Spatial Remediation exhibit

Today I went to Turner Art Gallery and saw Emily Waggenspack's exhibit The Art of Communication: Life as a Comic on Canvas, Envisioning Portraiture. It was really a great showcase of her hard-work and talent as an artist. The exhibit is made up of 78 gesso-painted canvases, which cover almost every wall in the gallery, and the theme followed the artist's life from childhood to college in a literary sense through comics. The canvases depict a child learning how words form, through copying her parents speech patterns; later moves on to comprehending storybooks, and then heads off to school. A heading on each canvas conveys what's going on, and the symbolism (such as teardrops of storybook scenes across the board when the comic is talking about how stories "flooded" in) depicted shows an effort on the artist's behalf to unite both words and imagery. The comic takes a serious turn, as it describes the child's hardships in school (i.e. learning disability) but how that didn't prevent her from success and college. The most moving part of the exhibit is when the story discusses the deep impact of the confusion in school, and being different from other kids (they finished work faster). The canvases in this part are hung in disarray from the ceiling, and a net hangs opposite the side of the wall, so that the reader walks through a tunnel of confusion and emotion; giving a sense of the child's struggle. The other exhibit on show is portraiture, that Waggenspack has taken to a new level. She has shown the steps in the work, first a photograph, then a sketch, and then the final product on canvas. The subjects are Bruce, Lisa Butler, and Waggenspack herself, making drastically twisted, and comical, faces. What makes the portraits so amusing, and interesting, is not so much the funny faces but how Waggenspack decided to cut up each portrait and then rearrange them. The faces can still be discerned as faces, but the interesting arrangements gives a whimsical mood to the work. It's very Braque-type, following the cubist movement, and is captivating. The vibrant colors also add to the whimsicalness of each art work. I think to experiment with such a drastically different medium really shows Waggenspack as a modern artist, not afraid to break traditional art conventions. Overall the exhibits are really well done, and showcase Waggenspack's talent as an artist who isn't afraid to take chances and experiment with different mediums.

La Belle et La Bete/ Notre Dame de Paris

In my French class, our professor Dr. Kress introduced the 2nd year students to the original fairy tales that many of us only know as the Disney classics where everyone live happily ever after. However, Disney greatly distorted the original screenplays, not to mention children's perception's of the world, which addressed heavy subject matter and had an impeccable cast. I really enjoyed reading the stories in French as we watched the films, because not only were we able to read and not the literary techniques, but we also were able to see it depicted and really brought the story to life. Since these two fairy tales are well known by all, I wont go into the plot details but rather I'll discuss the grave differences between the original story line and the Disney version, and focus on the great performances and what made them unique. In the case of the black and white La Belle et La Bete (directed by Jean Cocteau)/ Beauty and the Beast, some differences to note; Belle has two, selfish sisters and a caring, but gambling brother, and Avenant, Disney's Gaston, isn't really sleazy but rather Belle just isn't attracted to him. The quality of the film is incredibly well done considering the time at which it was done, sometime during the 40s, and the technology that was available. For instance, the special effects used in the film were really cutting edge back then, and Cocteau was experimenting with what film was capable of. The beast's costume, as ridiculous as it may seem to a 21st century audience, would've been outstanding, the fur and makeup to change a man into a beast, and the transportation of Belle from one place to another with her simple spoken wish into the mirror, would've confounded the audience and definitely been applauded. Even the castle's decorations, with self-moving trees, candles held by floating hands, the mystery of the chateau itself would've seemed unreal, and just the pure magic of the story itself would've been something very new to be seen on the screen. Another unique quality about La Belle et La Bete is the way in which Cocteau filmed the movie, it truly could be called an artwork. Each scene is filmed as if it were a painting, the scenery itself and the actors themselves hold poses as if they were about to be painted. The lighting throughout the film is often reminiscent of chiaroscuro, characteristic of Caravaggio, the haziness also created by the smoke creates a painting-like scene. However cheesy the acting and perhaps the film as whole might seem to viewers today, La Belle et La Bete ought to be applauded for its beginning tinkering with special effects, and even trying to make film a work of art. Notre Dame de Paris is a rock opera that addresses the issue of a gypsy, Esmeralda, who attracts the attention of many men, in this story that of the town priest, Quasimodo (a hunchback who was taken in by the priest), and a soldier, Phoebus. Rather than the lighthearted Disney version that I loved to re-watch growing up; this is a dark commentary on the situation of Gypsy's and how they were kept out of Paris, and not even considered to be given human rights because many thought of them as the lowest commoners of the low. The opera includes an incredible cast, and what really makes the performance is the soundtrack. Each actors voice is incredible, and not only are the melodies outstanding, but the lyrics are just as beautiful and really amazing. The story ends with the priest convicting Esmeralda of an assault on Phoebus (though it was staged, by himself) because she wouldn't spend the night with him, and leaves Quasimodo and her adopted father devastated. The stage isn't filled with props, however the dance performances are amazing; the unity among the dancers, and their harmony with the music is really wonderful. Another thing to note, when this rock opera came out, the issue of immigration in France (immigrants mainly from Northern Africa) was going on, and so this became a piece not just about a historical account but also could be applied to the modern situation.