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in time as well as the countless scenes showcasing Edith drunkenly shouting at her "loved ones" or appearing completely withdrawn and disoriented serve to separate the artist from her fans and movie-goers.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.

Josh Bell and CODA Prostuds

This weekend was packed and an event filled to be sure. Prostuds, performances and parties were taking place just about everywhere. I found myself forced to spend it juggling school work, meetings, and work. Saturday morning CODA began interviewing potential CODA fellows for the following year. Having recently gone through a few interviews myself I really appreciated being on the "other side- waiting for the students to impress "me" and crafting the questions, not the answers. It was more intense than I had anticipated; I think that the nature of being forced to pass quick and cold character judgements within a thirty minute window is something that most people do not do so openly and overtly with others. Maybe whispering to one another or to one's self, but the second the interviewee leaves the room to begin firing of all gut impressions, good and bad, was a heavier experience than any of us had expected. I think, though, that is was a good was for me to learn more about myself and and how I do and should act when I am actually being interviewed myself. Later that night we took the CODA prostuds out to see virtuoso violinist Joshua Bell at GPAC. I was expecting to collapse in my seat and doze for the next to hours. But once the young musician walked out on stage it was clear that he intended to command and captivate his entire audience. This, I assumed, would be impossible considering he was only one man and was accompanied only by pianist- and his noble page-turner. He stared into the audience until ever person was completely silent- this required that he remain still on stage for a few more minutes than expected, as if he was waiting on us- after all we were going to have to be ready to keep up with this speed demon. He began to play some of the most beautiful scales I had ever heard, very even and sweet to the ear. As the night went on Bell began cutting away at his bow, hairs flying everywhere, his fingers sweeping rapidly up and down the neck of his instrument, tapping away and diffusing rich dissonant tones into the audience, that out of their chaos created an odd sense of harmony in the room. This "one man band" own GPAC that night with his humble little instrument, truly blowing both young and old listeners alike. It was a lovely warm ending to a rather harsh and long day.

Knitting Ninjas?

That's right "Needle Ninjas"- people who take their grandmas seriously. No, but seriously, the guerilla art group "Needle Ninjas" has given a fresh take on graffiti and spray-paint. The group has taken on guerilla knitting as a way to leave their mark on the world and bring art to the public in unexpected forms and places; crocheting much-needed cozies for loose bricks, street signs, door handles, and any other naked bits of the city. According to the "Ninja"s themselves, "[they] are a group of cool girls who just want to make the world a prettier place one stitch at a time. We knit, we tag, and we drink! Knit Happens." The group started back in April 2007 in the Kansas city area and have been blogging their chronicles ever since.
I am particularly inspired by the group's innovation in the world of anarchist art in the sense that text and painted graffiti make up most of the the haphazard art in the public realm (mostly because its cheap, durable, and easily/quickly done). Knitting and crocheting on the other hand, is time consuming more costly and less durable. But these art zealots take the hit if it means cozying up their city, as well as diversifying guerilla art in their town. This was important for me to see and I think important for other to know because it shows that public art really has no boundaries or specific forms. If you think that your town needs something- think outside of the box and go for it! Good luck!
By the way, I found blog links etc on the Needle Ninjas and many other groups worth checking out at Le-trash.com.

Mural: South Main!!

Last Thursday amid the icy temperature of the night local Memphis artist, Anthony D. Lee and friends, began the installation of his mural on South Main- the burgeoning Memphis art district. Many Rhodes students along with a few other local artists gathered to chat about Lee's trials and tribulations in the art world as well as to discuss the meaning of the mural he intended to place along the 700 foot concrete strip (below the train station). The large panel would be filled with 25 separate symbols, each possessing very tangible and widely relatable meanings. Varying from Memphis's own MATA (Memphis Area Transit Authority) bus symbol, to the universal symbol for recycling. While these images all seemed rather trivial and simplistic, Lee spoke on the way people relate differently to these symbols and the transformation they undergo when depicted on such a large and public scale. He was right. We all layered up our winter gear until our human forms were no longer discernible and headed over to long wall. Although we were all chilled down to our bones, everybody kept good spirits. Laughing and painting side by side rollers and chip brushes in hand. The artist had even set up a small heated van with hot chocolate and other refreshments whenever we got too cold to hold a paintbrush. It really was a great way to meet new students interested and art and do something different for a change. We all also, and maybe unnecessarily so, we conscious of this small effort we were making to "change" Memphis for the better. Wondering how passers-by would react and interact with the new life on the once bare wall. Would the barren area surrounding it take on a new personality from this moment on. I believe that the answer is yes. For even after completing a measly 2 or 3 symbols, when you stepped back the whole feeling of the wall and everything around it changed. The powerful warm orange hues gave you an immediate sense of happiness and comfort in your place- despite the fact that it was seven degrees fahrenheit, dark, and empty. This is is the power of public art. I hope many more of these group murals continue to take form around the entire city. It will undoubtedly change the way we all feel in and about our city.