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December 3, 2008

Hindsight is Always 20/20

Hindsight Is Always 20/20 is a one-person exhibition by R. Luke DuBois with one artwork for each president of the United States, totaling 43 prints. Each piece is a print of a Snellen-style eye chart, but instead of random letters, the chart is composed of words from each president’s State of the Union address. Words that are commonly used in everyday speech such as “I, the, am, are,? etc. are taken out, and the words are ordered by the frequency of their use in the address. The prints are presented in chronological order by president, wrapping around the room and a freestanding wall.

As I went around the exhibit, I began to compare each piece to the next. I found it interesting to try to pick out the style of each president’s address according to the words they used most. They also seemed to give snapshots of the United States at the point in time at which the address was made. It was also intriguing to compare the first print (that of George Washington) with the last (that of George W. Bush). I believe that one objective of the exhibit is to display the change in the state of our country under each president. Another focus of the exhibit may be to highlight the use of catchphrases and words manipulated by the government and the press. The first word is the largest and is centered, catching the audience’s eye and demanding a person’s attention. The next two are smaller and certainly less impressive, and anything after that becomes a jumble that most can’t be bothered to read. This demonstrates how most speeches given nowadays carry all their importance in a few repeated words that are used to intimidate or otherwise influence their audiences.

The last work, which used George W. Bush’s State of the Union address, was the most interesting to me. The first and largest word – and thus the most frequently used in the speech – was “terror,? a word that America has gotten very used to hearing. I was surprised to realize that Bush has been coining this word ever since his State of the Union address, and not just since the attacks on September 11th.

I would suggest this exhibit to a friend, because it gives a different perspective on the progress of our country as well as all 43 of our presidents. It offers clips of history that can be viewed both chronologically and comparatively.

George Washington:

Ronald Reagan:

Sam Fuentes - Gallery Visit

The ‘Waterborne’ exhibit in the Katherine E. Nash gallery was a fine culmination of watercolor works from artists around (predominantly) the Midwest, including a few specially selected from the Weisman collection. A few dozen artists were featured with generally a handful of works from each, ranging from one to five-or-so paintings. All of the paintings were watercolor works, save for a few acrylic paintings by Karen Knutson as juxtaposition to her noted inspiration John Salminen, whose works were featured prominently on the same wall. Besides the proximity of these two artists, there left no real emphasis on the arrangement of the rest of the works in the gallery, since each group of artist’s works were completely independent of the next. I personally enjoyed the ability to wander aimlessly from frame to frame without guilt. The exhibit was mostly on canvas, mostly framed, and displayed a nice dialogue between opaque versus translucent paints.

Each painting need only be a watercolor, and the subjects of each piece were a world of variability. From bizarre abstractions of tangled lines and angry colors, to a soft and clear depiction of a houseboat on a sunlit afternoon, the paintings were of everything worth painting. One of my favorites was a work by James Boyd-Brent entitled “Tired Day, Grand and Still.? It was a collage of translucent hues illustrating a quiet woodland bay, on a lake at sunset, seemingly untouched except for the ghosted outlines of two relaxed human figures in the foreground. The trails of preliminary pencil sketches delineate the natural flow of colors, from the tree line to the lake, and the two figures sprawling across the rocks. And the two figures are the only parts of the work not given much emphasis at all, and hardly even any color beyond the pencil sketch and the bleeding from the hues around them. There is a variety of strokes featured, from the miniscule confetti storm of colors for the ripples in the water, to the ghostly light stains in the sky, which seem to be more spilled than painted. James Boyd-Brent stated his appreciation of watercolors for their permanence on the medium. They cannot be erased, they are irreversible. For his works in the Nash Gallery, he described his inspiration; “That sense of nature reflecting mood and feeling, and an expression of a state of being in the work itself, can emerge when working quite quickly and directly in watercolor.?

I would strongly recommend a visit the ‘Waterborne’ exhibit. As a matter of fact, I already have – to my overstressed mother, who could use some time to look at something pretty. I had never considered much the world of watercolor art, but after walking through the Nash gallery, I’ve come to realize the simplicity and beauty of it. It’s permanence is a characteristic to be respected, and requires much skill and careful craftsmanship. It’s a medium that you do not have complete control of. It’s something to interact with and play to your liking. There is a world of difference between your choice of translucent versus opaque hues, but both require the same care and consideration in each stroke. So for those of my friends who didn’t already know that, I would recommend a walk through ‘Waterborne.’

Hindsight is Always 20/20

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Hindsight is Always 20/20 and What Do YOU say, AMERICA?

Hindsight is Always 20/20 is a politically charged exhibition composed of 43 different prints by R. Luke DuBois. Each print is put together in a similar manner, mimicking the style of eye examination letter charts. As you walk into the gallery, the exhibition starts with a brief description of the exhibit and then begins with a chart on George Washington (the first president) and continues on in sequential order until George W. Bush brings up the rear. What Do YOU say, AMERICA? is a series of lithograph on paper posters from WWI and WWII that were government-issued and also very political. This exhibit is supposed to show us how the government during those two wars used propaganda to target US citizens and influence them to be proactive in the war effort.

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DuBois focused on politics for his series and each print was for a specific United States President's State of the Union address. Instead of just using letters (like a eye exam letter chart), he chose dominant words from those addresses and put them in order on the chart by how many times they were used in the speech. Each print gives the audience an overall view of what each president focusing on during that time and/or during their presidency. The exhibition is supposed to embody what the president was trying to say in their speech and what the whole nation should understand about each president's impact. What Do YOU say, AMERICA? was not so much focusing on presidential influences but instead the government as a whole and how they "advertised" the wars. These posters didn't really have a specific place or order like Hindsight is Always 20/20 did. If there was a shared theme between the different posters they were grouped together, or if there was an artist with more than one poster they were put together.

I chose to focus my attention from both exibits on the print "George Walker Bush / 2001-Present" because it is really relevant to our generation and because I never watched the any of his State of the Union addresses. The intensity of Bush's focus on the war and terrorism is unmistakable. I feel like DuBois is also inspired by our nation's fear and blindness of the war and how that impacted the decisions that were made by our government.

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I would strongly recommend seeing this to anyone because there is so much that one can learn about each president and their State of the Union address without even knowing anything prior to seeing this exhibit. The concept is really simple but also really educating and I think it's great to have an exhibit like this on campus because I don't think a lot of students know a lot about past presidents. It's a good little history lesson on our country's progress and how each president has either helped or hindered it. It's good for my generation to see What do YOU say, AMERICA? as well because that is what we would have been seeing had we lived in that era. The way the government targeted US citizens is way different now and I think it's important to be aware of history.

Pictures in the Sky by Emily Barth

Between August and November, while walking down the streets of downtown Minneapolis on my way to Target somethig caught my eye. It was an extraordinarily unique exhibit displayed in the IDS Skyway near Macy's, a Project by Nancy Ann Coyne. The exhibition consisted of floor to ceiling photographs of people who have moved or immigrated to Minneapolis for various reasons ranging from personal safety to the search for a new life.

Coyne collaberated with 23 different people for her project. The main theme was "home" and what it meant for these people to be living in Minneapolis and how they adapted to the change. Speaking of Home, the exhibition's name, addressed to the public what it meant for people to feel a sense of belonging. Above each picture was the word Home in the native language of the people pictured. And through the way it was presented, even if people did not get the privilage of strolling through the skyway it was also visible from the street due to the transparent nature of each photograph.

I cannot pick one specific work because I feel every picture was meant to be part of the whole. That is why it was set up in a confined space where the viewer could feel surrounded by these people and open their eyes to the fact that in recent years around 90,000 immigrants have settled in Minnesota due to war, personal danger, poverty, and the promise of a new start on life.

I would recommed this show to anyone who appriciates human life and the pursuit of happiness. Although it is no longer hanging in the IDS / Macy's skyway everyone should take the chance to look up the artist Nancy Ann Coyne and her Speaking of Home exhibiton on the internet. It was truely a unique way to see different people of different cultures up close and portrayed as nothing but themselves, just a raw portrait hung in the window for everyone to see.

Masterpiece Photographs

I went to the exhibition of the collection of images of the recently deceased Carroll "Ted" Hartwell. Carroll was a curator at the museum gathering thousands of images for display. The images presented were of the best in the permanent collection Ted had acquired throughout his long career. These were all priceless and historic pictures ranging from about a century of photographs. They ranged from the historical events like the great depression with Dorthea Lange's "Migrant Mother", to famous famous public figures like Marilyn Monroe by Richard Avedon. To see all these photographs presented in one room was quite an amazing experience.
The main idea of the exhibition was to illustrate the amazing career of Ted Hartwell. He brought in almost 10,000 photographs to the museum and this collection is quite impressive and clearly illustrates his career of working with several very historic photographers of the twentieth century. My absolute favorite of them all bien "Red Jackson, Harlem Gang Leader" by Gordon Parks. This piece is an amazing editorial portrait from the 1950's. It is a dark and truthful illustration of his subject. Parks was always one of my favorite photographers so being able to see an original print up close and in person was a great experience.
I would recommend this to anyone who is either learning about photography, into history, or just likes art in general. It honestly has something for everyone with it's diversity of style and vast history it covers. It was most definitely the best work brought in by someone who had a career of bringing in great photographs to the museum.

Robyn Rodrigue--Gallery Visit

Robyn Rodrigue
Hindsight is Always 20/20
Weisman Art Museum

Hindsight is Always 20/20 is an exhibit portraying the work of R. Luke DuBois. His artwork consists of a poster for each of the 41 presidents that have given a State of the Union Address. From the addresses given to congress, DuBois has extracted the sixty-six most common words used throughout the speech. The list of sixty-six words is then displayed on a white poster with bold black letters similar to eye exam charts; larger letters on top going down to smaller on the bottom. The prints are installed in the order of presidency, from Washington to Bush with gray arrows marking the path.

DuBois was inspired to do this project after visiting the University of California Santa Barbara, where he worked with the American Presidency Project. This project consists of an online database that has organized presidential addresses into a searchable database. From this database a list is produced, as noted above about the sixty-six most common words throughout the address.

All the materials in each piece was the same, it was the words that were different. I found the project as a whole very interesting. If someone knows a little bit about history you can sense what was most important to Americans in a given era. A recent example is the prevalence of the war on terror, and that is the first bold lettering that one see when looking at the piece of George W. Bush’s Union Address. Each time I looked at a new poster, my eye was automatically drawn to that big, bold lettering at the top and to read it any other way I found to be uncomfortable and unnatural.

On the information sheet for Hindsight is Always 20/20, it states that the point of the project was to give the viewer a chance to reflect on “…politics, the presidency, and the ways in which we a a people disseminate and process information.? I found the last part about information very interesting because I naturally look for patterns and make lists and try to find connections between things, so for me this exhibit made me think about the way I process things.

I would recommend this exhibit to anyone who is interested in the process of breaking down speech, and if they are interested in seeing the progression of issues from one era to another.

Gallery Visit by Wiwat Wiphusit

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Gallery Visit by Wiwat Wiphusit

Gallery Visit Assignment-by Wiwat Wiphusit:
1. The name of the exhibition is called “Party Party in a Tweety Land b/w This Republic of Suffering.? It was at the Form&Content Gallery on August 28th through Oct 4th 2008. It was a group exhibition which comprise of nine Minnesota artists: Christopher Baker, Harriet Bart, Kim Benson, Kristie Bretzke, Jaron Childs, Philip Harder, Jenny Schmid, Scott Seekins, and Javier Tavera. The media they used are: oil on canvas, color photographs, archival inkjet print, 16mm film, paper, ink, and plumb bobs. The exhibition was arranged by group of nine individuals each have about 3 feet of space wide.
2. What is it about? Party Party in a Tweety Land b/w This Republic of Suffering contemplates the tensions between suffering and denial, grief and self-absorption, and the real losses buried under the flotsam of a consumer and celebrity obsessed culture. In a world where the human suffering inflicted by wars, natural disasters, hunger, drug addiction and other natural and manmade causes feels ever-present, people are increasingly becoming numb to the plight of others. Overwhelmed by the enormity of suffering and mired in frustration with how to alleviate it, some retreat into private worlds. Others distract themselves with celebrity infatuation or indulge in decadent behavior to keep the world at bay. Some find transcendence and meaning for their own suffering through religious models. It was designed to showcase the work of nine Minnesota artists. Use specific examples from the exhibition: Jenny Schmid, The Nihilists and The Libertines, 24.5x16? lithograph, 2008, $500 each. Jenny Schmid’s lithographs evoke the quandaries of living in a contradictory world through her imaginary couples, The Libertines and The Nihilists.
3. Pick one specific work in the exhibition. List the title and materials: Kristie Bretzkie, Total Desperation, 36x48?, oil on canvas, 2007, $1500. Kristie Bretzkie’s paintings capture the faces of homeless panhandlers with quiet dignity. The faces of her diverse subjects offer myriad emotions from defiance to desperation. To bring out awareness to the homeless issue not only in Minnesota is one motivation of the artist and to help out with the homeless also because all of her proceeds go to benefit the homeless.
4. What would you tell a friend about this exhibition? It is like looking at the world with different pair of eyes because a lot of time we are focus on our self too much. These artist did a great job of showing us pain and suffering of people that we tent to ignore. Would you be numb by the plight of these artists? You would have to take a look for yourself and that is why I would highly recommend for my friends to visit the gallery or follow up on the works of these artists and others as well. I would also tell my friends too that these art works are way too expensive my personal opinion.
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gallery visit!!!! BUNBOB CHHUN

I was a bit skeptical about the exhibit Hindsight is Always 20/20 put together by R. Luke DuBois. My friend had told me about it and I felt there was a large margin for it to be completely contrived. The exhibit consists of 43 state of the union speeches, which have been evaluated to display words used at high frequency. Anyways, when I got there and looked at the pieces not for their aesthetic value but for what they meant it really impressed me. You could definitely feel how pressing the issues were at that point in time. Eisenhower’s speech for example highlighted words such as ‘nuclear’, planning scientific’, ‘control’ ‘missiles’. It really speaks to you considering the invention of the airplane wasn’t even 50 years old. How easily could a strange word such as ‘nuclear’ frighten a generation into submission. Granted that was an extreme circumstance, but WWII just happened and the country was still high on victory. What Do YOU Say America, a compilation of propaganda posters, was a great exhibit to compliment Hindsight is Always 20/20. It really put you in the atmosphere of just pure propaganda, glorious propaganda saturation. Buy War Bonds by Lehman circa 1939 lithograph on paper in particular caught my eye. What motivated him was probably a desire to do his part, his part being persuading others to do theirs. The design was so dramatic, the message both convoluted and concise. “The war is still going on and we [USA] need your help, we need everyone to do there part. If you are a true American, a true Patriot, answer the call? is one things the composition states while saying “buy war bonds (we are in desperate need of money)?. I would definitely recommend this exhibit. It is quick, free, and has a great deal of relevance in today’s particularly heated political world.

December 2, 2008

Tetsumi Kudo retrospective at WAC

The exhibition of Tetsumi Kudo, at the Walker Art Center is called “Garden of Metamorphosis?. This is a one person retrospective of thirty years or so of Tetsumi’s artistic career. The exhibition follows his career chronologically, from its beginnings in Japan in the sixties, his travel to France, where he spent roughly twenty years, and his return to Japan. The exhibition contains easily over sixty pieces of work, possibly much more, and spans several rooms. Almost all of his works are mixed media sculptures. Recurrent objects in his work are colored strings, human hair, wood, plastics and resins, as well as many pre-made objects such as birdcages or plastic flowers. Only one work was simply an oil painting, which resembled a Pollok piece, it consisted of interweaving drips of oil paint. All other works were either free standing sculptures, wall sculptures, or, one of his major works, “Philosophy of Impotence’, an installation.

The exhibition’s name could come from several places. A recurrent theme in Tetsumi’s borderline graphic work is metamorphosis and change. Also his work changes over this career, gradually dealing with different themes. Many of Tetsumi’s works appeared almost human in nature, and the struggle of humanity plays a role in his art. A recurrent image, which begins in the late part of his early career, epitomized in “Philosophy of Impotence?, is a limp, often shriveled looking phallus. Tetsumi used it as a symbol not of sexual power, but of impotence, and as a symbolic chrysalis, implying change and growth. Much of Tetsumi’s work deals with population growth, technology, and waste. A concept of overpopulation meets wasteland, meets potential for more and different growth.

One of Tetsumi’s late works, entitled “Mary in Hell? which was created in 1980, reminded me of Chris Ofili’s work “The Holy Virgin Mary?. This work is a mixed media wall sculpture, shaped in a rectangle like a painting. It is made of wood, cotton, fake soil plastic, polyester resin, a Mary and baby Jesus figurine, conch shells, string, and rosaries. It consisted of several shriveled and twisted phalluses, reminiscent of tadpoles or worms, among conch shells, and rosaries. The conch shells generally arranged in a sun or star shape were colored yellow, and the rosaries hung both directly off of the phalluses and off of the green and white fake soil background. Atop the work is the figurine of Mary and baby Jesus covered in yellow strings like moss, or vines. Like Ofili’s work, “Mary in Hell? is another artistic re-examination of a historically relevant religious symbol. Religious iconography is unusual among Tetsumi’s work, and only appeared late in his career. An examination of faith was prompted by an unspecified health crisis he had just been through. The impotent phallic symbols again signifying change, or metamorphosis, keep the work connected to the theme of his career.

I would recommend this to a friend who had the time to spend taking the entire exhibition in. Being a retrospective of an artist’s entire career, and because of the graphic intensity and highly symbolic meaning throughout the works, one would best interpret the exhibition over a long period of time. At first some things may seem offensive and difficult to bear, but as the viewer gains an understanding of the artist, and the meaning of the symbols, most obviously the highly recurrent impotent phallus, individual works become more intriguing than repulsive. The way back through the gallery, from the more recent to earliest works may be the most rewarding, because of the understanding gained from Tetsumi’s progression.

Tyler Olsen

November 26, 2008

Marisa Wojcik - Gallery Visit

I went to visit the exhibition Journeys to Nowhere: Selections from the Collection at the Walker Art Center. The exhibition was a compilation of multiple pieces, all from different artists. The pieces were selected from the Walker Art Center Collection in their relation to a film by Perre Huyghe called A Journey That Wasn’t. Upon entering the exhibit there’s a small hallway that leads to an open room. A statement about the exhibit describes the film as inspiration and how it relates the various pieces to one another. In total there are eight works on display, six on the surrounding walls and two sculptures on the floor in the middle. While walking around the room exploring the pieces on display you can hear the loud rumblings of the film in the next room. This allows the viewer to get an extra sense and connection to the film before even viewing it. Through one wall is a corridor that leads to the large room to view the film.
As stated before, this particular exhibit was inspired by the film A Journey That Wasn’t. The broad theme of journeys and what they mean is apparent in the exhibit. In descriptions of the exhibit and specific works within it, certain key words/phrases expand upon this idea including: ambiguous destinations, discovery, grand visions, desire to experience and impulse to question the world. Overall the works “literally and symbolically explore far-off places.? A piece that takes up the whole left wall of the exhibit is comprised of ten photographs. Titled Horizon 1°-10° Land, by Jan Dibbets, every photograph in the piece is of the same horizon line, “diagonally oriented where sky meets land.? The first photograph is a thin, vertical blue wedge and undistinguishable as a horizon. With each photograph the angle increases by 1°, making the wedges bigger and bigger and the image more recognizable as a horizon line as the viewer progresses. The process of discovery from the abstract to identifiable is presented. Another piece titled Selection from Carta Faminta (Starving Letters) by Rivane Neuenshwander is composed of paperboard, glass, and Chinese rice paper eaten by snails. Some areas of the paper are completely eaten away at, while others are virtually untouched. From a little bit of a distance, the paper looks like a geographical map of a landscape. The process of mapping out a new and unchartered territory takes a sense of exploration and adventure. I thought there were many parallels between this idea of exploration and the work of Thomas Joshua Cooper. The inspiration for his photographs stems from the plights of great historical explorers. In addition, his process of obtaining the photograph, documenting and producing the same sensations and emotions the explorer might have felt, is a journey in itself.
The 20 minute film that the exhibit is based around has two parts. The first part is a journey to the Antarctic Circle by seven artists and ten crewmembers. Due to global warming, ice has been receding in this area, uncovering new islands and ecosystems. Traveling by ship, the month-long expedition’s goal was to locate one of these unknown islands, said to inhabit the only known albino penguin for the purpose of connecting and communicating with it. Once there, the artists and crew set up a single light (in the form of a large globe) that would blink in sync with sound. The sound used resembled that of Morse code designed to interpret the physical form of the island into an audible form, the idea being that when animals communicate with one another, it is in a form that reflects nature. They wanted to see how the penguin would interact with this light and sound system. The second part of the film is footage from the dramatic reenactment of the team’s journey. The performances, which took place in Central Park in New York City, recreate the feelings and emotions of the journey using elements such as light, sculpture, ice, fog, and most importantly sound. The musical score, based on the island’s topography and similar to that played to the penguin, was performed by a live orchestra. The film, while following the vents of a journey that actually occurred, also acts as an open-ended allegory. There’s a brief and vague narration by the artist in the beginning, but the rest of the film is shots of the imperial Antarctic landscape and the culminated Manhattan performances. Although it is never overtly explained how the penguin reacted to the light/sound system, the artist described the film as a narrative of a “tragic odyssey.?
I personally enjoyed the exhibit very much and would recommend it to friends. I think it translates well to most audiences. The subject matter and the main idea of an expedition is show in both tangible and intangible forms. The film has a mysterious quality to it, leaving the viewer to fill in the blanks for themselves or explore more information behind it. The additional pieces in the exhibit add more depth and exploration to the theme presented by the film. I liked how all the works, but most predominantly the film, don’t dwell on conclusions and outcomes but more on the wisdom gained in the sole act of undertaking such a challenging journey.

Images from film:
http://www.pbs.org/art21/slideshow/artists/h/huyghe-024.JPG

http://www.publicartfund.org/pafweb/projects/05/huyghe/huyghe-321.jpg

November 25, 2008

Christa's Visit to "What do YOU say, America?"

Gallery Visit Assignment:
Christa Robey
Art1001

I went to visit the What Do YOU Say, America? exhibit at the Weisman Art Museum. The exhibition was a collection of prints put together by the Weisman Art Museum staff. The prints were government issued posters- most of which represented World War II propaganda and served to communicate with American citizens. Roughly thirty artworks were included. All of the pieces were prints- lithography on paper. The exhibition seemed to be arranged in a chronological order based on the time of their governmental release. The posters were arranged around the room; most were at eye level but occasionally one would be placed well above the others. There did not seem to be any reason why these particular pieces would be placed higher.
The exhibit was about how the government-issued posters were used to persuade, inform and warn Americans before and during conflicts. Most of the pieces were issued during the WWII era; a few WWI posters were included as well. However, I believe the bigger message/theme was about considering how recent governments communicate with its citizens. These war posters seem to be extreme propaganda, but perhaps the underlying propaganda we experience in our media is more effective and/or dangerous than we are led to believe. This exhibit was not designed to showcase the work of one individual artist, but rather, a group of artists are highlighted. During the 1940’s artists were actually recruited to help with war efforts. The work in this exhibit remind me of the Soldier Project website that we visited. These politically charged billboards also sent messages to American citizens on a grand scale, but the message is very different. The posters were issued by the government, telling citizens “Careless talk Kills? and to “Button your lip? or soldiers would die. However, the soldier billboards were not government sanctioned and rather, challenged some government messages.
One particular print that interested me was called “Americans Suffer When Careless Talk Kills.? This print, like the others, was lithography on paper and was composed by Harry Anderson in 1943. It was part of the “Careless Talk Kills? campaign, which encouraged Americans to be conscious of what they are saying and to not carelessly reveal sensitive information (i.e. deportments, ship movements). In the piece, a mother and father are featured, in which the mother is holding a telegram, which the viewer can assume, has told her that her son was killed in battle. The mother looks very distraught while the father appears to be staring at the viewer. His eyes accuse the onlooker of leaking information that led to the death of his son and misery of his wife.
I would recommend that a friend attend this exhibit. I believe that the subject matter is something that is interesting to anybody who knows anything about history or advertisement/propaganda. The images and messages are provocative and straightforward- something that is both amusing and intriguing. Also, the free admission and on-campus location would make the gallery easy for people I know to attend.

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November 22, 2008

Carter Schmidt visits "Journey's to Nowhere" at the WAC

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November 16, 2008

Speaking of Home gallery assignment

"Speaking of Home" is a project by Nancy Ann Coyne. In this exhibit, there were 23 photographs blown up, printed on transparent cloth, and poster on the windows of the IDS/Macy's skyway over Nicolett Ave, between 7th and 8th streets. There were signs hanging above the pictures with the word "home" written in different languages.
The main theme of the exhibition was "home". Each of the pictures had a message attatched to them, The individual speaking of how they came to find a home in Minnesota after moving here from foriegn countries. The message I got from a lot of the individual's statements was that "home is where your loved ones are, and you can create home anywhere."
One specific work that caught my eye was the photo and words of Shakun Maheshwari from Bhilwara, India. I enjoyed this particular photo of Shakun, photographed at her wedding in India (seven years prior to moving to Minnesota) because it shows her with her two siblings, painting a clear picture of "family". Her plaque talks about her MN- born children initially feeling uncomfortable about their mother wearing native Indian dress in the setting of the United States, but as they grew, they learned to be proud of their origins. I really enjoyed the last sentence of her plaque: "without my family, I couldn't call a place home".
I would reccoment this exhibition to a friend. It makes you reflect on your home and what makes it so. this gallery prompted me to think about the community at the U and how I have adopted it as my family and home.