Response to Tara Dubbs' BIRD

*Unable to post under original letter

LOVE it!
Radically novel and inspirational, BIRD is a refreshing surprise to tired eyes. As opposed to typical, often blasé printed materials, the ephemeral, interactive, and vitally communicative nature of BIRD is expressively unique and praiseworthy indeed. It breaks the traditional bounds of literature.

However, I have to note that despite engaging my spirits, practically speaking, BIRD seems condemned to failure. You say that “the longevity and feasibility of BIRD is unknown at this time.” Then, what exactly, is the point of launching the magazine? It seems a waste not to reinforce such a brilliant idea by taking measures to insure some level of success, no? Also, you talk of a “target audience” but do not specify. Perhaps distinguishing a select range of readers will assist in guaranteeing the future of BIRD?

But that is not my main problem with the magazine. While the elements of “taking it to the streets,” incorporating paperboys, and chancing that issues will be successfully tossed from stranger to stranger are fascinating, they are not plausible in any sense. What idyllic group of readers will actually inscribe their semi-artistic ideas into the magazine and hand it to the next unsuspecting individual?

In a perfect world, a utopia, BIRD could exist. But in the REAL world, there is little room for fancy ideas. At best, copies of BIRD would become colorbooks/scrap paper and at worst, discarded litter. That said, the concept of BIRD is both beautiful and fashionable, but unfortunately, lies outside of realistic boundaries.

Art Magazine Cover

Art Magazine

Letter from the Editor

We live in a world subject to technology. Where Facebook, Ipod’s, and Blackberries reign, society appears to promote homogeneity. But while technological gadgets and the explosion of the internet satisfy our appetite for easier, quicker forms of communication, they inherently set us further apart from the next person. Contrary to their intent, technological innovations and advances permit us to cluster in groups that endorse exclusivity. In Facebook, groups are privatized to students within a particular college, essentially making “clubs” based on educational backgrounds. A Northwestern student, for instance, can not belong to the Loyola network.

As a result, social “togetherness,” particularly amongst young adults, is dissipating. Relating to others outside of your community, emotionally and mentally, has become a challenge and requires sacrificial effort beyond our willing capacity. In my hopes, the launching of “Rain” magazine will aid this fragmented situation. The intent to ubiquitously share information lends the magazine its metaphorical title. The magazine will primarily focus on controversial issues and events encircling the art realm. It will provide thought-provoking material and ample space for readers to agree or disagree, thereby, promoting interactive discourse. Furthermore, the concentration on art-related subjects will bring to light an area much too ignored by society.

“Rain” magazine will be geared towards the twenties generation. To clarify, narrowing the magazine’s perspective to this specific range of individuals, is not intended to recommend exclusivity, but to impact a generation most disunited by technology. In order to hasten the synergy of this generation, “Rain” will be a weekly magazine, accumulating in a total of 48 issues per year. Approximately 50,000 copies will be produced per issue. Circulated to all fifty states, a majority of issues will be released near college campuses. With regards to the intended audience, “Rain” acknowledges that “time is of the essence.” Readers of this generation, immersed in their studies and/or careers, more often than not prefer quick reads. The composition of the magazine will address this concern by consisting of roughly 70% images (photographs and illustrations) and 30% text. Rather than extensive essays, the editorial content will be structured around concise discussions and excerpts.

Each issue will investigate artistic debates, past and present, within film, music, literature, and undoubtedly, the visual arts. Given the intention to make the magazine a time-efficient read, there will only be three sections (each section devoted to one of the four previously mentioned spheres of art). The first section of the magazine will be dedicated to an interview. The mid-section, covering the most pages, will showcase one selected work. No analysis will accompany the works in this section, for the purpose of the reader to examine and make conclusions about the work himself. The final segment will include two reviews as well as announcements for upcoming film, album, book, and exhibition releases.

The very first issue is to include an interview with the indie band “The Virgins,” Sally Mann’s photographic works from “Immediate Family,” and reviews of Vladimir Nabokov’s novel “Lolita” and Mel Gibson’s film “The Passion of Christ.” Contributors are the deli’s Erin Roof, NY Times’ Sarah Boxer, writer Graham Vickers, and film critic Roger Ebert. For example, Sarah Boxer and Graham Vickers will delve into the taboo subject of child sexuality. Boxer will provide a short summary on Mann's provocative photographs of her children in the nude. Vickers, the author of "Chasing Lolita," will open up debate about Nabokov's novel "Lolita," concerning adult-child sexual relationships. A sample cover of the first issue to be released is attached. In great eagerness, we welcome and encourage support for the birth of “Rain” magazine.

Sincerely,
Lauren Choi

[Lecture 3] Dynamics of Political Art in Post-Socialist Central Europe

Zuzana Stefkova, curator at the Centre of Contemporary Art in Prague, gives an overview of Central European political art as critically examined and represented in the Czech Republic and Slovakia regions. Before detailing the current, problematic issues concerned with this topic, Stefkova begins by answering the question, “What is political art?” In her response, it is an art that serves an ideological message; tackles issues associated with politics; depends on heterogeneous social, economic, and political powers; is socially conscious; or identifies with activist art. Combining these broad facets of political art, Stefkova translates them into a single, encompassing definition: Art that reflects social issues from a critical standpoint.

Concerning the discourse of Central European political art, particularly in the Czech Republic, a drastic shift has occurred. Socialist years insisted upon the separation of art and politics. “Politik-um” is an exemplary exhibition of this once predominant attitude. Maintaining an idealistic stance, it shed light upon the essentially feeble and inefficient nature of art, in contrast to the strength of politics. It advocated the idea of art for art’s sake. In total reversal of this prior view, the current Post-Socialist era fosters the blurring of this division between art and politics. Works as “Czechpoint” illustrate that art should engage its audience through the exposal of inflicting social changes.

In this radically new climate, key themes associated with political art comprise of contemporary global politics, ideologies and religious beliefs, history, state and nationhood, racism and immigration, and gender and sexuality. One of the more controversial themes is sexuality. Maros Rovnak’s piece, “Corsets for Mr. Carnogurksy and Mr. Hrusorsky,” is intended to mock the homophobic tendencies of the conservative class by creating dresses resembling Catholic robes for men.

As a result of these contentious themes, censorship is brought to the foreground. In David Cerny’s 2009 work, which illuminates the dysfunctional, self-centered ideals of nationhood, Central European countries are substituted and represented by an assortment of intentionally crude objects. For instance, a slab of salami wrapped in Hungarian- colored ribbons depicts Slovakia and a squat toilet replaces Bulgaria. Though his fresh and humorous perspective was welcomed by some, Cerny’s exhibit in general stirred such displeasure that portions of his map, especially his portrayal of Bulgaria, were immediately covered and removed from the public eye. Therein, limits to the full expression of political art are imposed.

At the closure of the lecture, Stefkova asserts her opinion on the state of Central European contemporary, political art today. Specifically in the Czech Republic and Slovakia, though political art has evolved rapidly since the 1990’s and has become successfully entrenched in the art scene, there are potentially destructive problems that can hinder its progress. These prospective problems include, but are not exclusive to, a lack of efficiency, an attitude that preaches to the audience and intends only to convert, parasitism on politics (artists may be inclined to produce political art as means to gaining media popularity and reaping monetary benefits), and a lack of independence.

[Lecture 2] Beer = Art?

Rather than proceeding to deliver a verbal lecture, Tom Marioni relies on short films and interactive demonstrations to explain his art practice and works. He begins with two films highlighting divergent works. The first captures a multinational parade of beer bottles advertising familiar brands as Guiness and Heineken, as well as entirely foreign brands as Tsingtao and Moosehead. Tom Marioni calls this 1976 exhibition, “From China to Czechoslovakia.” The second film showcases his 2007 compilation of “Action Drawings.” Each drawing is produced by utilizing a pencil to document precise, out of body (freehand) movements. In some cases, the artist is sitting down and drawing as far as the arm can reach, and at other times, he is standing and drawing a circle limited by the length of his arm. Other drawings are the result of more rigorous activity, as running, jumping, and attempting to stay in mid-air.

In presenting these works, Marioni draws attention to the free-spirited, humorous, and fun-filled aspects of art. Regardless, for persons unlearned in the history of artistic styles and periods, the meaning underlying Marioni’s work is nothing short of obscurity. At worst, “From China to Czechoslovakia” seems analogous to an eclectic assortment of discarded beer bottles and his “Action Drawings” to silly, childish depictions. However, a third video clip disclosing Marioni’s 1999 interview clarifies any viewer confusion. At this point, the term “Conceptual Art” is introduced. As Marioni defines, it is an idea-oriented situation not directed at a static object. He deems it “Idea Art.” The artist is neither defined nor constrained to a single medium, and his work takes flight through the materiality of idea. With this establishment, the audience is more capable of making sense of Marioni’s two exhibitions. “From China to Czechoslovakia” is developed from the idea of beer tasting/consumption, and “Action Drawings” stems from an interest in the constraints and flexibilities of bodily movements.

The interview also reveals a brief history behind the San Francisco-based artist. After a decade of “soul-searching” and trial-and-error experimentation, Marioni discovered his love for conceptual art. With regards to this style, Marioni finds fascination with the unpredictability of his final outcomes. Furthermore, referring to Duchamp’s quote, Marioni proposes that his projects are fifty percent artist created and fifty percent viewer created. These factors in mind, Marioni claims that “drinking beer is the finest form of art,” primarily because it propels social interaction and communication. His 1976 “Beer Drinking Sonata,” performed at the end of the presentation, is a case-in-point of this assertion. Fourteen participants are each handed a bottle of beer which they are instructed to drink. After each swallow, the participant must blow into the bottle. Some participants succeed and others fail in producing audible sounds. Additionally, the speed at which participants drink varies. As a result, every time the piece is performed in a new setting, the outcome will be different. The common denominator in each performance is the intent of the work, intent being essential in conceptual art. In this case, the intent is to build differing tonal sounds through socialization activity.

[Lecture 1] The Man Who Lives On: The Legacy of Gordon Parks

Darlene Hine hails him “as the man to whom doors will never be closed,” Philip Brookman commemorates him for transforming his troubled past into uplifting experiences, Maren Stange and Deborah Willis praise him for his ceaseless passion, and Bob Black is wholly indebted to him. Gordon Parks is a legend and inspiration. The five-man panel pays tribute to this great historical and cultural figure and his undiminished influence on 20th century photography and film. Furthermore, he is esteemed the “Renaissance Man” for his self-taught talents as a photographer, writer, filmmaker, and composer.

Born in the relatively peaceful town of Fort Scott, Kansas, Parks was generally raised blind to the changing world around him. His keen sense of wandering and curiosity, however, eventually landed him in Chicago at an early age. It is in this city where he encountered poverty and racism to their fullest. These modes provided him with fruitful opportunities to challenge the radical developments occurring at the time, allowing him to launch his career, thereby earning him this celebratory status. The Great Migration (peaking in the 1920’s) resulted in the transitioning of nearly two million African Americans, most noticeably into the pivotal site of Chicago. Joining the ranks of other impoverished blacks in 1940, Parks shared and sympathized with their sorrow. In this way, poverty and racism actively shaped his identity and consciousness and became the foundation of his works.

Initially, Parks gained fame for his fashion shots which appeared in reputable magazines as “Vogue.” Shortly thereafter, eight years after his entry into Chicago, Parks was hired as the first African-American staff member of the prominent “Life” magazine. He had swiftly gained access into the influential world, ultimately escaping poverty. He became renowned for his countless photo-essays chronicling the tragic conditions in rural America, Harlem, and Rio de Janeiro.

Each of his projects seizes the truth of his subjects and carries immeasurable power in retelling their stories. This feat Parks accomplished by familiarizing himself with his subjects beforehand. For his “Harlem Gang Story” and “Flavio” series, by becoming immersed in the environment of his subjects, he more honestly photographed their stories. For instance, the manner in which Parks photographs “Red Jackson,” the infamous Harlem gang leader, subtly hints at a peculiar closeness to the subject. As such, the image softly blurs the line between photographer and person photographed. Parks’ remaining photographic works are dedicated to more historical figures as Malcolm X and Muhammad Ali. True to his title as the “Renaissance Man,” Parks also became the first African-American to produce and direct a major Hollywood film, adapted from his semi-autobiographical novel “The Learning Tree.”

Despite his contribution in exposing the plight of 20th century African-Americans, at times, Parks was frequently criticized for not being Black enough or being too Black. Nevertheless, through his photography, Gordon Parks broke many barriers within this dichotomy of black and white, poor and rich, and utilized his camera as a “weapon” to correct these wrongs.

Talk Summaries Coming Soon