Also, “21 Needlessly Gendered Products”: http://www.buzzfeed.com/erinchack/pointlessly-gendered-products
Comic review for the lady pen from http://thoughtcatalog.com/nico-lang/2013/02/the-10-best-amazon-reviews-of-bic-pens-for-her-so-far/:
“The pens don’t work for Math!”
“I am a female AP and Multivariable Calculus teacher and I prefer to use ink when solving problems. I guess, not surprisingly, these pens cannot be used to do math problems more complicated than 5th grade level. When trying to ﬁnd a derivative or deﬁnite integral, the ball point simply stopped working. I went back and added some numbers and it was ﬁne. I progressed up to solving quadratic equations and the ball point started to “stick” so that I couldn’t solve the problem completely. Imaginary numbers? HA! It was as if I had a pen with imaginary ink! As I moved into problems with Taylor Series, the pen started to get uncomfortably warm. By the time I tried to ﬁnd the integral of a polar curve the pen burst into ﬂames! I couldn’t believe it! Luckily, I had on asbestos gloves by that time so there were no injuries. I couldn’t even try it with a Multivariable problem!
I have decided to go back to using “man” ink for all future Calculus problems.
I did notice that the purchase suggestion that comes with these pens is the recalled Talking Barbie that says, “Math class is tough!” Search for a video of that excellent product!”
“Math class is Tough” talking Teen Barbie
SEE VIDEO HERE: https://www.youtube.com/watch?v=x3jSLdmgKWU
Earlier in the semester, we explored some elements of spoken word and how it is executed in front of an audience. This particular poem by Ke`ala Morrell and Noa Helela performed in 2011 intrigued me because of the general message they were getting across. The piece reminded me of our section on indigenous culture but showing more serious content than what was covered when we briefly touched upon Native Hawaiian history. They spoke from the perspective of how difficult it has become for people of Hawai`i in modern times. Many of the people who live on the streets and on the beaches are of Native Hawaiian descent. In most cases, these people are “houseless” as opposed to homeless and because of this are consistently displaced by the state and on some accounts arrested by the Honolulu Police Department. In many ways this is contradictory because of the fact that Hawaiians have a right to land, but it is under the infrastructure of state taxes that outlaws the right for them to call a chunk of land their home, especially without a house over their heads.
Overall, this spoken word piece genuinely made me appreciate their pride for being Hawaiian and expressing the harsh realities of what has become of their culture, land, and home. The use of actually speaking the Hawaiian language emphasized the importance of oral tradition and being able to keep a culture alive through the act of speaking; Before Western contact, there was no such thing as a writing system. Native Hawaiians used chants and hula in place of the system that was brought by missionaries.
Law of the Splintered Paddle: http://occupyapec.com/2011/11/09/kanawai-mamalahoe/
SEE VIDEO HERE: https://www.youtube.com/watch?v=o-En_gA0eLI
I thought this artist was an interesting find in relation to the section of the course that talked about street art. We discussed how graffiti is generally the marking of a space or territory and is a sign of ownership. So what happens when graffiti is manipulated visually through a computer to give the illusion that the tag (or signature of artist) is actually occupying space in real life. This artist does not provide his name but talks about his interest in combining the concept of graffiti with digital art. For someone that grew up doing things the old fashion way in the 80’s, he took a liking to any and all electronics in style during that era.
He goes on to explain how his love for graffiti has always inspired him since seeing it on the sides of trains when he went to school. Many people who do graffiti in the streets have talked about why they love it; the reason being that there is an adrenaline rush of whether or not they will get caught and get away with tagging. For Graffiti Technica, he uses his skills in digital media to render two dimensional works of graffiti that he can spread all over the world wide web. With the evolution of social media networks and the increasing number of people who rely on electronic devices, his work has a higher chance of spreading like wildfire than the graffiti tagged on the freeway of H-2. I think he did an excellent job of proving that graffiti is defined by its style, not always the medium of spray paint.
SEE Spoken Word VIDEO: https://www.youtube.com/watch?v=GMnOKy-ccXA
This spoken word entitled “Hapa,” reminded me of the section we most recently covered in class on Asian American art and inevitably the discrimination Asian minorities experience based on how they physically look. Initially seeing his appearance, I admit I did not expect to him to articulate his opinions so fluently as he did by half way through the poem. The speaker, Henry, puts an emphasis on the division between people who are categorized as Asian, as American, and those who are mixed as Asian American. He explains how distant he seems from the essence of his Asian ancestry and how that distance between him and his own culture can be evidently seen by those who fall under the label of Asian alone.
There was one part of his poem that stood out to me most:
“Our very existence breaks the rules of race. We are so often the children of rape. The bastard accidents of colonization. But remember we are also made from love that was called illegal.”
These powerful statements in the poem sort of makes the American in “Asian American” the dominating power that deserves to be considered first. Basically, what I mean to say is that Asians have been known to fall victim to inhumane acts and the violating effects that colonization insinuates. The last line from what I quoted above really did it for me; made me remember how judged and ridiculed Asians can be for simply being themselves, those whom white supremacy always deemed as invalid for value.
For this year’s most recent Pow Wow Hawai`i 2014, I had the pleasure of catching up with Ekundayo, also known as Dayo. Local Hawai`i resident artist that found his inspiration in his uncle’s black book when he was 13 years old, Dayo copied every single page. Every artist finds greatness after first copying the greats.
The first time I met Dayo was back in January of 2009. Since that time, I have been keeping up with his art and by doing so have had the enjoyment of seeing his techniques as an artist develop immensely over the years. Having an interest in graffiti and an education at the Art Center College of Art and Design in Pasadena, California has given him the resources and training he needed to become the artist he is today.
When I asked him what inspired his work, he told me that it is the beauty of struggle and pain. He once told me how hard it was for him growing up and that life at home was not exactly ideal, but eventually he found the love for art that would keep him from making bad choices and instead provoke him to chase after his dreams. Despite his scholarship at Art Center, he dropped out after taking foundational courses and find his path through his own hard work and determination.
Today, he is a resides in Kaimuki, Hawaii. He keeps up actively on his website and sells prints, t-shirts, and paintings to anyone who gets inspired by his work. When sorrow becomes joy, it is truly a beautiful thing.
When I viewed the various sculptures and memorials of Maya Lin, I was very impressed even more by the stories behind her works. That she had created them with the intention of moving away from the focus of ethnic identity and more towards a universal concept that everyone can enjoy without the racial profiling that comes when audiences view the art and the artist that created it.
Ruth Asawa, another Asian American artist probably had the same ideas when she created her wire sculptures. The one shown above for example, with its branching forms makes it appear tree-like or even a combination of life forms that you would find in the sea. If analyzed, one might also conclude that nature is the universal theme that connects us all regardless of race. That is to say that people will branch out in different ways depending on where they live and the various backgrounds and cultures that molded them but in the end, we are all connected by nature. We share the same sky, live under the same sun and follow the same rules of nature. It’s the one thing that helps us understand each other and the various ways of living despite the diversity.
The point is, the artwork would not readily fall under a particular ethnic style of art. This is significant because if it had, the audience would automatically assume a conclusion about the piece just from looking at the racial background the art appears to display as well as the artist themselves. In contrast without the labels, the audience is free to take a good look at the art and come up with their own conclusions; which can be as diverse as the people that live in this world.
Notice scale here…
word count: 292
A couple of weeks ago at Frear Hall, I decided to visit the Tunnel of Oppression. Honestly, I had been expecting to be walking through a dark hall, probably being a bit claustrophobic, with people hidden somewhere trying to intimidate you into recognizing the many facets of oppression. Then after all that darkness, some kind of reassuring thing would happen just because of the “Shine Through Darkness” slogan. All of this definitely did not happen. Perhaps because I went at four p.m. when the sun was still out and shining, the tunnel definitely was not in fact dark–not that it actually needed to be. Instead, one is going through different dorm rooms, separated through different oppressed people, ranging from domestic violence victims to Native Hawaiians, and these rooms are all inundated with information. While the presentation was a bit wordy, it was evident that the artwork had taken some time to complete. The most striking moment in the tunnel simply had to be in the room discussing the issues facing LGBT. As one walks into this dark room, Elton John’s Candle in the Wind is playing in the background–which, really, is ominous enough. Part of the room seems to be blocked off by black strips of paper and as one peers inside this area, they’re facing (what seemed like) a paper mache model of the human body. Except this is a recreation of a human body that had just hung itself, and off I left the room. Sure, it hadn’t been a real body, but there was something about the way in which the whole environment worked with this recreation that had left me feeling uneasy because suicide is never really something easy to think about. I guess in some ways, hidden people did in fact try to intimidate me into facing oppression head-on.
This article kind of reminded me a bit about that slide Dr. Smorol showed us about the art that is published in galleries, the people who go to art galleries, and the owner’s of art galleries. This article reminded us that just like in art galleries, women and people of color are underrepresented in theatre. This is salient in many facets of our culture and it is truly a shame. I always remember hearing people say, “Oh yeah well Shakespeare used all male actors for his plays” But I never really wondered why that is. This article shows the discrepancy between the percentage of plays produced and directed by women, and how many women are in the audience. On Broadway 16% of plays are directed by women, yet 63% of the audience is women. The disparity here is unsettling. As is with most parts of life, theatre has been geared toward the white, male, heterosexual norm, and unfortunately this has leaked over into the arts more generally.
I did find it interesting that in smaller and poorer theatres the amount of women directors and playwrights inclined. To me this suggests that in small pockets inequality can be reached. However, oppressive structures rigidly hold patriarchy to the utmost importance, thus suppressing women’s voice and influence in theatre and the arts.
I like at the end of the article when the author says, “If 80 percent of the stories that are told are written by and about men, if the majority of female characters are created from a male perspective, and if the directors, producers and critics are predominantly male, something is inherently wrong. We do ourselves and the theater community a great disservice by not working together to address this problem.”
If 80% of the work produced is by males and for males, then our perception of what we are watching is most likely skewed and gender biased. I do not know if that is the best thing for society, unless you are a heterosexual white male. I’m glad that the author calls for a shift in this paradigm, and raises almost a very solemn warning or maybe even a precautionary note, that what we are watching may not always be taken at face value.
Word count: 363
Read this interview with the Guerrilla girls, explore the site and write a 200 word response:
OR, read this one on discrimination of women artists