Fashion Extravaganza!!

The room is packed with dazzling people dressed in their evenings best and the atmosphere is chic and sexy- dark with red light permeating about the foggy space. The DJ continues sending waves of sound out into the mass of people chattering excitedly amongst one another, relieved to finally be taking a breath away from the office. The techno beat goes silent. The rooms chattering falls to a hush. Our evenings host struts out on stage microphone in hand and gives a run down of the night. Before we know it broadway singers and young models are filing down the runway sporting the springs hottest new looks. Every minute or so one will shoot a sexy gesture to the crowd and everyone cheers and comments in unison. The moment the Macy's fashion show benefit comes to a powerful finale, the room is full of audience members clapping happily. Immediately after the show the crowd rushes over to a large reception room where all of the nights young models and dancers are relaxing with family and friends and where tables of food and a new DJ keep the night going. The night was blast and it was fun alternative to a night spent gallery hopping.

Juxtap'art[y]-ing: now and then

Last Thursday's annual arts festival "Juxtap'art[y]" was without a doubt a most enjoyable way to have spent the evening. Lanterns and various art works set the mood in the EV lodge where the nights festivities featured performances by the Rhodes male a cappella group "Woolsocks", belly dancers, as well as individual performances by French horn soloists and impromptu guitar-singer solos and duets. A mix of asian finger foods and sub-sandwiches were also nice compliments to the evenings activities. All in all the event was small and low-key to be sure, but I think that this is a successful aspect. Even the party planners involved were able to sit back and enjoy the evening! A good crowd turned out and everybody was able to relax to an evening of the arts- Rhodes style.
Although this years art event scarcely resembled last years Juxtap'art, I think it is difficult to compare the two. Each had very different goals from the beginning; this year a quiet gathering to showcase rhodes talent was the goal, while last year, equipped with more crew and more time, the goal was to bring something new and underground to the often conservative rhodes scene. Both were fun and both were successful at showcasing student art at Rhodes. This just goes to show the range that is possible in an event of this nature- I cant wait to see what shape next years Juxtap'art will take. Thanks to all those who helped plan, starred in, and/or just attended the arts party last week!

Rethinking Regionalism and the Significance of Place

Last Thursday in Buckman auditorium Rhodes was visited by renown a humerous and witty Chicago educator, critic, essayist and media commentator on visual arts, James Yood. He is currently faculty at the School of the Art Institute of Chicago, in the School of Art History, Criticism and Theory and is active as a contemporary art critic and essayist for Artforum and temaceleste, and a regular contributor to GLASS magazine, American Craft, Aperture, and Art and Auction.
His visit was especially pertinent to the Memphis art and culture pulse because he addressed what in means to be an artist in the "void" of middle-America in a New York-centric country. As a critic and a member of the midwestern art community himself, Yood often examines the significance of place in art making and interpretation. "Art-making is social not personal" he said, artists "respond to their surroundings and the people in them". This is why art made in Chicago is different from and misunderstood by the estranged but dominating art communities of Los Angeles and New York. Midwestern art is equally if not more important to the American experience than art from New York or L.A. no matter how marginalized they currently are. I really appreciated Yoods hopeful and unashamed commentary on embracing one's own place. An artist from the midwest can never make great art if he aims to make art for New York, he must embrace his "place". "Place sculpts artistic vision!"
As you can probably, tell the talk was heated and controversial, but well received by the memphis art community's ears. I think we just need more people like Yood out there letting people know that midwestern art isn't bad, its just different and the eastern and western poles of america just can't get it.

LA VIE EN ROSE

The award winning french film La Vie En Rose (La Mome)-a biopic about the extraordinary life of singer Edith Piaf (1915-1963)- was anything but extraordinary. Maybe, just maybe I felt this way because I went into the movie theater with such high hopes-after all it had won two Oscars and a handful of other foreign awards- however this is only the slightest possibility.

The story opens with young Edith brought from the gutter by her father- a short-tempered circus master- to be looked after in a local brothel by her paternal grandmother. From this moment on the movie flashes to various moments of time in her life in a very un-chronological, disorienting fashion. It jumps from scenes where she works for her father in the circus performing and doing small chores, to scenes where the artist is nearing the end of her life and career- all of which tend to be cold and heavily depressing. At 20, she is discovered singing on a street corner by a local club owner, who then introduces the young singer to a performance coach through whom's rigorous training she blooms into the legendary "Edith Piaf". Apart from that the viewer is opened into the artist's life full of peripheral fleeting companions, alcoholism, heartache, quiet drug abuse. Despite these intimate insights however, like those who surround her in the film, the viewer struggles to develop any sense of intimacy with Edith. Perhaps we empathize with the many hardships she faces, but director Olivier Dahan, through his cinematic style, leaves the viewer only in Edith's periphery. The short flashbacks/forwards in time as well as the countless scenes showcasing Edith drunkenly shouting at her "loved ones" or appearing completely withdrawn and disoriented serve to separate the artist from her fans and movie-goers.
Although many of these cinematic tools are most likely being employed to help the viewer get at the core or Mme Piaf and put the viewer almost directly in her shoes, it is a cinematic failure, for Danah fails to consider his audience from the moment he begins. Like I said, maybe this just is the essence of Mme. Piaf, but then if so, I appreciate her less.

Peter Saul and Political Art

Possibly one of the most symbiotic cultural relationships of all time is the one between art and politics. Both feed into each other and thrive on the other. Many moments in history art has risen to the occasion in times of turmoil or social unrest. No time was this more apparent in American history than the art produced during and in reaction to the Vietnam War. This was "art at its most tendenscious" argued Rhodes Art History Professor David McCarthy at an MCA lecture last week.
McCarthy spoke specifically of the artist Peter Saul who began his controversial politically charged body of work at the great war's early beginnings. The california artist's work voiced a strong opposition to the war that reached broad audiences across the country. Saul's paintings sided with the Vietnamese and their resistance to western imperialism and highlighted the barbaric acts of American troops on their island.
A visual representation of these perspectives on the war played and integral role in motivating anti-opposition quickly. Although Saul was one of the earlier artists to strongly voice his opposition to war, other visual artists, playwrights, and musicians began to rally protestors as well. These artistic venues provided by Saul and others mobilized a population around a political cause
eventually influnecing the US government to end their efforts in Vietnam.
Artists fill a very important void/gap between the public sector and their government, and it is this idea the Dr. McCarthy made very clear throughout his lecture. They often bring to light controversial or unknown truths long before the public realizes it. It is in this way that they help to influence and motivate people and politics. It has always been an important part of a nation's culture to use political art- whether it is used by the government to influence its people or by people to influence their government, its an essential part of the human experience and an extremely power part as well.

CAT POWER in LA

As we packed ourselves in between hundreds of fans last Friday night for the show- after spending and hour with countless others scalping scarce tickets outsides- my fellow concert goers and I found ourselves waiting what seemed like ages for the Southern Soul Queen to emerge from the dark. Before coming to the stage we were stuck listening to the droning overpowering sounds of Chan Marshall's (aka Cat Power) backing band, the Dirty Delta Three. Long after their dull intro set, Marshall emerged and began to strut the stage in her bright white sneakers. I was struck by her preppy attire (button down shirt, jeans, complete with a high ponytail)- the musician with a reputation for her rough habits and lifestyle appeared more like a girl from a GAP add than the elusive, sexy goddess that she later proved to be.
Lights often stayed dim upon Marshall's request as the young woman wailed her blues songs with bravado and intimately confessed her past of painful secrets to us all- often chocking up a bit and even admitting before hand that the song she was going to sing was most likely going to make her cry. Apart from bouncing, crouching, and even moonwalking across the stage, she never failed to acknowledge everyone in the room that night, whispering to band members, politely ordering the light-crew to take spot light from her, even reverse it into the audience instead-as she did at the shows end (a time at which she also proceeded to throw t-shirts and roses into the entire crowd). She won us all in the beginning with her sweet playful attitude, and brought us to her feet when she returned for the second half of the set in a sexy cropped t-shirt exposing a naked shoulder as she held a cigarette in hand. Throughout the sets' entirety she succeeded in commanding the whole room, forcing us all to want to know her deeply and love this masterful emotional girl. Her simultaneous girlish vulnerability and feminine strength present in both her voice and volition that night made the show a truly personal experience and a totally breathtaking night in LA's Wiltern Theater.

The Healing Power of Art

A poignant coming-of-age story of a precocious and outspoken young Iranian girl that begins during the Islamic Revolution, Percepolis was artistic masterpiece. The animation felt intimate and personal. The majority of the images were left in black and white allowing the viewer to focus more closely on the depth of the story itself and the teenager Marjane struggling in a world of oppression. More specifically the recent graphic novel-turned-film is an autobiography of the director and creator, Marjane Satrapi. The story illustrates the young inquisitive and optimistic girl wearing sneakers and beating up boys, constantly posing questions to her elders about political movements and the people that led them. When she turns ten, her world changes overnight. Marjane is forced, along with the rest of Iranian women, to cover herself in a long dark robe and the inspiring outspoken grownups that once surrounded her begin to disappear. Marjane struggles with the strong and oppressive military regime and her free-thinking strong mind throughout the film. Even more importantly however, is the struggle she faces with her identity- striving to keep her pride and integrity in her Iranian heritage in her stays beyond Iran. In the end she is forced to leave the country and the people she loves most for her own safety.
I saw this film twice this last week, not only because it was so enjoyable and so moving, but because I believed in the importance and admired the achievement of the film itself. Its release is more than relevant in our current day and age. A time when war seems to be waged daily in the east, and the misunderstanding between the Anglo-West and the turbulent Middle East is immense and dangerous. A film like this puts a very personal and human face to a people who would previously be conceived radical and war-loving middle-easterners. The film succeeds in giving its audience a glimpse at the normalcy and cultural similarities between the west and middle eastern peoples. Being a teenager, falling in love, being a daughter, a father, a grandmother means and requires exactly the same circumstances here as it does there. We are all humans, no matter what corner of the world we inhabit, who pursue similar dreams and aspirations of peace, who want the same, if not better. opportunities for our children. This film manifests the power of Art. An outstanding example of art working at bridging the cultural gap. The ability of art to communicate a story to each member of its audience regardless of his or her background or ethnicity etc. and thus its universality is why art is so important, especially in our world to day. It connects peoples form all over the world and gives them a platform to relate with one another. This is why art is beautiful, its the closest means to peace this world has.