Bosch-Burroughs delves into history of Emmeline the Bear

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Professor of art history Lynette Bosch-Burroughs (above) offered a lecture entitled, “Emmeline: A World of Bears,” on Friday April 21. She explained the history of the bear sculpture and its connection to global culture. (Ash Dean/Photo Editor)

The art history department’s year-long celebration of the 50th anniversary of Brodie Hall and the Bertha V.B. Lederer Gallery came to an end on Friday April 21 with professor of art history Lynette Bosch-Burroughs’ lecture, “Emmeline: A World of Bears.” 

The lecture, which was sponsored by the Association for the Preservation of Geneseo, addressed how Geneseo’s statue and fountain serve as a “point of intersection between Geneseo and the rest of the world.” 

Bosch-Burroughs began with an overview of bear statues present throughout Canada and Europe, which can be found in Berlin, Madrid, London and Berne, Switzerland. She finds many similarities of style and design between these bears and Geneseo’s statue, Emmeline. These historical bears often serve as religious and mythological symbols of intelligence and power. 

In Native American cultures, on the other hand, bears often signify wisdom and healing; they are seen in totem poles of the Iroquois and Seneca tribes. Bosh-Burroughs explained that these two symbolic uses for bears merged when Europeans colonized North America. In this way, Emmeline can be seen as a totem for Geneseo, symbolizing both wisdom and power. 

Commissioned by Herbert and William Austin Wadsworth and installed in 1888, Emmeline was originally a memorial to Emmeline Wadsworth, the two brothers’ mother. Emmeline Wadsworth is described as an animal lover and a “feisty” woman. Given that she was also the head of the most powerful family in Geneseo, it seems that a bear is a most fitting representation of Emmeline Wadsworth. 

Emmeline the Bear is more than just a local point of pride. Believe it or not, she has broader and impressive connections to the nation as a whole. Richard Morris Hunt, the architect of the fountain monument, also designed several high profile projects, such as many Fifth Avenue mansions in New York City, the base of the Statue of Liberty and the façade of the Metropolitan Museum of Art. This not only suggests that the monument was a desirable commission, but also that Geneseo itself was a desirable area. 

To drive this home further, Bosch-Burroughs read a review of the monument written by the New York Times. The columnist’s review of the bear was favorable, only expanding on Bosch-Burroughs’ thesis of Emmeline the Bear’s intersection with the broader American culture. 

Our little bear is not without controversy; there are still questions as to who exactly created her. Common opinion is that Antoine Louis Barye created the statue, since the Wadsworths called for “one seated bear by ‘Barye.’” 

The issue is, as Bosch-Burroughs note, that Emmeline the Bear does not resemble any of Barye’s other works, one of which is housed at the Wadsworth Library. They do, however, resemble that of Christophe Fratin, a fellow animal sculptor. 

The issue with both artists, though, is that neither were alive at the time of the commission. To solve this issue, Bosch-Burroughs explained that casters and manufacturers used molds and casts of both Barye and Fratin’s works to create one composite sculpture. 

Of course, Bosch-Burroughs’ presentation would not be complete without mentioning the three accidents that the monument recently suffered within a 10-month time period. After being housed at the Livingston County Historical Society for a brief time, Emmeline the Bear is now in safe hands, awaiting her return to her pedestal atop the fountain, which is currently being reconstructed. The $200,000 project is set to be complete by May or June, according to APOG.     

Until then, Geneseo historians and Emmeline fanatics can learn about the fountain’s history through an exhibit up in Milne Library’s lobby. The exhibit, curated by visiting assistant professor of art history Alla Myzelev’s museum studies class, is up until Thursday May 4.

MiNT Magazine kicks off year-long project

Geneseo’s student-run literary magazine, MiNT, has recently widened their output and begun a year-long ekphrasis exchange project. One of the first of MiNT’s larger efforts, the ekphrasis project pairs visual artists and writers and allows them to inspire one another.

Ekphrasis is essentially “art inspired by other pieces of art and writing,” according to co-assistant editor, junior Rachel Britton. 

“It can extend to all different kinds of mediums,” Britton said. 

Many well-known poets such as Ann Carson and Kevin Young use ekphrasis in their works, and Britton herself is a fan of using visual arts as an inspiration for her own writing. 

The project was inspired by Britton’s discovery of a digital literary journal, combined with her passion for keeping the arts and creativity alive on campus. 

“It’s a response to the Campus Canvas project,” she said. “I really think that the arts are something that needs to continue on the campus. I like seeing everyone inspire each other.” 

In fact, she has found great inspiration from other creative efforts at Geneseo, including a recent study abroad trip to Iceland in which students wrote pieces based on geologic data. Next fall, Britton will be a teaching assistant for assistant professor of English Lytton Smith’s visual art writing class—another source of inspiration for the mastermind behind the ekphrasis project. 

“Seeing that was the trigger. I thought, ‘I need to do this now,’” Britton said. 

Submissions for the project are already underway. Once Britton receives submissions and samples from those interested in participating —writers and visual artists alike—they will be paired together, one artist and one writer. 

The process will begin this summer, as the student artist makes the first move by creating any piece they wish without any guidelines or restrictions from MiNT. Britton will then send their work to their paired writer, who will create their own piece in response. In the third and final round, Britton will take the creative writing pieces and send them back to their artists, who will again create work inspired by what they receive from their writer. 

In the 2018 spring semester, MiNT will publish a special edition of the magazine dedicated to the project and the pieces produced by it. 

“I’m interested in seeing any and everything,” Britton said. “I really want open doors.” 

Everyone from incoming freshman to alumni are welcome to join the project, according to Britton. Submissions are currently open until May 9.

Netflix series’ third season returns with flair, heart

The highly-anticipated season three of Netflix’s original series “Grace and Frankie” was released on the online platform on March 24 to an eager audience of bingers. 

The show, a quirky take on the trials and tribulations of our golden years, had an overwhelmingly positive reaction to its first two seasons. There’s no doubt that the show has star power, with four huge Hollywood veterans taking center stage: none other than Jane Fonda, Lily Tomlin, Martin Sheen and Sam Waterston play the series’ main characters. 

While a gang of older actors in modern and high energy plots is not completely unfamiliar, “Grace and Frankie” switches the script. The series’ titular characters, Grace and Frankie, have been left and divorced by their husbands, who have fallen in love with each other, leaving the two proud women to deal with each other.

The series’ first two seasons set the foundation of the show and dealt with reconciliation between all parties. By season three, Grace and Frankie no longer hate their husbands—or each other. Fonda’s uptight, organized martini-drinking Grace, and Tomlin’s artsy, down-to-earth pot-smoking Frankie have learned to appreciate each other, becoming best friends and confidants. And now Robert and Sol—played by Sheen and Waterston respectively—have settled into married life and patched up their families. 

In season three we see these hilariously charming characters grow beyond their archetypes as they encounter even more challenges. The usually proper Grace joins Frankie in launching a new business that sells vibrators designed for older women, and the usually stoic Robert retires and gets cast as the lead in a community musical. All the while Sol, a normally care-free spirit, has trouble leaving his law firm. 

These plotlines are veiled in comedy, yet do not fail to address the issues at their heart—the desexualizing of older women and fears of unfulfillment after retirement. While these issues seem to be geared toward older audiences—and they are, giving our grandparents the representation in media that they deserve—they are not issues that younger watchers cannot appreciate and learn from.

Aside from these important plotlines, season three serves up just as much comedy as before with genuinely funny dialogue and new characters. One episode features Grace and Frankie stuck on the floor for an entire day because “they’ve fallen and can’t get up,” and Frankie and Sol’s son Bud—played by Baron Vaughn—has a new girlfriend who has every allergy you can think of. 

While this season is not without its faults—the characters always seem to solve massive issues in tiny amounts of time—comedy is at its heart. With Netflix continually rolling out new original series, it’s easy for some to get lost in the crowd. 

“Grace and Frankie,” however, is clearly a standout. It’s funny without being cheesy, heartfelt without being soppy and proves that our older generations are just as young as they used to be. Fans are already waiting for season four.

Cosby’s books independent of author’s criminal allegations

Hop on Pop. James and the Giant Peach. A Wrinkle in Time. Harry Potter. Some of our favorite childhood stories have earned a spot on the American Library Association’s list of Frequently Challenged Children’s Books, and Bill Cosby’s Little Bill series is next. 

The list is based off “reports from libraries, schools and the media on attempts to ban books in communities across the country,” according to the ALA. While the ALA does not endorse the banning of these books, they compile such lists to “inform the public about censorship efforts that affect libraries in schools.” 

In 2016, the ALA found that Cosby’s Little Bill children’s book series was one of the top 10 challenged books that year. The series was challenged so often due to “criminal sexual allegations against the author.”

The book series, which has also been adapted into a successful children’s television show, is centered on Bill Jr., a five-year-old black boy living in Philadelphia. The series’ placement on the list of challenged books is highly unusual since it is the first book to be challenged solely due to issues with its author rather than its content, according to The New York Times. 

This leaves us with one question: do Cosby’s books deserve to be taken off the shelves because of the allegations made against him? 

On one hand, the books themselves are innocent—they do not include any questionable or inappropriate content. In fact, the books—which are made for beginner readers—teach valuable lessons on everything from lying to imagination to taking turns. 

This separation of creator and content calls to mind recent issues with Nate Parker’s The Birth of a Nation and Casey Affleck’s Manchester By The Sea. Both films, despite the valuable content they portrayed, were boycotted due to Parker and Affleck’s previous sexual harassment charges.  

The issue with the Little Bill series is perhaps more complicated considering Cosby’s young character seems to reflect the comedian himself. Bill Jr. shares the author’s name and hometown of Philadelphia, which suggests that Little Bill is a younger version of Cosby. 

When the actor was one of the world’s favorite comedians, this parallel was charming and inventive. Now that Cosby’s skeletons have emerged from the closet, however, parents seem to believe that reading his books is akin to justifying his actions. 

What some fail to realize, though, is that many beloved American authors—like Thomas Jefferson—have just as alarming backgrounds as Cosby, if not worse, yet we still rank them as some of our country’s best and brightest. It’s now known that Jefferson often raped his slaves, but we still recognize him as one of our great Founding Fathers and study his writings. 

The fact remains that Cosby’s books are valuable tools that teach young readers a variety of lessons, not to mention that they provide representation for black youth. If we choose to ignore the pasts of some authors in order to preserve the value of their work, we must do the same for all artists.

Annual art history symposium celebrates student scholars

Geneseo’s Department of Art History and the Art History Association celebrated its best and brightest scholars on Friday April 7 at its eighth annual Art History Symposium.     

The afternoon consisted of one guest speaker and five student speakers who presented on their respective research efforts, culminating in the gift of the Pam Eder Memorial Art History Prize awarded to one hard-working student. 

Guest speaker Rachel Kousser—a current professor at Brooklyn College and the Graduate Center at CUNY—gave the audience an explanation of her paper, “Black is Beautiful: The Materiality of Sculpture in Hellenistic Egypt.” Kousser’s interest was sparked when “the dark stone queen” was discovered during an underwater excavation. The statue is an intriguing mixture of ancient Greek and Egyptian styles, and made of a dark stone material. 

Kousser soon set out to find an explanation behind this combination of styles and to answer the question, “Why is black beautiful in Hellenistic Egypt?” Kousser has just released her book, The Afterlives of Greek Sculpture: Interaction, Transformation, and Destruction, which goes into more depth about how the ancients used their sculptures in their everyday lives. 

English major sophomore Raina Salvatore followed Kousser with her own presentation, entitled “Rape Culture in The Rape of Europa.” Titian’s painting The Rape of Europa draws on Ovid’s Metamorphoses, in which the Roman god Jupiter disguises himself as a bull to lure the young and innocent Europa, subsequently raping her. 

Salvatore argues that the painting places the blame on Europa in addition to normalizing the action of rape. She also maintains that scholars tend to treat Titian’s painting as an erotic work, which continues to sexualize rape instead of condemning it. 

Taking a different turn, history major and museum studies minor senior Caleb Weissman followed Salvatore, presenting his research, “Contemporary Art and the Environmentalist.” In his research, Weissman examines two current artists—Olafur Eliasson and Edward Burtynsky—whose works serve to send messages about environmentalism and sustainability. 

Weissman argues that although Eliasson and Burtynsky use very different means—Eliasson with his manipulation of man’s relationship with nature and Burtynsky with his photographic projects—they both work toward the same goal. Weissman ultimately makes the conclusion that although these artists are doing noble work, they require an already dedicated environmental audience to get their point across. 

Art history major senior Alexander Shaw presented his research on “Men in Advertising: How Media Objectifies Men.” He argues that while there is clear sexism directed at both men and women, objectification of men is less recognizable. In his essay, Shaw examines six decades’ worth of advertising, tracking the changes in how society has dictated the way men should look and act. He finds a correlation between this “forced masculinity,” and the recent influx of self-objectification, eating disorders and depression in adolescent males. 

Following Shaw was art history major and French minor senior—and winner of the Pam Eder prize—Olivia Morris. Morris’ paper, “Dear Antigone: Female Artists, Trauma, and Mental Illness,” looked at how three artists—Camille Claudel, Romaine Brooks and Frida Kahlo—translated their own personal trauma into their work. She finds that although each woman treats their personal issues differently—Kahlo does so head on, while Brooks denies it vehemently—their works all bring their past emotions into the present and act as a vessel for indescribable feelings. 

The last student scholar, communication major and art history minor senior Megan Erickson, gave a presentation on her work, “The Representation of Motherhood in Art.” Similar to Shaw’s work, Erickson also followed a progression of how motherhood has been represented from past to present, with a focus on how modern women fuse their work with their role as a mother. She concludes that depictions of motherhood have come a long way, as contemporary art showcases both the positive and negative aspects of the job. 

The symposium came at the perfect time, as students are drowning in work and busy studying for finals. Hearing the success of fellow students is the encouraging push we need to get us through to May.

Visiting artist speaks on political inspiration behind paintings

The Lederer Gallery was filled with eager faces on April 6 to hear Mexican artist Maddu Huacuja speak about her artistic inspiration and the process of creation in a presentation entitled “Sources of Art: Maddu Huacuja On Her Works.”

Huacuja was born and raised in Mexico City, just after the political fervor of the Mexican Communist Party and its famous members Frida Kahlo and her husband Diego Rivera. As a result, Huacuja was strongly influenced by the remnants of this political movement, since Rivera’s murals still cover the city.

During her childhood, Huacuja often visited Kahlo’s house, which was turned into a museum after her death. At the time the museum saw very few visitors, leaving Huacuja and her best friend to explore every nook and cranny of the “Blue House.”  

“I became very intimate with Frida and her belongings,” Huacuja said.  

Due to this closeness with Kahlo, the inescapable influence of the surrounding political murals and the experience of her own mother’s failure as a painter, “I don’t think I had a choice but to be a painter,” Huacuja said. 

Most of Huacuja’s own works are political, with messages about Mexican history, the role of women in society and issues of environmental sustainability shining through. Huacuja explained that, for her, painting such touchy subjects is often not a conscious decision, but a natural reaction. 

For example, her many paintings of Kahlo—executed with thick swatches of color—are a direct reaction to the closeness she felt to the famous painter during those wanderings in her home. 

“Besides the glamorous woman, I felt her pain,” Huacuja said. Her most recent painting of Frida, however, draws on the pain of others in combination with her political efforts. 

This painting is a zoomed in portrait of Kahlo with the words, “They didn’t know we were seeds” written on her neck, and, “They left alive and we want them back alive” on her face. These words reference the 43 Mexican students that went mysteriously missing in 2014—a tragedy that has struck the Mexican population strongly. 

Another issue close to Huacuja’s heart is the destruction of Mexico’s native animals. In a series entitled “And Nothing Matters When We Are Dancing,” Huacuja mixes painting and drawing to depict half-animal-half-human androgynous forms. Her goal here is to “assign figures to the devastation” of the extinction of these animals and to effectively show her audience that “when we destroy these animals, we destroy ourselves.” 

This series has had an especially poignant effect on Huacuja’s audience. 

“People look at these paintings, and they start crying, and I know they get it,” Huacuja said.

Her invitation to paint utility boxes in Boston has also received an overwhelmingly positive reaction. As one of three Boston-based artists chosen for this project, Huacuja chose to paint portraits of Prince, Michelle Obama and Muhammad Ali. She attests that members of the community have approached her while painting the boxes, exclaiming, “This is what it’s about!” and “We relate to this!” 

A community favorite is a box depicting Ali with the words, “Champions come and go, but you gotta have heart” emblazoned on the side. 

Although Huacuja seems to specialize in portraits and traditional works, she also “loves experimenting with materials.” Her “Love Letters” series is a group of abstract works done in oil pastels. Huacuja describes these as “action paintings,” with their dark lines and bright, rich colors that “melt into the piece.” 

With these pieces, however, Huacuja doesn’t lose her ties to her culture. They include beautiful quotes from Mexican poets, leading Huacuja to claim, “I’m not always about the end of the world.” 

It’s visitors like these that make the art history department a true asset to Geneseo. Despite recent cutbacks on creativity at the college, the department continues to grow through the classes students can take and the opportunities and real world experiences it offers.

Milne Library “gets graphic” with innovative collection

The newest addition to Milne Library’s stack is a sizable collection of graphic novels. Brought to us by education and instructional design librarian Michelle Costello, this collection has been in the making for over three years now, and greatly adds to what the library has to offer.  

The collection is comprised of content-specific children’s novels and others geared more toward college students and adults. As a result, first graders, high schoolers and adults alike can enjoy this genre. 

Content-specific elementary titles include Coral Reefs: Cities of the Ocean for science learners, The Maid of the Mist for history lessons and Tippy and the Night Parade for English language students. These titles can be found in the library’s Teacher Education Resource Center in the lower level. 

In the upper stacks, graphic novels for more mature readers can be found among the reference books and essay collections. These include a pictorial version of Pride and Prejudice, Such a Lovely Little War: Saigon 1961-63—a memoir about the Vietnam War—and the first of John Lewis’ award-winning historical series March.

Costello’s objective for building a graphic novel collection was to help education students. Costello works closely with assistant professor of education Kelly Keegan’s secondary literacy education classes, in which students look for books that teach content-area literacy. Keegan decided that graphic novels would be a terrific way for students to “understand the content, but also make it interesting for them,” according to Costello. 

When Keegan first started this project, Milne’s graphic novel collection was less than impressive—but based on the students’ needs, Costello has been able to grow the collection considerably. 

Costello said that graphic novels are ideal to help reluctant readers engage in texts. 

“You might have some students who, once they get into either middle or high school, have decided that they no longer want to read,” she said. “But these students wouldn’t have any issue picking up a comic or watching a movie. So this is a way to get them still interested in reading, but in a format that is more like what they’re used to.”

Graphic novels are an asset to all student readers as well. They are “a great way to bridge what students already know with what they have yet to learn,” according to Costello, as they help facilitate and support students’ ability to visualize and understand complicated ideas. 

This will serve as an ideal way to get reluctant readers engaged in texts. The graphic novels can follow a more traditional format or can be innovative and take the form of a “choose your own adventure” book—something that Costello finds particularly exciting.  

Although the collection originated with the intent to aid education courses, Costello knows that the graphic novels have the potential to be integrated into other departments as well, such as history, English and foreign languages. 

“A great way for someone to learn a new language is through graphic novels because it might be easier for them to see the vocabulary and the tenses in context,” she said. 

Thus far, the collection does include several graphic novels in Spanish, French and Japanese. 

As graphic novels are only growing in popularity, it’s appropriate for the library to integrate the genre into their ample collection. Costello attests that a large number of students are checking out the graphic novels for pure enjoyment, not just for educational purposes. 

In fact, Costello is continuing to grow the collection; she welcomes suggestions from students, faculty and staff. Other than consulting award lists and other book lists, student recommendations are the primary way in which the collection has come to life. Submissions can be emailed to Costello or ordered through IDS’ purchase option. 

As for Costello’s personal favorite, “It’s too hard to say!”

Trump officially proposes axing NEA, Republicans divided

President Donald Trump released his first federal budget proposal to the public on March 16, confirming the fears of the nation’s artists and art lovers. The proposal eliminates funding to a number of arts and entertainment organizations, including the National Endowment for the Arts, the National Endowment for the Humanities, the Institute of Museum and Library Services and the Corporation for Public Broadcasting. 

There have been rumors about Trump’s axing of the NEA for months now, but this proposal proves Trump’s detrimental intentions for the arts. The money saved from cutting these programs is an estimated total of $3 billion. It seems that Trump intends to redirect this money toward defense spending and Homeland Security, according to The Art Newspaper. 

Among those fighting to save these institutions are of course arts groups, such as the Association of Art Museum Directors, the Arts Action Fund and the National Center for Arts Research—but a number of Republican politicians are also against Trump’s defunding of national arts and cultural agencies.  

There are many convincing arguments for keeping these programs. Other than the obvious benefits of creativity, education and freedom of expression, these agencies provide economic and medical advantages as well. 

The NCAR reported on the tangible benefits of national arts organizations such as these, finding that museums contributed about $9.95 billion to the American economy and increased their employment by 1.5 percent. These programs and institutions can also help those suffering with mental diseases—such as Alzheimer’s and post-traumatic stress disorder—regain control of their lives through art therapy programs. Many museums also provide teachers with materials and lesson plans. 

The New York Times emphasizes the importance of the NEA and other arts institutions’ aid to war veterans; the newspaper suggests that redirecting the conversation around this point may be able to save these programs. 

Republicans are famously supportive of veterans and “are so reluctant to take anything away from vets,” according to Democrat Mark Mellman. 

Trump has also spoken extensively about providing care and opportunities to veterans. With the Republican Party in control of both the House of Representatives and the Senate, many supporters of the arts feel it’s necessary to bring up the NEA’s unconditional support of veterans suffering from PTSD. 

This message has resonated with many Republican politicians, such as Alaskan Senator Lisa Murkowski, Maine Senator Susan Collins, West Virginian Senator Shelley Moore Capito, Nevada Representative Mark Amodei and New Jersey Representative Leonard Lance, to name a few.

In fact, Senator Collins and Moore Capito are among those who signed a letter that encouraged continued support for arts and culture agencies in the United States. Murkowski, Amodei and Lance have all released statements of support as well, believing that there is a way to “commit to fiscal responsibility while continuing to support the important benefits that NEA and NEH provide.” Many choose to highlight the 4.8 million jobs that the programs provide as well as how they support our restaurant and tourist industries. 

Unfortunately, there are still those who would prefer to cut the endowments and relocate the money elsewhere. But, as some point out, there are still many obstacles in Trump’s way when it comes to abolishing creativity—in 2011, the Budget Control Act effectively put a cap on military spending.

Although we’ve seen Trump overstep his boundaries before, it’s Congress that officially writes the federal budget. Lobbyists and NEA supporters are wasting no time as they knock on the White House door and appeal to Congress with the hopes of saving the programs. 

With the party so divided on the issue, even those in favor of Trump’s proposal admit that “they have a fight on their hands,” in a never-before-seen Republican battle for the arts.

Livingston Arts’ scholastic art shines light on young artists

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Livingston Arts opened “This Art is Your Art,” a scholastic exhibition, on Saturday April 1. The show consists exclusively of high school artists from all over Livingston County, two of which will be awarded a $200 scholarship at the closing ceremony on April 29. (Annalee Bainnson/Assoc. Photo Editor)

Livingston Arts debuted their latest show, “This Art is Your Art,” on Saturday April 1 in its New Deal and Apartment One galleries. The show exhibits the work of high school artists from across the Genesee Valley area and strives to promote the work of these student artists and to encourage the development of their portfolios. 

Each piece was judged and awarded one of four types of prizes offered: best in show, first place, second place and special award. Each work won at least one prize. In addition, two $200 prizes will be awarded to “students pursuing an arts-related field in college” at a closing reception on April 29. 

This scholastic show comes directly after the Livingston Arts’ members’ exhibition, which showcases some truly beautiful and innovative pieces. Judging from this current show, Livingston County has some wonderful budding artists who might just join the ranks of those featured in the previous show. 

The range of works in this student show speaks volumes to the art departments within the county. Traditional mediums such as drawing, painting, printmaking and ceramics were present, but the exhibition also featured more modern mediums, such as digital photography and mixed media. Despite recent cuts to the college’s own arts programs, it’s evident that the arts are thriving in the surrounding high schools. 

One standout piece is that of Geneseo Central 11th grader Abby Salvaggio. Salvaggio won a special award for her sculpture, which features two hands protruding from the inside of a wooden box. The hands hold the earth, whose blue and green colors are bleeding down onto the floors of the box, on which are two crunched up plastic bottles. The piece is executed quite professionally, with a clear and intriguing message of the ecological responsibility of humans. 

This theme is also echoed in first prize winner and Avon 12th grader Mira Sprinkle’s painting, which depicts a beautifully realistic earth hanging from an iPhone charger. The cord is about to break, but there are human hands positioned just below the planet, ready to catch it when it falls. 

Sprinkle’s work, too, is so expertly completed, making it a bit hard to believe that a high school student is behind its creation. Sprinkle also had two other pieces in the show, which won first place and best in show.

Other than these more traditional pieces, the show includes a great number of pieces that push our expectations. One such piece is Dansville 12th grader Sakina Tasaddaq’s mixed media piece, which won a first-place prize. The piece is a sort of pop-up book that stands open, revealing layers of ocean waves and a tiny sailboat set against a starry night sky. If closed, this piece would look rather unsuspecting, but when opened, a deeper world is revealed, as if your favorite story has come to life. 

Ninth grader from Wayland-Cohocton Cecilia Kuhn also contributed a fantastic piece. The only fiber art piece, Kuhn’s work could be described as a stuffed animal—or a monster. With an H-shaped body and button eyes, the little creature has very simple facial features—just a small mouth and cheeks. Kuhn has stamped purple patterns on its body: tiny flowers, circles, large loops and blotches. 

Though it may look cute and simple, it’s obvious that a lot of strategy and sewing skills on Kuhn’s part made this piece possible, winning it a first-place prize. 

This exhibition reveals the great amount of creativity and expression that the county’s students have to offer. It is encouraging to see just how much they are capable of. There’s only room for these young artists to grow and someday hold exhibitions of their own.

“Sesame Street” introduces first autistic character

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“Sesame Street” recently announced the addition of a new character on the show—Julia, the first Muppet with autism. She will make her TV debut on April 10. (Zach Hyman/AP Photo)

Someone new just moved to 123 Sesame Street. Julia—a bright orange-haired, green-eyed little Muppet—is the newest addition to the family and to “Sesame Street’s” tradition of reflecting reality and tackling big issues. Julia is the first autistic character on the classic children’s television show. 

Julia has been a part of the Sesame Street world via its online storybooks, in which Elmo explains that Julia’s autism means that she does things a little differently than the other Muppets. Her character was so popular, however, that “Sesame Street’s” creator decided to include her in the television show as well, according to CNN.

The creators aim to emphasize that autism can manifest in several different ways. Julia has qualities that are very specific to her, not to all children with autism. For example, she does not like loud sounds, flaps her hands when upset and prefers not to make eye contact. 

Parents had a chance to meet Julia in a “60 Minutes” episode in which she, along with her fellow Muppets and show writer Christine Ferraro, were interviewed by correspondent Lesley Stahl. In the special, Big Bird explains that when he first met Julia, he believed that she did not like him, due to the fact that she did not make eye contact. 

But everyone’s favorite furry red monster and Julia’s long-time friend Elmo is quick to jump in, saying, “Yeah, but you know, we had to explain to Big Bird that Julia likes Big Bird. It’s just that Julia has autism. So sometimes it takes her a little longer to do things.” He adds, “We really like Julia. She’s really special to us.”

The show’s goal—as it always has been—is acceptance. When Julia acts differently than her friends, fellow Muppet Abby Cadabby replies, “That’s just Julia being Julia.” 

But her autism does not define Julia—she’s also a budding artist who loves to paint, emphasizing that autism “brings wonderful things,” according to Rose Jochum, director of internal initiatives at the Autism Society of America. The Sesame Workshop—the company that runs “Sesame Street”—consulted a handful of autism groups in order to learn how to express autism to children. 

Sesame Workshop has also spearheaded the campaign “See Amazing in All Children,” which provides families of children with autism with materials to learn. Julia is just one example of these tools; also offered are videos for both parents and kids, daily routine cards and storybooks. The not-for-profit company has found that the initiative has resulted in many more parents and children being able to identify with the characters they see on screen. 

In addition, they found that after using the materials and being exposed to Julia, children that are not on the autism spectrum are more accepting of those that are. 

And so with Julia, “Sesame Street” is one step closer to their top priority: “Reaching children, looking at these things through their lens and building a greater sense of commonality.” 

Julia’s television debut will be on April 10 on PBS Kids and HBO.

Student explores family, sexuality in personal exhibition

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English major senior Kiaya Rose Dilsner-Lopez exhibited her Edgar Fellows capstone, “Mezclar,” from March 8-10. A series of acrylic portraits, the exhibit is an exploration of Dilsner-Lopez’s family history and sexuality. (Ellayna Fredericks/Staff Photographer)

The Kinetic Gallery kicked off spring break with an eye-opening student exhibition, perfect for those going home to see their families. The gallery hosted English major senior Kiaya Rose Dilsner-Lopez’s exhibit “Mezclar” from March 8-10. As part of her completion of the Edgar Fellows program, Dilsner-Lopez presented a series of brightly colored acrylic portraits as a way to explore her “Chicana identity.” 

Dilsner-Lopez uses the Spanish term mezclar–which translates to “to mix”–to describe the combination of her “culture, ethnicity and sexuality.” The exhibition is comprised of portraits of the artist’s family members; each wall of the gallery coincides with a different section of her “mezclar,” with the families of her biological and adoptive mothers facing each other. Many of the portraits include flowers, which Dilsner-Lopez said she only paints when she “finds warmth.” Dilsner-Lopez affords her sperm donor a portrait as well, though his eyes are covered with a bandana, denoting her distance from him. 

Dilsner-Lopez is both an artist and a writer, as she finds a “potential energy” in language. Each portrait is accompanied by a short poem, except for the one for her donor. His likeness—which is painted behind bars—is paired with a letter from donor to daughter, as Dilsner-Lopez has recently reached out to her father, curious about her biological history. It is through words that she is able to maintain a growing friendship with yet another facet of her family. 

In the center of it all is a self-portrait, but not in the traditional sense. It is a deconstruction of body parts, painted in the same bold colors that make up the smaller surrounding works. This is an effort to recognize the influence of all the painted figures, which are manifested both physically and relationally. 

Dilsner-Lopez’s inspiration for this exhibition stems from a longing to understand her “identity, body and the complexity of my family history.” Growing up as the child of two gay parents took its toll, resulting in shame for her family and her own sexuality. Over time, however, she has grown to take pride in her differences and the differences of others, as she encourages her peers to do so as well. 

“I encourage you all to mix yourselves within the discourse of others,” Dilsner-Lopez said.  

The recent political atmosphere has also encouraged Dilsner-Lopez to view her exhibition as a protest. The mere celebration of ethnic and sexual differences is her “rallying call.” She finds it impossible to “unmix a mixed country,” just as it is fruitless to attempt to ignore one’s familial roots. 

Despite this progress in her journey to self-love and self-acceptance, Dilsner-Lopez knows that it’s not over. She continues to explore her own body and her identity. For this, she turns back to poetry, writing: “But there is beauty and freedom in the ways of the mix/In the ways my body holds histories/In the ways I create love/And in the ways I deconstruct!”

Academy kisses #OscarsSoWhite goodbye

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The 89th Academy Awards has gained praise for its markedly diverse nominees and winners. Among the milestones were NASA hero Katherine Johnson’s standing ovation with the cast of Hidden Figures and Mahershala Ali’s win as the very first Muslim actor to win an Oscar. (Chris Pizzello/AP Photo)

There was never any doubt that the 89th Academy Awards would get political.

Stars turned up with American Civil Liberties Union ribbons pinned to their designer gowns and suits on Sunday Feb. 26, host Jimmy Kimmel made his fair share of allusions to President Donald Trump and presenter Brie Larson refused to applaud Best Actor winner Casey Affleck due to his 2008 sexual harassment allegations—but perhaps what viewers did not expect was for the ceremony to be in stark contrast to last year’s #OscarsSoWhite criticisms. 

Right off the bat, the nominations were much more diverse than in past years, with four out of the nine films nominated for Best Picture centering on the stories of marginalized individuals and the actors from those films receiving their own individual nominations. These films include Fences, Moonlight, Hidden Figures and Lion. 

What’s even more is that Moonlight—which tells the powerful story of a young, gay, black man in Miami—won the award for Best Picture. And who could talk about Moonlight’s win without mentioning the mix-up beginning to be known as “Envelopegate?” Many are noting the importance of the award’s hand-off from the predominately white cast and crew of La La Land to the black talent of Moonlight. 

But the success of Moonlight does not stop there. Mahershala Ali won the award for Best Actor in a Supporting Role for his work in the film. Ali is the very first Muslim actor to ever win an Academy Award. Moonlight writers Berry Jenkins and Tarell Alvin McCraney also won for Best Writing (Adapted Screenplay) for Moonlight. 

During their acceptance speech McCraney called attention to the film’s groundbreaking theme. 

“This goes out to all those black and brown boys and girls and non-gender conforming who don’t see themselves,” McCraney said. “We’re trying to show you, you and us. So thank you, thank you. This is for you.”

In addition to black men finally gaining their much-deserved respect, Sunday night was a big one for black women, as well. Actress Viola Davis became the first black woman to win the triple crown of acting: an Emmy, a Tony and now an Oscar, with her win for Best Supporting Actress for Fences. 

Her acceptance speech urged her peers to “exhume and exalt” the lives and stories of ordinary people. Ruth Negga, Octavia Spencer and Naomie Harris were also nominated and honored for their work. 

But perhaps the most profound moment of the night came when the stars of Hidden Figures—one of the nominees for Best Picture—presented the award for Best Documentary Feature. Taraji P. Henson, Octavia Spencer and Janelle Monae spoke of the importance of films that, “shine the spotlight on those whose names were known to only a few, but whose stories deserve to be told.” Then, surprising audience members and viewers, the trio proudly introduced Katherine Johnson, one of the three African American women whose story is finally told in Hidden Figures. 

“A true NASA and American hero;” Johnson is a physicist and mathematician whose contributions to NASA made America’s space dreams come true in the 1950s. Her history is finally being told and celebrated in 2017. 

This year’s nomination changes—which also include the first nominations of black filmmakers in the categories of cinematography and editing—are a direct result of the Academy’s changes to its rulebook. 

The Academy consisted of an astounding majority of white males in 2016: three-fourths of the body were male; nine-tenths were white. But after the uproar following the ceremony that year, Cheryl Boone Isaacs—the Academy’s black female president—made necessary adjustments. The Academy has added 638 new members to its voting body, has limited membership to 10 years and has made it possible for those who are not involved in new projects during that time to keep their voting rights. 

It looks as though these changes have been for the best: this year, the Academy awarded its most diverse group of winners since its creation in 1929, according to The Huffington Post. 

As always, though, there are still some ways to go when it comes to diversity at awards shows. Latin American and Asian filmmakers and actors remain wildly underrepresented at the Oscars, as well as at other awards ceremonies. 

Hopefully, Isaacs and other organization leaders will keep the changes coming.

Could Betsy DeVos help art education?

One of the latest disappointments from the Trump administration has been the appointment of Betsy DeVos as secretary of education. 

Many criticize the pick due to DeVos’ lack of experience and harsh criticism of the public school system, having never attended or worked in a public school. She even stated recently that she’d be happy to abolish the Department of Education altogether—but DeVos may surprise us, as she has the potential to be a positive force for the future of art education. 

DeVos has a “lifelong interest in art and design” and has the credentials to back it up, according to her own website. She served on the Board of Trustees for the John F. Kennedy Center for the Performing Arts under former President George W. Bush, funded the DeVos Institute of Arts Management at the University of Maryland with her husband Dick and served on the board of ArtPrize. 

In addition, she and her husband founded the Dick and Betsy DeVos Family Foundation, which supports causes in five areas, two of which are education and art. 

ArtPrize—which is credited as being “the most-attended public art event on the planet”—is an art competition that takes place in downtown Grand Rapids, Michigan, over the course of 19 days. ArtPrize proudly describes itself as being an “unorthodox, highly disruptive and undeniably intriguing” event where “anyone can find a voice in the conversation about what is art and why it matters.” It boasts attendees and artists from all over the world who travel to see “every inch of downtown” covered in art. 

DeVos’ association with such a seemingly progressive, modern and inclusive event is interesting considering her history of using her vast funds to support only private Christian schools, which are, for better or worse, notoriously conservative. While DeVos herself is not the mastermind behind the formation of the event, her son Rick is its founder and current chairman.

This, however, has not kept the arts community from criticizing DeVos and her recent appointment. In fact, senior editor at Hyperallergic Jillian Steinhauer suggests that we should be wary of DeVos’ enthusiastic involvement of the arts, saying that it is “a form of soft power—a means to look benevolent and enlightened while being pretty nefarious.” 

Steinhauer also states that although we must acknowledge DeVos’ alignment with the arts, it should not discourage creators from criticizing our new secretary of education. 

There is also, of course, the crucial fact that DeVos has remained largely silent when it comes to the arts and the future of art in the public education system. Instead, she focuses on her proposed installment of school choice and charter programs, which she had previously begun in her home state of Michigan. 

Furthermore, DeVos’ apparent view of the arts certainly does not align with that of President Donald Trump, who has threatened to defund the National Endowment for the Arts. Would DeVos turn her back on the arts to stay in the good graces of the man who gave her the power to turn her education dreams into a reality? 

While DeVos’ past support of the arts may shed a more flattering light on the secretary, the best that art teachers and enthusiasts can do right now is keep their fingers crossed and hope that the arts remain a priority for DeVos.

Livingston Arts hosts 50th annual members’ exhibit

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Livingston Arts is celebrating their 50th anniversary with their annual members’ exhibition entitled “Freedom of Expression.” The show strives to represent a large variety of artists, mediums and themes, and it features some of Livingston County’s most inventive artists. (Annalee Bainnson/Assoc. Photo Editor)

Livingston Arts’ latest exhibit is one of their most dynamic yet. “Freedom of Expression” is the center’s 50th annual members’ exhibit that shows the work of its members. 

Founded by late Geneseo professor of art Bertha V. B. Lederer—for whom the Lederer Gallery on campus is named after—the center has been holding members’ exhibits from its inception in 1967. 

Livingston Arts’ bicentennial coincides with that of the Lederer Gallery, which held its own anniversary gala and exhibition in the fall.

“In our 50th season, we continue to expand the media represented and the geography of our artists,” Executive Director of the Livingston Arts Center Betsy Harris said. “We welcome all two and three-dimensional works in traditional and digital media for our exhibit.” 

One look at the exhibit and any visitor can see that this is unequivocally true. Filling both the New Deal Gallery and the Apartment One Gallery, the pieces ranged from beautifully crafted paintings to groundbreaking sculptures.

This year’s title and theme derives from former President Franklin D. Roosevelt’s “Four Freedoms” speech in which he outlines the four “essential human freedoms:” freedom of speech and expression, freedom of every person to worship God in his own way, freedom of want and freedom from fear. This, of course, stays true to the New Deal Gallery—which presents Works Progress Administration artists’ works from FDR’s New Deal—and connects to recent political issues. 

One notable piece in the show is Dan DeZarn’s “Winter Wood and Heat Study,” a sculpture composed of wood fired terracotta pieces engrained with fossilized leaves and mounted on the wall via steel rods. 

Interestingly, the piece is presented as a whole, but its pieces can also stand alone. DeZarn is the director of the Office of Sustainability and a former professor of sculpture at the college. He has ties with the annual Ephemeral Arts Festival, which aims to promote the concept of nature as art. 

Meanwhile, Mark Calicchia’s “Metamorphic Moments in Time” is another standout as a dollhouse packed to the brim with miniatures, buttons, pins and other objects. The sculpture can be seen from 360 degrees, with something new to observe at every angle. 

Some rooms of “Metamorphic Moments in Time” have a theme, such as Christmas or art, but others are compilations of various objects. The roof is adorned with smaller houses and the outside of the house is surrounded with pictures with accompanying observers, resulting in our own realization as viewers that we are outsiders looking in on this sculpture. 

While the exhibit boasts its fair share of traditional media—such as Julia Stewart’s expertly crafted “Silent River” and Ted Wetherbee’s “Clock Without Hands,” which is a series of “nursing home paintings”—some pieces likely cannot be seen elsewhere. David Missel’s “2 Dolphins” and “Golfer” are carvings done on pieces of bracket fungus and Patrice Case’s “Scoop” and “Stir” are exquisite sterling silver spoons that she handcrafted with carvings and cutouts, but are still completely usable. 

Tucked up on the top of Murray Hill, the Livingston Arts Center is an unassuming and small building among a community of larger structures—but waiting inside is the work of some of Livingston County’s best artists, creators and innovators, proving that Livingston County has its fair share of artistic genius. 

“Freedom of Expression” is on display until March 18.

Netflix docuseries chronicles creative processes of modern artists

One of Netflix’s newest original endeavors also happens to be its most artful to date. With the new documentary series, “Abstract: The Art of Design” the online television and movie watching platform is taking a look at the artistic journeys of eight modern artists. 

These aren’t your typical oil-on-canvas artists either: they are dynamic creators of widely different media and are making big waves in their respective fields. Through this new documentary series, Netflix brings us into the lives and artistic processes of an illustrator, a Nike shoe designer, a stage designer, an architect, an automotive designer, a graphic designer, a photographer and an interior designer.

Through clever and charming animation, each episode is personalized to the artist with montages that showcase their work. Although they differ greatly in terms of what and how they create, all eight of the featured designers seem to agree that the best art comes from experience, and the series is about communicating these experiences to the public.

As a part of its personalization, the documentary series takes care to film each individual in his or her natural spaces—gone is the traditional interview against a black background. 

This style of filming not only adds visual appeal for the viewer and allows for more of a focus on the process of creating art, but it also humanizes the artist. Seeing architectural genius Bjarke Ingels standing next to one of his mountainous buildings serves to remind us that this amazing artistic feat has come from a human mind—someone that could be sitting right next to us. 

From each of these artists, we learn vital lessons about what it means to be an artist and the motivation behind creating. Episode one is dedicated to illustrator Christoph Niemann, whose colorful abstractions and cartoons have graced the cover of The New Yorker 22 times—and counting. 

Using Legos to create abstract structures and images that every New Yorker could identify, Niemann affirms that design celebrates the world and makes familiar things look new and innovative. 

We are also introduced to non-traditional artists—people behind the scenes that the world forgets to appreciate. This includes people like Tinker Hatfield—the legendary Nike shoe designer who is credited with popularizing Air Jordans and for whom design is about problem solving and “predicting the needs of the future”—and stage designer Es Devlin, who is the mastermind behind some of the most innovative productions of “Hamlet” and memorable Beyoncé concerts. 

By bringing these artists to the public’s attention, the documentary series effectively broadens our definition of an artist. Instead of just a painter, drawer or photographer, an artist becomes anyone dedicated to pushing boundaries and to creating enjoyable and meaningful products.

The documentary itself seems to be a perfect example of what Niemann suggests in the very first episode: “The gateway drug is not creating art, but experiencing it.” Thus, the series provides a perfect introduction or continuation of any viewer’s individual artistic journey.

Chance the Rapper first Grammy winner without label

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Twenty-three year old newcomer Chance the Rapper took home three Grammys last Sunday. He is the first artist to ever win the award without a record label. (Matt Sayles/AP Photo)

There is much to talk about in the days following the 59th Grammy Awards—from Beyoncé’s show stopping performance while pregnant to Adele’s big wins—but perhaps the most talked about artist of the night is newcomer Chance the Rapper. 

The Chicago native won three major awards on Sunday Feb. 12—best new artist, best rap album and best rap performance—and he did it all without a label, choosing instead to give his music to listeners for free. 

With a career that began when he was just 18 years old touring as Childish Gambino’s opening act, Chance—born Chancelor Johnathan Bennett—has created a total of three mixtapes, the latest of which earned those three Grammy wins.  He then released them online for listeners to stream—completely free of charge. 

Both Acid Rap and Coloring Book have received rave reviews from fellow rap artists, critics and former White House inhabitants (Malia Obama is a fan). In fact, Coloring Book, with its authentic themes of “God, love, Chicago and dance,” beat out some huge names in the category for best rap album, including DJ Khaled, Drake and Kanye West. 

Although he’s certainly had the chance to sign with many major labels, Chance decided to stay independent, which allows him to “offer my best work to people without any limit on it” and work more creatively and freely. Plus, Chance has said that he doesn’t want to be a part of the record labels’ “dick-swinging contest” to get the most and best rappers.

And his refusal to sign with a record label hasn’t hindered Chance in the slightest. He’s written for and learned from West, collaborated with Lin-Manuel Miranda and toured with Macklemore. 

“I honestly believe if you put effort into something and you execute properly, you don’t necessarily have to go through the traditional ways,” Chance said.  

So how exactly does this 23-year-old rap genius make a living? The answer is simpler than expected—by selling concert tickets and merchandise. That’s it. Being an independent artist comes with some seriously dedicated fans. Who wouldn’t appreciate being able to legally and easily download quality content straight to their iPhones and computers?

Although he doesn’t come without his fair share of history, everything about Chance seems to be genuine: his love for his new family—as he has a young daughter with girlfriend Kirsten Corely—his dedication to producing meaningful music and his determination to tell the truth. 

In fact, Chance is an active fighter against gun violence in his hometown of Chicago and is a part of the My Brother’s Keeper campaign, which strives to address the challenges faced by young black individuals and to promote racial equality. 

As for the rapper’s next move, it could be anything; he’s independent, after all. But for now, he’s followed up his Grammy wins with the announcement of his spring tour, which will be sure to keep Chance out of record labels’ reach.

Lady Gaga’s halftime show wows viewers despite political divisions

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Lady Gaga’s halftime show performance this past Sunday at Super Bowl 51 impressed the nation. Many praised the star’s subtle political references and overall positive attitude, as well as her breathtaking showmanship. (Darron Cummings/AP Photo)

When Super Bowl 51 began on Sunday Feb. 5, thousands of fans were filled with excitement and curiosity, wondering if the four-time Super Bowl winners—the New England Patriots—would take home the Lombardi trophy yet again. But perhaps even a bigger sense of mystery surrounded Lady Gaga and her half time show. 

With various rumors floating around about what the famously over-the-top pop star would surprise us with next, many couldn’t wait to see which rumors proved true.

One of the biggest issues surrounding Gaga’s performance was the prohibition of any political statement from the star. Known as an outspoken celebrity, Gaga’s political affiliations are no mystery. Yet rumors ran rampant that the singer was explicitly told not to “bring anything up about the election, or mention Donald Trump.” The National Football League, however, denied this vehemently, telling the media that this rumor was “nonsense.” 

When the performance finally began, any questions about a political statement were immediately answered, as Gaga kicked off her gig—while standing on the roof of the stadium, surrounded by red and blue lights—with a rendition of “America the Beautiful” and “This Land is Your Land.” 

Super Bowl half-time performers are not usually in the habit of starting their performances with patriotic songs—that right is usually reserved for the singer of the National Anthem. Although football is an exclusively American sport, it seems to be clear that the inclusion of “This Land is Your Land” is meant to be a statement regarding President Trump’s recent travel ban. 

In addition to these patriotic anthems, Gaga also quoted the Pledge of Allegiance, announcing, “One Nation under God, indivisible, with liberty and justice for all.” Some are also arguing that the inclusion of one of Gaga’s more inspiring and powerful songs, “Born This Way,” was also a political statement about inclusion. 

It wasn’t all political, though. Many were just as excited to witness what was sure to be an amazing and entertaining show from one of the world’s top pop stars. And Gaga did not disappoint her “little monsters.” 

Starting the show off by leaping down from the roof and onto the stage below, Gaga began her 13-minute performance with one of her very first hits, “Poker Face.” With an army of back-up dancers and a keytar, the stadium watched in excitement as the star strutted and danced around the stage in a bedazzled body suit, belting out her top hits. 

It was also rumored that Beyoncé—who recently announced her pregnancy with twins—would make a guest appearance, as she and Gaga collaborated in 2010 on “Telephone.” And while she did perform the hit, her partner was absent. But this should not come as a shock, as Gaga posted on Instagram prior to the show, thanking her fans and stating that “I’m doing these 13 minutes solo!” 

Another one of Gaga’s partners, Tony Bennett, made a seconds-long appearance before the performance began, cutely introducing the show with a bottle of Pepsi. 

For the most part, Gaga’s set list was a blast from the past—many songs dating back to her early career in the 2000s, apart from a few more recent hits. Of course, Gaga’s new album, Joanne, made an appearance with one of its more popular songs, “Million Reasons.” 

For this newest hit—and arguably the most serious song of the night—Gaga took to the piano. Some are criticizing the inclusion of this song, citing its stylistic differences from the rest of the set list, but what would be a Gaga show without variation? 

After Gaga ended the show by climbing to the top of a metal staircase, throwing her microphone into the crowd and hurling herself down, the crowd—and the Internet—exploded. Millions are praising Gaga not only for her musical and entertainment prowess, but also for her positive and optimistic attitude. Despite her fame, the star has managed to stay humble and has become a spokesperson for individualism and acceptance. 

It’s no secret that 2017 has begun as a tumultuous year, with much of the nation divided politically. But it seems that Lady Gaga was a more than appropriate choice to deliver a message of togetherness and cooperation to the nation.

Sociology professor finds the key to well-being

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Professor of sociology Steve Derne has published his latest book, Sociology of Well-Being: Lessons from India. Based on 203 interviews he conducted in India, Derne explains to his reader “how to live the good life.” (Courtesy of Steve Derne)

Everyone wants to know the key to living a happy life. Is it eating the right foods? Exercising? Spending time with family and friends? Professor of sociology Steve Derné may have found the answer.

Derné’s latest book, Sociology of Well-Being: Lessons from India, takes an in-depth and personal look at how well-being is approached and achieved in India. By conducting a total of 203 interviews over 10 years, Derné has gained some critical insight into the keys of healthy and happy living.

Drawn to India by chance in 1986, but staying by choice, Derné is no stranger to conducting research there. In fact, he’s lived there on and off for the past 30 years, and has become a devotee of the Hindu god, Shiva. From his experiences, he has found that Indians have a useful way of looking at life: “[they] generally see that it’s all good.”

Derné began this newest study back in 2007, deciding to shift his sociological focus from suffering to well-being. Why? Because he, like everyone else, wants “to live the good life.” In the city of Dehradun and throughout the Himalayas, Derné asked these three basic questions: “What does well-being meant to you? Can you tell me about a time when you experienced well-being? Can you tell me about a time when you experience a lack of well-being?” 

Derné was particularly excited by the answers, explaining, “I knew immediately that these were the best interviews that I’d ever done because it turns out that there’s nothing that really guides people when they’re talking about well-being.” 

When asked about what leads to well-being, Derné’s interviewees told him that everything from “getting good sleep and giving up eating pawn” was the key. From this data, Derné finds that “living the good life” is dependent on two major things: our ability to find meaning during hard times and our ability to find simple pleasures. 

Derné also says that well-being is largely mixed. 

“You can have lack of satisfaction and satisfaction at the same time,” Derné said.

Well-being is constantly changing as your focus changes and, interestingly enough, is the result of contradictory actions. So how do we go about bringing well-being into our own lives? We find simple pleasures and partake in a large variety of activities, according to Derné. 

“One time I’m surfing, one time I’m horseback riding, one time I did kayaking,” Derné said. “But you’re not going to be able to surf all your life. It’s really the ability and the commitment to find pleasures so that you have little things that bring up your life.”

Included in the book is research from some of Derné’s senior sociology students, who conducted the same interviews in the United States. Their own research was analyzed and presented on Geneseo Recognizing Excellence, Achievement & Talent Day. 

Interestingly, Derné finds no great contrasts between the American and Indian interviews. Rather, Derné has found that well-being “is the same all around the world. Americans do see those things, too, but Indians see them more easily.”

The book itself is a rewarding read, with charming real life characters and Derné’s personal voice ringing loud and clear. If “living the good life” is one of your New Year’s resolutions, then perhaps this is the book for you.

Stars speak out against travel ban at Screen Actors Guild Awards

The 23rd Screen Actors Guild Awards turned into an impromptu political rally on Sunday Jan. 29 as dozens of stars took the opportunity to express their viewpoints during this highly publicized event. 

As the night began, celebrities were already turning heads on the red carpet—and not just for their daring fashion choices. In protest of President Trump’s recent immigration ban, “The Big Bang Theory” star Simon Helberg and his wife Jocelyn Towne proudly displayed “Refugees Welcome” and “Let Them In” signs over their designer garb. 

As the awards were doled out, it seemed that every winner had something to say regarding the current political atmosphere—Trump’s recent travel ban in particular.     Presenter for outstanding performance by a female actor in a comedy series—the very first award of the night—Ashton Kutcher had the responsibility of welcoming guests to the awards ceremony. While doing so, Kutcher—whose wife actress Mila Kunis is an immigrant herself—also welcomed “everyone in airports that belong in my America,” assuring them, “You are a part of the fabric of who we are. And we love you; and we welcome you.”

Taking cue from both Helberg and Kutcher, the night’s first winner, Julia Louis-Dreyfus—who won for her role in the political comedy “Veep”—did not hesitate to criticize the president’s latest order, calling the ban “un-American.” 

Winners such as Emma Stone—for outstanding performance by a female actor in a leading role—Sarah Paulson—for outstanding performance by a female actor in a television movie or miniseries—and Lily Tomlin—for the Lifetime Achievement Award—made special use of their acceptance speeches to stand up for those effected by the ban and to speak out against President Trump’s recent decisions.

But two of the most powerful speeches of the night came from the cast of “Stranger Things”—who won for their collective outstanding performance by an ensemble in a drama series—and Mahershala Ali—who won the award for outstanding performance by a male actor in a supporting role for his work in Moonlight. 

David Harbour, who plays Police Chief Jim Hopper in “Stranger Things,” accepted the award for the cast—many of whom are 12-15-year-old children—and made the acceptance speech. With an amazing amount of passion—almost deserving of an award itself—Harbour struck a chord with every guest in the room. Harbour was met with a powerful reaction from his peers as he cried out, “We will shelter freaks and outcasts, those who have no homes. We will get past the lies, we will hunt monsters.” 

Not only did Harbour’s speech speak of the travel ban, but it also touched upon some major messages in “Stranger Things” itself, continuing, “And when we are at a loss amidst the hypocrisy and the casual violence of certain individuals and institutions we will, as per Chief Jim Hopper, punch some people in the face when they seek to destroy the weak and the disenfranchised and the marginalized.”

As for Ali, the issue hits extremely close to home. Telling the personal story of how his mother, an ordained minister, disapproved of his conversion to Islam 17 years ago, Ali emphasized the need to treat everyone as what we are: human. 

“We put things to the side, and I’m able to see her, she’s able to see me—we love each other, the love has grown, and that stuff is minutiae. It’s not that important,” Ali said.

He also noted how his role in Moonlight—where he played a gay, impoverished black boy growing up in Miami—taught him about the consequences of discrimination and racism. 

“[In the movie] we see what happens when you persecute people … they fold into themselves,” Ali said. 

The stars in the room had no qualms about agreeing with and supporting their fellow artists. They’ll have no problem taking Harbour’s advice to “go deeper and through our art battle against fear,” but for those unable to act through art, perhaps the words of another SAG winner would be more helpful. Taraji P. Henson, who accepted the cast of Hidden Figures’ award for outstanding performance by a cast in a theatrical motion picture, gave this reminder: “Love wins. Every time.”

Hollywood bids farewell to renowned TV, film actors

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Best known for her relatable roles on “The Dick Van Dyke Show” and “The Mary Tyler Moore Show,” Mary Tyler Moore passed away on Jan. 25 at the age of 80. Sir John Hurt, who was known for his work in sci-fi and fantasy roles, passed away on the same day at the age of 77. (Tina Finberg/AP Photo)

Just one month into the New Year, Hollywood has lost two of its most groundbreaking artists. American actress-comedienne Mary Tyler Moore, 80, and prominent English actor Sir John Hurt, 77, both passed away on Jan. 25.  

More than just a talented actress, Moore is known for her characters who defied gender norms and broke the mold of female stereotypes. It was her role in “The Dick Van Dyke Show” that first rocketed her to stardom. For five years, Moore played Laura Petrie, wife to Dick Van Dyke’s Rob Petrie—but Moore played no typical TV housewife. 

“I want to do what I do in real life, what my friends do, and that’s to be a realistic wife who wears pants and doesn’t care how she looks,” Moore said on her breakout role.   

And that’s exactly what she did. As the charmingly relatable Laura Petrie, Moore—and her capri pants—grew insanely popular. 

That worldwide fame was kept alive when Moore became the star of her own sitcom, appropriately titled, “The Mary Tyler Moore Show.” Here, Moore’s feminist efforts were more pronounced than ever before. Starring as Mary Richards, a television news producer, Moore’s new show premiered just as the second wave of the feminist movement was taking hold. 

Unlike most sitcoms, the show was centered on Richards’ career and friends—not her family and home life. The comedy quickly became a household staple of the 1970s, winning an astounding 29 Emmys. 

Meanwhile, on the other side of the pond, English actor John Hurt was making waves as well. Known for playing wild and tormented characters—as well as having the ability to play a large variety of roles—Hurt quickly became one of England’s best-known actors. With a knack for sci-fi and fantasy roles, Hurt played everything from a homosexual writer, to the titular role in 1980’s The Elephant Man, to wand-maker Mr. Ollivander from the Harry Potter films. His final scene in 1979’s Alien, in which a creature burst through his chest, has been called “one of the most memorable [moments] in cinematic history.” Hurt has died on screen at least 43 times, according to IMDb.

Hurt’s convincing and sympathetic acting chops—accentuated by his trademark craggy face and “honey and acid” dripping voice—was so impressive that it gained him the title of Commander of the Most Excellent Order of the British Empire in 2004, joining the ranks of Sir Ian McKellen, Sir Patrick Stewart and Dame Maggie Smith.

Both Moore and Hurt were honored at the 2017 Screen Actors Guild Awards on Sunday Jan. 29, where they acted as poignant reminders of how excellent film and television can be a tremendous tool in helping to bring about positive social and political change.