Spotlight on Clayton Woolery

I first encountered Clayton Woolery in a basement on Ossipee Road by Tufts University, during his performance Removing Targets in our final Pokykhroma exhibition. I had been unfortunately under the weather for his previous performance with Polykhroma, so I was delightfully in the dark about Woolery’s work. All I knew was what the other curators had told me– that his work was both simple and complex, utilizing simplistic, repetitive movements to unravel multifaceted ideas. Removing Targets was no exception.

He began by unpacking a large plastic shopping bag and setting up its contents on the floor. Woolery brought with him a mental contraption, a long stretch of green Ikea packing paper, white paste, and folded clothing, amongst other items. He then began setting up the paper on the contraption, so that the front of the paper was stretched across the metal and onto the floor in neat folds. Then, the writing commenced. Take a look:

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Woolery would write in thick, capital letters on the stretch of paper until a certain amount had been filled with words. He then removed the paper and stood to attach it to the posterior wall.

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By the end of the evening, Woolery himself was caged within the metal contraption, layers and layers of inscribed paper all over the walls and floor of the space. Phrases such as “REMOVING ENGLISH” and “BURY ME” overwhelmed both his figure and the space, taking on a louder voice than the harsh din of the exhibition opening occurring behind him.

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The entire experience was mesmerizing. Woolery moved with a quiet fluidity, seemingly unaware of voyeurs. There were six other (wonderful) concurrent exhibitions and more than fifty people in the basement at time, but Woolery remained in his space, only concerned with the world he was building on plaster and stone. A small group of us stood for long stretches of time, watching him. It felt meditative to follow his smooth, repetitive movements. The build-up of materials also carried a hypnotic weight. The more Woolery himself was covered up in paper the more I craved an understanding of these cryptic texts. Simultaneously, the more I attempted to decode these texts, the less alphabetical they seemed. Though they signified what I instinctively knew those words to mean, their entire meaning became clouded. The sheer amount of words made it difficult to zero in on one verbal idea. Instead, the entire mass of words seemed to be the subject; the concept of language as a whole.

After the show, I was eager to hear more from Woolery about Removing Targets. It had been a spellbinding experience for me, but I was curious if my interpretation matched what Woolery had walked into Ossippee Road hoping to impart on viewers. I also had many questions about his perspective on the art world– after all, millennial/Gen Z artists are carving out the future of art-making and consumption.

We met for tea at Diesel Cafe and discussed all the above. It was important to me to connect with Woolery on a human level. If we involve technology in every interaction we have, we dilute their importance int he moment. It can come to feel like every action we take is made for the purpose of documentation. And so, my conversation with Woolery was unrecorded. It flowed naturally in all directions, leisurely making its way around to all my questions.

I followed up with an email asking Woolery to answer questions that related to our discussion the day before. And so, before you is a condensed version of our free-form conversation at Diesel Cafe. Read on to discover the truth behind Removing Targets and the details of Woolery’s artistic practice.

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CH: Tell me more about your performance piece at Polykhroma! What inspired it? What were you hoping to accomplish? I’d love to detail for my readers your explorations with language.

CW: Removing Targets stems from a longer term incrimination of language that inflects my art practice.  Embedded in every language are the cultural mores of the society developing that language, and American English is a prime example. From polarized gender expression to phonaesthetic regimes (i.e. “this is america: speak english!”) even the most radical explorations of meaning making must tread the fraught space of language, which flattens the relationship between signifier and signified. I first came in touch with these ideas in the context of queer theory and incorporate them into an abject, provisional art ethics.

In performing a durational “exorcism” of language I wanted to explicitly place myself and my presentation of myself in the paradoxical dimension of western ideas of utopia/dystopia. I caged myself in my nicest clothes, accompanied by many indicators of conspicuous consumption (swell bottle, DSLR, tablet, “Madewell” bag) and began to work tirelessly unpacking these contents from a laundry bag that illustrates a certain cluttered world view in the form of a red, white, and blue target.  In truth the material elements of the performance are selected specifically but treated anonymously— the experience of the performance, im sure, was that of watching a hunched, billowing scribe attack long swaths of green ikea packing paper.

The language I graft, paradoxically, too, was a free form treatise on how best to achieve utopia, a line of thinking that quickly falls apart. I was left to sift through my tattered science fictions and face the apparent long-windedness white men are afforded in magisterial and abject spaces. Here I’ve gone on for so long!


CH: How did your work change once you got into the space?

CW: Performance art in my experience always feels like a circus I am stubbornly staging alone. It was important in terms of labor and exhaustion for the actor in this piece to be myself, and therefore I didnt want to have myself elevated or removed in my original conception of the work.

When viewing “Art” people have accepted the training of galleries and museums and, in this scenario, even being in a basement could not counteract the formation of spectacle. The work became highly dissociative, with a clear ring of people several feet from me. I felt no ability or desire to draw them closer, and allowed this to free me from attempting to be legible in the ways I had planned to be.  I let the action take center stage and released myself from an obligation to posture their experience. It became about execution and in many ways simplified helpfully the extravaganza of content i had prepared.

(Quick note: I was a dedicated member of the ‘ring of people’ watching. I can attest to the strange energy between performer and voyeur during Woolery’s performance. It is true that he made no attempt to invite us in, in fact seemed completely oblivious to our existence, and yet we were too mesmerized to turn away. What resulted was  an uneasy balance, like a rope tied tightly between two points, vibrating from the tension.)


CH: We talked about how your work bridges the gap between wall-painting and performance art, as you enact the application of art to wall surfaces. Tell me more about this middle ground you’ve created.

CW: The terminology that is sticking the most for the work I’m doing is “performed composition.” I am presenting a collection of abject materials and material applications that deliver a sense of provisional and incomplete gestures, thus opening a space for this completion to occur in the form of live or instructional interventions.  This then creates a space beyond indication for the labor of creativity — you see the activity of painting in a Pollock, but never is that labor performed and examined as the painting itself.  This is to say that painting is an action and never an object. Furthermore, such actions that result in aesthetic (performative) objects are yet another form of labor.  I am highlighting a critical need for a reevaluation of labor.  Who is doing the work that makes this industry possible? What meaning can be derived from being delusional about this labor, and the cost of supporting the arts but not the artists? The space is really one that seeks to excavate work from an artwork, and place it coyly in the gallery.  It is also a post-studio space that problematizes ideas of finish and rarification that make the art world a beacon for ridicule.


CH: What generally inspires you creatively? Who are your influences?

CW: Creativity is a box full of lenses with which seeing can be filtered.  I get inspired when I am able to identify something between two previously separate elements that the lens of poetry, theory, activism, etc. may make apparent.  So it can be anything, most often occurences in my daily life are the beginnings of my favorite pieces. There can’t be an end or border on the creative practice.  But these thoughts have sources, such as Joseph Beuys and J. Jack Halberstam.  I take particular interest in and support works by established artists such as Sarah Sze, Janin Antoni, and Edgar Arceneaux, as well as emerging artists like Jesse Kanda and Puppies Puppies.


CH: What do you think is the role of the artist in society today? How do you see yourself fitting into that role?

The artist has an identity crisis on their hands.  Some art theorists and practitioners believe, as Donald Judd put it, that the ideal artist is “original and obdurate; they’re the gravel in the pea soup.” However this breaking of homogeneity operates from a space of art as a service for or against society rather than as a labor intrinsic to it. Do artists seek harmony or discord, and is seeking either through art only a swinging pendulum? I am inticed by more collective action in the art world, allowing for the tyranny of the artist-ego (Foucault’s “author-function”) to be subsumed into a symbiotic relationship with radically earthy art institutions.  I am wanting everyone to feel inclined to say “I am an artist” or at least understand the importance of establishing an ecosystem for the consumption and recapitulation of art.


CH: What do you think is the role of the curator in society today? We discussed how positive the dialogue was between artist and curator in the Polykhroma exhibit. Tell me more about how you envision the relationship between the two to be.

CW: Developing an active and attentive community that balances artist and audience, resources and risks, taste and tact, has always been the admirable and impossible task of curators.  Igniting an appreciation for engagement with ideas is crucial; placards and pacing and replication of the white cube, however, are hindering this endeavor.  Curators must really open artists, technicians, and audiences to the possibility of doing things differently than how they believe they must do them, and in turn reap unexpected and surprising results in the pursuit of inventive solutions to the problem of the gallery.


CH: We talked about spectacle art and blockbuster exhibits. Tell me a bit more about your thoughts on this trend. 

CW: I have heard about 15 different takes on the Whitney Biennial. As someone who decided, in light of the protests of Black Americans against the showing of Dana Schutz’ Open Casket, to abstain from visiting as an act of solidarity, I have yet to hear a review that is positive and descriptive.  People no longer know why they go see the things they go see. Institutional loyalty precludes the mass acceptability of exhibitions— and there is money to be made.   And we see even further surreal elements of the same show: Katy Perry promoting her singles by hiding beneath a silver serving tray to the beguiled response of visitors to the Whitney, who have paid $18-$25 dollars to believe they are spending an afternoon devoid of such marketing. In late capitalism this form of collective cognitive dissonance is not surprising. Art cannot settle for its current place as a condensation of social-media-informed modes of escapism/inspiration. There is no community, no real stakes, only a self-aware act of conspicuous consumption.

(Quick Note: Dana Schutz is a white female artist whose graphic depiction of violence against black bodies was included in the Whitney Biennale. This created a huge controversy last year. Read more here.)


CH: You told me about your desire to participate in a larger artist collective. Tell me more about that! What would this entail ideally? How has your knowledge of past collectives informed this decision? 

CW: Ideally it would entail utilizing technology at hand to create an engaging and accessible space of committed and regular collective creative practice. I’m talking rotating collaborations, conference presentations of ideas, and streamlined collective decision making. These goals could be achieved through first a smaller team of people that develop this space as an inaugural iteration of this. I am wanting an art government, essentially! One that erases borders that limited collectives of the past through open enrollment and collaborative spirit. In addition, I am seriously interested in the VR potential for exhibition “space” and making the production of the collective as public as possible.

In reality, a collective could exist just attempting to illustrate this ethereal realm i’ve dreamt up in the paragraph above.


CH: What are your thoughts on the Boston art scene?

CW: I am still exploring it, but do believe that it does not know how to incorporate the energy of young artists into a cohesive space with the galleries and museums here.  I do think art institutions are strong but almost entirely leashed to their percieved clientele (students, brahmins, etc) rather than to a specific goal or movement of art.

That said, I am particularly impressed by organization in the audiovisual scene and believe there is potential in a coming together of music, visual art, and tech-savvy creatives.  Boston holds back so many potential convergences, the social structure is made of countless interlocking bubbles and such social carbonation is disorienting and difficult to navigate.


CH: What are your thoughts on art at Tufts?

CW: There is certainly a great deal of potential in the hands of an administration that has very little track record in pushing for an integration of art on or for campus.  I find the estrangement between creative student organization and adequate resources to be a hurdle in need of overcoming before this potential may be accessed. 

I would say many things are special for what they are. Maker spaces like Crafts Center have been influential in my appreciation for collectivism in art; the museum school has yet to lose its radical energy for me in the wake of all the money suddenly coming its way.   I deeply cherish the flash collective I participated in with Avram Finkelstein in 2015 that resulted in the billboard on the Lower Campus Center lawn, despite it no longer existing.


CH: What’s next for art? Where do you see artistic trends going in the next few years?

CW: I see event based art organizing at critical mass: controversy in other creative arenas such as Fyre music festival and Noma Mexico luxury dining display a serious tone-deafness to global issues of disparity and neglect. In its wake all sorts of radical activity could take an unexpected center stage.  I would be very keen to see socially engaged art practices recieve more coverage and be more fully inducted into the canon of art as artists working in this way such as Pablo Helguera and Paul Ramirez Jonas are allowing people to feel welcome in the art world that may previously have been disenfranchised.  I am also for an art world that empowers and better documents performance artists and art of protest.

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 Thank-you so much to Clayton Woolery for participating in Polykhroma Presents: Utopia/Dystopia and for sharing your ideas with me (both over tea and email!)

To my readers: I hope you enjoyed reading Woolery’s insights into art and its global significance. It was especially exciting for me to take part in this conversation after seeing his work live. Woolery will be exhibiting his work next spring in a thesis exhibition at the SMFA. In the meantime, check out his instagram to keep up with his work. And if you find yourself in the Boston area, keep a look out for exhibitions occurring through Polykhroma. There’s a good chance you’ll catch a performative piece by the hypnotic artist, Clayton Woolery.

Until next time!

xoxo,

Chloe ❤

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Jana Euler: High In Amsterdam. The Sky Of Amsterdam (The Stedelijk Museum- Amsterdam)

Hi everyone!

Thanks for checking out CanvasAndCrumpets.  As you may know, I just got back from my Euro Trip and I’ve been posting about the exhibits I saw in order. I recently posted about three different exhibitions I saw in England. You can check them out here, here, and here. After a week of museuming and eating bangers and mash with my English cousins, I flew to the Netherlands.  On my flight I was seated in the middle of a large bachelor party, next to the groom-to-be-himself. If you have the chance to travel with a very drunk bachelor party you absolutely must take it because it was the best flight I’ve ever had. There was also a large party of middle-aged-women wearing shirts that said “F*** off, I’m with the birthday boy” and a rather emo looking high school student wearing a shirt that said “F*** off, I’m the birthday boy.” All of the women were screaming.

And so, I arrived in Amsterdam slightly tipsy and very excited. The city did not disappoint (as always!) At the absolute top of my list was a trip to the Stedelijk Museum. The Stedelijk is where I fell in love with Dutch art, and where I did much of my research for my senior thesis. I’m obsessed with the art, the building, the library, and the now deceased museum director Willem Sandberg. (I’m currently reading a compilation of Sandberg interviews).

On view at the Stedelijk right now is the exhibition, “Jana Euler: High in Amsterdam. The Sky of Amsterdam.” While it is difficult to read that sentence without immediately thinking of Dutch drug policy, it would be remiss to read off the German artists’ trippy canvases as mere mushroom-inspired dreamscapes. Euler’s works are explorations of different genres. She takes the concepts and strategies associates with each and plays with them, bending them inside-out. The Stedelijk describes Euler’s work as being “recognizable not by how it looks, but by its effect.” Let’s take a look at my favorite work from this show and see Euler’s process in action.

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Here is the ethereal Understanding Doubts and Logic (2017):

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For this work Euler airbrushed acrylic paint onto the surface of the canvas and then used oil paint on top. The two layers operate as separate paintings as well as aspects of a finished whole. The airbrushed layer features a multi-limbed and multi-breasted female figure resting in a garden filled with flowers. The oil layer features shoes, nail polish, and fake eyelashes. If you look closely, you’ll also see that there are tiny pictures of men sitting at a table with a bottle of wine painted in thin brushstrokes of oil paint. Stranger yet is the fact that white breastmilk from each of the figure’s many breasts pours into the bottles at the men’s tables. Oil is also used to spell the phrase “understanding doubts and logic” and to connect this phrase to a yellow sun by way of a thin yellow line.

Now, I have a lot of thoughts about this painting and what it might “mean.” So I’ll begin by saying that Jana Euler’s work is not explicitly symbolic. It does not fit into an allegorical box that matches icon with signification. Rather, it suggests a multiplicity of signification for various images across the canvas. It points to potential interpretations without maintaining that it must be read a specific way. And so, my reading should be seen as one angle of many that fit Euler’s multifaceted work.

I see Understanding Doubts and Logic as a blend of two genres: the female nude, and the sort of impressionistic cafe paintings that were popular in late 19th-century Parisian art. The airbrushed painting is the nude, as the naked figure takes up the majority of the canvas. Her head heads several inches below the top of the canvas, and her many feet end slightly before it, or have their toes chopped off by the bottom of the canvas. Because she fills the canvas, the focus of the painting is on her. The viewer’s eyes are free to travel across the surface of the painting, consuming different parts of her body at every turn. We as viewers fill the role of the voyeur in the relationship between viewer and subject in this genre. Euler is keenly aware of this dynamic and playfully mocks it by multiplying the subject’s breasts. Euler seems to be saying, “I know you’re going to look at this woman, so why don’t I give you a lot more to look at!” The artist has also multiplied the amount of feet in the painting. I find this very amusing, as it is clear to all that feet were never the focus of the viewer’s gaze.

Another way that Euler plays into this genre is through the figure’s gaze. In classic female nudes like this and this the female figure looks away from the viewer, allowing him to consume her without confrontation. Making eye contact would break the illusion that she wants to be consumed and is there for male consumption. She would be individualized. No longer staring at an anonymous doll, the viewer would feel confronted by the figure and embarrassed by his blatant ogling. And so, restricting eye contact allows the viewer to consume the figure in peace. Like the academic nudes do, Euler’s figure looks away demurely, allowing the viewer to get lost in her multitude of breasts and legs.

However, the longer we stare at the figure, the more we begin to feel that we are being made fun of. Not only has Euler multiplied the significance of the figure’s gender through the multiplication of breasts, but she has also aggressively emphasized other aspects of femininity. The long, curling eyelashes added over the airbrushed layer of paint are so ludicrously long it would be difficult for the figure to open her eyes. There are many kiss imprints haphazardly stamped on the surface of the painting. The figure’s red fingernails are half the size of her fingers themselves. Her breasts are many different colors, as if the figure is somehow able to be many ethnicities at once and therefore satisfy the male viewer’s many racial fantasies. Euler has created a woman who screams “WOMAN” so loudly that she becomes a parody of what the voyeuristic male wants– and expects– women to be.

This interpretation is supported by the second layer of the painting that I find resembles the cafe scenes in impressionistic France. Men outlined in black paint sit around a table drinking from proportionally enormous bottles of wine. I am reminded of 19th century cafe scenes because of the leisurely, gendered nature of each tableau. I find it comical that the female figure has been so artfully constructed with layers of paint and bright, vibrant colors, while the males are designated to mere outlines of form. While painterly attention to the female body is often objectifying, Euler’s self-conscious multiplication of gendered body parts is actually empowering. Thus, the contrast between the colorful female figure and the haphazard outlines of teeny male figures renders the male characters inferior. Euler further emasculates them by unknowingly serving them wine bottles filled with breastmilk. Droplets of white paint spill from each nipple into a bottle on each table. This is perhaps the most amusing aspect of this painting. Euler has taken the sexist notion that a woman’s role is as a wife and mother alone and used it to turn the power dynamic between men and women on its head. The men are infantilized by their small size, simplistic depiction, and the hysterical fact that they are drinking a woman’s breastmilk.

Here are Lara (my travel pal) and I, very amused at this:

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So what do we take away from Understanding Doubts and Logic? I quite like the interpretation I just presented, though I am not sure how the title fits in. Perhaps the female creature, whose forehead bears this phrase, is somehow all-knowing in her female genius. She can understand both the understandable and what we doubt we can comprehend. I come away from this painting feeling empowered and amused. Euler has turned gender dynamics on their head with a coy smile. Her belittling depiction of men is not a statement that women are actually superior, but a commentary on the way the reverse is so prevalent in our society.

I recently read Malcolm Gladwell’s David and Goliath. The point of this book is that the so-called weaknesses attributed to underdogs are actually qualities that give them an advantage against their opponent. Euler has taken the “weaknesses” of women that the patriarchy attributes to the “fairer gender” and turned them into symbols of power. Breastmilk and long eyelashes signify greatness and strength.

Until next time!

xoxo,

Chloe ❤

Two Paintings from the Walker Art Gallery (Liverpool, England)

Greetings everyone!

If you’ve been following, you’ll see that I’m on quite the roll this week! I posted about the  Brontë Parsonage Museum in Haworth on Tuesday, and the Tate Liverpool yesterday. I’m blogging about my Euro trip in order, so this will be the last England post! I was very excited to visit the Walker Art Gallery in Liverpool because the collection houses some of the world’s most famous Pre-Raphaelite and Victorian art. Rather than analyzing an overarching exhibition, I will discuss two fascinating paintings from the collection. Echo and Narcissus, by John William Waterhouse (1903) and The Punishment of Lust, by Giovanni Segantini (1891) reveal much about morality and gender politics in the late 19th and early 20th centuries.

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Echo and Narcissus, by John William Waterhouse (1903) is one of my favorite paintings. I believe I have reblogged it on my tumblr a minimum of seven times. Seeing the work in person was an absolute dream. Here I am posing beside this beautiful painting:

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And here is a photograph of the painting in context of the room, hung below another masterpiece:

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Echo and Narcissus tells the story of the Roman myth whose characters bear the same names. Echo was a maiden infatuated with Narcissus, who in turn was too self-absorbed to notice her advances. She withered away until just her voice– an echo– remained on this earth. As punishment for his behavior, Narcissus became obsessed with his own reflection, and could not bear to part from it. Here, we see Echo looking longingly at Narcissus:

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Note her body language. Rather than pointing towards the object of her desire, Echo’s torso is flush with the canvas. Her bent knees are positioned even further away from Narcissus. And yet she turns her face to look back at him, creating a thin line of taut muscle in her throat where she twists her neck. She clutches a tree in one hand while the other is used to steady herself on a rock. The tension in her body language demonstrates her convoluted emotions; part of her body turns away from him while the other part physically reaches out towards him.

Furthermore, her posture is that of a person trying to emulate a certain persona. Her knees and feet are kept modestly pressed together, covered in a draped pink fabric. Yet she allows the fabric to fall away, revealing the breast closest to Narcissus’ line of vision. Her gaze, too, affirms her desire. It is a bit difficult to see in this photograph, but t Echo’s eyes are wide open. Zoom in on this version of the picture to see better. The angle of her pupils points her focus directly on Narcissus. Waterhouse employs the tiniest of brushstrokes to indicate her slightly-arched right eyebrow, which lends her face a combination of intensity and distress. Echo’s love for Narcissus comes at the expense of her own composure.

Now take a look at the way the artist paints Narcissus:

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We are not able to see his face as it is focused on his reflection in the water. However, we can learn a lot from his body language. Narcissus lays down on the rock in order to get as close as possible to the water. His right hand reaches towards the lake. What could he accomplish in doing so? He cannot be using it to, say, drink water or catch a fish, because he is already engaged in an activity: looking at himself. Thus, the movement of his hand is part of this activity. He is reaching out to touch his reflection, which is by nature a non-tangible entity. He is so obsessed with himself that he disregards what he knows to be the properties of water in order to be closer to his reflection. This demonstrates the severity of his curse. There is also a moral lesson for the viewer behind this pictorial choice. Waterhouse seems to be warning the viewer that self-involvement engenders irrational, foolish thinking.

If you take another look at the zoomed-out picture you’ll see that there are a few yellow flowers growing by Narcissus’ feet. These are Narcissus flowers, commonly known as daffodils. The myth describes how these flowers sprouted when Narcissus finally died at this very spot.

What do you think Waterhouse was trying to accomplish in Echo and Narcissus? Was he warning viewers about the dangers of lust and self-absorption? Or was he simply fond of Roman mythology and its possibilities for Victorian painting? In the wall plaque, the museum states that unrequited love was a favorite theme of Waterhouse’s. Keep in mind that this was 1903, and gender dynamics were quite different. Perhaps Waterhouse’s paintings fetishize the stereotypical lonely female. They certainly do the protagonist no favors in rounding out her character. Though what I like about Echo and Narcissus is that neither character comes out unscathed. Echo is foolish to contemporary viewers, perhaps, but Narcissus is as well. Waterhouse makes less commentary on their genders than on the concepts they represent.

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Speaking of morality, the painter Giovanni Segantini painted his own tale of warning about vice in The Punishment of Lust (1891). Take a look:

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And up close:

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What we are presented with here is a supernatural scene in the midst of an ominous landscape. Two curiously identical figures float in mid-air, their torsos facing in opposite directions. Their hair- a beautiful golden red- rises in the air as well. Some strands float parallel to the earth while others blow gently in an invisible wind. The arms of both figures are relaxed. The figure on the viewer’s left floats easily, her arm resting in the air as if there is a bed beneath it. The figure on the viewer’s right floats just as soundly, though her hand rests on her belly. We are not given privy to the legs of either girl, as they are encased in a silvery fabric that stretches ambiguously up each of their bodies. It is not clear where the fabric starts and ends. There is the semblance of a visible breast on the body of the figure at right. The impressionistic quality of the brushstrokes and the similar coloring of the fabric, the girls’ skin, and the landscape behind make it difficult to discern fabric from skin and snow. We are also not given access to either girl’s face. They are turned towards the sky and powdered with droplets of color that blur their features. Tiny smudges of grey suggest the shadow of closed eyelids.

What other clues do we have, besides this analysis of the figures’ bodies? We have their desolate landscape. The earth is barren, covered in a thin layer of white snow. The scraggly bushes and trees around the figures are few and far between. It is not immediately clear if they are dead or simply leafless for the winter. There is also a stretch of black mountain uncovered by white snow. The world is not a frosted wonderland of snow mountains and evergreen trees. It is a wasteland, just too cold enough for proper greenery to grow, but not cold enough to create a winter wonderland. If my memory of 8th grade earth science is correct, this could very well be the tundra.

Because the figures are situated in such a desolate wasteland (and because of the title of the painting) it is clear that the figures are enduring a supernatural punishment for their sins- specifically, lust. Is this lust for each other? The two women are intertwined. Perhaps their lustful sin is the engagement in lesbian sex. They could also be sisters, or mirror images of one self. What do you think?

On the plaque at the museum it is written: “This is based on the 12th century poem, Nirvana, by Luigi Illica, which describes the progress of neglectful mother through a Buddhist purgatory. The tree symbolizes the tree of life. The floating mothers’ souls will eventually achieve Nirvana, a Buddhist heaven represented by the mountains. The painting may be the Italian artist’s protest against women’s emancipation.”

Wow, take a second to take that all in. No matter how much visual analysis I did in front of this painting, there was a zero percent chance I was ever going to land on that interpretation. I simply am not exposed enough to Buddhist imagery to have made that leap between tree and tree of life, or floating bodies and the achievement of Nirvana. However, with all that in mind, do you have any initial reactions? I am struck by two things. First, the fact that Segantini has painted two separate mothers identically. Surely the artist had the capability to paint women who look different, so why paint them the same exact way? Perhaps their neglectfulness as mothers renders them unworthy of individualistic depiction. Secondly, the fact that the artist actively protested women’s emancipation lends the work another layer of significance (and makes my blood boil). He clearly did not think very highly of women if he was against their emancipation. So, the depiction of women as sinful, neglectful mothers is a warning to lawmakers in society. If women cannot be trusted to perform their traditional duties as mothers, how can they be allowed to take on more societal responsibilities? (This literally pains me to write). And so, with this wall plaque to help us interpret The Punishment of Lust, we come away with a deepened understanding of both the artist’s personal politics, and the significance of the painting itself.

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It is sometimes difficult to be a woman and love Victorian art (or pretty much any art before the 1970s) as it often features women in objectified, fetishized positions. Rarely do I see a painting that is actually propaganda for misogynistic politics, but I am no stranger to the fetishized nude. What does this mean for me as an art historian, student, and woman? As I often say, learning about art is important because art is a reflection of how people feel and think. If you want to better understand history and conflict, you must look at the art being made by those living within it. And so, in order to understand the history of gender politics and make positive steps towards improving conditions for women, we must understand how we got to where we are. We must look at the history of gender roles and how people felt about these roles. One of the best ways to do so is through art. Sometimes this can be upsetting, as in the case of The Punishment of Lust. Other times it can be rewarding, especially when you find a painting that seems bizarrely feminist in a time when feminism was not being discussed at all. (Read: Olympia).

Let me know if you have any thoughts, feminist, artistic, or otherwise. I’m going to go look at some works by female artists and feel powerful again.

Until next time!

xoxo,

Chloe ❤

The Brontë Parsonage Museum (Haworth, England)

Hi everyone!

I hope you’re well and enjoying this very sunny summer. I just got back from Europe two nights ago and I am still suffering from intense jet lag. My mornings have been starting at 4:30, which makes no one happy, except my puppy, Teddy.

My Euro-trip was everything I could have asked for and more. In fact, I was having so much fun in Berlin at the end that I extended my trip several days! I’ve also decided that I’d like to work on my German skills in Berlin for a couple months next spring.

But first things first: the museums!! I went to many on my 3.5 week adventure, and I’ll start with a rather unique one: the Brontë Parsonage Museum. Located in Haworth, about an hour and a half drive from Chester, the Brontë Parsonage Museum is housed where the Brontë sisters lived and wrote their most famous works. It was very exciting for me to see where Charlotte Brontë wrote Jane Eyre and Emily Brontë wrote Wuthering Heights. 

I usually write about art exhibits, but I thought I’d make an exception and talk about a history museum because this particular exhibition excelled in something rather difficult- appealing to children. I believe that all museums, regardless of their focus, should be strategizing ways to involve young people with their collections.

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The first interactive aspect of the exhibition is a fill-in-the-blank poem. The words to an Emily Brontë poem have been written in large font, with several words omitted. Next to the poem are potential words, written on small rectangles, that can be mixed and matched at will. Take a look:

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I love how this project exposes children to the writing of Emily Brontë while still allowing them to think both creatively and logically. They have the opportunity to  decide how they want their sentence to look. The final poem could be silly, or it could make sense. A participatory activity holds children’s attention better than a passive one. Furthermore, the words used in Emily’s poems are a bit advanced. Participating in this activity introduces children to new vocabulary.

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Another activity that looks quite fun for young visitors features a series of circular panels with questions on them. These questions ask children what they think life was like in the 19th century. Lifting the panel reveals pictorial answers to these questions. Take a look:

 

 

 

This activity is useful because the participatory nature of panel lifting involves children actively in their own learning. The guess-and-reveal nature of the panels is also enticing to curious young learners. And lastly, the combination of words and pictures allows young readers to make connections between images and the words used to represent them.

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Lastly, I was very happy to see a large dress-up drawer in the exhibition as well. As someone who still owns a dress-up drawer, I am a very strong advocate for the importance clothing plays in learning about history. At the tender age of ten I received a bonnet and apron in colonial Williamsburg. I believe that this outfit motivated me to confront a very shocked John Adams impersonator about his political platform.

And so, a dress-up drawer filled with imitation clothing from the 19th century is a wonderful way to engage young visitors. It teaches them about gender roles and 19th century morals/values. (“Why weren’t women allowed to wear pants? How can you run in a long dress?!?!”) Different fabrics inform young visitors about the types of textiles available at a certain time. (“Why is the dress so stiff and scratchy?”)

I also believe that stepping into the shoes (literally) of another person increases one’s understanding of the past and one’s empathy  towards others. Experiencing the constricting attire of a 19th century woman is different from hearing about it. Trying (and failing) to run about in a long skirt leaves a lasting impression on a young child. They not only learn about the change in society’s expectations of women; they experience what it’s like to feel restricted. They recognize that their own experience is not the only experience that matters, and that the course of history has impacted the way real people, like themselves, live.

 

 

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It would serve other museums well to make themselves as accessible to children as The Brontë Parsonage Museum does. As I’ve written in many other posts, and for the Tufts Daily, art has the potential to foster empathy. Interactive activities allow children to make connections between art and the real world that they may or may not instinctively make. It is the role of curators and museum educators to facilitate the fostering of empathy in young viewers through the consumption of art and history. The Brontë Parsonage Museum excels at this.

If you find yourself in Northern England I urge you to take a drive to Haworth to see this brilliant museum. It is located in the The Brontë Village, which is filled with little shops and eateries. The original apothecary and pub still stand, if you find yourself in need of some whimsical soaps or a pint. Bramwell Brontë actually drank himself to death at the Blackbull Pub- use that bit of trivia to brighten everyone’s mood over some shepherd’s pie. And if you’re feeling like a hike in the moors, Wuthering Heights is only an hour’s stroll from the village!

 

Until next time!

xoxo, Chloe ❤

Post-Grad Updates

Hi everyone!

It’s been a while since I last posted, but I am happy to say that my hiatus from Canvas And Crumpets has come to an end. This year was a busy one academically and artistically (those two things go hand in hand for me…) I taught an art history course to freshman, wrote a senior thesis on Dutch Cobra art, played Roxie in the Tufts production of “Chicago,” and took both my math and science requirements in my senior spring. I ended up falling in love with my math course, an exploration of the math behind M. C. Escher’s symmetrical tessellations.

All my hard work paid off! I am happy to say that I won both the Art History Prize for my graduating class and the Madeline Caviness Prize for my senior honors thesis. Additionally, I won highest honors for my thesis and graduated summa cum laude. I celebrated these achievements with copious amounts of pizza from my favorite pizza place in Davis Square, Oath. (Try yours with ricotta…mmmmmm)

So what’s next for me? Next Friday I leave for a three week Euro Trip. First I’m visiting my family in Northern England. They live in a suburb between Manchester and Liverpool. During my stay, I hope to visit as many museums in both cities as possible, and also take a ride to the beach in Wales. Next, I’m flying to Amsterdam to see my abroad friends and travel around my favorite city with my best friend, Lara. It’s the 100th anniversary of De Stijl in the Netherlands, so I’m sure our trip will include some Mondrian! On my list for art spaces to see in Amsterdam are the Stedelijk (of course), the Rijksmuseum, the Witteveen Visual Art Center, and Foam. Lastly, Lara and I are traveling to Berlin for the first time! We hope to see as much art and history as physically possible. Luckily for us, the art fair Documenta is open in Kassel during our stay in Germany. Documenta only arrives every five years to this small German town. We plan to take a day trip or overnight trip to Kassel to experience this politically-charged exhibition.

When I get back from Europe, I plan to spend a good five weeks relaxing in New York City. I’ll likely hit up a July 4th Barbecue and see a bunch of Broadway Shows. You can expect lots of posts about my Euro Trip and the exhibitions I visited, as well as reviews of exhibitions here in NYC.

And after that? I’ll be starting GRE prep and German classes in August. During my gap year between undergrad and my art history masters, I need to learn as much German as humanly possible! Translating art history texts is an important part of the art history masters curriculum. So I’ll be in New York City for the next year, learning German and hitting up all my favorite museums, galleries, and brunch spots. Hit me up if you’d like to join me!

xoxo,

Chloe ❤

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Link to another article I wrote for the Tufts Daily!

Hi everyone,

I hope you’re all well and enjoying this rainy April! I personally love the rain, so this month has been pretty lovely for me.

As graduation approaches, I am contemplating what my role in the art world will be. How can I be a positive force for change in a discipline that is traditionally white, male, and euro-centric? I wrote a thought-piece for the Tufts Daily on this topic. Take a look here. Enjoy!

Until next time!

xoxo, Chloe ❤

Link to my article in the Tufts Daily

Hi everyone! I hope you’re enjoying the beautiful spring weather. Last week I wrote an article for the Tufts Daily called An Argument for the Interdisciplinary. As I have delved deeper into the discipline of art history over the past four years, I have come to realize just how relevant art history is to understanding and resolving contemporary global conflicts. I’m very eager to share my thoughts on this idea with you all.

You can read the article here: 

Each week, a member of Polykhroma (the curating collective I co-founded) contributes an article about the art world for the Daily. Tune in every Friday for a new perspective on how art fits into our everyday lives. And if you’re in the Boston area, make sure to come by the next Polykhoma exhibition this Thursday. The theme is Utopia/Dystopia.

Check out the event here: 

Until next time!

Xoxo, Chloe ❤