Post 5

Yerines Suriel-Baez

Post 5

Note: Each artist is subdivided into a category they fulfill. They will be introduced, followed by my journal entry. 

Topic: Nature

1. Georgia O’Keefe

        O’Keefe was known for her artwork embodying the enlargement of flowers. However, she also incorporated dramatic cityscapes, landscapes, and images of bones in her contribution to American Modernism. For O’Keefe, northern New Mexico would resemble a place of inspiration that would shift her work into a new direction, as she sought out a distinctive view of America. On the Georgia O’Keeffe Museum website, it is said that “her simplified and refined representations of this region express[ed] a deep personal response to high desert terrain” (par. 4). However, even though O’Keefe painted nature in a perspective that impacted her, her work was subjected to criticism. Chadwick states, “O’Keefe was forced to watch her work constantly appropriated to an ideology of sexual difference built on the emotional difference between the sexes which supported this social reorganization” (306). Yet, regardless of the opinions of others, she continued to depict nature in the essence of its beauty

        Similarly, as O’Keefe had done through throughout her wondrous works of art, I have also found myself appreciating what has been birthed from mother nature. For example, on multiple adventures to the farmers market, I find myself in awe, realizing I am surrounded by delicacies. Especially within the wave of this pandemic, I have learned to appreciate the simple things of life. Not to be confused with a strange obsession, however, I believe that the enjoyment of my life exists within appreciating such things, who’s values are taken for granted. And while others might just pick up their next piece of fruit or vegetable, I find myself admiring it and being more grateful than ever. Although it is unfortunate that a crisis had to make me appreciative of such things, it is a sense of reaction and enjoyment that will forever be engraved into my shopping experience. As many suffer to find their next meal, it is imperative that we do not take for granted what we are lucky enough to enjoy and have access to.

O'Keefe talking about her life and work: 

Here, O’Keeffe describes her life and the meaning behind her artwork. She explains what drives her to be inspired. Yet, even though she herself is able and willing to explain her pieces her work consistently gets mistaken for encompassing femininity and sexuality

2. Frida Kahlo 

         Arguably the greatest artist birthed in Mexico was introduced into the art world after her injury from a bus accident. The experience of this unbearable physical trauma left her pelvis severely severed and the columns of her spine broken. Her body and life were left completely transformed, as she was left crippled for life. No longer was she able to fulfill her natural abilities in creating life, nor, complete her dreams of practicing medicine. In this disarray, she created beautiful art pieces. With the help of her womanizing husband, Diego Rivera, Kahlo was able to advance in her artistic career. Her work embodies a connection to her Mexican culture, seen within her the incorporation of her traditional clothing, nature, political activism and depiction of heartbreaks. In the Guerrilla Girls, from Kahlo’s perspective, it is stated, “I never gave up making paintings, because mine were based on retablos: Mexican devotional paintings that depicted misfortunes and asked for miracles. I made them small, but with a punch to the belly equal to that of any gigantic mural, you could imagine” (p.79). Specifically, in her Self-portrait with a monkey, 1940, it is obvious that the aspect of nature is important to her identity, having owned many animals and expressing symbols of nature in the background.

       Like Kahlo, nature also plays a huge part in my life, regardless of not owning as many animals as she once did. Being confined and restricted to experience the outside world has affected me drastically throughout the duration of this quarantine order. Instead of enjoying the beautiful weather, I am forced to adore it from the separation of my window. Even though we are still allowed to go on walks/runs it just does not equate to being able to go on a hike or lay on top of the extended grassy fields of Rutgers Garden. As this restriction persists, I have noticed that my mood fluctuates according to the weather. On rainy days I am just as cold and depressed; while on sunny days I feel just as alive as Kahlo did upon the completion of her artwork. In order to feel more connected to my environment and to contribute as best as I can, I have resorted to exercising a vegan diet. This has surely made me appreciative and has taught me the value of life, something Kahlo effortlessly represents to me.

Frida Kahlo, Self-portrait with monkey, 1940: Kahlo glorifies her Mexican culture through the incorporation of the bright green leaves and exotic animals, alongside her flowing beauty. Along with her iconic bold unibrow, her braided crown also challenges the beauty standards of women.

Topic: Power & Body

3. Yoko Ono

        As a Japanese artist and musician who has emerged into the international art scene, her work encompasses performance art that encourages the viewer’s imagination and often requires interactive participation. Specifically, her performance piece Cut Piece (1964), Ono sat quietly and unmoved while she invited the audience to invade her privacy through the blades of scissors. If the audience member chose to accept the invitation, they would cut off parts of her dress. Although she remained still, she became increasingly uncomfortable as the fabric of her dress diminished off her body. Cunningham points out, that with this performance, Ono hoped to address “connotations of sexual violence, [thus] the work was later recognized as a landmark of feminist art” (par. 4).
        In connection with Ono, I have been feeling disconnected from my body. Yet, it alarms me that it is when I am at most vulnerable that I feel as if I have no sense of power left to uphold what is rightfully mine. This feeling has been especially echoed the few times I’ve gone out food shopping. I feel as if the eyes of those who surround be undressed me the way the pair of scissors undressed Ono. As I stripped away of what protects the essence of my privacy, my body. I felt as if I slowly began to lose the power to protect myself as I roam through the aisles, crossing off items from my shopping list. The eyes of watchers viciously tearing away at my clothes. Unraveling me, layer by layer. Pealing me away for their male gaze to be fulfilled. 

Yoko Ono, Cut Piece, 1964: Here, Ono challenges the relationship between the art piece (herself) and her audience. She presents herself in a situation to represent the potentially aggressive acts the female body is subjected to.

Topic: Injustice and Culture

4.  Wendy Red Star

        A native American contemporary multimedia artist born in Billings, Montana in the United States. Her work is centered on expanding the history of her ancestral roots. She makes it a goal to keep her history alive through the beautiful artwork she creates. Of which consist of photographs, installations, and sculptures. Throughout her work, she utilizes traditional Native American images in order to gravitate the viewers' attention towards her work. It is evident that she is strongly connected to her crow tribe identity, cultural heritage, and family history. Upon the construction of her work, she understood that many either had a misconception of the Native American culture or mistook it for nonexistent. As a current artist, who’s work can be found at the Newark Museum, she felt that it was her mission to educate others that the impacts of her ancestry still exist.

       As an assignment from my History of NJ class, I had to read The Wondrous Life of Oscar Wao. This novel focuses my identity, that of Dominican culture and the sexist roles both men and women are subjected to uphold. Most importantly, it also encompasses African American ancestry and the impact Spaniards had on the island. As their colonization progressed, eventually the island would transform into a vicious dictatorship, embodying the evilness of racism and discrimination. In connection with Wendy Red Star, I too feel compelled to illuminate the roots of my identity. Although I am Dominican, I proudly represent my Afro-Latina heritage. It is extremely important for Dominicans, regardless of the complexion of their skin to be reminded where they originated from; especially since the majority of them are unfortunately in denial and refuse to accept the reality of their roots because they have been embedded with accepting the racial bias engraved by politics. In order to educate my family in specific on the injustice of race, I would combine differently pictured of African Americans and label them, like how Wendy Red Star did in her 1800 Crow Peace Delegation, 2014. I would invite the viewer to understand the individual they are looking at, through the incorporation of an immense highlighting and descriptions of their clothing, physical appearance, and posture, in hopes to deconstruct their racial bias, while also educating them on the impact on the Dominican culture we carry and practice today. In an interview posted on Khan Academy, conducted in the Portland Art Museum, she states, “the beauty of looking at these portraits… is creating [a] tension between the white photographer’s perspective and that government perspective and their own individuality and their own pride too, of showing who they are and who their nation is” (1:28-1:44).

Wendy Red Star, 1880 Crow Peace Delegation, 2014. Delegation portraits were taken upon their travel to Washington DC to discuss/negotiate topics of land, territory, and placement of The Pacific Railroad throughout their land. Wendy Red Star annotates their pictures to give these men a sense of identity, individuality, personality, and style. 

5. Sandra Ramos 
         A Cuban artist, who addresses the complex issues of migration, does so through her contemporary painting, printmaking, collages, and various installations. Primarily in her installation of Migrationes II, 1994 she addresses the painful experiences living and parting with Cuba. Throughout the county’s drastic eras, it was common for many to leave and migrate elsewhere, in search of their next permanent residence. Chadwick notes that for this installation, she showcased “ten open suitcases- their insides painted with scenes of hopeful voyages and lost dreams-placed against the wall. Sony cassette players, blue jeans, and liquor, collapsing rafts and the images of families left behind evoked a powerful sense of the perilousness of crossing the traits of Florida to the United States” (429).
        In conjunction with Ramos’ art, I too wondered about the pain other families are experiencing. As her artwork notes, many come to the United States to escape the drastic tension existing within their country. However, others may simply prefer to escape, in search of a better life. I wonder how many individuals have asked themselves if it was worth it, especially in the wave of this deadly plague. Unfortunately, so many lives have been lost, and many families have been left behind grieving for a sense of hope and justification for the loss of their loved ones. Yet, instead of dwelling on these lost lives, their remembrance should be celebrated. The essence of their identity and culture should forever live on, as it has impacted many members of their family. In my culture, when we experience the loss of a loved one, we are bonded by the grace of our remaining loved ones and through the enjoyment of homecooked meals. And although this is obviously unachievable in the same sense, we have instead turned to our mobile devices to keep this tradition alive. Our loved one’s mission to accomplish and give a better life is remembered by the telling of their journey in coming to America.

Sandra Ramos, Migrationes II, 1994. Ramos showcases the significance of her Cuban culture and heritage. Here, she utilizes 10 suitcases, of which are typical to those used in Cuba during the journey of their migration

Works Cited

“About Georgia O'Keeffe - The Georgia O'Keeffe Museum.” Georgia O'Keeffe
       Museum, www.okeeffemuseum.org/about-georgia-okeeffe/.
Chadwick, Whitney. “Women, Art, And Society,” Fourth Edition. World of Art. 2007.
Cunningham, John M. “Yoko Ono.” Encyclopædia Britannica, Encyclopædia Britannica,
       Inc., 14 Feb. 2020, www.britannica.com/biography/Yoko-Ono.
“Georgia O'Keefe Talking about Her Life and Work.” YouTube, 6 Aug.
         2011, www.youtube.com/watch?v=v71awD38Qy4.
Maysles, Albert, and David Maysles. “Yoko Ono: Cut Piece (1966).” YouTube, 15 Sept.
         2015, www.youtube.com/watch?v=pTGSsWVK2Eo.
Self-Portrait with Monkey, 1938 by Frida Kahlo, www.fridakahlo.org/self-portrait-with-monkey.jsp.
The Guerrilla Girls’ Bedside Companion of the History of Western Art, Penguin Books, 1998
“Wendy Red Star, 1880 Crow Peace Delegation (Video).” Khan Academy, Khan
          Academy, www.khanacademy.org/humanities/art-americas/native-north-america/native-                      american-contemporary-art/v/peace-delegation.
“Wendy Red Star: A Scratch on the Earth.” YouTube, State of the Arts NJ, 25 Mar.
          2019, www.youtube.com/watch?v=vyJiXXXH2WE.