Fall semester brings changes in leadership, location for AOP

Geneseo’s Access Opportunity Program has undergone several changes in the past year. The department has been relocated and a longtime director has left. Interim director & coordinator of admissions Gabriel Iturbides is currently running the program. The changes have affected the entire department, including the two smaller programs. The Educational Opportunity Program is a state-sponsored program designed for students coming from lower income households designed to help them with their education. The Transitional Opportunity Program is similar, but is Geneseo-sponsored and encompasses first generation students, students of color, rural students and non-traditional students—students over the age of 24—who may fall just short of the academic standards of Geneseo but still possess impressive talents.

The most recent and significant change to AOP occurred over the summer with the departmental move from Blake C to Sturges Room 120. “The space on campus has been critical. The school really looks at which space works for whom,” Iturbides said. “Blake has been a question for a while. [Geneseo has] been looking at Blake as a place that may be utilized differently or may be destroyed as a way to make room for the library.”

The new space will benefit the approximately 441 students within the department. The students can now use this space to meet with advisors, study and use the materials and tutoring services provided by AOP. “We did not want to be put in a place that wasn’t accessible or seeming to be not part of the campus, but with Sturges we are right at the forefront,” Iturbides said. “We feel appreciated with this location.”

Iturbides also expressed how well he believed the students seem to be responding to the move. “It is such a spacious, inviting office space,” AOP student senior Alexandra Salerno said. “The counselor’s offices are bigger and there are various rooms for tutoring, meetings and studying. It is refreshing for the entire department to be in a new space.”

Former AOP director Calvin Gantt left for job promotional reasons in January, leaving the department in search of a director. Iturbides has applied for the position and hopes to retain his duties managing both EOP and TOP. He also plans to continue recruiting new students.

“I will be in New York City the first full week of October to recruit,” Iturbides said. “We’re going to be in a lot of different high schools and that’s going to be a new adventure … but at the same time, it’s a very different aspect, especially with having a smaller staff right now.”

According to Iturbides, the AOP website will also be changing in the near future. It will be more accessible and also incorporate AOP’s updated logo, which was designed by TOP sophomore Sofia Villalon, who worked with Geneseo campus photographer Keith Walters’ wife, Joanna Walters.

“[The new logo] is a bold statement of academic success,” Iturbides said. “We want to make sure that AOP is well-known. I think there are a lot of unknowns when it comes to the program and we want to get out of that aura.” The logo will be uploaded on the website soon and will be reproduced on print materials both on and off campus.

“I thought about my experience with AOP,” Villalon said. “It’s my foundation … the two pillars of TOP and EOP. come as one and they’re a basis for many students to build a great career and a family. And that’s what it feels like.”

Iturbides expressed his excitement over the changes to the department. “Keeping that integrity with new ideas is probably the biggest challenge,” Iturbides said. “We’re really changing right now and I think that’s a good thing because the world is changing around us as well.”

Allyson Pereyra is a member of  the Access Opportunity Program under the Educational Opportunity Program.

Art From Abroad: European capitals provide powerful artistic experiences

Rome, Italy Rome is one of the most walk-accessible cities I’ve ever visited. If Florence is the center of Italy’s art, Rome is the foundation of its democracy and civilization.

The first thing I visited was the Colosseum—an amphitheater where gladiator, animal and naval battles were held for entertainment. Entrance costs about €12-, and this includes entrance to the Roman Forum and Palatine. Nearby is the Trevi Fountain, which is under restoration right now—so it looked nothing like it did in The Lizzie McGuire Movie—but it is still very beautiful.

Lastly, the Pantheon—which has no entrance fee—is a must-see. Outside of it is an incredible Greek-influenced structure with Corinthian columns, and inside it’s even greater. You can look up and see the Oculus, which the Romans used as a main source of natural light. The Pantheon also serves as a tomb for beloved Italian Renaissance painter Raphael. I have to mention the Vatican, which I am still missing because a whole day is necessary to explore it as well as the Sistine Chapel. I recommend going on a Sunday when the Pope appears from a window at noon to greet everyone.

Madrid, Spain

Before I describe my experience at the Museo Nacional del Prado, I should discuss Atocha, the neighborhood in which the museum is located. It is a popular metro stop and area where you will find various cafes and popular tourist destinations including the Museo Reina and the Museo Nacional del Prado.

Atocha also has plenty of thieves. After my visit to the Museo Nacional del Prado, two girls performed a typical “map” trick, in which they act like tourists, speak a foreign language and put a map in front of you while stealing from you. Be careful—my phone was stolen because of an incident like this.

Aside from that, the Prado is home to some of the most beautiful artworks I’ve studied in textbooks, but never imagined I would see in front of me. I went straight to my two favorite Spanish works: Diego Velázquez’s “Las Meninas” and Francisco Goya’s “The Third of May 1808.” For “Las Meninas,” there is a little trick that if you hold a mirror facing you with the painting behind you, the perspective of the room changes. This is why you’ll see many visitors with their cameras in “selfie-mode,” which is the only exception to having your camera out. Try it, but FYI, this is one of the strictest museums I’ve ever been to regarding photos—security will be called.

Another one of my favorites from the museum is by Flemish painter Hieronymus Bosch’s “Garden of Earthly Delights.” It will take you a while to observe all the different trippy and weird “delights,” which are simply allusions to sin.

GDE’s narrative choreography expresses student creativity

The human body is an unassuming instrument with an ability to contort, support and retract itself in ways that we may overlook. With much abundance in limbs and wide varieties in movement, the Geneseo Dance Ensemble presented its annual “47Live: Visual Dynamics” performance. The show included eight total pieces choreographed by senior student artists, some of whom were also student directors. All were under the direction of professor of dance, artistic director, curator and producer Jonette Lancos with the associate direction of assistant professor of dance studies Mark Broomfield.

Each student dancer had a different story behind the motivation for each dance, varying from personal references, historical interests and much more. The dances ranged in fluidity and pace in accordance to the equally dynamic and student designed use of sound, lighting and costume also student-designed.

Some of the earlier pieces included “Letters of Heroines,” an intergalactic-like piece with an emphasis on gravity and its heavy weight. Choreographed by senior Justine Lazatin, the dance seemed to encompass a theme of motion with exaggerated choreography packed with action, slow motion and mirrored movements.

“[The dance] is centered around the idiom of taking one step forward and two steps back,” Lazatin explained. “I wanted to explore this in a physical sense … something is constantly pulling them back. In an emotional sense, it’s such a common thing to feel like you’re making progress but something keeps pulling you backwards.”

Directed by senior Lisa Cadara, the lively “La Belle Époque,” is reminiscent of the 1920s and is sure to remind audiences of the extravagant and jazz-filled era of the The Great Gatsby.

“I found the music first, and that kind of dictated the movement from there,” Cadara said. “I’m a French major so that’s where the inspiration and the love for France came from.” The first part of the piece is Paris during the day, so the music and dance movements are at a slower pace. The second half suddenly transforms into a jazzy, fast paced—almost seductive—setting. The flapper-esque dancers made the rapid dance moves look impressively challenging.

According to Cadara, the dancers each have a specific identity and character from history they are supposed to portray, including CoCo Channel, Josephine Baker and Getrude Stein. “I did a lot of research that was supposed to match with the time period, like the Charleston and Lindy Hop,” Cadara said.

In contrast, senior Lindsay Rathbun’s “Non Obstante” began with fast, sharp movements and a beating drum up against dim red lighting, developing into a steadier and lighter dance. In this piece, the dancers resembled fighters who display some sort of despair through their body language toward the end.

“My motivation was that being a warrior doesn’t always mean being strong. It’s actually about knowing that it’s okay to be vulnerable and break down every once in a while,” Rathbun said. “I actually lost a loved one to cancer, and so I decided to make a piece about that and how you’re still a warrior even if you’re not the strongest person in the room.”

“47Live: Visual Dynamics” shared a dynamism in all senses in the body, and aside from motivations, the movements are up for individual interpretation.

The show runs from Thursday Dec. 5 at 7:30 p.m. to Sunday Dec. 7 at 2 p.m. in the Alice Austin Theatre. Tickets are $10 and available at the Student Association Ticket Office.

Local Beat: Soft Cough makes big noise with sick sounds

Musically contagious but not quite a virus, Geneseo’s homegrown band Soft Cough is catching the attention of college students everywhere. The self-described “low-fi, janky-pop” band consists of a group of juniors: bassist Tom Kohn, guitarist Dan Pugh, guitarist Nick Koithan and drummer Ben Freiman, who all alternate singing. Collectively, the band has made its way from playing for friends around campus to playing for others at neighboring college campuses and more. Soft Cough’s dynamic is definitely a contributor to its laidback sound. “The way it works is someone will write a song and it will come to the band, we play it—jam on it for a little bit—and that person usually sings that song,” Kohn explained. “[My sound is] very funky cause I love funk music. Nick loves shredding cause he’s a dad and he likes dad rock. Dan’s stuff is very technical, which comes into play a lot in his songs. And Ben is the workforce that keeps us all on track.”

Each member has such a distinct persona that one has to wonder how an agreement on a type of style comes about. “It’s cool because we all have very different tastes in music but we [also] have some overlapping interests,” Koithan said. “We play sort of like whimsical songs that are very catchy. You can throw someone through a window when they listen to our songs or you can pat them on the back,” Kohn said.

Having just come back from playing a show at Syracuse University, the members have made an impressive effort to reach audiences beyond Geneseo. “I have a friend in Syracuse who’s involved in the music scene there and the radio station and he’s in a band, so Dan and I played there last semester—just the two of us—and earlier in the semester we tested the water [there],” Freiman said. “And [we] played a radio launch party for them in a college basement, and then this [past] show was at Spark Art Space—a multipurpose art space [where] we played with a band called Toons.”

Despite the loyal fans and friends from back home who followed Soft Cough to Syracuse, the band did observe a significant difference in Syracuse’s audience. “The Geneseo music scene is definitely more enthusiastic,” Kohn said. “More vibrant,” Freiman added.

Through their experiences, the band has noticed that although the Geneseo music scene is rapidly developing, the people here are willing to make an extra effort to simply have fun and support their friends. “People will walk, like, a mile in the snow to come to an open-mic at our house, and [at Syracuse] I feel like people will still come out and make the effort, but no one seemed like they wanted to be there,” Pugh said. “We had so much fun with the other bands though.”

It’s surprising how far Soft Cough has gotten without being online or having any distributed recorded material. Although each band member has material on Soundcloud separately, there is no Soft Cough material online just yet. “We’re so close to recording music and putting stuff together,” Kohn said. “We have stuff recorded and eventually we want to be on Soundcloud. Hopefully that’ll spread our name and get the word out. So far we’re just like a live band.”

Pugh explained how the band has received most of its invitations to play on other campuses through word of mouth. With this exposure, Soft Cough plans to connect with other campuses in the greater New York area, beginning with other SUNY schools. “If you go to a small school like Geneseo, I don’t see why you wouldn’t be proud or glad that there was a local band who consistently is putting on local [free] shows,” Kohn said.

For now, fans can look forward to a tape by the end of the semester and look forward to more news about Soft Cough’s whereabouts.

G-spot: The dangers of double standards

In a world where a name or category exists for almost everything, it can be incredibly difficult to resist the urge to label people. This is especially true for the millennial generation—a population of technologically savvy 20-something to 30-something year-olds who basically coined the term “hookup culture.” As a 20-year-old college student, I’ve noticed that within this “culture” there are many double standards and stereotypes that judge and label based on certain actions and behaviors of individuals or groups. As a result, we have the latest human sexuality neologism: slut-shaming—making a person feel guilty for certain sexual actions that contradict conventional gender expectations or roles.

The popular and satirical––and usually on point––online dictionary of slang and phrases Urban Dictionary defines slut-shaming as “an unfortunate phenomenon in which people degrade or mock a woman because she enjoys having sex, has sex a lot or may even just be rumored to participate in sexual activity.”

The label “slut” is a product of the “hookup culture” in college and is especially prevalent for females, who are shamed by both their female counterparts and other males for being “too promiscuous” or open with their sexual endeavors. A woman’s expressed sexuality and confidence is deemed as “slutty,” “loose” or “easy.”

Women in particular are incredibly judgmental of one another—and even with themselves––when it comes to causal sex. I’ve overheard various conversations among college girlfriends who, after recounting a fun weekend, begin to regret going home with “that guy” or hooking up with someone while drunk and their friend will shockingly agree.

If in the moment she feels attraction and is having fun with no harm done, why is this shame so heavy? If she is at a party flirting or wearing something that she chose to wear, why should others judge her when she is clearly expressing her sexual freedom?

For men, however, it seems to be more acceptable when they express their sexuality. It’s alright when they talk and joke about hooking up with a girl or multiple girls over the course of a weekend and a couple of beers. Yet, females feel guilt or humiliation when they do the same—or they avoid it all together by not discussing it.

We are all sexual beings with emotional and physical desires, wants and needs. Slut-shaming is a way of putting someone down to either feel more powerful or to avoid insecurities. And when someone does it to themselves, it shows how our society—a predominately Christian-influenced American society—has made sex seem like a bad thing for women to talk about or even express.

Regardless of the reasons behind slut shaming, it is a term that comes out of a misled, misinformed misogynistic culture that has contributed to the degradation of females and confusion of sexual freedom with predatory motives or the “easiness” of a girl.

While the actual “slut” does not exist per se, the reality of the shaming does and so do the negative externalities that come with it, making all the more reason to end it.

New Yorkers “shake off” Taylor Swift’s move to the big city

As a native New Yorker, I am naturally assertive and proud of the rich history and diversity that makes up New York City. Living in the city itself is an acquired lifestyle—one that many cannot handle. It’s possible––and at the same time impossible––for non-natives to assimilate into the unique hustle and bustle and the melting pot of cultures that exists. New Yorkers are very sensitive about how their city is represented and can be extremely territorial. So New Yorkers everywhere squirmed when Tennessee-raised country singer-turned-pop-queen Taylor Swift was recently named New York City’s “Global Welcome Ambassador” for 2014-2015 by the city’s tourism board. Some turned to social media to voice their opinions, and others turned to art.

Local graffiti artist Antonio Garcia––better known by his persona “Chico”––took to the streets of Manhattan’s Lower East Side to paint a semi-ironic “memorial” for Swift that reads “R.I.P. Taylor Swift” and tagged in his infamous yellow, big and blocky letters “CHICO” signature. The street memorial went up after vintage clothing store La Petite Mort owners Kara Mullins and Osvaldo Jimenez commissioned Chico to paint the image on a gate outside their store on the LES.

The couple posted the image—a somber, black and white depiction of a glamorous and pouty looking Swift surrounded by hearts and a cityscape—on their Instagram account “lapetitemortnyc” with an explanation behind the commission.

Although the couple expressed their love for Swift, the caption read, “While we realize and appreciate that New York is ever changing, when a starving artist once representative of the New York spirit is replaced by the modern 19 million dollar condo owner who drinks lattes, we have to shake our heads.”

They went on to claim that the idea of Swift––a 24-year-old who indeed just purchased a reported $15 million apartment complex in Tribeca––as the face of New York is “dead.” The tourism campaign is a part of the singer’s big move to New York, following the release of her latest album 1989 which revolves around her newfound love for the city with happy pop songs like “Welcome to New York.”

The art does make some valid commentary on the gentrification of the city—a process that has been happening slowly but surely in various neighborhoods such as the once predominantly Orthodox Jewish communities in Williamsburg, Brooklyn, the Greek community in Astoria, Queens and the Hispanic community in Bushwick, Brooklyn. The problem lies with the fact that many New Yorkers may not identify with Swift, who in her campaign video describes New York City just as any other tourist would.

“It’s unlike anywhere else in the world,” she said. “I was intimidated by the fact that it was bright and bold and loud … there’s so much happening.” This couldn’t be a more cliché, basic statement. Swift represents the whitewashed culture that seems to be taking over the city, pushing out local residents who are struggling with the harsh reality that popular urban areas face high rent increases, competition in the job market and crime. Chico himself has even been “priced out” of his own apartment and has been forced to move to Florida upon the completion of the memorial.

Swift’s sudden fascination with the city seems all too sudden, but completely predictable. For New Yorkers such as myself, it is almost an insult to have Swift––a product of the entertainment industry––simply moving to New York because it is what is currently “trendy.”

What does Swift truly know of the real New York—its nitty-gritty spots that tourists don’t travel to, authentic neighborhoods and underground music and arts scene? I am surprised at the company’s choice of spokesperson, since there are so many other qualified and celebrated native New Yorkers who have made much more of a contribution to preserving the valuable qualities of this great city.

Gallery coordinators discuss preparing campus exhibits

Managing art is no easy task regardless of where one is in the art world, but for two Geneseo students, it becomes an even more unique experience when the location is a small college community in western New York. Senior Shannon Gallagher and English and sophomore Britina Cheng are the current gallery coordinators for the Lockhart Gallery on Main Street and Bertha V.B. Lederer Gallery at Brodie Hall. They work together with two student interns under the supervision of director of galleries Cynthia Hawkins to produce art shows open to the community each semester.

“Setting up the galleries is a lot of fun,” Gallagher said. “It feels good as soon as everything comes together; actually putting up the paintings might be my favorite part … you get to handle the artwork.”

Putting together the gallery openings, however, is not the only responsibility the job entails. “On a day-to-day basis, it’s a lot of collections management,” Cheng explained. “I do a lot of accessioning, making sure that everything is catalogued in a way that we can go back easily. The whole process of it is so pertinent to gallery and museum keeping; it’s important.”

The two began working with Hawkins as interns and eventually worked their way up to paid positions. The work provides unique insight into the complexity of the art world. Gallagher emphasized this point, discussing a large project she worked on that involved working with Italian-speaking students to translate Italian prints.

“It touched so many disciplines and it made me happy to realize that art history goes everywhere,” she said. “That's why I love [it].”

Cheng also cherishes the value she receives from her job. “You’re working with beautiful pieces of work that Cynthia chooses,” she said. “The mechanical tasks are really nice. A big part of museums is presenting art as art, and the surroundings are what’s important.”

Gallagher and Cheng come from different backgrounds and their reasons for applying for the gallery coordinator job also vary.

“I actually wanted to be a librarian when I grew up,” Gallagher said. “I got this job after taking a geography course with a graduating classmate who suggested I apply for the position.”

“Back in high school, I worked in curating art galleries and that's how I came here and knew I wanted to contact Cynthia after having to write an article reviewing an exhibition,” Cheng added.

Many students may not know about the magic behind the gallery openings and record keeping around campus, but there are opportunities for students to apply and see if working with art is for them. Even if it turns out to be the opposite, the real world application experience is well worth it.

“I had no idea that this existed until my sophomore year and was only able to do it as a junior,” Gallagher said. “I wish I could’ve done it freshman year.”

“I feel like [art on campus] is thriving,” Cheng noted. “So hopefully that’ll continue as long as people appreciate art.”

Seascape exhibit paired with sailor songs

Lockhart Gallery opened its doors for its latest exhibition and opening titled “1888 in America: William Trost Richards’ Seascapes Contextualized” on Oct. 24. The gallery featured the works of the late Richards, whose pieces revolved around the peak of America’s Gilded Age. Most of the works were seascapes, but there were also works of American landscapes, birds and some portraits. Institutions such as The New York State Museum, The Adirondack Museum, the Leroy Historical Society and Geneseo’s own Livingston Historical Society loaned the works specifically for this exhibition. The 19th century works were composed of mainly oil paint and most were displayed in original frames which were pieces of art themselves, elaborately decorated with gold and large in size.

The majestic landscapes were reminiscent of the work of American Hudson River School artist Thomas Cole, while the seascapes themselves evoked another Hudson River School artist, Frederic Edwin Church’s 1857 “Niagara Falls.” Similar to the Hudson River School movement, “1888 in America” embraces the overwhelming presence and wonder of nature coinciding with Westward expansion in the United States, except it focuses on the continental sea-to-sea aspect of this period in history.

Richards’ oil painting “Seascape 1888” was the focal point of the exhibition, reinforcing the ominous and mysterious quality of the sea. Richards paints a vast seascape washing against a sandy shore. The sky and the sea touch at a moment in which the sun appears to be rising, most likely symbolizing the hope Americans felt while expanding west.

The gallery space itself was set up differently this time. Rows of chairs were lined up for guests to sit and listen to the special performance of the Geneseo String Band, along with soprano senior Jane Coons and lecturer of music Jim Kimball playing the reed organ.

Kimball introduced the meaning behind the songs, which were meant to mimic the theme of the show: the great wonder of the sea. He explained that the selected compositions “Songs of the Sea” were written in the 1840s and taken from a book titled Songs that Never Die. Coon’s voice took the audience back in time, especially with her final piece “Sailing, Sailing,” which had the entire audience cheerily smiling, swaying and singing along.

The turnout was a satisfying mix of students, faculty and community members. Also in attendance was Interim President Carol Long, who was enthusiastically nodding along to the musical performance all while showing her support for the arts.

“1888 in America: William Trost Richards’ Seascapes Contextualized” is concurrent with Susan Leshnoff’s “SkyVisions” at the Bertha V.B Lederer Gallery and the Gallery B2: “Anna Richards Brewster: The Painter’s Daughter.” The exhibition will remain on view until Dec. 6.

Thriller embraces reverse gender roles with strong female lead

Gone Girl is a drama and thriller that reverses the gender roles typically seen in the media. Directed by David Fincher and starring Rosamund Pike, Ben Affleck and Neil Patrick Harris, the film premiered in theaters on Oct. 3. Based on the thriller novel by Gillian Flynn, the film centers on Nick Dunn––played by Affleck––who is framed for the disappearance and possible murder of his wife Amy Dunn––played by Pike––by his wife herself. Gone Girl begins as any romantic film would, sharing the story of how the couple met. Amy is introduced as a New York-bred, successful writer and daughter of two authors who provide her with a trust fund. On the other hand, Nick is laid-back and alluring.

One notable scene is a heated moment of passion unlike any from the other suspense or even romance films I’ve ever seen. As Amy and Nick make love for the first time, the camera takes a delicate—and unique—moment to focus on the pleasure of the female lead. Instead of a typical sex scene, Nick is the one who performs oral sex, adding to the empowerment of this strong female character.

The film soon tumbles into a sequence of events that lead to the disappearance of Amy. Through the perspective of Amy, we see Nick become distant and constantly at edge. Eventually tension builds because of money issues and more, and the love they once had is gone.

Word about Amy’s mysterious disappearance spreads like wildfire and soon all of the town, media and police become involved. Nick is made to look like a careless fool by the media, and the police and town begin to suspect him of murdering his wife.

Meanwhile, Pike’s character develops from victim to victimizer––this is where the actress’ strong acting chops are revealed. Both mentally and emotionally unstable, Amy is revealed to be playing games. As the film develops, we learn more about Amy and her past relationships and inconsistent personality. Pike’s impressive and dynamic acting overpowers that of Affleck’s. Perhaps this is meant to contrast with the character of Nick, who becomes a pariah in his own town and all over television.

The film takes a sharp turn of events and the audience is left confused to many extremes. Affleck’s character is at first an easy and culpable target, but interestingly enough becomes the victim of the film. This is a rare occurrence for a male lead, and unlike the usual roles that Affleck himself plays.

Despite the length of Gone Girl—149 minutes total—it is a slow but steady progression that makes sense considering the careful consideration of the complexity of each character and the overall plot of the film itself. What will surprise viewers even more is the peculiar and unexpected ending.

Rating: 4.5/5

Eid Dinner provides cultural insight through food, conversation

Eid-al-Adha—better known as Eid—is one of biggest holidays of the year for Muslims around the world. It marks the completion of hajj, the pilgrimage to Mecca. Those who attended the Muslim Student Association’s Eid Dinner Extravaganza on Sunday Oct. 19 at the College Union Ballroom received a glimpse into how the holiday is celebrated and what Eid represents. The night began a little later than expected, with Islamic Center of Rochester in New York pastor and guest speaker Imam Ismat Ackin taking the stage. Everyone quickly fell in complete silence for a short hymn. Although there was no translation, none was needed to appreciate the beautiful Arabic that echoed throughout the entire room.

Ackin went on to explain what Eid represents. He explained that hajj means to “continuously strive to reach one’s goal.”

This pilgrimage is an obligation that Muslims have to perform once in their lives. The journey itself is not easy and not everyone can partake in it. They must be financially and physically able to, as it can be pricey and physically challenging.

Ackin later went on to explain how rewarding the end of the pilgrimage is. It teaches the values of humility and peace with Allah. This is what the celebration is about. The trials and triumphs of the Prophet Abraham––who started the pilgrimage, according to the Quran––are also celebrated.

Professor and supervisor of the MSA at the University of Rochester Ahmet Celemi followed up the first talk by elaborating on the traditions and symbols of Eid. This included an explanation of the special greetings the Muslim culture has and the modesty and duty of praying five times a day.

“When we practice these traditions, we have to show them publicly so that we can encourage others to do the same thing,” he said. Celemi also referred to the importance of these intercultural gatherings for students; to spread awareness and peace among various communities.

After the talks, guests were invited to begin the dinner. The room was suddenly filled with a rich aroma of curry, lentils, samosas and basmati rice. Each dish was filled with many spices and flavors.

As guests ate, MSA played a video made by members which explored how students who identified as Muslim felt on campus in their everyday lives, as well as other Geneseo students’ perspectives on what Islam means to them. Both comical and serious, the video discussed identity issues among Muslim students and showed how they really felt on a campus and even at home, where Islam could be negatively stereotyped.

The video was based on real experiences these students have had at some point in their lives. “We all have our background story of feeling uncomfortable not just in Geneseo, but elsewhere because of our religion,” senior MSA president Nadia Abdulwahab said. “[Islam] is my whole life basically, it’s always with me … it’s a lifestyle.”

Hopefully, what students and others took away from this close to authentic dinner celebration will spread throughout campus and beyond.

"Invisible art" satirizes pretentious of contemporary art

The art world erupted into debate after the release of a fake news story concerning a new “artist” Lana Newstrom. Newstrom created attention for herself by showcasing and selling “invisible art.” The Canadian Broadcasting Corporation made the report––it even included an interview and a photograph of people looking at blank walls with the caption “Art enthusiasts admire Newstrom's paintings and sculptures at the Schulberg Gallery in New York.”

Apparently the Canadian radio show specializes in spoofs but to people unfamiliar with the show, the report was taken seriously. According to the article, Newstrom’s concept is about imagining the art, the process and the medium in which the art was made. It made the wild claim that the 27-year-old artist was the first in the world to create this “invisible art.” Although there was absolutely nothing displayed in the gallery, Newstrom’s prices were as high as $35,000 per piece. The empty spaces were titled with vague, misleading names such “Canadian Summer” and “Sleeping Dog.”

What’s even funnier is the fact that even the released photograph is also fake—it’s actually an image taken from a past Phil Stern show in Milan, Italy which showcased the elite American photographer’s major works. So in reality, there’s no documentation of this show; this is essentially just a photoshopped generic image of people looking at art, except in this case, they’re intensely studying nothing.

Whether this is Newstrom’s or CBC’s idea of making social commentary on contemporary art and its herd of followers, it just goes to show how gullible people can be when responding to something they’ve seen in the media. When something gains this much attention for nothing, it proves that the hype is what sells. This was a publicity stunt intended to create a reaction—and it certainly did.

The stunt, however, could be interpreted as offensive and as an insult to artists who are struggling to have their name known. Newstrom received instant fame for doing absolutely nothing. A quote from the website reads, “Just because you can’t see anything, doesn’t mean I didn't put hours of work into creating a particular piece.” There are legitimate contemporary artists who do put in work and struggle to stay unique and relevant, but rarely receive this type of attention.

The stunt also confronts the way we look and interpret art as viewers. Art should create an interaction between the viewer and the piece. In order to have this experience, you should be able to actually see it in person.

To give or to receive: Why both is better

The following scene is described from the perspective of a female. You are in bed with a significant other and you are both in the middle of foreplay. Things are intensifying and you’re ready for the next move when he tells you he needs “a little help.” You immediately know what he’s referring to. With a mental eye-roll, you head down south. After your sore jaw and his moans indicate that you’re finished, you look back up ready for your turn—except he’s already putting on a condom. Asking to “return the favor” when being intimate with your significant other shouldn’t be taboo. When it comes to oral sex, pleasure should be mutual. Sex in general is a mutually intimate act. It seems more common and expected for a female to go down on a male rather than the other way around. The very phrase “eat out” brings a not-so-pleasant taste to the mouth, if you will. Why is it that after giving him a blowjob, you get nothing in return? Even if the guy isn’t in the mood for it, it doesn’t seem fair that your needs are completely disregarded and unacknowledged.

When he does finally take it upon himself to go down on you, it is rare that he knows how to work his mouth in your favor. The anatomy of your vagina is a foreign land to him. A penis is pretty straightforward; there are only so many directions in which you can go. A vagina, however, requires a little more sensitivity.

It is deep, complex and can be worked in a multitude of ways that some might not be aware of. Brown University Health Education states that women are most likely to experience orgasm through clitoral stimulation rather than through vaginal penetration, making it important for a female to become familiar with her vulva and unafraid to voice her likes and dislikes.

There is a surprising discrepancy between the giving and receiving of oral pleasure among male and female sexual partners. For this, we have the media and the college “hook-up culture” to blame. Most young men are only exposed to these sex acts initially through film, television and, of course, pornography. In all these, the context is the same; all a man has to do is thrust upon a woman and he’s done.

It takes much more than just thrusting. It is rare for a film or a television show to show a female being pleasured, but references and scenes of male oral pleasures are everywhere. The media tends to ignore the giving and receiving aspect of oral sex and completely disregards the dynamics of sex education, making females more self-conscious and awkward about even asking, especially if they barely know the person they are intimate with.

According to a 2013 article by The New York Times, research done by Indiana University’s Kinsey Institute biologist Justin R. Garcia and researchers at Binghamton University found that among 600 college students, “women were twice as likely to reach orgasm from intercourse or oral sex in serious relationships than in hookups.” The study showed that young men are more focused on their own sexual pleasure rather than their partner’s due to the casual nature of the sex.

If this is what men and women have to reference for oral sex, then perhaps we should start thinking about bringing a sex education class to campus. Going down on a girl shouldn’t be a taboo topic of conversation. It’s a very attractive and empowering thing to know how to pleasure someone other than yourself, and actually succeed at it.

"New Deal" exhibit recalls U.S. history

On Sept. 5 the Kinetic Gallery opened its doors for its first exhibit of the semester, “New Deal for the Arts.” With lively music and a slide show of photographs to set the mood of the 1930s, the exhibit showcased a collection of works from various American artists commissioned under President Franklin D. Roosevelt’s Great Depression program that promoted public arts. Without any historical context, the 17 paintings simply portray natural landscapes of American scenery and various still-lifes of plants and flowers. Many of the paintings highlight the natural beauty of New York State. Aside from its aesthetic purposes, the paintings had a more significant historical value. The selected paintings in “New Deal for the Arts” belong to a larger collection of works loaned to the Kinetic Gallery by Livingston Arts, a nonprofit organization dedicated to promoting arts and culture within the county.

Artist Inez Abernathy’s “Spring in Wallkill, New York,” embraces the theme of the exhibit. The oil on canvas depicts the quaint town of Wallkill in Orange County, New York. Abundant in impressionistic brushstrokes and spring colors, the artist seems to have captured a fleeting moment in time. Like the works around it, Abernathy’s piece is without figures, featuring a single blossoming tree and a view into a valley.

Abernathy had another standout piece titled “Blue and Gold,” reminiscent of Claude Monet’s “Haystacks.” The oil is, once again, quickly and impressionistically applied. Its warm hues and tones match the peaceful affect of a New York sunset. Not all paintings, however, are set upstate. “Long Island Landscape” by artist Charles Henning is a more picturesque oil painting of a red barn surrounded by a field of crops in downstate New York. While Henning’s piece differs geographically, it still contains the stylistically repetitive qualities that the other works had, including a lacking technical abilities.

Livingston Arts Director Chris Norton accompanied the exhibition with a brief but thorough background on the time period and history behind the artwork. Norton explained to the audience members that this was tumultuous time for the United States––the Dust Bowl, Great Depression and a difficult transition in presidency were all contributing factors. Norton explained that the paintings were originally displayed on the walls of tuberculosis hospital.

“When that tuberculosis hospital closed, it was run by the state. They sold it to Livingston County for a dollar, literally $1 around 1970,” he said. His talk put the works into an understandable perspective, providing them with increased significance.

“[The] main goal was to put these artists to work. They were never told what they could paint,” Norton said. “They’re all New York City artists, collected in Woodstock, New York and brought to upstate New York.”

The artists Norton refers to were part of Roosevelt’s solution to America’s struggles: the Works Progress Administration was one of the many successful programs under his New Deal policy.

“They knew where [the art] was going, they knew they were going to be [displayed] in a hospital, where people had to get well, so it’s all positive…landscapes and pretty flowers,” Norton said. He also referenced “The Red Clown” by Charles Willmont, a strange oil painting of a grinning circus clown. “Some of these were in the children’s hospital,” he explained.

While the exhibition overall is about the art, it’s more about the time period and history behind it. Unfortunately, in this case, the art doesn’t begin to reflect the political and emotional stress America experienced; it simply serves as a backdrop to it.

Alla Myzelev Assistant professor of art history

Upon walking by the art department offices in Brodie Hall, one might not expect much more than lonely art books and bare walls. But stop in for a closer look and the room is lit by the eager face of visiting assistant professor Alla Myzelev, the newest addition to the art history department who is taking over this once-empty room.A native Ukrainian, Myzelev has spent the last 16 years living in Toronto, where she earned her M.A. at York University and obtained her Ph.D in art history at Queen’s University in Kingston, Ontario. Myzelev saw potential for herself at Geneseo. “I’ve been to Rochester many times because from Toronto, it’s one of the closest cities,” she said. “The campus is nice. I was really happy when I was offered this position to be in upstate New York and not be so far from Toronto.” Myzelev is one of the founding members in a committee of a feminist art conference in Toronto; a collective of volunteers who meet once a year and call for art works from both young and mature artists of contemporary feminist art. Myzelev is already part of some exciting new changes to campus and is currently teaching both ARTH 173: Neoclassical to Contemporary Art Survey and ARTH 287: Avant Garde and Modernism. The courses complement her research interests in modern and contemporary art. That’s not all she’ll be doing, however. “I’m going to be teaching a museum studies course next term and I have curatorial experience, so I’m really excited about having new students and a good group to hold an exhibition and learn about that,” Myzelev said. Myzelev is referring to a new class which accompanies the new museum studies minor, now offered to students with an interest in pursuing the business and curatorial aspects of art. Aside from teaching, Myzelev also has her own eclectic background in art. “One of my main interests is using crafts and textile in contemporary art, so I’m hoping to see if I can actually curate an exhibition in a gallery on campus based on that and bring some artists in,” she said. “I still have to explore the galleries and look around.” While the art history department is currently in a transitional period, Myzelev has no concerns at all. “I wasn't that concerned about that and it seems to be thriving here …. [the program] seems like it’s very vibrant,” she said. “In many institutions, studio art and art history are very separate––sometimes connected and sometimes not. So, it’s not uncommon for art history to exist without a studio component.” As for her students, they’ve already welcomed Myzelev and her teaching with open minds. “[They’re] smart and keen; they ask questions. It’s really amazing,” she said. “I like it to be more of a guided discussions and when students learn from each other. I want interaction, I want people participating.”

Greek tragedy amplifies female voices

Filled with powerful messages about gender and the sexual subjugation of women, “The Lost Women of Troy” brings light to the horrors women face during and after war. The department of theatre and dance along with GENSeng worked together to bring the campus’ first ever production of the play by Israeli playwright Hanoch Levin. The play is an adaptation of two plays by Euripides, “The Trojan Women” and “Hecuba,” in which the men of the Trojan War are no longer glorified as heroes, but seen as filthy, sexual predators. The women of Troy are treated as sex objects and then as slaves.

While the play takes place in ancient Greece, the ideas and themes explore the violation of women in all wars of history. It points out issues beyond its stage, concerning other issues revolving the universality of the suppression of women.

“We are the living, walking dead,” chants a chorus of ragged and worn-down women, reinforcing the universality of the play. Each person in the women’s chorus represents the voice of a violated woman somewhere in the world.

Professor of theatre Randy Kaplan, who directed the show, recently returned from a sabbatical in Tel Aviv, Israel and was inspired to start the play this spring.

“I knew I wanted to do a play by Levin because if you’re going to go to Israel, you have to do a play by Hanoch Levin,” she said.

“The angle that we’re looking at it from is that of the sexual subjugation of women, and the men in this play talk about it a lot. ‘[The men] are going to take you home and you’ll spread your legs, as we demand you to and when you’re all dried up, then you can do the housework.’ They pass [the women] around,” she said. “If you’re fat, if you’re young, if you’re pregnant – they don’t care what you look like.”

As the women of Troy await their fate determined by the men, they lose their hope and sense of self. Most of them are mothers, daughters and former wives, and they lose almost everything but the skin on their backs.

Former queen of Troy Hecuba, played by sophomore Bella Dixon, restores some hope and sense of composure for the women by confronting the men, speaking as both a mother and a woman. She is not afraid to speak up and demand mercy as well as explanations for the cruel acts committed by these soldiers.

According to Kaplan, women in these situations take a vow of silence because they are either ashamed, afraid or both. Hecuba speaks up, but receives no mercy or compensation for her losses.

“This play talks a lot about the horrible state of being … women in the world both today and in the past. A lot of the poems and speeches are pulled from modern day poems written by women who were affected,” Dixon said.

The play is also accompanied by an artistic display in the lobby created by dramaturgy senior Kimberly Olsen, which sheds light on the sexual subjugation of women around the world and is sure to enlighten passersby and audience alike.

“It’s a global approach [to the issue]. It mimics the intercultural nature of the production itself,” Olsen said. It highlights women who have suffered in countries such as Bosnia, Cambodia, Darfur and Rwanda.

“The women in the lobby display are your grandmother, your aunt, your niece, your best girlfriend, your girlfriend – that’s your wife,” Kaplan said. “I’m just going to let this play speak to the hearts of students.”

“The Lost Women of Troy” will run at 7:30 p.m. on Thursday May 1, Friday May 2, Saturday May 3 and at 2 p.m. on Sunday May 4 at the Alice Austin Theatre. Tickets are $10.

Moss art inspires environmental awareness

With great weather comes even greater projects. Geneseo Environmental Organization took advantage of the recent sunshine and partnered with Nature Walk Club to present the first-ever moss art mural on campus. Moss art, also known as eco-graffiti, is an outlet for artists to create and express environmental consciousness. They cover public places with green material, which grows into the artist’s design over time.

In an effort to promote environmental awareness and sustainability on campus, GEO and Nature Walk Club wanted to communicate a message to students that was both informative and aesthetically pleasing. The project came just in time for the celebration of Earth Week.

Members of both organizations creatively covered the wall below the gazebo near the College Union in fuzzy green moss that read “Geneseo,” surrounded by drawings of sprouting trees and plants.

The idea began with GEO President senior Jennifer Benson, who coordinated the moss art event.

“It grew out of a casual conversation,” Benson said. “It was a pretty fun process to go through.”

The moss was intended to remain on the wall for a week in order for it to really grow, but unfortunately lasted only four days between April 12 and 16, due to upcoming events in the Union.

“They wanted it washed off before it got really well-established, before we could have a larger event centered around it,” Benson said.

EcoHouse Hall Council President sophomore Jason Phillips was also involved with the project and the process behind it.

“First we chalk out the design on the wall, but the actual paste itself is made of moss, yogurt, corn syrup and some food coloring … put that all in a blender and it makes a paste,” Phillips said. “It works really well because the moss just eats up all the natural bacteria.”

The concept is meant for a really long wall to show the progression of the use of energy with moss as you’re walking.

“At the beginning when you first start to make energy, you see wood, oil, coal … leading to bad energy. Then it reaches the end of the mural, where you get more sustainable energy. It sends a message about how we should use and obtain our energy by supporting the continued use of fossil fuels and push towards renewables,” Phillips said.

In the future, GEO plans to collaborate with more organizations on campus such as Outing Club, to continue the murals in the upcoming fall and spring, when the moss can actually stay and grow.

It might not just be walls; next time, this green art might appear in some surprising locations.

“Wherever we can get permission. It’s not a destructive piece at all,” Phillips said.

Audience applauds compositions by student, faculty musicians

An array of talent erupted from the Doty Recital Hall at the New Music Concert, directed by visiting assistant professor of music Michael Masci on April 4. The concert was comprised of vocal and instrumental compositions performed and written by Geneseo faculty and students. The concert celebrated the new music that students and professors had been working on either all year or all semester.

Pianist and adjunct lecturer of music Beata Golec performed her own composition titled “Falling.” The piece opened dramatically slow and progressed into an intriguing and eerie melody. Golec’s notes seemed to mimic the title of her piece, as they seemed to be “falling” one after another. The dissonant and dark piece progressed on the scale from high, soft notes into low notes, growing louder and louder.

Another contrasting piano piece was “Reverie, for Jessie,” composed and played by senior Russel Anthony. The melody elicited emotions of a sweet and happy memory. Anthony’s piece established that connection with the audience since a reverie is the feeling of being pleasantly lost in one’s daydreams.

Toward the end of the night, professor of music and Chair of the Music Department Jonathan Gonder accompanied professional mezzo-soprano Jessica Ann Best with “‘In all this heaving sea of land’: Five Songs on the texts of Edna St. Vincent Millay” composed by Masci. The shift was a nice transition from previous string performances.

The piece consisted of five texts, ranging from uplifting to somber moods. The first song, “Never May the Fruit be Plucked” was more expressive. Best captivated the audience with her vocal variety, emotional facial expressions and playful exaggeration of words, while Gonder just as passionately reinforced the composition’s poignancy on piano.

The concert was an opportunity for students, family and friends to support and witness the hard work and talent of their peers and colleagues. Many of the pieces in the concert were composed by students and performed by musicians who are professors themselves. It was satisfying to see the camaraderie among students and faculty who had worked together to compose music and then orchestrate it.

The concept of the concert proved to be both important and valuable, educating the audience on what new music is, especially to the students.

“It’s extremely important for young artists and composers to have the ability to present their work. Something like this should be cultivated and presented in the future,” Golec said. “What’s the point of composing if there’s no one to listen to your work?”

Lockhart exhibit portrays prisoner’s struggle in stark charcoal

The Lockhart Gallery exhibit, “A Man Digs a Hole,” opened on Feb. 7 and features the work of adjunct professor of studio art Rio Takemura ‘08. The modest yet thought-provoking exhibition is comprised of 10 drawings, all inspired by the writings of a Japanese author and World War II prisoner. Takemura named the show after reading a specific account by the author, who was forced by an American soldier to dig a hole in the middle of the night at a prison camp.

“The intention of the drawings was not really to draw the story that the soldier experienced; that’s not my purpose,” Takemura said. “I played with this memory of what I read, and that’s about it. That’s why there are so many different people. They’re not all digging holes. The result is me playing with that memory.”

The works in “A Man Digs a Hole” are all untitled drawings composed with two types of media: charcoal and pencil. The drawings are mostly a white blank space, with either individual anonymous figures or birds eliciting a somber feeling.

Their actions vary: digging a hole, swinging an axe pick or holding a shovel. The use of smudged charcoal adds to the anonymity of the faceless figures, a technique Takemura utilized throughout the drawings.

One particularly striking piece is visible upon first entering the gallery. It depicts a girl tied to the handle of a standing shovel with what appears to be a raven perched on it. The presence of the black bird gives off an eerie quality that ties together the exhibit as a whole. The bird and girl are positioned to look at each other, and there is a sense of imprisonment hidden behind the bold charcoal marks.

Another standout piece that plays upon the title of the exhibition depicts a man digging a black hole in a bleak and minimal landscape. He appears worn – his body stopped at the knees and buried in an ambiguous dark material. There is a feeling of deliberate incompleteness to this piece, and even without knowing or reading the soldier’s tragic story that Takemura so vividly recalls in his work, a viewer can feel the heavy mood this figure carries while standing framed on a white wall.

While pleased with the response of the students at the show, Takemura said he is dissatisfied with the depth of his own work.

“All of these [drawings] are way too comfortable for me. Technique-wise, concept-wise … I’m not pushing myself enough to step outside of my comfort zone,” Takemura said.

The inspiration behind the drawings is unique; however, the media used is artistically simple and displays no advanced technique. As one of the last shows of the semester, it is surprising to see an experienced artist not present more challenging work, especially as the art department comes to a close on campus.

“A Man Digs a Hole” remains in exhibition in the Lockhart Gallery until March 13.