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Seminar 2: Bridge 1- Character Project “James Bond”

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                                                                            1. Ian Flemming:
Ian Fleming, creator of James Bond. COPYRIGHT EXPRESS NEWSPAPERS (Express Newspapers via AP Images)

  1. On August 12th 1964, the British author and journalist Ian Fleming, creator of James Bond, the world’s most famous fictional spy, died of a heart attack at age 56 in Kent, England. Fleming’s series of novels about the dashing Agent 007, was based partially on the sauve author’s real-life experiences, spawned from one of the most lucrative film franchises in history. From Flemmings idealization of the board aristocracy of which he was peripherally connected, and of his fascination with war and political intrigue which perhaps had its roots in his own life and over his father’s life in World War I and his in World War II. Fleming grew up in London, England, and was a one of four sons, and was brought up in a moderately wealthy home. Flemmings father, Valentine, served in Parliament before fighting in World War I. Due to my interest in psychology, I saw Flemming’s earlier life at home as a huge influence upon the creation of the spy 007. Which is what the family would have liked had mimicked with its excess leisure time, its sophisticated lifestyle and its opulent material life which included well tailored clothing, and magnificent vehicles. During the time of World War II he worked as an assistant to the Director of Naval Intelligence in the Admiralty in London, privy to many secrets. It was his experience in this job that provided many of the characters and incidents that he was to write about later in the Bond books. His first novel and film that was released was Casino Royale. The novel was published in 1953, and the film was released in 1967 portrayed by David Niven, and remade in 2006 and Daniel Craig as James Bond. After the films and books were released, everyone wanted to know who the man behind the gun and martinis was. Who did Ian Flemming based his character James Bond agent 007 off of?

                                                                                    2. Sir William Stephenson: Intrepid d721b41e152899572789e13511c5cb9c

2. During Flemmings time as an assistant to the Director of Naval Intelligence in the Admiralty during World War II, he came across a man by the name of Sir William Stephenson, otherwise known as Intrepid.“Without doubt, Fleming’s idea of James Bond is based on Sir William,”  says Cord Hart, a former CIA operative and U.S. Sir William Stephenson was born in Canada in the year of 1897 and died 1989 in Bermuda. Stephenson was a Canadian soldier, airman, businessman, inventor, spymaster, and the senior representative of the British intelligence for the entire western hemisphere during World War II. Stephenson, originally known as William Samuel Clouston Stanger was raised at first by his mother whom was from Iceland, and his father which was from the Orkney Islands. Later on he was then adopted by an Icelandic family after his parents could no longer care for him. He was then given his foster parents’ name, Stephenson. This parallel which Stephenson comes from a broken family home is similar to James Bond’s background story which we were revealed to in the film Skyfall 2014. In the novels, James Bond is the son of a Scottish father, Andrew Bond of Glencoe, and a Swiss mother, Monique Delacroix, from the Canton de Vaud. After much time passes and it is now following the beginning of World War II,(and over the objections of Sir Stewart Menzies, wartime head of British intelligence) the Prime Minister at the time, Winston Churchill sent Stephenson to the United States in 1940, to covertly establish and run British Security Coordination (BSC) in New York City, over a year before U.S. had entry into the war. Stephenson’s initial directives for BSC were to: investigate enemy activities; institute security measures against sabotage to British property; and organize American public opinion in favour of aid to Britain. Later this was expanded to include “the assurance of American participation in secret activities throughout the world in the closest possible collaboration with the British”. Stephenson’s official title was British Passport Control Officer. His unofficial mission was to create a secret British intelligence network throughout the western hemisphere, and to operate covertly and broadly on behalf of the British government and the Allies in aid of winning the war. All quite similar to the aspect of the character James Bond. Although this was only the begining of how the story of James Bond was formed.

                                                                          3.James Bond: Original LogoArt_Poster_Print_-_James_Bond_Logo

3. Ian Flemming created the character James Bond in 1953 originally as a novel which then was made into a film. James Bond agent 007, is a fictional British Secret Service who had it all. The wealth, the girl, the car and everything else you could possibly imagine, which all came to him naturally. Bond is the idea of the “whole man” that every man and boy wanted to be. James was both the version of a man Flemming wanted to be plus the aspects of violence and politics that he was inspired by as a boy and by Sir William Stephenson experiences. Each film we learn more and more about the James Bond through his actors. The hidden secrets about his past, and why he is so standoff ish. Flemmings James Bond film series, exposes us to the different aspect which agent 007 was interpreted by multiple actors, in each cinema we are shown a new version of James Bond with similar aspects although new faces and different characteristics.

                                                                                   4. James Bond: Goldfinger (1964)

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Although Sean Connery was not the first Bond actor, he was definitely known as the first most iconic James Bond, agent 007. Connery was featured in a few of Ian Flemmings films which included, James Bond: Dr. No (1962), James Bond: From Russia With Love (1963), (one my favorites) James Bond: Goldfinger (1964), James Bond: Thunderball (1965), James Bond: You Only Live Twice (1967), (another of my favorites) James Bond: Diamonds Are Forever (1971), and lastly James Bond: Never Say Never Again (1983). Being born in Fountainbridge, Scotland, we are definitely able to analyze Sean Connery’s man labor aspect in the 1960-80s Bond films. He created the idea that James Bond gave us the perception that he had gone through a hard work to get where he was, although with a higher standard. The violence that Connery experienced as he portrayed Bond looked natural to the actor. I believe Bond’s character of “natural violence” that Connery portrayed was due to his heritage and how the actor was brought up. Due to the fact Connery wasn’t quite English, he brought to a more colonial rough edginess and versatility look to the screens. According to many Bond lovers, along with my father, Sean Connery was the best James Bond. I see similar traits to Connery and Stephenson, rather than Flemmings the actual characteristic traits that he created for James Bond. Although, he is seen as a more rustic edgy man, we definitely are exposed to the high status and sexist persona that Ian Flemming originally created.

                                                                               5. James Bond: Live and Let Die Cover

                                                   Vijay: “I hear the Island is exclusively for women, no men allowed.”
Bond: “Sexual discrimination, I will definitely have to pay it a visit.” MV5BMjI2NTY5MTYzMl5BMl5BanBnXkFtZTcwNzY5MDg0NA@@._V1_SX640_SY720_

4. Roger Moore, known as Ian Flemmings fith James Bond. Born in Stockwell, UK, as a new version of the James Bond films, we are definitely exposed to Moore’s more Englishmen and flashy traits that flemming created in his original novels of Bond. Moore was the new leaf of Bond actors which dropped the androgynous period feel to the James Bond character. According to my father he was one of his least liked Bond actors. I believe that was due to his overly flashy look, and aristocratic feel. During the time Roger Moore was James Bond, he brought a campy comical sense to the films. Along with an imported david bowie glam rock look to it. Similar to Connery, Moore continued to have this sexist view in his films, although females definitely did portrey more of a dominant role, although this time with more sex appeal. As seen “Octopussy”, which definitely shows it’s discrimination, and sexism towards women, and how they are ‘seen’ as just a sex symbol. A few of Flemmings other films that Roger Moore was seen in were James Bond: Live and Let Die (1973), James Bond: The Man with the Golden Gun (1974), James Bond: The Spy who Loved Me (1977), James Bond: Moonraker (1979), James Bond: For Your Eyes Only (1981), and lastly James Bond: A View to a Kill (1985).

                                                                       

                                                                            6. James Bond: Die Another Day (2002)

                                              Miranda Frost:I know all about you–sex for dinner, death for breakfast.Die_another_Day_-_UK_cinema_poster

5. The seventh Bond, my all time favorite Bond, Pierce Brosnan. To some words up, he was the best, well at least in my opinion. According to my father, the most critical James Bond fan, Pierce Brosnan was an alright Bond. He said, “I think he lacks backbone and austerity”. Originally from Dublin, Ireland, the actor would occasionally bring out his irish accent as a trademark for his films. Although most people saw him as too much of an individual and stepping away from the tradition James Bond characteristic traits, and into his own. He was featured in James Bond: Goldeneye (1995), James Bond: Tomorrow Never Dies (1997), James Bond: The World Is Not Enough (1999), and one of my all time favorites James Bond: Die Another Day (2002). In the James Bond: The World Is Not Enough (1999) film, we see a major correlation to Ian Flemmings actual life. I believe the explosion of “Valentin’s” factory, had some symbolic meaning behind his relationship with his father Valentine Flemming.

                                                                                   7.     James Bond Skyfall (2012)

                                              Bond: “Some men are coming to kill us. We’re going to kill them first.”Skyfall-James-Bond-wallpaper-daniel-craig-32623669-1920-1080

6. The eighth James Bond actor played by Daniel Craig. Who is also the most recent James Bond actor, as well as the Bond whom society most identify’s themselves with today. Although sadly it was released the other day that Mr. Craig will no longer be portraying the role of agent 007. In the article when asked who will the next Bond be he replied: “Look, I don’t give a f***. Good luck to them.”- from The Sun website. Truthfully I believe that Daniel Craig is a perfect representation of how film is seen today when recreating characters from previous years. Acting in the 1950-80s, were a vision of more combat fighting, figure idealization and rebellion. Although now it is viewed as a more realistic perspective where actors must physically and emotionally place themselves in the shoes of the character who they are reenacting. After dissecting each of the James Bond film series, I saw a parallel between actors Sean Connery and Daniel Craigs version of James Bond. As the first and most iconic james bond, Sean Connery did not have that much of a direction aside from what Flemming directed. It was up to the actor, to display his rustic and hard labor looks. Although Craig is not from Ireland, he too displayed characteristic traits similar to Connery in the aspect of loss, struggle, and in depth hysterical emotional issues as the character James Bond. I believe the two actors showed the most resemblance to the authority figure James Bond was based off of, Sir William Stephenson. Craig was seen acting in James Bond: Casino Royale (2006), James Bond: Quantum of Solace (2008), James Bond Skyfall (2012) which reveals the parallelism between james bond and his father as well as Ian Flemming and Sir William Stephenson, and lastly James Bond: Spectre (2015). In relevance to the time period, and how it became a huge deal that each Bond film would have a large musical impact on the film, when the film Skyfall was released in 2012, so did the song Skyfall sung by Adele which made it to the top 10 songs of 2016 and won multiple awards. Majority of the 007 cinematic songs were sung by dominant female voices who had an impact of the music industry of the time. It is also noted that as time went on the idea of the “sex bomb icon” did continue in each of the James Bond films. Although once the issues were addressed that the Bond Women were being seen as just an object, and not a persona, the directors took that into consideration and began altering the female role. Which we see slightly in Pierce Brosnan’s James Bond films, and more in Daniel Craigs.

 

7. Bond Girls: LEFT: Ursula Andress from the James Bond: Dr. No (1963)

RIGHT: Halle Berry from James Bond: Die Another Day (2002)

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7. The Bond Girls. One of the most iconic female roles in cinematography history. As a child I used to strive to be a Bond Girl although as I got older, my dream began to diminish. The Bond Girls are a character (or the actress portraying a character) who are the love interest and/or female sidekick of James Bond. Bond girls occasionally have names that are double entendres or puns, such as Pussy Galore (which was named after ian flemmings pet octopus), Plenty O’Toole, Xenia Onatopp, or Holly Goodhead, and are considered “ubiquitous symbols of glamour and sophistication. Scenes such as the iconic opener of Goldmember which is a visual image of one of the Bond Girls painted in gold from head to toe which has images projected onto it of scene from the movie, with the background music of the traditional soul hearted female voice singing. Although I would love to see this opener as an artistic statement, I know that is not the truth. The female body is a symbol, as a sexual love and beauty statement for a man to enjoy, in particularly James Bond. Some women would agree with the idea that it is nice to see a man appreciating another woman, although that is not how I see it. How I perceived this message was offensive and sexist. A woman is not placed in front of the screen for the sole pleasure of a man, it’s is the art behind her history and life as well as who she is as an individual. I respect Ian Flemmings personal opinion, and choice to have women seen as a “thing”, but I will stand by my opinion that I find the situation completely sexist. In the image I chose I Ursula Andress from the James Bond: Dr. No (1963), and Halle Berry from James Bond: Die Another Day (2002). Both of these female body structures were casted as the ideal figure from that time, as well as the identification of lust and beauty, although there are a few differences. For starters the obvious difference is there skin tone. Being that the one on the left with Ursula Andress is an image of a “white women”, and the image on the right is of Halle Berry who is a “black women”. Both women are equally as beautiful, although due to the time period that the movies were filmed in, it became more socially acceptable by society’s perspective in 2002 to have a bond girl casted as an african american women. Aside from their skin tone, their hair styles as well played a huge role in the casting of James Bond’s Bond girl. The earlier bond girl Ursula Andress has her hair styled long, blonde and down, which is considered to be identified as feminine and beautiful of that time period by society’s opinion. In major contrast to that hairstyle, Halle Berry is featured in the bond movies with her hair either slick back or messy, short and dark. Miss. Berry’s hairstyle is perceived as more of a dominant, and masculine style by the viewers perspective. Which is why i believe they casted each of these females as the leading female roles. Due to their acceptance and relevance towards what society approved of during that given time period as well as their desires.         

                                                                                     

8. Austin Powers Goldmember Cover

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8. Austin Powers, played by actor Mike Meyers, is a man like james bond who was born in London, England, and is an international spy who spends majority of his time sleeping with women, defeating villains and above all just living an idealized lifestyle. Although the films do poke fun at the outrageous plots, rampant sexual innuendo, and one-dimensional stock characters characteristically associated with all 1960s spy films, as well as the cliché of the ultra-suave male super spy. Contrary to the handsome, super-smooth leading men of the James Bond series, Austin Powers is not conventionally attractive (he is especially known for his bad teeth), although female characters in the films seem to find him irresistible. We are also given the parallel between Ian Flemmings James Bond titles and Director Jay Roach’s Austin Power’s. As seen in Austin Powers: The Spy Who Shagged Me (1999 vs. James Bond: The Spy Who Loved Me (1977), and Austin Powers in Goldmember(2002) vs. James Bond: Goldfinger(1964). Another similar trait to Flemming’s earlier films, Mr. Powers is known for his female leading ladies, and their catchy songs that follow. But the biggest plot twist of all, was how similar Austin Powers last film Goldmember, was to James Bond: Goldfinger and Skyfall. Just as Flemming revealed in Skyfall the father issues Bond had, Director Jay Roach did as well for character Austin Powers although in a comical sense this time. Roach also mimicked Flemmings protagonist Goldfinger, but in this case more as a perverted figure, which would appeal more to Roach’s audience. Personally I loved the Austin Powers films. Once the late 1990s began, more perverted and inappropriate scenarios were allowed to be presented on film, which Austin Powers did. The directors and producers gave James Bond fans the ability to see their idealized figure in the comical light, and poke fun at all of the cliches that were made in all of Flemmings film’s. But if it wasn’t for Ian Flemming, this idea of the “cliche” spy would have never existed.

 

batman_logo

9. While doing our project for studio we were given the assignment of creating a ten piece image of what we believe is a representation of batman. During the process that I created this piece, and did research on the marvelous batman, I discovered the similarities there are between the almighty bat, and agent 007. Both characters struggle with family issues, although are blessed with a luxurious life of comfort. Although each have everything they could possibly want when it comes to lavish items, and such, they both battled through their own problems which they battled with in.  The year was 1938, and everyone was raging over the new superhero, Superman. Kane and Finger loved the idea of how this superhero was one with the people yet had another side to him that would save the day and still be undiscovered by who his true identity was. It was later that year that Bill would phone Bob telling him about the idea of the magnificent Batman.For my representation of batman compared to James Bond, I chose to collaborate 17 images of batman’s most iconic logos from over the years, and have them displayed in the figure of my favorite Batman logo. The batman symbol is located in the center of a the eye, to express how batman would look into the sky and see the bat signal as a sign that there is trouble lurking the city of Gotham. I designed the eye to be the figure of Bruce Wayne, otherwise known as Batman, with his iconic the batman mask on. Hence the Blackness located around the eye. Batman and James Bond shared the same idea of fighting crime which I believe I best represented in this image.

 

10. Larry- my dad

larry bond

As a child I would always accompany my father to watching his favorite televised shows and movies- James Bond, Agent 007. In the image feature above, I created a photograph which originates from a cropped image of my fathers face, which i than placed in the orientation where Pierce Brosnan’s face used to be. Pierce Brosnan was the 7th James Bond actor, and is also known as my favorite Agent 007 and my fathers least. I created and chose this as my last image discussion, because my entire obsession for James Bond is based on the relationship I have with my father. I idealize this man as a heroic figure, and with my fathers force of watching each of the James Bond films from Ian Flemmings series, just as he did as a child. To me my father is my James Bond, and I will always see him as the character James Bond with the accept ion that he has his own personal traits.

 

Int. Studio: Batman Post

Who: This iconic figure has become the face of fighting crime and evil since the 1930s with over 6,250 issues of comic books which he has featured in,  7 movies and another on the way, over 33 television shows, and 32 logos have been created for this character.  Who is he?…. He is BATMAN!

How: It all began with illustrator and author Bill Finger and Bob Kane. Although people usually identify Bob Kane as the initial creator of batman, they are incorrect. Bill Finger actually created a version of batman where he wore a red suit, stiff black bat wings, and a black domino (Robin style) mask. It was Bill Finger who created this figure of batman who we all know and love today. The two grew up in the same town and went to the same school, although Mr. Kane was a few years older than Finger, but it wasnt till years later would they meet and discover this love that they both share for comic books. The year was 1938, and everyone was raging over the new super hero, Superman. Kane and Finger loved the idea of how this superhero was one with the people yet had another side to him that would save the day and still be undiscovered by who his true identity was. It was later that year that Bill would phone Bob telling him about the idea of the magnificent Batman.

Quote: “I got Webster’s Dictionary off the shelf and was hoping they had a drawing of a bat, and sure enough it did. I said, ‘notice the ears, why don’t we duplicate the ears?’ I suggested he draw what looked like a cowl… I had suggested he bring the nosepiece down and make him mysterious and not show any eyes at all… I didn’t like the wings, so I suggested he make a cape and scallop the edges so it would flow out behind him when he ran and would look like bat wings. He didn’t have any gloves on. We gave him gloves because naturally he’d leave fingerprints.”- Bill Finger and Bob Kane.

What: Batman was created during the late 1930s, which had a huge impact on who the villains/ and surroundings of the character would be along with the plot idea. We recognize batman with iconic symbols such as the bat mobile, the freeze ray, his utility belt (which held all of his gadgets), smoke pellets, Bat cape, bat mask, rubber suit, batarang, and his famous bat cave where he would keep his identity hidden from all. Along with his supporting actors/villains which includes, Robin, Alfred, cat woman, the joker, two face, the penguin, the riddler, bane, James Gordon, Lucius Fox, and many others.

Image: For my representation of batman, I chose to collaborate 17 images of his most iconic batman logos from over the years, and have them displayed in the figure of my favorite Batman logo. The batman symbol is located in the center of a the eye, to express how batman would look into the sky and see the bat signal as a sign that there is trouble lurking the city of Gotham. I designed the eye to be the figure of Bruce Wayne, otherwise known as Batman, with his iconic the batman mask on. Hence the Blackness located around the eye.

 

batman_logo

 

Seminar Character Image:

larry bond

I created an image which i placed my fathers face in the placement where Pierce Brosnan’s face used to be. Pierce Brosnan was the 7th James Bond actor, and is known as my favorite Agent 007. I created this image as a representation of my Bridge 2 project for seminar, because my entire obsession for James Bond is based on of the relationship I have with my father. I idealize this man as a heroic figure, and growing up my father would make me watch each of the James Bond films from Ian Flemmings series, just as he did as a child. To me my father is my James Bond, and I will always see him as the character James Bond is although in his own personal way.

Int. Seminar: Shift “In and Out of the Studio- at the Met.”

“IN AND OUT OF THE STUDIO” AT THE MET

Jacqueline Groll

Anastacia Aukmen

Int. Seminar: Shift

Bridge #4, Introduction to Research

Due: November 17th, 2015

Behind every photograph, every painting, every way of self-expression, there is a story. In many cases, this story contains several levels, ranging from that of the concrete moment that the piece captures to the cultural forces that influenced it. In the Metropolitan Museum of Art’s exhibition, “In and Out of the Studio: Photographic Portraits from West Africa,”  a series of postcards and portraits created in West Africa in the period between the late nineteenth century and the mid-twentieth century demonstrates the influences of colonialism on African artists, much of whose work was being marketed for or produced for non-Africans. In his ground-breaking 1979 book, Orientalism, the postcolonial theorist, Edward Said, argued that colonial discourses deliberately skewed power in favor of Western imperialist states by controlling the ways in which colonized people were described or visualized for the Western market. Said asserted that written and visual accounts of people in colonized regions were interstitial, along with political and economic incursions, as means of “dominating, restructuring, and having authority” (Said 3) over these groups. In the case of France’s colonial enterprise in Senegal, as in many other areas under colonial control, the colonizing Western power would be depicted as being more technologically and ideologically advanced, in contravention to a less modern and inefficient indigenous population which, by implication, ‘deserved’ to be colonized by the supposedly superior Western power (Spurr 6). The indigenous population would, at best, be depicted as being quaintly appealing, erotically or mysteriously alluring, or as being would-be Westerners.  The colonialist tropes of appropriation, eroticization, and insubstantialization, in language and art, bolstered the colonialist enterprise by creating an imaginary ‘native’ population that was ineluctably different than Westerners, therefore in need of colonization, and that, with proper ‘civilizing’ influences, could eventually become part of the ‘civilized’ West.  In three photographs and three postcards in the Metropolitan Museum’s exhibition, African people are depicted using style and imagery that would appear familiar to Western viewers, while they are, at the same time, attired in apparel and depicted in a tone that would suggest ‘exoticism’ and ‘Otherness.’

In his text, The Rhetoric of Empire: Colonial Discourse in Journalism, Travel Writing, and Imperial Administration, David Spurr argues that writers and artists used colonialist tropes such as appropriation, eroticization, and insubstantialization, to underscore the ‘Otherness’ of colonial subjects while, at the same time, allowing Western audiences to experience pleasurable feelings of superiority, desire, or dreamlike escape in artistic productions that portrayed them. In using the trope of appropriation, artists and writers insist on non-European groups’ “identification with the basic values of Western civilization and [tend] to interpret their acquiescence to the colonial system as an approval of Western ideals” (Spurr 33). David Spurr asserts that seeing “non-Western peoples as having themselves become the standard bearers of Western culture is, in some ways, a more profound of colonization than that which treats them merely as sources of labor or religious conversion” (Spurr 36). Depictions using this trope portray non-Western people as being ‘potential’ Europeans: indigenous people are depicted wearing European-style clothing, using European objects, or engaging in behaviors that would be familiar to a European audience, but which would not necessarily be natural within the non-European’s own cultural milieu.

The trope of eroticization is deployed by artists and writers who seek to show colonized groups as being “both seductive and destructive” (Spurr 177). This trope often contains “a projective mechanism, originating in the colonizer’s fear of forces within the self” (Spurr 177). Indigenous people, especially women, are thereby often portrayed as seductive, sexualized ‘objects,’ who either passively endure the ‘gaze’ of European men, or who are themselves sexually voracious, desiring, but ‘Other’  and therefore threatening to European men.  This trope is often used to portray Africa itself as a feminine figure with great sexual power, which lures Europeans into “a machine of sex and death” (Spurr 181). The European, desiring the African woman, prefers to imagine that the African woman possesses unlimited sexuality and that for her, he is a locus of desire.

Like eroticization, the trope of insubstantialization depicts indigenous people as being highly desirable because they are mysterious and exist in a dreamlike world; at the same time, by implication, they are somewhat dangerous to the European colonizer, who will be invited to ‘escape’ his normal, conscious world of the rational by entering the ‘exotic’ space of the colonized. The trope depicts colonized groups as living in “‘hazardous marginal areas where social norms cease to have any meaning,’” and where Europeans can easily “move along the unstable border areas of consciousness, flirting with the danger of death or permanent madness” (Spurr 149).  This trope portrays indigenous people as being mysterious, unreal, and alluring in a sinister or semi-magical manner. The colonized region becomes an almost supernatural landscape, in which “the principle of unreality or instability” (Spurr 151) jars the European, ultimately causing him to disintegrate or dissolve as in a “delirium” (Spurr 147). Artists and writers using this trope suggest that the colonized region is a space intowhich the European is enticed by its magical elements: once he is there, he experiences a loss of self that is both pleasurable and potentially deadly.

The photograph titled, Two Reclining Women, was taken by the Senegalese artist, Mama Casset, who lived in St. Louis, Dakar, from1908–1992. The medium is Gelatin silver print, and the photograph’s dimensions are 5 × 6 7/8 in. (12.7 × 17.5 cm). The Credit Line is Visual Resource Archive, Department of the Arts of Africa, Oceania, and the Americas, with the Accession Number: VRA.2014.8.049. This photograph is demonstrative of all three tropes: appropriation, eroticization, and insubstantialization. In the photograph, the women have apparently been directed to pose in a seductive and formal manner, which was not common in the African cultures of the region. The women’s reclining suggests that they are figuratively luring the viewer into a kind of ‘bed chamber’: this sense is heightened by the women’s intense stare at the camera, which appears to be, in itself, almost a form of seduction. The women project a slightly mysterious mood; their faces are composed and serious, as if they are thinking of something very profound or even, possibly, casting a kind of spell to entrance the viewer.  The women’s semi-mystical and apparently ‘desiring’ mood suggests the tropes of eroticization and insubstantialization. These women also convey a sense of doubling which is evocative of the idea of twins. This region of Africa was known for producing an extremely high number of twins (Micheli ). This fact, if known by viewers, would add to the mysterious tone, since twin-ness is, in itself, an event that can be construed as being ‘unnatural’ – outside the general average of births. The women’s semi-seductive, yet bland expression was seen in many West African photographs; it conveys an almost uncanny sense of the women as both aggressively sexual and sufficiently passive for sexual ‘colonization’ by a male viewers. The women’s pose was known more as a Westernized stance and it would thus have presumably conveyed both a sense of the women as being European in tone and posture, and ‘exotic’ owing to their African racial characteristics. The female photographer, though herself African, thus engaged in the trope of appropriation, through which she suggested that the women had adopted the appearance and formal behavior of their colonizers. The trope thus implies that the two women have ‘agreed’ to or endorsed Western ways and that they are linked more strongly with European culture than with that of Africa. This sense is extended by the women’s attire. Both are clothed in dresses which suggest an urban, European style. While it is evident that the women are attempting to replicate a Western style of dress, there is a slight touch of African craftsmanship on the dresses, adding a mood of the ‘exotic’ African lifestyle. The bow, the minimalistic color choice and patterns, and the fittings reveal a French design, though the patterns also suggest a certain ‘tribal’ element. The women’s hair, like their clothes, contains both African and Western elements. In the African cultures of the region, it was common to use different objects, such as beads, patterns and cloths in women’s hair. The elegance and urbanity of French culture is portrayed in the women’s French-style up-do. The photograph also conveys a sense of the African women as being less ‘modern’ and advanced than the Europeans of their time period. The hair structures appear to be more reminiscent of a nineteenth century French, urban hair style than that of France in the 1950s and 960s in Senegal, Africa. Aside from the styles, their hair is wrapped in a patterned cloth, which again appears to evoke a tribal, ‘exotic’ lifestyle. They also each wear bangles, which was an African cultural form of jewelry. The overall suggestion is that these women, while possessing the attractive ‘Otherness’ of Africans, have adopted a great deal of Western style and thus, by implication, are would-be Europeans.

The photograph titled, Women, created by an unidentified artist in Senegal between the 1950s and 1960s, is in Gelatin silver print, with dimensions 9 1/2 × 7 1/4 in. (24.1 × 18.4 cm), and the Credit Line, Visual Resource Archive, Department of the Arts of Africa, Oceania, and the Americas, Accession Number VRA.2014.8.052. Similar to the other piece, the woman’s hair combines French and African elements. The woman’s hair is rolled in waves that suggest French styles of the mid-nineteenth century, again suggesting that African culture lagged behind that of France.  The woman is sitting, looking right above the camera, presumably directed by the photographer. This indirect stare is both mysterious and slightly erotic since it suggests that the woman is coyly both luring the viewer and remaining aloof.  The woman’s pose, in general, appears to be slightly romantic and even seductive, which is not a traditional West African pose. She almost appears to be posing, as if in an act. She seems to be playing the role of a quiet, yet proud woman who has a story to tell. This sense is conveyed by the way in which her hand touches her face: the very indirectness of her stare suggests that she is perhaps pondering some secret, which makes her aloof, ‘Other,’ and highly enticing to the viewer who would like to discern her hidden story. In contrast to the previous piece, the woman in this image wears a two-toned, patterned dress, which has no ‘tribal’ elements, but only the European-standard polka-dots. The pattern suggests more a Latin style than a French one, demonstrating that this African woman, in this photo which also uses the trope of appropriation to suggest the subject’s openness to Western styles, has been influenced by multiple European cultures. The woman’s braided, twisted hair style is one that can still be seen today. In general, the woman looks uncomfortable, suggesting that her pose is not natural and that she has been directed to convey this particular combination of an erotic, mysterious, African, and familiarly Western mood.  Her expression is strong and suggests action, but her body seems to be constrained in this pose, as if she is not fully committed to the stance she has been given by the photographer.

The third photograph is titled, “Woman in a Portrait Studio,” and was taken by an unidentified artist. It is done in Gelatin silver print, with dimensions 7 × 5 1/8 in. (17.8 × 13 cm). The Credit Line is Visual Resource Archive, Department of the Arts of Africa, Oceania, and the Americas, with Accession Number: VRA.2014.8.048. In this photograph, the tropes of appropriation and eroticization are prominent. The woman is dressed in Western-style clothing, with hair ornaments that are African in style. She is looking over her shoulder at the camera with a gaze that combines a sense of tremendous strength and forcefulness with a slightly seductive mood. This woman is distinct from the others. Her hair style and body size set her apart. Her hair resembles Dunkin’ Doughnut Munchkins, placed in rows. She is a voluptuous woman with prominent sexual characteristics; the camera’s emphasis on these characteristics suggests eroticization.

While viewing the Postcards portion of the In and Out of the Studio: Photographic Portraits from West Africa at the Metropolitan Museum of Art, I began comparing our modern means of communication to that of the 1800-1900s. Today, instant communication is possible, and in our postcolonial era, indigenous peoples are usually portrayed authentically, owing both to the availability of instantaneous photographs on phones and to a general desire to respect diversity and avoid stereotyping, as well as colonialist tropes. In the period of the nineteenth century and early twentieth century, however, postcards were a major means of communication, and, since they were often directed at Europeans, they used colonial tropes. This exhibition reminds us of how long it took for postcards to reach their recipients, of how inexpensive the postcard process was, and of the propensity for postcards to represent colonial subjects in ways that reinforced colonial dominance and the Orientalist sense of indigenous people as being ‘Other’ both in its positive – ‘exotic’ – and negative, or dangerous sense.. During our preview of the Postcards sector, I learned that the postcard business became extremely prosperous: there were over two dozen postcard producers in Senegal. As stated by the Metropolitan Museum of Art, “Postcards are images that are designed to travel: they are inexpensive, portable, and made in multiples.” Postcards, during the time of the 1900 to 1960s in Western Africa, were considered to be a quick and quite easy way of communication. Today we see postcards as cute, friendly symbols that we used to contact a friend or loved one, or to introduce the new holiday season. They are no longer as popular as they once were, due to our now rapid technological growth, although one still sees these “rare” pieces of paper. I personally love using post cards. The idea of writing your thoughts out on a piece of paper gives your reader a more personal feel to your message being sent. These postcards are intimate, yet also Orientalist and thus distant.

The artist who created  In Nioro (Sudan)—Wives and son of Wolof trader [A Nioro (Soudan)—Femmes et Fils de Marchand Ouolofes], was very likely Louis Hostalier (Senegal) (French, active ca. 1890-1912). It was created sometime between 1900 and 1910 in Senegal, Dakar. The postcard was made from a photomechanical format reproduction, with dimensions of 5 1/4 × 3 1/4 in. (13.3 × 8.3 cm). We are given a background story of the postcard: we know exactly who the intended recipients were, and we know the identity of the image posted. The pose that the three individuals create is both sedate and playful, with the child perched insouciantly between the women. This stance would likely appeal to a European audience: the trope of appropriation is evident in the women’s formal, quiet posture; the child seems charming and carefree, poised to enchant the European viewer. The pose also allows the women to display the typical “Senegalese stich-resist patterns” on their indigo wrappers, that they wear around their waists. The image is closely framed, which allows the sitters to fill the picture plane; and as for their voluminous clothing, it creates a “pyramidal composition that imbues the image with a sense of gravitas.” The photographer has removed all semblance of motion, granting their statuary presence.  The figures, who will be seen by a European audience, are familiar and, as asserted, bear strong traces of European influence. At the same time, however, they are culturally mysterious and insubstantial: dressed as they are in ‘exotic’ native costumes, and with the women’s hands placed firmly on their laps in a non-European gesture, they seem somehow to exist outside the ‘real,’ urban world of the European colonizers. They are, in a sense, dreamlike: they stand in contravention to the ‘rational’ world of the European recipient who is accustomed to family photographs, but with one mother, one father, and children who have been born of that single union.  The polygamy suggested by the two wives, and the child as the son of only one of these mothers, gives the postcard a decided sense of a different world.

The Dakar—Mulatto (Senegal) [Dakar—Mulâtresse (Sénégal)], which we believe to be created by Jean Benyoumoff (Senegalese, active ca. 1907–20), suggests strong use of the trope of appropriation. The date of this card’s creation was 1900–1910, in Senegal; its dimension is 5 1/4 × 3 1/4 in. (13.3 × 8.3 cm). I especially took note of this piece, because the exhibit allowed us to see the piece filled in with color, as well as with out.  When this postcard was created, most printing was done using black and white ink, although this artist is particularly known for making two versions of his pieces. One was done in the classic black and white, and the other was tinted with color mechanically and manually added to the monochromatic image. When reading the story of this piece, I learned that the production of postcards involved a several-step process, which was undertaken by different specialists. A photographer took the picture, an editor selected the image that would be used, a printer or factory produced the actual object, and a publisher then distributed the postcard. The woman depicted here resembles a proper Victorian woman: she is restrained in her use of space and seems to be modest in nature. She sits ‘politely,’ with her hands in her lap, clutching an object. Like a virtuous Victorian woman, she projects no sexuality, but only demure politesse, through her diffident, almost non-existent smile and her rather complacent-looking expression. Only the print on her garment suggests her African culture. She has been ‘appropriated’ by the European colonizers and has, apparently, imbibed their values of feminine modesty and reserve.

The Kora Player [Joueur de Cora] was created by Louis Hostalier (Senegal) (French, active ca. 1890-1912) and A.B. & Co. in the early 20th century. The postcard was found in Senegal, and has a dimension of 5 1/4 × 3 1/4 in. (13.3 × 8.3 cm). I was at first particularly impressed with the postcard’s vignette effect, which I learned was a common marking to see on pictures and postcards of this time period and before. Photographers had to travel with their camera and a portable backdrop when traveling to see their clients. In this carefully curated mise-en-scène, a man holds a kora, stringed instrument from West Africa. Adding to his ‘exotic’ appeal to a European audience, he stands in front of a painted backdrop of a Senegalese village hidden among palm trees. His gestured walking pose reveals a sense of movement, to make us believe that he is playing the instrument while walking through his village. His pose and prop suggest that he is identified as a “griot, or historian, the guardian of noble families’ histories and lineages. The composition’s theatricality, enhanced by the presence of the backdrop, tells us more about the mythical figure of the griot than the sitter’s own identity.” The postcard exhibits the trope of insubstantiality: it depicts a griot, who, in a sense, creates dreamlike stories, and it is, itself, a dreamlike creation in its evocation of an imaginary scene in a distant, exotic space.

In photographs and postcards, artists demonstrated the effects of colonialism by creating works that were ‘skewed’ in mood or imagery, to appeal to a European audience. Whether by appropriation –showing indigenous people embracing Western appearances and behaviors, by eroticization –showing indigenous women as being desiring, desirable, and seductive, or by insubstantialization –showing ‘exotic’ people as being somehow dreamlike, unreal, and ineluctably ‘Other,’ the artists who created these works engaged in Orientalism.  In keeping with Said’s theory, the subjects in these pieces appear to be in opposition to the West: whether less advanced, more sexualized, more mysterious, or hybrids of Western and African elements, they are all ‘Other’ and therefore both appealing and slightly dangerous.

Bibliography

“In and Out of the Studio: Photographic Portraits from West Africa.” Metropolitan Museum of 

Art. 2015 http://www. metmuseum.org/exhibitions/listings/2015/in-and-out-of-the-studio.

Micheli, C. Angelo. “Doubles and Twins: A New Approach to Contemporary Studio

Photography in West Africa.” African Arts 41. 1 (2008): 66- 85. Web. Academic Search

Complete.

Said, Edward W. Orientalism. New York: Random House, 1994. Print.

Spurr, David. The Rhetoric of Empire: Colonial Discourse in Journalism, Travel Writing, and

Imperial Administration. Durham: Duke University Press, 1993. Print.

Space Materiality: First Project (Wired African Doll)

When choosing my personal object, my first instinct was to create a wired replica of an african doll from my families origin. I thought since I planned out the figurations of the doll, that the wires would be easy to work with, but to my surprise I had to restart the sculpture three times, and even then I found it difficult to work with. Now that I have “completed” the sculpture three times, I believe that I now have a clearer image as to what is needed in order to officially complete this project. Although I have an idea, my craft work with in the wire department definitely is in need of extra practice. My plan is to spiral/web the head of the doll similar to a spiders web than attach that to a thicker version of the neck. Following that, I would like for the body to have a zig zag affect, similar to my original plan, although I found that it was difficult for my to conduct this procedure which is why I left the empty space. I definitely liked the two toned wiring, but next time I will plan out where I place my wiring more figuratively. unnamed-4 unnamed unnamed-1 unnamed-2 unnamed-3unnamed-5

Group Write Up- Project 1 (Madison Square Park)

Madison Square Park is located at the intersection of Broadway and 5th Avenue. Madison Square Park received its name from the fourth President of the United States, James Madison. The space originally became public in 1686, and was turned into Madison Square Park on May 10, 1847. The park has always held a highly urban feel being at a location with many local commercial buildings and other city landmarks such as the Flat Iron building. The park is famous for being the name inspiration of Madison Square Garden, which was originally located adjacent to the park. Each year the park chooses to install a different art piece for the summer season. The current piece was designed by Teresita Fernández.  The park was also redesigned to have more of a botanical presence in the late 1990’s by world renowned public garden designer, Lynden Miller.

Upon visiting the park it is easy to notice that the vibe is much more urban than many others parks in the area. The center of the park is currently taken over by the summer’s art installation that is made up of different mirror shapes that create a modern atmosphere. The park is divided into two main sections, the musical and loud side (south end) and the quieter and more family oriented area (north end). In between the two ends lay a great lawn that is fenced off, making it impossible for people to relax under the trees. Because of this the park could appear more rigid to visitors. The park is much more geared to people planning on passing through on a shopping trip or for tourists looking for New York landmarks.  

This little park packs a good punch for its location. It’s not nearly the size of some of the bigger parks in Manhattan, but it offers a very distinct mix of social environments along with a playground, dog park, and even the good ‘ole Shake Shack.  If you are wondering who the statues are at the three corners, we were also wondering that ourselves.  You’ll find mostly 19th century statues with description plates if you are thirsty for knowledge.  This small park is a living, breathing part of the daily life that exists every day.

 

Madison Square Park- “The South”

Orange Flower1

 

When I captured this image, I felt almost as if I was no longer in New York. Something that new yorkers are extremely fortunate of is the fact that they can enter a new area, and have the feeling that they are no longer in New York. Which I believe this image captures this expression perfectly. Although it does depend on angles, and how you position your camera, but I believe with the victorian structured building and this southern flower, the image can definitely confuse you as to where you are.

Madison Square Park- “First Leaf to Fall”

First leaf fall 1

 

When I took this image, I saw a leaf drop down from its trees branch and I rushed to take a picture of it. Growing up in Miami, Florida I wasn’t really exposed to the different seasons, so when ever I see my first leaf, or snow fall I get all excited and happy that I am being exposed to another season aside from summer.