| LOCATION | OBSERVATION | ANALYSIS |
| I look at you and I would rather look at you than all the portraits in the world
Except for the Polish Rider occasionally and anyway its in the Frick Which thank heavens you haven’t gone to yet so we can go together for the first time Having a Coke With You – Frank O’Hara |
O’Hara is alluding to the fact that the person he is making this poem about, is more beautiful than all the portraits in the world, except for maybe the Polish Rider sometimes | The way O’Hara references so many beautiful things, paintings, and places in the poem, an d then bringing it back to how his partner is better and makes him happier than all these beautiful works and sights. You would think that with too many references, but might get a bit kitsch or tacky, but it was so eloquently written and so gentle that it worked beautifully. |
| An art which ever increasingly contains reference to its own history demands to be perceived historically; it asks to be referred not to an external referent, the represented or designated ‘reality’ but to the universe of past and present works of art.
Distinction: A Social Critique of the Judgement of Taste |
A field of art that references its own history, is one to be represented by the past works of art in that field. | This passage made me think about filmmaking and in an art where references to old films are constantly being made in new films. |
| In television and film, our dial is on 10 all the time — rarely are black characters afforded subtle traits or feelings. Scholar Sianne Ngai uses the word “animatedness” to describe our cultural propensity see black people as walking hyperbole.
We Need to Talk About Digital Blackface in Reaction Gifs |
I never really noticed that the characters on TV shows were depicted like that until they brought it up. | The fact that on television, black characters are written to be much more animated and to be “extra” is totally a new form of blackface in todays media. That simplifying the complexity of a human’s emotional, mental, social, etc capabilities. |
| Employing digital technology to co-opt a perceived cache or black cool, too, involves playacting blackness in a minstrel-like tradition. This can be as elaborate as anon accounts like @ItsLaQueefa or as inadvertent as recruiting images of black queer men to throw shade at one’s enemies.
We Need to Talk About Digital Blackface in Reaction Gifs |
They are saying that often times people use digital blackface to be “cool” online, and I never thought of it like that, but I notice that a lot of celebrities and a lot of people will use it to seem cooler infant of their audiences. | I think that was a good point because its almost masked like you’re not doing anything wrong, when in reality, its so intrinsic that you are doing digital blackface without even knowing. |
| This morning’s collection contains the photograph of what
might be a man’s body, or a woman’s; it is so mutilated that it might, on the other hand, be the body of a pig. But those certainly are dead children, and that undoubtedly is the section of a house. A bomb has torn open the side; there’is still a bird- cage hanging in what was presumably the sitting room… Regarding the Pain of Others |
This is Woolf’s caption to one of her photographs. She writes the caption in a way that is really dry, and communicates well the fact that these children’s bodies are so deformed by acts of war, you may think they are a body of a dead pig. | I think this really shows the atrocities of war, and the documentation of these atrocities, and how others view them, and how the people who took them view them. |
| It is hard to define how the words have changed the image but undoubtedly they have. The image now illustrates the sentence.
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While reading this part, the caption for the Van Gogh painting before and after, really changed my perspective. | When John Berger says that the image starts to illustrate the sentence, its true. The feeling I had when reading that it was a painting with birds on a cornfield was so different from the feeling I received when I read “this is the last picture Van Gogh painted before he killed himself.” |
| Finally, the greatest thing about Manhattan is the worst thing about Manhattan:
self-actualization. Here you will be free to stretch yourself to your limit, to find the beach that is yours alone. But sooner or later you will be sitting on that beach wondering what comes next. Find Your Beach |
I found this to be scarily true. Living in Manhattan for 6 years now, I find that I felt this two or three times. | |
| You painted a naked woman because you enjoyed looking at
her, you put a mirror in her hand and you called the painting Vanity, thus morally condemning the woman whose nakednsss you had depicted for your own pleasure. Ways of Seeing |
So far, this chapter has been really interesting and the conversation between naked and nude is one I never heard of. This quote though shows the woman is being shamed for being naked, when the painter was one who wanted her as the subject and he is still the viewer | The male gaze has profoundly dictated art for centuries and can be seen in many of these renaissance paintings. My question is, is there a female gaze that will be as influential or important? |
| In a world ordered by sexual imbalance, pleasure has been split between active/male and passive/female.
Visual Pleasure |
They are talking about how the males gaze dictates what he wants and the female will off should accommodate. | I thought that in film, to say that was a little pass because across the many fields of art, I believe that film is one where women are starting to make a lot of leeway. Perhaps, it is still correct though, and women are still making movies through the male gaze. |
