019

“SHOW ME THE REAL YOU” - 15’ x 18’ - Oil On Canvas

14 ARTIST FEATURE ILLUSTRATION BY DILLON Oâ&#x20AC;&#x2122;KEEFE

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FIT

DECEMBER 2019

DillonO’Keefe “Creating art puts my mind in a state of zen. I draw everyday because that’s the only way to get better at it. I’ll go through atleast a sketchbook per month, because my best ideas are the ones I have on the fly, not when I have to sit and think about it for too long. Art is all about the how you interpret life and translate it to a visual medium. I’ll often have people say to me, ‘I wish I was good at drawing, but I can’t even draw a straight line...’ But who cares? Neither can I, that’s what rulers were made for. Just do what makes you happy, and if you’re good at it, keep doing it.” - O’Keefe PHOTO BY STEVEN MOLINA CONTRERAS

Dillon O’Keefe is an illustrator and animator taking inspiration from the streets of New York City, to produce psychedelic thought-provoking art. To view more work from the artist, visit dillonokeefe.com or on Instagram @dillon.okeefe.

MOUNT MARIJUANA

W33DBOT420

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HOW AN UNCONVENTIONAL SHOW FELL INTO A CONVENTIONAL HIRING TRAP If the two creators and executive producers of the show did not go to elite universities, then why did they mostly hire only top university alums? The show offers its audience a unique angle on unique issues, but this new perspective can only come from a set of writers that are diverse themselves. Diversity can come in many forms, but I am talking about diversity in terms of accessibility to affordable colleges. Patriot Act is written and recorded in New York City, a place where there is the State University of New York and several City Universities of New York in the larger metropolitan area. The CUNY Graduate Center and University’s journalism program is one of the best and most affordable options for aspiring writers in New York State. In 2018, Craigslist founder Craig Newman even donated nearly $20 million to the university to make sure they would have more resources, allowing the students more opportunities to expand their skill set. Other more accessible schools in the area producing journalism and related field students to be well equipped in the workforce include CUNY Baruch, SUNY Purchase, Penn State, and of course, the Fashion Institute of Technology! And these are only some universities in or near New York City, so the possibilities of hiring more writers from accessible schools across the country and world are even greater. Patriot Act would only benefit from a diverse set of perspectives that would make their show even more groundbreaking than it already is.

PHOTO COURTESY OF NETFLIX

“THE SHOW OFFERS ITS AUDIENCE A UNIQUE ANGLE ON UNIQUE ISSUES, BUT THIS NEW PERSPECTIVE CAN ONLY COME FROM A SET OF WRITERS THAT ARE DIVERSE THEMSELVES.”

BY PRERNA CHAUDHARY Patriot Act on Netflix has an unconventional approach to the traditional idea of a one person or late night talk show. Unlike his predecessors, host, co-creator and executive producer, Hasan Minhaj narrates deep dives into issues that do not usually get covered thoroughly – or at all – on most American media. While talk show hosts like Trevor Noah and Stephen Colbert stick to the mainstream model of seven to fifteen minute monologues highlighting what they consider to be the most pressing news of the day to address and make jokes about, Minhaj and his writers stay away from this paradigm. Patriot Act has Minhaj explaining issues in detail for twenty to forty five minutes in front of elaborately animated graphics on a set of full scale LED screens. Essentially, Patriot Act broke the mold and created a format that would work best for itself. The show is unorthodox and discusses a wide range of topics that many viewers lack knowledge of like the undiscussed negative associations with Prime Minister Trudeau, the Me Too movement in China, corruption within the internationally popular sport cricket and the intricacies of the hypebeast brand Supreme, to name a few. Because of the show’s unconventional topics and structure, I assumed that the show’s casting process would be unique. However, I was wrong. When I looked at the list of Patriot Act’s writers, I was surprised to find that most of them went to elite universities like Yale University, Duke University, Wesleyan University, and New York University. While I would expect most of the writers from mainstream talk shows to be from the top 20 universities in the United States because that is simply how the hiring process for big television networks has been for decades, I expected Patriot Act to be different.

As a fan of Patriot Act myself, I would love to continue seeing the writers work with different takes on major issues that deserve more media coverage than what they are getting. The show is already amazing and inspiring, but if they hire writers that all bring something different to the table, the show will continue to grow and outperform its competitors. This outperformance would allow the show to have more seasons and not be cancelled as similar shows in the past have been, like Chelsea, The Fix, The Break with Michelle Wolf, and so on. If Patriot Act wants to be the talk show that makes it, it has to capitalize on its strength of being unconventional and truly apply it to all aspects of the show.

PHOTO COURTESY OF ILSR.ORG

Out of the 12 writers listed on Patriot Act’s IMDB page, I was able to find information on nine of the writers’ alma mater. Of those nine writers, four went to the top 20 universities or liberal arts colleges in the country, respectively, while one went to a top 30 university, NYU, as ranked by U.S. News in 2019. While a five to four ratio of writers from top universities to some more accessible colleges may seem like a good balance even though it it disproportionate balance, the numbers do not tell the whole story. Of the four remaining writers, two were the co-creators and executive producers of Patriot Act: Hasan Minhaj and Prashanth Venkataramanujam. Both of them went to an in state public school, University of California Davis, which is known to be a university that is accessible because of the relatively high acceptance rate and low cost in state tuition when compared to the top universities in the U.S. In conclusion, only two people that went to non top 30 universities / liberal arts colleges were chosen to be writers for the show.

PHOTO COURTESY OF NETFLIX

FIT

DECEMBER 2019

Mav Dooley

Interview

PHOTO COURTESY MAV DOOLEY

BY CHARLOTTE SPAID

I met Mav Dooley about a year and a half ago and since then, they have been a wonderful light in my life. They are an inspiration to me and also a dear friend. When I think of art at FIT some people stick out in my mind, and Mav is one of them. I wanted to capture a bit of their life, art, and intriguing thoughts on what it means to be an art student at FIT. Charlotte Spaid: Tell me a bit about yourself. Mav Dooley: I’m Mav Dooley, I’m a junior photo student here at FIT, and I live in Queens. I grew up in Bay Ridge, Brooklyn, when I was 11, I moved to a small town in Jersey, and now I’m back here. CS: How long have you been practicing art, or knew you wanted to do art? MD: I think I always knew I wanted to do art, I had my first gallery show ever when I was two years old with this woman named Temima Gezari, who was a Long Island-based photographer. Our show was the only art show that she’s ever had with another person. And she was 99 years old and I was 2 years old, and I did painting. When I was really little I wanted to be a painter, and I thought that abstract painting was the most wonderful thing in the world. My mom and I would go to the MET all the time. When you’re little, and you need to get out of the house, but you live in Brooklyn and everything’s expensive, going to the MET and being able to pay a dollar for you all to get in. Just looking at artists was my favorite thing to do. My favorite painter when I was little was Edgar Degas. So I tried to emulate his work in my work and I was like 3 years old! But after that, I became obsessed with my shadow. And I was obsessed with my shadow for a really long time, so my dad gave me a bright yellow Fisher-Price film camera and I took photos of my shadow. My dad was a photographer and he helped me develop my photos. We had a little freezer in my house where we kept all the film, and I’d go in there and pick my film and he would help me put it in the camera. And so we have those photos somewhere. That’s how I started getting into photography, ever since then I’ve been obsessed.

CS: As you’ve grown as a person do you still feel like you carry those roots with you? Or do you feel like it’s been a completely different flip? MD: Oh totally! I definitely feel like I’m the same person, the same artist. I think the reason why I gravitated towards black and white photography in particular so much was that it’s all about light and shadows and manipulating light. Which is something that the artists that I grew up looking at, also when I was first interested in photography. It still holds very true to that, I think am the same exact artist. I try to go back to when I was little in my art a lot. CS: Now what do you feel are the things you are creating the most or hope to create? MD: I’m doing a lot of mixed media work, and a lot of work inspired by the early punk movement because as I grew up I started getting more and more involved in the punk scene here on the east coast. So I think my work is more inspired by that and by mixed media work now than it was by painting or other photographers. So I think that’s where I’m heading more towards now. CS: Tell me a bit about your China journey and taking student artwork to show. MD: This semester I got the opportunity to go to Pingyao, China, to show student work from FIT at the Pingyao International Photography Festival. We won an emerging photographers award. Next year I will go back with a solo show. It was amazing and nice to curate work, I think eventually that is what I want to get into more. I really enjoyed being able to select artists who I felt were a good representation of the photo students here at FIT and I really had a wonderful time working with the artists portraying their image as much as possible. It was interesting seeing an international audience look at our work and tell me their thoughts, it was helpful to get that outside opinion. CS: What has your journey been like being an FIT photo student? MD: The people here are amazing, we have formed a really strong photo family. It’s nice be-

PHOTO COURTESY MAV DOOLEY

cause we’ve seen each other evolve and grow. We know each other’s work so intimately now that we can really give an in-depth, thoughtful, critique and help each other improve. In my personal journey being here, I’ve gone through a lot of phases of discovery which I feel is fairly normal for an artist, not only in our age group but also an educated artist. I first came here and my style was completely different, I discovered a way of working that I really enjoy and is true to myself and is not impacted by other people. I think that’s one of the most important things to have, a really authentic way of working and an authentic aesthetic and style. Because if you’re just copying other people it can feel not genuine. I feel like I tried to do that in the beginning, there were a lot of talented artists coming in and I felt a little intimidated. Being able to go back and reflect on what I need to do and what I want to create is really important. CS: Tell me a bit about the pieces you are showing here in the article. MD: The two photographs I chose for the newspaper are both self portraits. The top one is titled “What my roommates would see” and the bottom photographs are in a triptych called “St. Jude.” “What my roommates would see” deals with my mental health. Sometimes when you are struggling, the only thing from making that final move is the closest people in your life. My roommates are definitely some of those people for me. This photograph is an expression of that. The bottom photo is taking inspiration from triptychs and religious imagery. It is also inspired by the song of the same name by Florence and the Machine. Florence is one of my favorite musical artists and many of my photographs are inspired by her. Normally, my self portraits are reflections of my emotions and thoughts of the moment and I feel as though these are no exception. I am really inspired by Franchesca Woodman and her ability to show her feelings through her art. I think when I make art I try to evoke the same feelings.

W27

ART ISSUE

Home Has Always Been Closer Than I Thought

PHOTO COURTESY LA NACIONAL

BY LARA DE LA TORRE

PHOTO COURTESY MERCACEI

Growing up, my family split our time between a small, suburban town in central New Jersey and a small, coastal city in Southeastern Spain; September through June was spent in the United States so my brother and I could close out the school year while the ensuing summers were defined by our annual pilgrimage to Europe. Two childhoods in one, I have fond memories of walking gloved hand in gloved hand with my mom to a bright yellow American school bus, a crisp rainbow of Autumn leaves crunching and crackling under our every step; and walking hand in hand with my mom to our town’s mercado, the frantic peeping of chicks and ducklings for sale trailing behind us, the vivid rosy pink meat of the skinned rabbits displayed at the carnicerías hypnotizing me with their saturated color, the thick, sweet smell of fresh cerezas left in summer heat permeating everything. Although wildly different, both countries have found ways to nestle themselves deep into my heart; when I’m without one, I’m always missing the other, a constant state of homesickness. After moving to New York City for school and trips to Spain gradually decreased, I made it my mission to try and find little Spanish bubbles that I could visit whenever the feeling of wanting to be home would get too overwhelming.

After three years of countless failures of finding some semblance of authentic Spanish food in the city, Mercado Little Spain opened in Hudson Yard the past March. A culinary collaboration between chefs José Andrés and brothers Albert and Ferran Adrià (the innovators behind Catalonia’s famed elBulli), the Mercado is reminiscent of the indoor food markets that the country is known for, the markets that I grew up going to. I went the week it opened and was brought to tears by the flavors Andrés’s team was able to bring across the ocean and deposit right behind Kaufman Hall; a platter of imported jamón ibérico and a glass of freezing cold sangria had me slipping easily into believing that if I exited the building, I’d be able to wander the maze of cobblestone

streets of my town, the rustle of massive date palms whispering their welcome home to me. Along with connecting my tastebuds to the place I’m always yearning to be, Mercado Little Spain also enlightened me on a piece of little known history of the neighborhood I’ve been living and going to school in for the past four years. Between the late 19th and early 20th centuries, just above the West Village from Christopher street to 23rd street, sat the original Little Spain that Andrés’s Mercado is named after. Similar to still-in-existence areas like Chinatown and Little Italy, this section of Chelsea was known for the influx of Spanish immigrants that lived there, particularly during the years of the Spanish Civil War and Franco’s dictatorship. After experiencing a steep decline in immigration in the 1970s and 80s, Little Spain is no longer what it used to be. Virtually the only thing left that survived the evolution of the area is La Nacional; founded in 1868, La Nacional (also referred to as the Spanish Benevolent Society) served as a community center, provided healthcare and afterlife services, food and shelter to Spaniards living in and around Little Spain. Now, 150 years since its creation, La Nacional is still a meeting place for those with a connection to the Spanish culture - offering live events such as poetry readings and tango nights, dance classes, and even a Spanish restaurant, this non-profit organization is alive and well, preserving the history that so few are aware of today. Both of these little bubbles have helped me through many bouts of homesickness, but I haven’t wanted to stop at them. While scrolling through The New Yorker’s Instagram feed in early November, I happened to land on just the kind of thing I had been looking for - a post about an upcoming series of flamenco performances in Chelsea. Entre Tú y Yo (Between You and Me) is a product of dancer and choreographer Soledad Barrio, her husband, choreographer and art director Martín Santangelo, and their dance company, Noche Flamenca. An evening-length program made up of duets, solos, and ensemble pieces, Entre Tú y Yo will be running from Tuesday, November 19th to Sunday, December 1st at the Joyce Theater. Lucky enough to attend opening night, I loved being brought home by something other than familiar flavors - the voices of the singers, the notes being plucked out on the guitar, the claps

and stomping feet of the dancers all conjure an infectious energy that feels older and more lasting than the mortal people that are emitting the sounds. For anyone that has never seen a flamenco performance, it’s difficult to try and explain the experience because as much as it is ruled by a visual component, it is also one of intense energy - like so many other facets of the Spanish culture, culinary traditions included, flamenco is something with the power to tap into deeply-rooted emotional wells that you never even knew were there. Much like how I felt while eating Andrés’s food at the Mercado, after stumbling out of the theater in a daze with the music still ringing in my ears, I felt more connected than ever with my home across the ocean.■

PHOTOS COURTESY LARA DE LA TORRE

FIT

DECEMBER 2019

GETTING ACTIVE AT FIT WRITTEN AND PHOTOGRAPHED BY ELIZABETH SCOTT as the last priority. As such, students are probably not considering the importance of making time in their schedule for other activities they enjoy, let alone their basic needs like sleeping and eating. This can lead to an overwhelming amount of stress and burnout. Scheduling just 30-45 minutes, 3 or 4 times per week for working out or other activities a student enjoys can make a big difference in overall health. 3)What advice can you give to the younger generation on how to stay healthy and strong and to continue having an active way of living even after FIT?

I personally made a mistake in my previous college. We had a gym and a swimming pool, I never attended during two years at LaGuardia CC. I was busy or just didn’t want to go. I was only there to study. That’s it. But now it is a new start for me. I’ve realized FIT is a more than just a place where you get credits, doing your major. So, why not take advantage of all of the school’s opportunities? I’ve interviewed Keith Heron, director of Athletics and Recreation to have a better understanding of these opportunities in the basement of the Dubinsky building. 1)Why is it important for students to try combine their regular classes with free sport classes that school provides, besides the health benefits? When you think about it, everything comes down to health. When someone feels very healthy, they probably feel better about themselves and are probably able to accomplish so much more than they can when they don’t feel well. In addition to the physical benefits free FIT Group Fitness Classes provide, students also get social and psychological benefits in addition to learning something new. FIT Group Fitness Instructors are expected to place an emphasis on having students work together to make connections, and to teach students skills they can use in their everyday lives. Also, there are psychological benefits of increased self esteem and stress relief that increased physical activity can bring so there are a lot of benefits to staying active and FIT Group Fitness Classes are a great way to do that! 2)Why do you think most of the students never go to the gym and don’t find time for any other activities? I think that some students don’t find time to engage in physical activity or other things they enjoy probably because they are putting too much pressure on themselves to focus on academics/career ambitions while putting all other things they enjoy

Staying healthy, active and strong is a lifestyle. I suggest that students schedule time to take care of themselves into their weekly routine now and stick to that habit rather than putting health as the last priority as many students do. You owe it to your future you... trust me, they’ll thank you! If a student is looking to get started on the road to being a healthier person, they can speak to the campus Nutritionist Gabby in Health Services, or ask a friend to come to a Group Fitness Class with them if they don’t want to try a class on their own for the first time. Also, all of the employees in both fitness centers are fellow students called Student Health and Fitness Center Assistants who provide a welcoming environment. If someone is hesitant to work out because they are unsure about what to expect or if they have any questions about how the machines work, I would encourage them to stop in the fitness center and ask a SHFCA.

better about themselves and may also have other positive health effects like getting better sleep and having better focus on academics. For example, taking a quick 20-30 minute exercise break from a study marathon or project that is taking longer than expected can help the person return to the task with a clear mind and fresh perspective on the subject that they might not have realized had they kept working on it despite getting tired and losing focus. Students sometimes feel the need to push through to complete the task, sometimes even pulling an all nighter ignoring the body’s needs for eating and sleeping, to get the job done. In that case, the completed work normally suffers from pushing the body and mind to keep working in their weakened and tried state. Instead students

would he better off to take a break, do some quick exercises even in their room, grab a bite to eat, or even take a nap or go to sleep and then wake up early the next day to return to the task with a fresh mind. Students might be surprised how new ideas can emerge when taking time to step away from a long assignment or project and diverting their attention from it for a while, or even taking time to, as the expression goes when one has to make a big decision, to sleep on it! 4)How can sport change someone’s life? Sports can change a life in a lot of ways. They best brief example I can give is someone’s life changing for the better because of the friendships, acceptance, guidance and support they find as a team member that they may not have found in their lives elsewhere. 5)How does the physical activity affect our mood and behavior ? In general, do people feel happier when they make an effort and exercise? In my opinion, an increase in physical activity will lead to most people feeling

6) What variety of opportunities and classes does FIT provide? FIT offers 30+ Group Fitness Classes each week taught by 7 highly motivating and knowledgeable Group Fitness Instructors. From more physically challenging classes like Spin and Cardio classes, to relaxing Meditation and Yoga classes and even Self Defense and Cardio Kickboxing, there really is something for everyone. Also, I highly recommend checking out our newest class called Pound which uses weighted drumsticks to give a full bodied, stress relieving workout on Wednesday nights! ■

W27

ART ISSUE

Weaving the Future and Unraveling the Past: Exhibition Review WRITTEN AND PHOTOGRAPHED BY SHAMEEKIA JOHNSON

Meleko Mokgosi: The social revolution of our time cannot take its poetry from the past but only from the poetry of the future. Jack Shainman Gallery 513 W 20th St, New York, NY 10011 Through Dec. 21st

oused within Jack Shainman’s 20th street gallery are twelve bodies of work by Meleko Mokgosi. As, The social revolution of our time cannot take its poetry from the past but only from the poetry of the future, uses both prose and poetry by writers from the African diaspora in order to challenge ideas of feminism, African liberation as other subjects of love, solidarity and aesthetic surface into the conversation. Mokgosi’s decision to pair text with imagery elevates the works of each woman as it evokes a deeper meaning that the artist himself emphasizes with handwritten annotations of the featured writings. Upon arrival, parallel to the front desk of silent gallery employees, appears the first piece and introduction to the exhibition. The social revolution of our time...poetry of the future #1, is a 96 x 48 inkjet panel of Gladys Thomas’ 1972 poem, “Fall Tomorrow.” If unfamiliar with South African politics that have occurred prior, the viewer becomes equipped with political insight as Mokgosi’s annotations breaks down the text. Around the first and second stanzas, the 1950’s Group Areas Act is exposed and inherently becomes the reason among many for the South African Apartheid. Mokgosi’s handwritten notes in permanent marker continue to address the segregation of mixed neighborhoods, as political and industrial procedures forced people out of their homes. Annotations end midway as the remaining blank margins emphasize the importance of the final underlined words of the poem:“You that remade us/ your mould will break/and tomorrow you are going to fall!” This quote generates the idea of resilience, hope and rediscovery that should be revisited once more in the exhibition, especially when paired with a painting of a police dog locked within a gated area. The sign above reads: “I AM A GUARD DOG/ You enter at your own risk!” and poses the typical threat associated with a guard dog, yet its very demeanor states the opposite, as it seems practically defenseless. Saddened eyes, hunched back and a gaze that is partly hidden by the steel gate, it looks outward to the viewer. One can only think about the last lines of Thomas’ poem next to such an image, suggesting that the dog represents a system that will be dis-

mounted. Or could it be, the people mentioned in the poem prior, as the dog’s actions embody the identity placed upon the left-handed. Throughout the gallery, one can move in a ping pong field of travel. Zig-zagging from one painting to the next, scoping through artworks of self dominance, domestic lifestyle and a birthday cake made in honor of political leaders like Nelson Mandela. Mokgosi’s painting technique is a variation of practical, precise details to loose and rapid brushstrokes. His paintings of people in more intimate spaces, seem like a mixture illustration and reality. The social revolution of our time...poetry of the future #8, becomes the perfect example of Mokgosi’s animated, yet realistic painting style. As the upper body of the sleeping male figure grounded in bed remains stiff and dense, the creases of his t-shirt are made up of shorter, tighter brushstrokes that emphasize the mass the body. While the gradation of light upon his brown skin leaves a smooth, airbrushed look that seems real to imagine the feeling of touching his arm without actually doing so, the lower half of his body is made up of looser brushstrokes that provides a less serious anatomical structure. Scanning the walls to see posters of famous Western figures of the 20th century, Mokgosi’s precision subtly appears as a still from live television becomes reflected to us through a tinted mirror. Reflecting on the paintings that approach the idea of love, and the duality of feminism, The social revolution of our time...poetry of the future #2 questions Western feminism calling for white members of the sisterhood to go under self examination. Nkiru Nzeguw’s 1990 poem, “Sisterhood,” raises attention to the hypocrisy of Western white feminists who claim: “all women are one/united in de face of chau’vism,” as women of color find it hard to rise from their knees, when placed there by their white sister. Since the history of Western feminism is entangled with the history and practice of imperialism, Mokgosi expands Nzeguw’s poem in order to draw questions around the adoption of the white feminist prototype as a one size fits all doctrine, one that could not easily fit with the social identity within African societies. The social revolution of our time...

poetry of the future #3 pairs an imagine of a women sitting on a couch in a wedding dress with an excerpt of the late Toni Morrison’s 1987, “Beloved.” The woman, sitting with her wedding dress panned out around her, one hand suggesting where her knee lies underneath Mokgosi’s loose brushstrokes. As the other is rested on the top, her head is tilted to our left as she looks to us. Morrison’s words of wisdom is left to compliment the woman in the painting in order to remind her of her self worth. To remind us of her worth: love her flesh, her hands, her face and her heart. For that “is the prize.” Beyond the words of Morrison, Mokgosi relies on marginal space to reaffirm the importance of the disenfranchised finding outlets of power. For it is up to them to eliminate every form of distortion within themselves before they can access any form of true freedom. As students of the Fashion Institute of Technology, we look to New York City to provide many forms of inspiration. Yet, we forget that we don’t need to travel far to see art or to be educated and inspired. Since we are stationed just blocks away from major galleries, I urge everyone to trip to a gallery once in a while, to know artists outside of mainstream institutions. ■

PHOTO COURTESY SHAMEEKIA JOHNSON

FIT

DECEMBER 2019

Stigmatization of Artistry BY ARIANA PAINO From a young age, we were all encouraged to be creative and express ourselves through various media whether it be finger painting or building with Legos or sculpting with Play-Doh. However, as we got older, we were gradually weaned off of the arts. Academia in the modern world has developed a bias against artists and creative types with a preference for STEM (science, technology, engineering, and mathematics), business, medical or law paths. Based on personal observations, artists are often gaslighted into believing art is equivalent to inadequacy and even ignorance. Certain people appreciate art only if it is hanging in a museum, which to them, translates to validity, fame and prosperity. But artists seeking out an art major in higher education could face disappointment from peers and depreciation of their art. People who do not understand the mindset of artists are led to believe art/creative paths are an easy way out of “harder” and more financially secure careers. The first misconception about art and artists is that art is just a hobby. In fact, it is a viable career path for many who are passionate about their trade. It can be as lucrative as someone in the medical field. Another misconception is that art is mostly painting or drawing. Artists have occupations in every field ranging from media to business to literature and so on. For example, companies have invested more money than ever into the art industry. They want creative directors, designers, brand developers, packaging designers, visual merchandisers and graphic designers to enhance their businesses in hopes of breaking through the clutter. We take advantage of all the art that surrounds us and the intellect that goes into creating seemingly innocuous pieces. In an effort to combat the stigma against those in the arts, schools have included the arts in a new program called STEAM (science, technology, engineering, arts, and mathematics). According to Deron Cameron, the former principal of the U.S.’s 1st STEAM Certified School, “STEAM represents a paradigm shift from traditional education philosophy, based on standardized test scores, to a modern ideal which focuses on valuing the learning process as much as the results. In essence, we dare our students to be wrong, to try multiple ideas, listen to alternate opinions and create a knowledge base that is applicable to real life as opposed to simply an exam.” The goal is to eliminate the stigma of intellectual gaps between those interested in the arts and those interested in STEM, business, etc. by encouraging students to develop a sense of unity, not competition. In Europe, a European Union funded project called ARTinEd has proposed the use of the arts specifically to teach other subjects. ARTinEd will combine fields such as music to stimulate different learning abilities and activate all parts of the brain during study. From sculptures in parks to murals on buildings to advertisements on billboards, and even doodles in a notebook, we see art everywhere we go. It has helped people make sense of the world during times of conflict and despair. Even though every subject is equally valuable and credible in academia, art engages with the human mind and psyche, transcending race, religion, politics, and gender, in a way STEM cannot. It is one of the truest and most vulnerable forms of self-expression that evokes a visceral response from the viewer. If conventionalist ideologies and beliefs that artists are inferior continue to swell, we could potentially end up in a world where creativity, individuality, and self-expression are all obsolete. ■

PHOTO COURTESY SO FLOW UNSPLASH

ART ISSUE

W27

KUSAMA EXHIBIT BY JIM LIAO

Yayoi Kusama by David Zwirner It would be an understatement to simply refer Yayoi Kusama as an artist. She is, in fact, one of the most influential artists of the twentieth and twenty first century. For those who aren’t familiar with Yayoi Kusama, she is a contemporary artist who primarily creates sculpture and installation with brightly painted polka dots. Kusama’s works are associated with feminism, psychological content, sociological content, surrealism, etc. On November 9th, David Zwirner in New York held the grand opening of Yayoi Kusama’s “EVERY DAY I PRAY FOR LOVE” exhibition. The exhibition features Kusama’s latest paintings, sculptures, immerse installations, and the debut of Infinity Mirrored Room — Dancing Lights That Flew Up To The Universe— from the artist’s iconic My Eternal Soul series. Unlike Kusama’s past shows, the exhibition focuses on Kusama’s innermost emotions toward her life as an artist. In her own words, “My entire life has been painted here,” Kusama’s work within the exhibition represents her love for the arts. My entire life has been painted here. Every day, any day. I will never cease dedicating my whole life to my love for the universe. Oh my dearest art. With the challenge of creating new art, I work as if dying; these works are my everything. — Yayoi Kusama, November 2019 The exhibition itself is free entry, no tickets are required, open Tuesday through

PHOTO COURTESY JIM LIAO

Saturday from November 9th to December 14th. If any of you are planning to visit the Infinity Mirrored Room, I wish you the best of luck. I waited for an hour to get in, and I was there on a Tuesday morning at 10 a.m. However, bear in mind that you don’t have to wait in line if you just want to see the exhibition. The long queue outside of the gallery is merely for the Infinity Mirrored Room, and not for the actual exhibition. (I personally learned the hard way to get in.) As you enter David Zwirner (gallery), you will first see the reception with staff guiding you the way to the exhibition, which is on the first and second floor. On the first floor of the exhibition, you will see Kusama’s installation of new sculptures (or stones) painted in a unified palette, which resembles Kusama’s preoccupation throughout her career with accumulation of similar shapes, on the ground. If you look closely, you can see that all the sculptures are reflective, which is interpreted as a way Kusama wanted the visitors to reflect on the idea of self love. As for the wall, Kusama displayed a total of 42 paintings with her signature polka dots, and many more different patterns. What’s so interesting about those patterns is that the relationship among the colors Kusama used in each paintings are either analogous or complementary. Therefore, from far, you can see the contrast and movement of each painting with the assistance of the color relationship. The exhibition continues as you walk up to the second floor, where you can see the iconic polka dots on the paintings and sculptures. Among all those spectacular art pieces on the second floor, there was one specific work that really caught my eye, which is a sculpture with repetitive faces on

it. Personally, I think Kusama is explaining what she sees of others due to her Basedow’s disease, also known as Graves disease. It is a disorder that resulted her with symptoms including anxiety, hand tremor, heat sensitivity, weight loss, puffy eyes, etc. As an artist, Kusama is famously known for her use of colors and expressive patterns (i.e. polka dots), yet those amazing artworks are actually the result of the mental disorder that Kusama has been going through her whole life. Hence, when I saw this piece of artwork, I wondered how much stress Kusama is under with the whole world focusing on her. In a way, I believe this piece is the center piece that connects the exhibition altogether because Kusama is doing what she loves, which is creating art, while suffering from both her mental disorder and the public. Whether you’ve already known about Yayoi Kusama or not, the “EVERY DAY I PRAY FOR LOVE” exhibition is definitely a great way for you to understand Kusama’s struggle in life and how she found a silver lining through her art. The exhibition might not sound as glamorous and exciting as it is, but it’s really worth a visit for those that are interested in sculptures and installations. ■

FIT PHOTO COURTESY BY VEGAN BEAUTY REVIEW

DECEMBER 2019

Animal Testing In

BY LAUREN BREUER

ashion is an art, but how can you have the desire to be creative if you know that animals are being harmed in the process? Do you ever think of the inspiration that came before a piece of clothing? Or how the styles on the runway came into being? Everything has a source, but tracking it back through its journey of processing is an art in itself. Things in life are presented to us commercially, whether it be on television or social media. Everything you have is a marketed product: food, clothes, cosmetics, etc. Out of all of the things you have, what do you truly need? The average American woman has 103 items of clothing in her closet, 11 handbags, 19 pairs of shoes, in addition to cosmetics. The average American man typically has less, but still a significant amount. Think about it, when you buy a leather bag/briefcase, it is packaged intricately and put into a carrying bag for you to take out of the store. More often than not, the average person does not normally think of the process of how that bag/briefcase was made, and the steps it took to achieve that final result. The perfume you smelled earlier in that pretty bottle - have you ever wondered where the liquid inside has come from, and the qualifications and tests it had to go through to get to where it is? No. Not enough people do. Generally speaking, the average consumer only sees the topical attractiveness that is displayed to them in the store. Companies do not advertise their processes for the products they sell, because most of the time they are not proud of them. For instance, Dior claims to not test any of its products on animals. However, is it a topical advertisement, or an underground change? Being certified as a cruelty-free company is not as simple as writing that statement on the label or website. How the product is

FASHION

manufactured, how it is tested, and where it is sold is all a part of the process. Declaring that “_____ Company does not test on animals” is a very broad statement. As much as I would like to believe their every word, I cannot. So much controversy has occurred, and continues to develop around this topic. Yet currently, the uncertainties are stagnant in this journey to resolution, and my curiosity still remains in the area of reality. Although Dior claims that they “do not test any products on animals,” Dior has confirmed that their products are tested on animals when required by law. China’s laws in regards to animal testing, for instance, state that “the Chinese government requires tests on animals for all imported cosmetics and any special use cosmetics, regardless of where they were manufactured.” Even if a company claims that they do not test on animals, if they decide to sell in China, although the product may be prepared to be sold to the consumer in the U.S., and has passed regulations by the U.S., the Chinese government tests the already deemed-safe product on animals. When companies sell to China, it is a profit cause. But by educating yourself on animal testing, you can see that companies care so much more about profit, than they do the ethical practice and treatment of animals. The processes behind the scenes of all of the products you own contribute to the art we know as fashion. Cosmetics, a part of fashion, is not the only industry that conducts animal testing. The colors of your clothes are often tested on animals as well. The red shirts you see during the holiday season - those dyes that make the shirt that color are most of the time tested on animals as well. You may ask, what does that actually entail? There are laboratories all over the world that are designated strictly for animal testing for aesthetic purposes, animals of many kinds are brought to the lab to test for precautions

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of the new products getting prepared to sell to the market. For example, wool. Wool is a special fiber used in many aspects of fashion and yet, people still think that it consists only of material acquired by shearing sheep, but this is not the case. Sheep are bred to have more skin so when the shearing activity is needed, the farmers obtain more wool. Sheeps tend to get very nervous, and are not the stillest during this process. As a result, they are held down, sometimes beaten, then flipped onto their backs and shorn. And because of the overbred quality of skin, they form infections. They frequently have bugs nest in their buttock area. The farmers then cut their actual skin off of their body with no numbing substance. The sheep are left with open, bloody wounds and no antibiotics to heal them. That wool (Mulesed Wool) is filtered into the manufacturing process, and depending on the current style/trend of the company, they determine the color they want. This is where the dyes come into play, and then the lab animals are subjected to cruel tests. Even products used to launder your whites, such as bleach are tested on animals. Beagles are frequently forced to inhale bleach to declare the toxicity level for humans. A nozzle is strapped to their snout and the bleach is released. The common argument that is initiated is that “If they don’t test products on animals, then what will they test them on?” The art of fashion is beautiful on the surface, but horrifying in its intermediate stages. I pose the question, if you wouldn’t want to be tested on with unknown substances, what makes you think another animal does? The things we want are luxuries, and for an animal to suffer at our expense makes no sense, especially considering that there are so many other alternative products in the market. Make a difference and check your labels, and question the stores you buy from. A little action goes a long way. Help animals escape the fashion industry. ■

The art of fashion is beautiful on the surface, but horrifying in its intermediate stages.

PHOTO COURTESY ETHICAL ELEPHANT

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PHOTO COURTESY CHOOSE CRUELTY FREE

NOVEMBER DECEMBER 2019 2019 24

FIT

Ten Artists You Need to Be Following on Instagram BY VICTORIA RIFA

IMAGES FROM ARTISTS’ INSTAGRAM PROFILES

10. @madbutt 23.3k followers

9. @zoerism 28k followers

8. @katerinaspopova 37.6k followers

7. @jm.robert_official 65.3k followers

Madelaine Buttini is an artist from Brisbane, Australia who “explores digital and hand cut collage using vintage and modern materials”. Madelaine’s artwork differs from normal collages with its precision and attention to detail. It’s difficult to identify as being collage work at all with how well the pieces fit.

Zoer is an Italian artist who currently works between Paris and Saint-Martin Vesubie. Zoer’s artwork revolves around automobiles whether that means creating artwork depicting cars, or creating artwork on cars, or

Ekaterina Popova is a Russian born painter who now lives in the United States. Ekaterina explores the “overall idea of “home’” and creates colorful, dream-like paintings of home interiors, intimate items, and specifically: messy rooms.

JM Robert is a French artist who uses mix media to create feminine faces on “backgrounds that reflect the effects of urban walls”. His work is a mix of pop art and urban art that includes flashy colors which contrast with the dark figures he creates.

6. @a.creature 88.8k followers

5. @andrewhem 92.2k followers

4. @katieachesonwolford 144k followers

3. @aartfinesse 166k followers

Ines J. is a Serbian illustrator currently based in Belgrade, Serbia. Ines’ artwork is full of strange almost alienlike fantastical creatures that are both painted and illustrated. Along with the original artwork she creates she also freelances tattoos, and creates prints and tapestries.

Andrew Hem is a Cambodian-American artist currently based out of L.A., who creates “illustrative paintings” that are often portraits or human forms surrounded by colorful scenes whether urban life, nature or intricate patterns.

Kate Acheson Wolford is an artist known for her one continuous line illustrations and watercolor pieces. Many of her pieces get turned into tattoos by fans or customers, most popular are her portraits and illustrations of hands.

Nester Formentera is a Filipino Dublin-based artist who creates unique line artwork. His line work takes inspiration from naked sculptures by legendary artists and reimagines them using his minimalist fine-line approach.

2. @lesathii – 230k followers

1. @paulheaston – 243k followers

Max Reed is a UK artist whose Instagram is a mix of electronic illustrations and real notebook sketches. What makes his artwork unique is the interesting color combinations he uses, many of which are contrasting colors subdued rather than painted in a “loud” manner.

Paul Heaston is an “urban sketcher” and Dad from Denver, Colorado. Paul’s sketches are extremely intricate and make the viewer feel as if you could step into the world he’s created in his notebooks.