The Wake - Issue 4 - Fall 2022

volume 22 — issue 4 fortnightly student magazine

Aesthetics of Rot Tra c Report p. 16 p. 8

Corporatization of Culture Grill Gracie p. 18 p. 11

Ian Karp Q&A

“Midnights” is a Reminder p. 22 p. 13

Art by Megan Bormann

Fortnightly Student Magazine

Volume 22 Issue 4

©2022 The Wake Student Magazine. All Rights Reserved.

Established in 2002, The Wake is a fortnightly independent magazine and registered student organization produced by and for students at the University of Minnesota. The Wake was founded by Chrin Ruen and James DeLong.

Disclaimer: The purpose of The Wake is to provide a forum in which students can voice their opinions. Opinions expressed in the magazine are not representative of the publication or university as a whole. To join the conversation email eic@ wakemag.org.

Editorial Production

Editor-in-Chief

Managing Editor

Cities Editor

Voices Editor Online Editor

Copy Editor

Music Reviews Editor

Multimedia Producer Multimedia Editors

Srihita Raju

Sophia Goetz

Vishalli Alagappan

Carter Starkey

Quinn McClurg

Abby Vela Peter Nomeland Ben Villnow Natalie Aue Kailee Baumann

Cities Interns: Sydney Peshon, Ava Rausch

Voices Interns: Devna Panda, Goamaar Paul

Features Interns: Maddie Roth, Joshua Kloss

Online Interns: Zoe Hoornbeck

Copy Editors: Vern Nowakowski, Hana Handzija Music Reviews Interns: Shanna Sivakumar

This Issue

Writers

Vern Nowakowski, Srihita Raju, Rachel Hoppe, Emma Inlenfeld, Gracie Kibort, Joshua Kloss, Quinn McClurg, Beatrice Handlin, Nithya Venkat, Dez Ulrich, Cole O’Brien, Peter Nomeland, Shanna Sivakumar, Rogan Isbell, Evan Schwartz

Creative Submissions

Megan Bormann, Laura Kuchar, Jacquelyn Fay

The Wake Student Magazine

126 Co man Memorial Union 300 Washington Avenue SE Minneapolis, MN 55455

Executive Director

Creative Director Finance Manager

PR/Ad Manager

Social Media Manager Art Director Web Manager Distribution Manager Designers

Marie Ronannder

Laura Kuchar

Rashmika Cheekati Gracie Kibort Renee Mottet Megan Bormann Brennan Neuser Selam Gerezgiher Makenna Larson Mallory Paul Kat Regas

PR/Ad Interns: Cheyney McKinney, Jacob Nelson

Social Media Intern: Makayla Hilluka Art Interns: Sarah Jiang, Natalie Williams, Brooke Lambrecht, Alex Kozak

Art

1 Natalie Williams, 2 Megan Bormann, 3 Alex Kozak, 4 Jacquelyn Fay, 5 Sebastian Alfonzo

Cover and Feature Art: Brooke Lambrecht

Feature Spread Design: Makenna Larson

Midnights, The Car, Bin Reaper 3, and Changes images from original sources.

wink! one page magazine

Jay-Z

Cheating Man Bracket

The Wake attemps to rank some famous cheating men!

“consensual workplace relationship” my ass... you have a wife and kids

trying to make it work is commendable... maybe don’t cheat in the first place

Ned, you’re also “making it work” but your whole brand was loving your wife

Adam Levine as gross as Woody Allen is, we can blame his old man-ness for his actions

Ned is Gen-Z’s Tiger Woods, you know, if we cared about golf and stu

John Mulaney

dating another woman 3 days after filing for divorce... oof

probably the most famous cheater ever, yikes Tiger!

Tiger’s scandal is just too well known to be usurped by John Mulaney...

Tristan Thompson need I say more? (i literally can’t)

pretty bad...

Tristan Thompson

There’s literally too much to be said about him

“the heart wants what it wants” yeah woody? the heart should never want its step-daughter

Woody Allen holy fuck... holy fucking fuck... that body of yours is absurd (embarrassing)

Adam Levine blindsided Khloe with scandalsnumberous while she prepared for IVF

Tristan Thompson

Kevin Hart

yes... cheat on your pregnant wife... good idea

Ned Fulmer

Tiger Woods

Ned Fulmer

Tristan Thompson if I can’t summarize their actions into a blurb, it’s

Ned Fulmer

Tiger Woods

INSIDE

UPCOMING EVENTS

Tra c Report from the West Side

Florence to Minneapolis: Botticelli visits the MIA

CLA Student Board Funds Student Organizations

Why I’m Going to College Grill Gracie

“Midnights” is a Reminder, Above All Else

Aesthetics of Rot Disability and Deformity ≠ Evil Corporatization of Culture

Eight Billion Souls the World Knows

The Infinite Power of an Autumnal Wardrobe

Four Reviews Ian Karp Q&A

10/16 - 1/8

Botticelli and Renaissance Florence: Masterworks from the Uffizi

In Renaissance Florence, artists saw art anew, inspired by ancient marbles and myths as well as the humanism of ruler and patron Lorenzo de’ Medici. At the center of it all was Sandro Botticelli, whose genius for transforming classical themes into wholly original art inspired new ideals of beauty. Now, in a remarkable partnership with the U zi Galleries, Mia is hosting a major exhibition exploring the fevered creativity that defined this time and place.

2400 3rd Ave S

10/22 - 1/8

Narwhal: Revealing an Arctic Legend

The Smithsonian traveling exhibition Narwhal: Revealing an Arctic Legend visits the Bell Museum and dives deep into the narwhal’s Arctic world to explore what makes this mysterious animal and its changing ecosystem so important. Through first-hand accounts from scientists and Inuit community members, the exhibition reveals how traditional knowledge and experience, coupled with scientific research, heighten our understanding of these animals—and our changing global climate.

2088 Larpenteur Ave W

11/17 @ 4 - 6 PM

UMN Libraries Book Swap

Do you like to read? Do you hate buying new books? Bring your old books to swap! Join us at Walter Library for an environmentally friendly way to repurpose your old books and leave with new ones! Please do not bring magazines, textbooks, or children’s books. See you there!

117 Pleasant St SE, Room 204 D

11/20 @ 5 - 9 PM

Lakes & Legends Brewing: Open Board Game Night

Level Up Games MPLS will be in the taproom on November 20th to host a game night with you all! Bring your friends, your family, your dogs, and your favorite pals to compete in classic, new, challenging, and always fun board games. This event is FREE and open to everyone.

1368 Lasalle Ave

10/25 - 10/27

Holiday Market @ Schmidt on West 7th

Our halls are decked with art for a holiday shopping extravaganza. Shop 30+ local artists — gifts for everyone on your list. Get your bells on! Join us for food, festivities, and fun Thanksgiving weekend at Schmidt Artists Lofts Brewhouse, Door 1. Fri & Sat 10 am - 5 pm, Sun 11 am - 3 pm.

900 W 7th Street

Letter from the Managing Editor

Dear Reader,

For as long as I can remember, I have loved telling stories. I was a super shy kid, so of course I never told them out loud but rather on paper. My first ones are scribbled down somewhere in a purple college-ruled notebook, and my latest one sits between the pages of Issue 2 of The Wake. Every writer is known to be hyper-critical of their work. Within each of us lies the desire to be lauded for our writing, conflicting only with fear of it being seen. Before I began writing for The Wake, I could not fathom of my writing ever seeing the light of day. I wrote almost compulsively, and while I considered myself by default to be a writer, I did not deem the things I wrote to be “good enough” for others to read. And so I kept it in the dark, writing but never submitting any of it, telling stories but only to myself. That is, until January of this year.

Pressured by my roommate, I applied for the intern position to write for the Features section of The Wake. Features is the largest section in the magazine and serves to analyze and comment on recent and important issues concerning politics, human rights, and much more. In my (humble) opinion, it is the most important section in our magazine.

When it came time for me to write my feature for Issue 9–my chosen pitch about the harmful e ects of ableist language in our everyday vernacular–reality set in: my editor would not be the only one to lay eyes on my writing. In a state of what I can only describe as panic, I ran to the archives of previous issues to see how the writers of Features past had written theirs. In short, I was looking for a “correct” way to tell my story. And yet, four weeks and two (frantically met) deadlines later, there it was, in print and out in the open for the first time–my story.

Although the issues that Features writers comment on are not “stories” in the sense that they are very real and in no way fictional, I refer to them as such because they are told with the personal influence and perspective of their authors. In that way, they emulate not only the issues of their time but their writer’s own connection to them.

This semester, I was appointed as managing editor of The Wake and, not unlike my 2022 spring semester-self, initially reacted with feelings of both excitement and horror. Now, a mere two months later, I am thrilled to report that those feelings now involve mostly excitement and only some horror (ask me again at 1 a.m. on final draft day).

The Wake has been paramount in helping me not only find my voice but be proud of it–out loud and in a really cool font. What I wish for everyone who chooses to read our magazine is that they be inspired by the voices that constitute it. And beyond inspiration, to know that there is only one “right” way to tell your story: write it down and send it out.

love, Sophia Goetz Managing Editor

Much

Art by Laura Kuchar

Traffic Report From the

Westside

The unofficial official traffic and commuting insider information

BY VERN NOWAKOWSKI

Minneapolis is one of the most bizarre cities I’ve ever driven in, and I am saying this as a professional roadtripper. I have driven in my beat-up Toyota Highlander from coast to coast, and yet, all my strangest driving experiences have occurred within the Minneapolis-St. Paul metropolitan area. So I thought: Why not give the new and old commuters in our great cities the tra c and transportation advice I have collected throughout my 5-6 years of driving here?

If you are completely new to Minnesota, or just winter in general, invest in a car cover. Trust me, you’re going to need it. There is nothing worse than waking up in the morning to see that ice has spread across the windshield of your car and having to spend 20 minutes scraping with the defroster blasting. Car covers are available on Amazon for $15, but if you’re on a budget, you can also get a long cheap blanket and shut the ends in the car doors while covering the windshield.

Keeping with the winter theme, have a winter gear pack in your car. Mine includes: granola bars, blankets, hats, gloves, chemical hand warmers, car tools, lighter fluid, a first aid kit, and sand. The sand helps melt the ice, though cat litter also works great. Black ice looks a lot like a regular road when it is dark out. This kit can be a lifesaver if you break down or crash during the winter.

Eventually, when January comes around, “the sun sickness” a ects all drivers in the metro area. In the middle of winter, when the sun is at its brightest, many drivers will drive under the speed limit and randomly stop. So, if you have never driven in the metro area in January, be prepared for the “sun sickness.” Drive slow or have your insurance up to date.

Now, let’s move on to our tra c report. Guess what? Tra c is bad. Worse than bad. Just horrendous. But there are ways to get around it.

My major advice for driving commuters is: Don’t be afraid to take side streets all the way home. East River Road and West River Road can lead you to many places in the cities. West River Road is my go-to way to get back out West whenever there is bad weather a ecting tra c. Don’t bother with I-94. She’s a mess.

If you take the bus, download Citymapper. It gives you the fastest and cheapest way to get home, as well as real time updates on train and bus schedules. It is a great app to have with a bus and train system as fickle as ours. Citymapper isn’t just useful for the Twin Cities either; it is my go-to app when visiting a new city.

Are you driving into our great cities for an event and have no clue where to park? Well I have just the app for you: BestParking. It gives you a map of parking ramps and lots in the metro area. It also includes the rates and prices for each.

If you have a parking contract with the University of Minnesota, remember that after 4:30 pm on weekdays and anytime on the weekends, you can park at any ramp for free! As a CFANS student, I have a St. Paul parking contract. If I am going to be on campus late, it is so much easier to move my car to East Bank than to have to take the Campus Connecter back late at night.

All in all, whether you are walking, bussing, driving, or biking; I hope you enjoy our beautiful cities for what they are. I hope my advice and expertise helps you in some way. And stay safe with the upcoming cold weather and related winter tra c!

Florence to Minneapolis: Botticelli visits the MIA

Hailing all the way from Florence, “Botticelli and Renaissance Florence: Masterworks from the Uffizi” gives Minneapolis the chance to explore art so masterful they were approved by the Medici family.

BY SRIHITA RAJU

Previously acting as an o ce for the famous Medici family, the U zi building now houses some of Florence, Italy’s greatest artwork. The current director of the U zi’s gallery, Eike Schmidt, previously chaired the Minneapolis Institute of Art’s Department of Decorative Arts, Textiles, and Sculpture before moving to Florence. This connection made it possible for the Botticelli pieces to make their way across the Atlantic and to the Twin Cities.

Sandro Botticelli, born in 1445, was an Italian painter during the early Renaissance. Botticelli perfected his artistry while training under Filippo Lippi, another famed Italian painter. His talent eventually caught the attention of the Medici family, a powerful political family in Florence who were famed patrons of the arts.

Ian Karp, an assistant curator at the MIA who worked on this exhibit, suggests that even if you know nothing about Sandro Botticelli, Florence, the Medici, or art history at all, you need no prior knowledge before visiting this exhibit. He says, “It sounds a bit cheesy, but just bring your curiosity and an open mind…academics and specialists will of course enjoy the opportunity to look at and discuss such wonderful examples of the Italian Renaissance in person. But the show is equally for those who have no training and no prior knowledge, for those who want to experience beauty and see artwork from a time fraught with so many familiar issues: plague, economic uncertainty, and spiritual and religious tension.”

“Botticelli and Renaissance Florence: Masterworks from the U zi” is currently being featured at the MIA until January 8, 2023. Visitors will have the opportunity to see Botticelli’s work in context. Accompanied by Lippi’s work, prominent religious works from the time, and other popular Florentine art that inspired and was inspired by Botticelli, this exhibit will give Minnesotans the opportunity to gain meaningful insights into Renaissance Florence without having to pay for a plane ticket out of our cities.

CLA Student Board Funds Student Organizations

BY RACHEL HOPPE

The CLA Student Board is the uno cial undergraduate student government for the College of Liberal Arts here at the University of Minnesota. They are a group of students motivated to work with the student body and faculty to ensure a fulfilling experience for all liberal arts students. While they are an ever-present group on campus, many of their resources go unbeknownst to the student body as a whole.

I sat down with the Alumni Relations O cer of the Board, Ben Blazel, to discuss the opportunities available to student organizations. The Board has many opportunities to fund student organizations. Some of the student groups the Board has funded in the past include but are not limited to the Asian American Student Union, the Linchpins (a music group on campus), and the Indian Student Association. The Board is especially looking to fund student groups elevating the voices of minority or underrepresented students in their endeavors.

Additionally, the Board is aiming to create an initiative that specifically funds arts-based student groups on campus, as the arts are a historically underfunded institution. Whether it is an improv group, painting club, or music organization, the Board is hoping to financially support student art on campus.

To access the application for funding for a student organization, you can simply go to the CLA Student Board’s Instagram (@ CLAStudentBoard) and click the LinkTree in their bio, where there is a tab dedicated to the Student Group Funding application. The application is also accessible via the Board’s website under the Important Links section. The application is incredibly intuitive and easy to complete. The Board is working on creating a form for arts-based organizations to request funding, and those interested should keep a lookout for it. Arts-based student groups can still request funding from the Board via the same general form all student organizations go through. Any questions can be emailed to clasb@umn.edu.

The Board o ers many opportunities to lift up students’ voices. The possibility to get funding for one’s student group is too good to pass up. Blazel, and other members of the Board, encourage student groups to consider applying for funding!

Looking to get your Student Organization funded? Look no further than the CLA Student Board!

Why I’m Going to College

BY EMMA IHLENFELD

I took a gap year before starting college and tasted the sweet freedom of life without homework. Now, with the addition of each new assignment to my towering to-do list, I find myself pondering what I’m doing here. I recall longingly how formative my year outside of the classroom was when, for the first time, the real world was my teacher, and I, its eager student. Midterms,10-page papers, and GIS lab assignments (if you know you know) may do their best to disguise the fact, but college is a once-in-a-lifetime opportunity to push yourself to learn about the world we live in, whether from a professor in lecture, from the people you meet around campus, or from our University’s urban setting.

It really hit me— my enjoyment of academia— in my writing class. Not once during my gap year in the workforce did I take the time to write a thoughtful, introspective essay, but this week, I was assigned a paper on climate change and individual responsibility. I was forced to stop and consider my stance on this daunting crisis; something that I and many others avoid doing out of fear and helplessness. I realized, through this paper, that the very reason I am enrolled in this University is to do just that: to call into question my views and to discover how best to address the biggest challenges that face humanity.

He hasn’t said it out loud, but I think that my roommate is also a fan of college. He’s an architecture major from Ecuador, someone I never would have met had it not been for the

existence of this school. We’ve spent many evenings discussing what we’ve been learning, sharing what has fascinated us, angered us, and changed our minds. Those conversations, the kind that you can’t have anywhere else, are why I am here. At no other point in my life will I be surrounded by others whose full-time job is to learn.

For me and for many others at the university, this is our first chance to live in a city, an educational experience in and of itself. As an out-of-state student, a large draw to this school for me was its location. Navigating a metropolitan landscape is di cult, and college is the perfect time to learn how to do so. Additionally, college is a great trial run for city life. Maybe you’ll discover you hate it and run for the hills upon graduation, or maybe you’ll love it and wind up sticking around for a while. Either way, figuring out the environment you prefer to live in is crucial to your future happiness.

As our generation has come to find, a degree is not required for success, nor is it a ticket to a livable wage and a comfortable life. These thoughts frequent my mind; I could drop out and get a job that pays just as well as any job I could receive with my future degree, I could spend my money on trade school, or I could travel while working seasonal jobs. However, for these four years, I am choosing to immerse myself in the wonder of the endless knowledge that inhabits the Earth for all living things to study.

I reserve the right to take all of this back when finals week rolls around.

Grill Gracie

Gracie’s Experimental Commentary

BY GRACIE KIBORT

Gracie, I have a friend who is hot and cold, and I don’t know how to tell her that her inconsistency hurts. My current plan is to distance myself from her. Sincerely, not Katy Perry.

Dear Not Katy Perry, First, let me o er you my apologies if she hasn’t given them. Life is inconsistent, and although it often is, friendship shouldn’t have to be. It is not about you—interactions with a friend can feel very personal, and no one can help what they take personally or not. Nevertheless, her using you as a non-consensual punching bag isn’t fair, as it certainly shouldn’t be a reflection of your friendship. You can venture down two paths— conversation or distance. If you choose to distance yourself from her, which is more than fair, you might find yourself missing your friend later on. You might wonder what could’ve been if you talked it out. Your other option is to talk to her about how her temperament changes make you feel. Real friends listen and react accordingly. They don’t gaslight you or deflect your criticism. If you bring your concerns to the conversation and HotNCold reacts poorly, you have your answer.

Gracie, I’ve got a fat crush on this guy and want to make a move, but he is also the sweetest person ever, and I think a great friendship could happen instead…what do I do?

Sincerely, Friend-zoned

Dear friend-zoned, I’m a rom-com fanatic. The RCF in me wants to tell you to go for it because it might just be the best thing you didn’t know you needed. What can I say—I love a friends-tolovers trope. I want you to honestly answer this question: What’s the worst that could happen? If you do take the chance and it doesn’t work out, remember that rejection is redirection. It stings unlike anything else, but if someone is viewing you as a ‘maybe’ or even a second-best, they aren’t worth your time. You deserve to be a f*ck yes, and you will find someone who feels that way. Friendzoned, I say, go for it! Even if it doesn’t work out, it might make a good story.

Gracie, how do I get rid of my anxiety? It is so bad and uncontrollable! Help!

Sincerely, Anxious

Dear Anxious, I am not a doctor—I’m 21 and barely getting through college, although I have a bit of wisdom I can spare. Recently, I’ve concluded that my anxiety could not be cured. I grappled with the idea of acceptance. It’s just another part of my life that requires thought and energy, a fact of my existence.

I used to believe that I constantly had to be pushing myself out of my comfort zone to

combat my anxiety, but I no longer feel that to be true. It’s great practice to continue to propel yourself, but I’ve learned that it is okay to make situations more palatable. Find peace in what’s comfortable. Going to the party only for an hour, or simply not going at all because I do not want to. Running through my parking garage even if I look a little crazed because today is the day someone will finally kidnap me. Sometimes I tell the anxious voice in my head, “Okay girl you’ve gotten more than enough air time today. That’s enough outta you.”

Gracie, help! Time is moving too fast! I cannot keep up! Sincerely, AHHH

AHHH, I feel your sentiment so deeply. I’m going to keep it short and sweet—time is not going to slow down for any of us, so do what you can to make each day a little special, even if it is so tiny, minute and minuscule. Get a journal and write the highlights of each day or week, take silly photos of your friends, and continue to ground yourself for a bit each day, even for a second. Blast the song in the car with your friends and scream! Make the routine romantic. All any of us can do is make memories and make ourselves proud.

“Midnights” is a Reminder, Above All Else

Reception for Taylor Swift’s “Midnights” reminds us of how societally ingrained it is to scrutinize young girls and women for their interests

BY JOSHUA KLOSS

You’ve heard the news, right? If you’ve been on any sort of device connected to the internet in the past couple of weeks, you’ve probably heard that Taylor Swift’s newest album, “Midnights,” quite literally broke the charts following its release on October 21; so much so that Spotify even released a statement deeming it the most-streamed album in a single day in the streaming platform’s history. There’s also no lack of internet buzz surrounding the album; from high praise to criticism, some are taking to Twitter to renounce the amount of time for Lana del Rey’s feature on “Snow on the Beach,” others are trying to popularize popular tracks from the album on TikTok. Opinions from fellow University of Minnesota students said that they’re “pleasantly surprised,” but also that the album sounds “starkly millennial.” Overall, though, no matter what you thought of Taylor’s release, you may have noticed some unfair hate amongst the reception, something that reminds us of a broader failure in our society regarding men’s treatment of women and young girls.

Across the internet, opinions on “Midnights” vary widely. Take, for example, one user’s comment on a review published by The New York Post, a news media site some of you may be (unfortunately) familiar with: “She may have money and fame, but she got it because of her misery.” They seemed to have neglected to add, “caused by men.”

It is interesting to criticize Taylor Swift for profiting o of heartbreak when so many other artists do so without nearly as much backlash. Take Drake, for example, who raps about love and other similar topics as Taylor, such as lust, and human sexuality, but also about heartbreak. Take my word for it–whilst researching for this article, I was led down a rabbit hole of lists compiled by various music sites of Drake songs to listen to “when you’re in your feels.” I didn’t think there’d be so many! My point is, Drake and Taylor are oftentimes making music about the same thing, yet the fact that Drake doesn’t get nearly as much criticism as Taylor Swift brings up a discrepancy between how

men and women are treated and the extent to which they are each respected and taken seriously. And although men are not immune to hate, it is interesting that a man and a woman can sing about similar things, yet the woman is the one who receives the most hate.

Given the right-leaning position of this website, you may not be surprised by this comment. However, I bring it up because it highlights one of the numerous ways in which men fail to take women seriously, an issue much more serious than your thoughts on Taylor Swift. Many of you reading this article have likely noticed that there seems to be a trend where the interests of young girls, whether it be a more broad interest such as “Twilight” or a niche interest such as gaming or sports, are harshly scrutinized, while boys appear to get none such treatment. And it’s ridiculous when you really think about it. Some girls have expressed that they feel like they can’t have anything without getting hated on. Take, for example, when boys laugh at girls for wearing makeup to school, yet they would probably call the same girl “ugly” if she didn’t wear any makeup (a scenario that was not uncommon for me to witness in my own middle and high school).

In my literary theory class, a chapter of our textbook defined feminism as “treating women with respect.” Though several classmates and I myself found that particular definition to be too simplified, undermining several aspects of the movement, it fits well when applied to this scenario. After all, why are women so often at the receiving end of unnecessary hate for what they like? Students here at the University of Minnesota agree with this sentiment, given that among the thirty-three survey respondents, more than ninety percent agreed that teenage girls and young women are unfairly scrutinized for their interests.

Let’s take a look at what some students have expressed when asked: What is an interest you’ve been belittled for liking?

One student actually answered with Taylor Swift herself. (I promise, this whole article is not about Taylor.) “I kind of stopped listening to her…because I didn’t want to be made fun of for it.”

There was no shortage of things that people felt hated for liking. Among some of them were “Mamma Mia,” Joshua Bassett, the color pink, and even enjoying “Drag Race.”

Another student expressed broader frustrations: “there’s such a strong pressure to like the right things.” Quite ironically, they noted that they had been “belittled for liking [things], and the people who belittled me also have things that they are belittled for liking.” While this resonates much more on a personal level and speaks volumes about how we treat our fellow bipeds, they also said that “there will always be misogynists who can’t stand the idea of teenage girls being happy.” And while not everybody who hates Taylor Swift or dislikes her new album is a misogynist, this particular response illuminates some societally ingrained problems that we, as students, have the power to learn about and address.

One student translated this problem perfectly. “Girls are belittled for liking things…you’re conditioned into being feminine, then condemned for fitting [that] mold.” And that is a serious problem, especially when girls are conditioned to like certain things, using those likes and interests to form identities, and then shat on for that identity.

Even when girls like things that aren’t traditionally deemed “feminine,” they still receive hate. One student said that she gets belittled by “family, friends, and strangers for liking Dungeons & Dragons. A lot of men who play don’t think it is a space for women…there’s also the stupid idea that only men can be nerdy.” So if girls can’t like “girly” things, and they can’t like “boyish” things, what can they like?

We need to address and fix the ways that we treat women, especially for men such as myself. For the men reading this article, I hope that you can consider the ways that you interact with and treat women every single day in your life, whether they be co-workers, family members, friends, or strangers. We have as much ability to uphold patriarchal attitudes as we do to dismantle and reject them. That starts with treating the women in our lives with at least as much respect as we treat the men in our lives.

And yes, you should listen to “Midnights” by Taylor Swift… okay, that’s not the call-to-action I want you to walk away from this article with, but my editor definitely thinks you should give it a listen, and I found the album pretty good myself.

But please, for the sake of humanity, be kind to others. Why belittle when we can uplift one another instead? Be kind to yourself, and be kind to others. Treat women and girls with respect, always. It’s really not much to ask.

After all, The Wake is watching.

Aesthetics of Rot

Goblincore is the salvation of all

BY QUINN MCCLURG

I wear the telltale signs of rot and neglect: I rarely shave. I do laundry once a month. My room is a mess. My house is infested with centipedes. My clothes are filled with holes. I eat poorly. I abuse my body. I push myself to extremes. This slow decline terrifies me; its imperceptible progression leads to a fear of it consuming me more, making me less of a person. However, my friends consider me the poster child of rot, and I wear it as a badge of honor.

Tell me, what does it mean to rot and neglect oneself? You can call it whatever you’d like: decaycore, a fleabag era, grunge, postmodernism, etc.; but why do we embrace rot and the su ering it brings so fully?

There are just as many answers as aesthetics; however, I believe most of them can be reduced to viewing entropy as inevitable and rejecting our physical forms. Sentiments reinforcing these are emblematic of the forces which push us into these aesthetics; allow me to explain.

Poverty (and living under capitalism) may lead to a lack of resources to acquire what one needs to adequately survive, especially within society’s standards (clean and intact clothes, food, etc.). Extensive work encouraged by capitalistic societies can lead to neglect of one’s body as well, especially in cases where neither workman’s compensation nor employer healthcare is provided.

Rejection of one’s body or sex may lead to increased levels of self-neglect as well; present societal pressures may provide unrealistic standards or prevent you from reaching your ideal form. The sparseness and costs of specific resources (such as counseling, physical training, access to healthy food, and gender-a rming

care, to name a few) put these resources out of the grasp of the average individual, forcing one to live in a body that they reject.

The aforementioned factors can compound into forming or amplifying mental illnesses and negative mindsets, potentially leading one to reinforce harmful habits.

The relationships between poverty, poor self-image, and worse health (mental and physical) cyclically reinforce abuse (mental and physical) and rejection of the self. Su ering is then seen as the only universal truth; if there is always su ering and there always will be, why should I try to reject it?

A friend recommended a song to me, apprehensive in the way that people who have found profound art want to keep it to themselves. The song was “Don’t Smoke” by the Microphones; I have been listening to it since. “And you are young and rich, for now / You have the ritual of waking up each day and it will fill you,” the band plays. “There’s no excuse to start smoking / Where is the rebellion in acting like a fuck-up? Why not embrace simple health?” There are “no more parents or gods taking responsibility,” so what are we doing?

Like most self-improvement, the process is simple yet slow, often demanding much e ort at first. But we must never forget our capacities for action or lose awareness of how even the simplest actions can make a world of di erence. This is why I love the aesthetic of goblincore: it advocates for progressive ideals of growth in the face of rot and decay, all within realistic and achievable means.

Perspectives shift toward a reverence for nature and our place in it, rejecting societally ingrained “ugliness.” For example, rather than being seen as inevitable and abhorrent, death and decay are seen as beautiful, important, and necessary; rather than rejecting and agonizing over one’s body or sex (in accordance with societal pressures), acceptance is fostered as utility is recognized (there’s “no gender, only bugs”); rather than purchasing more clothes, food, or resources, emphasis is placed upon foraging, growing, thrifting, and mending what you need (goblincore is inherently anti-consumerist).

Of course, access to materials and means of foraging may be limited, especially if you are oppressed by societal forces; however, this aesthetic is more attainable than others and it is largely mental and perspective-based. Additionally, I do not have the space nor time here to expand upon the antisemitic roots of goblins in folklore; e orts are being made to reclaim goblin tropes and distance contemporary goblins from their historically racist depictions.

The Microphones play on: “Living in the world on your own, there’s no punishment,” concluding with, “Go, improve yourself right now.” The choice is ours, it always has been; our lives have always been in our hands. So I demand that we make the best of it and roll around in the dirt, collect trinkets, and reject societal standards, all while living within our own means.

Disability and Deformity ≠ Evil

BY BEATRICE HANDLIN

What do Leatherface, Darth Vader, and Captain Hook have in common? Besides being iconic antagonists in pop culture, they are all characters with disabilities and/or physical di erences that inspire or influence their evil-doing in some way. As Halloween has come and gone, and we have consumed spine-chilling horror stories over the season, it is time to reflect on a few of the traditions of villainy, especially in the horror genre. Associating disability and di erence with evil is far too common in our culture and it is something that needs to change because it is lazy, boring and dehumanizing.

In research from Changing Faces, an organization dedicated to ending appearance-related discrimination and advocating for those with visible di erences, they found that 20% people with visible di erences have seen a character that looks like them portrayed as the hero of a story, while 39% had seen someone with a visible di erence as a villain. 19% more of characters with visible di erences were evil in media portrayals. These characters are also rarely portrayed by people with disabilities, which on top of villainizing disabled people, steals economic and performance opportunities from disabled actors.

This trope has several formats, but always the same outcome; characters are “disfigured” or disabled in some way and are portrayed as evil or scary. This creates an association that disability is inherently bad or is something to fear. To best explain the ways these characters are portrayed, I have created 3 categories in which villains and disability often correlate in the media.

1. Characters are resentful and/or jealous of others because of their disability or physical di erence. These feelings cause them to lash out or seek revenge in some way.

• Captain Hook lost his hand in a battle against Peter Pan and now wears a hook prosthesis. He seeks revenge against Peter Pan for causing his disability and the crocodile who bit his hand o throughout the story.

2. Characters are born evil or become evil and their evil is manifested through disability and physical di erences and vice versa.

• Anakin Skywalker from Star Wars spirals to the dark side and completes his transformation into evil when he is covered in burns and his arms and legs are chopped o by Obi Wan Kenobi. He does not fully become his evil persona of Darth Vader until he becomes physically disabled and “deformed.”

3. Characters are disabled and become evil because of their treatment by society.

• Leatherface from the Texas Chainsaw Massacre Franchise has a facial di erence and is mentally disabled which results in him being bullied and shunned by society. This lack of support from society leads to him being isolated with his murderous family and he becomes afraid and violent towards outsiders. His physical appearance is supposed to horrify and his mental disability is supposed to make him seem violent and scary to the audience.

• Author’s Note: Leatherface’s disabilities are often unexplained in canon, and instead implied through rather o ensive portrayals and language. This contributes to misinformation about disability along with villainizing those with disabilities.

Overall, this trope and its variations sends one overarching message to society: di erence and disability = evil. This message feeds into the stigma that disability is bad, and goes as far as to imply that disability should horrify abled people. This is not to say that having disabled characters be evil is inherently problematic—the problem is twofold: their villainy is inherent in their disability and that there are not enough well-written characters with disabilities that are neutral or good to balance out the existing evil characters.

By connecting fictional characters with mental disabilities, physical disabilities, and physical di erences to evil and horror we connect these attributes to the very real people in our world. This attribution is dangerous, because when our society associates certain groups of people with evil - we are less likely to create and maintain necessary support systems for these people.

Disabled and “deformed” characters are often the villains in popular stories and it is past time to dismantle the archetype

Corporatization of Culture

BY NITHYA VENKAT

On the weekend of October 21st, families across the world celebrated the Hindu festival of lights–Diwali. Diwali is objectively the best Indian holiday: no restrictions on what you can eat, brand new clothes, and ending nights with firecrackers. Growing up, my friends and I found ourselves struggling in school to explain to our teachers why we couldn’t complete assignments, why we might skip school to celebrate with our families and to do all the things we needed to complete the rituals such as lamps and sweets shipped from India. More recently, however, Diwali as well as other ethnically specific festivals have been included in days o for public schools and in marketing campaigns for various companies. It’s not just religious holidays; Target and other retailers sell merch for Black History Month, Pride Month, and Cinco de Mayo. As our societies become more diverse, our world becomes more globalized, and social awareness becomes important currency, we ought to ask the question of whether or not corporate participation in ethnically-and-raciallyspecific movements and traditions is a good thing or if there are more sinister undercurrents.

The positives of awareness around holidays that Western countries wouldn’t otherwise know are obvious. Knowledge of culture and history is always good, and often it can lead to positive change. For example, after the uprisings in Minneapolis in 2020, many schools

revised their curriculum to make sure they had accurate representations of slavery, colonialism, segregation, and modern forms of persisting racism. Increased knowledge of Diwali has caused New York City public schools to make it a holiday and give students o . Workplaces o er time and space for Muslim employees to pray. Traditions and festivals that were once mocked are now regarded with respect; cultures of welcome and acceptance are becoming increasingly common. A globalized world should be accompanied by global mindsets. However the trouble comes when corporations get involved.

Corporatization of traditions that are specific to certain communities may seem surface level and harmless. People like buying Black History Month shirts and Indian flavored ice cream on Diwali, but when we look deeper into the implications, we can see the negative impacts. For example, what does it mean to buy a Black History Month shirt made in a sweatshop? What does it mean to buy Pride merch from corporations that have queerphobic CEO’s? What does it mean to allow these large conglomerates more avenues of making money by convincing us they care? Corporations aren’t people–they can’t have views or political stances. They exist to make money and often do so unethically. Oftentimes, companies use these marketing campaigns to hide their shady business and wage practices. By praising them for their

participation, we detract from where we ought to be shining a light. That’s not to say we should discourage participation in traditions, but rather we should investigate the intentions.

The reality is that we live in a consumerist society, and it’s okay to enjoy buying things. But maybe instead of supporting disingenuous conglomerates, we can find ways to engage more meaningfully. Shopping from small businesses, educating yourself on ways that people outside a culture can celebrate a holiday, and reconnecting with the purposes behind traditions and movements are ways we can bring back authenticity. We must keep in mind that businesses aren’t people and that what we put our dollars behind matters. Tear back the curtain of virtue signaling and look into what businesses truly do with our money. End corporatization and start truly caring.

Is business participation in festivals and traditions objectively good?

Eight Billion Souls the World Knows

BY DEZ ULRICH

Is the world enemies with time? With every day that passes, babies are born and the world population grows. If Earth could speak, would she complain or relish in it?

Every morning I meditate, my soul grateful to be here. I’ll pass hundreds of people during the day and wonder where their soul is tethered, how the world is connected to them. But then I wonder, “If I pass hundreds of people daily in Minneapolis alone, how many people can the world possibly hold?”

In 2011, the year of Oprah’s last episode and release of the last Harry Potter film, the global population reached seven billion. That’s seven billion souls, all walking around the same Earth, breathing the same air. My household feels packed with seven people. I could not imagine what the world would say to seven billion people living in it. Yet, here we are.

Now imagine living in a world with over eight billion people. Eight billion di erent kinds of souls intertwined through Earth’s connection, living a variety of lives. Well, this reality is predicted to occur on November 15th, 2022.

In a sense, it’s captivating how society’s surpassed the hunting and gathering lifestyle and still has endless struggle and chaos. Personally, I feel like the world is a coin: looked at either on an all positive or all negative side. Some days, perspective lands on the negative side: starving children, violent wars, and abused power. On other days, we reflect on positivity: miracles, loving families, and heroes. However, the truth is, the positives and negatives of the world occur simultaneously.

In a world that’s growing exponentially, we should connect with as many souls as possible to return Earth’s love for us. As time passes, more souls are born that the world awaits to know.

The Infinite Power of an Autumnal Wardrobe

A Commentary on Fall Fashion

BY COLE O’BRIEN

I, just like any other sensible person, wait on pins and needles as I watch the temperature slowly drop and the foliage leisurely shift from shades of green to hues of reds, oranges, and yellows. I pray for the day that the temperature finally meets the Goldilocks standard: not too hot, not too cold. Truth be told, this excitement almost solely stems from the desire to finally have a chance to break into my fall wardrobe. Let’s face it, by this point of the calendar year it seems like everyone is due for a change up. The fall season allows for just this: a switch up in our routine fashion patterns. This option for change seemingly grants us permission to tap into an entirely new personality. The correlation between fashion and self-identity/ expression is undeniable. Autumn allows for the perfect chance to put together a new version of ourselves without complete soul-searching. All it takes is an intricately layered outfit that doesn’t need to be covered up under a bundle of winter coats, hats, scarves, and mittens the second we walk out the door. The autumnal weather allows for a reintroduction of the classic turtleneck, flannel, or sweater that looks like it was just sourced from your grandparent’s closet. With the increased versatility of our wardrobes comes an influx of potential personalities to conceive. Not to mention, the season gives us a chance to wear our coziest clothing out of the house with little to no judgment from a passing stranger. More than anything, the changing of the season grants us the opportunity for a reinvention of our characters, just in time to do it all again for New Years.

If the Earth could speak, what would she say about all of us?

SIX REVIEWS

Midnights

Taylor Swift BY PETER NOMELAND

“Midnights” sees Taylor Swift return to pop music after a brief trek into the woods. The album, her 10th overall, gives you most of what you expect from a Taylor Swift project with deep introspective lyrics, light production, and a more mature control of her voice, with just enough of a reminder of older projects.

10 albums in, Swift’s discography is still an ever-evolving organism. From her start as the young country superstar who won Album of the Year at the age of 20 to her shift to pop music in “1989” where she won the same award and broke records along the way, her career has been defined by an extremely calculated e ort as to when and how to reinvent what a Taylor Swift song sounds like–and what our perception of her as an artist is.

But the most exciting development came in 2020 while during lockdown, she made her most experimental and daring works with the back-to-back releases of “folklore” and “evermore.” With production by The National’s Aaron Dessner, Swift had somewhat of an artistic renaissance, embracing the sensibilities of folk music and hinting at a possible return to her more acoustic-based aesthetics that made her famous in the first place.

On “Midnights,” the presentation changes back to pop and, with that, back to superproducer Jack Antono whose fingerprints are all over pop music for better or for worse (a video of producer Caleb Gamman instantly recognizing what songs Antono produced went viral shortly after the album’s release). While the more electronic and synthesized sounds are more prevalent, this is a more mellowed-down pop sound, more “1989” than “Reputation” for the Swift scholars out there, and the results are excellent. The project pushes toward the 32-year-old’s best musical and thematic instincts and mostly stays away from her shortcomings.

The lyrics are as well-woven and articulate as ever with less emphasis on recent breakups or celebrity beef that may have influenced her songwriting a decade ago, and aims for a more light and delicate feel, ruminating on how her 20s have shaped who she is today.

“You’re on Your Own, Kid” and “Sweet Nothing” especially show the best of the relatability and sweetness that Swift can convey, even after all these years. This sweetness feels like it’s coming from a place of reflection and maturity, as if Swift is telling her younger self that the trials and tribulations will be worth it in the end. One has to wonder whether the recent rerecordings of her past albums have influenced not only this introspection but also the musical influences

of those projects. “The Great War” is another highlight, reuniting with Dessner to create a track that feels like new ground for her musical palette, one of the rare instances on the project.

The only issues come when the album reverts back to basic pop formulas and Swift gives o a di erent, more edgy persona. Songs like “Vigilante Shit,” with heavy synths and, as the title suggests, swear words fall into the trap she finds herself in when she tries to combine her personal lyrics mashed up with a Beyonce or Madonna diva persona. At 20 songs, the album’s deluxe version can feel a bit long in the tooth with some songs, especially the more overly produced ones, feeling very similar to one another after multiple listens.

Even with a few missteps–largely due to the overreliance on Antono ’s production style–”Midnights” is another fantastic album from Swift and arguably the best and most well-conceived of her pop music endeavors outside of “1989.” After dominating the cultural conversation for what is now over half of her entire life, Swift is more confident in her songwriting (and it appears personal life as well) than ever before and has, once again, reminded us that few people have been better at this popular music thing than the country singer from West Reading, Pennsylvania. The wait starts now for how she’ll do it again.

Taylor Swift’s more mature return to pop music

Bin Reaper 3 The Car

Arctic Monkeys

An ode to Alex Turner’s stream of consciousness

BY SHANNA SIVAKUMAR

With lyrics that jump from thought to thought and with hints at deeper internal conflicts, Arctic Monkeys’ seventh studio album, “The Car,” is the perfect accompaniment to a contemplative drive down a long highway.

The album has the same slow, drawling vocals of their sixth album, “Tranquility Base Hotel & Casino.” Some songs incorporate a heavy bass line reminiscent of their 2013 album, “AM.” However, despite the demand from their audience to release something in a similar vein, “The Car’’ couldn’t be more di erent from their fifth and most popular album.

Perhaps the standout feature of this album is the presence of an orchestra. Almost all the tracks on this release have melancholic violins in the background, making each song just a touch more depressing. A forlorn Alex Turner then adds his vocals–singing about Arctic Monkeys’ past fame, his own personal love and longing, and paranoia regarding the music industry–creating an album that is equal parts confusing and alluring.

The band is moving from a stereotypical modern rock band into a genre of its own, expanding the scope of what rock bands can create. Arctic Monkeys have created a name for themselves within the music industry, granting them the liberty to release what they want without worrying about charts and streams. “The Car” leaves its listeners in a state of mystification and sorrow; each song driving a cryptic message about love, mystery, and doubt to its audience through orchestral choruses and steady vocals.

Babytron

The Detroit rapper delivers the third installment of his Halloween-themed series.

BY ROGAN ISBELL

Babytron has built a name for himself through his o -kilter style of rapping. His music features a plethora of wordplay with pop culture references and swift, aggressive flows.

His newest album, “Bin Reaper 3,” is an example of the phrase, “if it ain’t broke, don’t fix it.” The album doesn’t stray much from his usual sound and lyrical topics of scamming people with the Shittyboyz, his local group of rapper friends, but it’s still very enjoyable.

The album is only 15 songs and 40 minutes long, which is shorter than many of his other albums. This keeps the album fresh and unique.

The album has biblical references and an Old Testament/New Testament concept that would seem narcissistic if any other rapper did it, but Babytron’s humor and charisma make the references feel natural.

Babytron also uses unorthodox samples in his production. In the past, he’s rapped over samples of the themes of “Jurassic Park” and “The O ce,” among others.

“Silly Me” interpolates Tag Team’s classic “Whoomp There It Is,” while “Wake TF Up” flips Rockwell’s “Somebody’s Watching Me.” “AirTron” samples Kurtis Blow’s classic “Basketball,” and compliments Babytron’s numerous references to the sport.

However, my favorite song is “Drake & Josh,” because the hard-hitting drill beat and energetic Dougie B feature make it a perfect hype song.

This is one of my favorite albums of 2022 so far, and a fitting conclusion to the Bin Reaper trilogy. Babytron is a rapper worth investing in, as he is the future of Detroit.

Changes

King Gizzard and the Lizard Wizard

“Changes” shows a fun, synth-driven side of an already impressive band.

BY EVAN SCHWARZ

“Changes” is the 23rd studio album by Australian rock group King Gizzard & the Lizard Wizard. The band has been known for its extensive discography, ranging from noise rock and thrash metal to indie pop and jazz. “Changes” is no exception, as it shows a fun, synth-driven side of an already impressive band.

This album sits on the softer, jazzier side of King Gizzard’s discography with high floating vocals from Ambrose Kenny-Smith, punctual bass lines from Stu McKenzie, and strong use of synthesizers throughout. This is the second time the band has had a synth-centric album, reminiscent of “Butterfly 3000’’ and tracks from “Omnium Gatherum.” But here in “Changes,” King Gizzard presents a cleaner, sharper sound. This isn’t their most complex album, but it is tight and thoroughly thought out.

Lyrically, this album centers around the idea of change from the politically and environmentally conscious “Astroturf” to the existential dread of “No Body” to the high-concept science fiction of “Gondii.” All of these themes they’ve touched on before; but here they have a brighter, more lighthearted approach.

This album is fun: pop-like, synth-driven fun. You can either listen to the album from start to finish or to isolated tracks. It’s not the most groundbreaking work they’ve put out, but it’s indicative of the direction they’ve been going, just in a more complete, well-thought-out album. If you’re looking for a bright new album to kick back and appreciate, “Changes” might just be for you.

Ian Karp Interview

BY PETER NOMELAND

Ian Karp is a 2020 graduate from the University of Minnesota. Now working at the Minneapolis Institute of Art, Karp has had the opportunity to work on major exhibitions at Mia such as the “Botticelli and Renaissance Florence: Masterworks from the Uffizi.” Karp shares some of his favorite parts of being a curatorial assistant and advice for students who want to pursue careers in public history.

: What did you study in college, and how did you get your job at the Minneapolis Institute of Art (Mia)?

Ian: I studied art history and classics at the U and graduated peak-pandemic in December 2020. In the classroom I was most interested in how antiquity is received by later generations, but at the heart of my studies was always this idea that human expression is sacred and that there is value and understanding to be drawn from the past. I think human experience is timeless and that art and writing--no matter how old, how high or low, how fine or crude--provide insight into people’s lives and ultimately help us show more empathy toward one another.

While I was still a student I had the opportunity to steward a massive archive of zines and comics that Mia had recently purchased. It took almost three years, with regular interruptions for other exhibitions, catalogs, and smaller projects, but I was able to see the zines through from acquisition to exhibition. I finished that project last summer, in 2021, and pivoted full-time to “Botticelli and Renaissance Florence.”

I: Working with objects, art and cultural artifacts, tout court. There’s an almost paralyzing feeling I get when holding or standing before something with cultural, historical, or spiritual significance, and museums are the best place to chase that feeling.

My love for museum work is also about being a part of something larger than myself. I feel like the work I do contributes to a larger, never-ending human project about understanding, preservation, and transformation. It doesn’t quite matter that I won’t see that project through, but I feel relaxed knowing that I am helping as best I can.

: What are your latest projects? And what projects are the highlight of your time at the MIA so far?

I: My work with the zine archive and Botticelli, of course, but I also really enjoyed working on a show that ran concurrently with the zines called “Sixties Psychedelia.” It was a small display of twenty-some psychedelic rock posters advertising concerts and light shows in San Francisco during the late sixties. I collect records (I just passed 350) and listen to psychedelic rock, blues, and psychfolk, so it was really fun to work from home and spin albums by the bands whose concerts and promotional material I was writing about.

I have two projects outside of the museum currently, one is academic and the other is for my own curiosity. There’s an ancient poem called Metamorphoses by a Roman poet named Ovid. It’s a continuous narrative of mythological and historical vignettes, each climaxing with a

cetera. Hands communicate a lot and I find the variety worth documenting in my spare time.

: What is the best part of your job?

I: Those precious moments of wonder, encounter and discovery. When I have a question and am eventually rendered vigilant by the answer. Leaving my desk to stroll the galleries isn’t so bad either.

: What is something that makes the Mia special?

I: Mia is free. You can walk right through the lobby, take the stairs to the third floor, and look at two Georgia O’Keefe paintings without saying a word to anyone. The Walker Art Center is not free, the Metropolitan Museum of Art is not free, and The Art Institute of Chicago is not free. Mia is free.

: Favorite class at the U?

I: Spencer Cole teaches a class called “Greek Tragedy in Translation” and I can’t recommend it enough. You’re encouraged to be creative with the writing assignments, there’s opportunity to see theater, and then of course the tragedies. I think it’s a CLA writing intensive too, so the class attracts students from a variety of departments, which makes discussing the plays fun and insightful. But also, take at least one art history or comparative literature class.

: Career goals in the near future? What about in 10 years?

stable but also transformative and mutable. They need to document and preserve but should never deny experience for reasons of conservation. Rauschenberg has this litho titled Centennial Certificate that he made for the Met’s 100th anniversary. At the center he composed his own text redefining the mission of the museum: “TREASURY OF THE CONSCIENCE OF MAN... TIMELESS IN CONCEPT THE MUSEUM AMASSES TO CONCERTISE A MOMENT OF PRIDE SERVING TO DEFEND THE DREAMS AND IDEALS APOLITICALLY OF MANKIND... AWARE AND RESPONSIVE TO THE CHANGES NEEDS AND COMPLEXITIES OF CURRENT LIFE WHILE KEEPING HISTORY AND LOVE ALIVE”

transformation, and is one of the most frequent sources for mythological painting in Western art. I’m looking at early woodcut illustrations of particular myths from the poem, trying to see how the composition of the woodcuts mediated Ovidian myth to later artists. My other project is very casual. I’m compiling an archive of images of hands in a variety of poses, mostly from paintings I work with, and for no particular reason: hands folded in prayer, a hand holding the hand of another, grabbing an arm, pointing in accusation, holding one’s heart in admiration or in pain, et

I: I’d like to keep moving through the museum field and continue to work with culture, but I’m hitting a ceiling with my BA so I’m shopping around for graduate programs right now. I’d like to go somewhere abroad, maybe in the UK.

In ten or fifteen years I want a goat farm and to live a very di erent life than I do now.

: What role do you think museums have in our society? How have you seen this evolving?

I: I think of museums as permanent but also inherently human. Right now many museums need to practice flexibility and test the limits of their ability to change. They should at once be

: In your opinion, what are the current biggest problems museums need to work on solving?

I: Museums have been experiencing a bit of an existential crisis over the past couple years. There is a lot of emphasis on reevaluating missions right now but I think the field badly needs vision. People who see clearly the museum of the future and are ready to do the hard work of getting us there. More and more I think museums are realizing that their first allegiance needs to be to artwork that showcases the true diversity of human experience, shown in a timely and transparent fashion. Artwork is powerful and people come to museums to experience that power first hand. The Botticelli show is a testament to that.

: Biggest career related advice for students who want to go into public history or museum work?

I: Say yes to every opportunity and try to get connected with strangers. Take informational interviews, check out all the books you want from the library while you are still a student, and try to find or create non-institutional channels for your work.

: What drew you to museum work?