MoMA to exhibit original emojis as artwork

The rapid development of the Internet—and the culture that has resulted from it—has certainly broadened the ways in which humans interact with one another. Through constant text messaging, Snapchatting and photo-sharing through Instagram and Facebook, keeping in touch has never been easier. One of the most popular new forms of communication—especially in the millennial generation—has been the use of emojis.

Initially created by the Japanese mobile provider NTT DoCoMo, emojis are used to quickly communicate an idea, to tell jokes or to liven up a text message. The use of emojis is spread among generations, from young children to teens to even older adults.

The original emojis included simple images that indicated things like weather such as an umbrella or a lightning bolt as well as numbers and other basic designs. These, however, don’t even come close to the elaborate emojis used today by iPhone and Android users. These digital images may be miniscule, but they have a widespread impact on our Internet culture and on our ability to communicate with each other in a human way.

Art has long been used to communicate within relationships, communities and even whole countries, despite any cultural or linguistic barriers. Visual arts, music, dance and performance serve to connect individuals on an intimate level without any other link but the art itself. And now, art has begun to merge with technology, prompting the world to ask the question, “Are emojis art?”

The Museum of Modern Art seems to think so. The museum recently acquired a set of the original 176 emojis through an agreement with NTT DoCoMo. The MoMa now has permission to use the emojis in any artistic way they wish. This is a bold and progressive move that allows the largely uncharted territory of digital art to be explored by artists in different mediums.

While emojis are a largely abstract section of art, the beauty of art itself is its malleability and loose definition. Throughout time, art has gradually become a way for anyone in the world to express themselves in any number of different ways. Modern art—especially performance art, which not only makes the viewer question him or herself, but also at times makes for extreme discomfort—often has the biggest impact on us.

Emojis are definitely an unconventional form of art. In fact, many may not even consider them to be art. They certainly allow for communication between humans, though, and isn’t that what constitutes the basis of art? Emojis allow people to communicate and to express themselves in new ways; they can be used as an alternate medium for budding artists living in the age of technology.

Considering the use of hieroglyphics thousands of years ago, emojis speak to a very basic aspect of human communication. Hieroglyphics was the form of communication used in ancient Egypt, but the letters we know today were replaced by simple images that could be easily understood.

Emojis work very similarly to hieroglyphics. Despite the whole slew of complex languages circulating the world today, emojis allow individuals from almost anywhere to connect through a shared recognition of symbols.

When it comes down to it, art is all about human connection and understanding in all of its forms. Emojis only further add to the diversity of modern art, allowing for a broader, more inclusive definition of artistic expression in today’s rapidly changing world.

Disney partners with LACMA, retells classic fairytales via Snapchat

The Walt Disney Company has been on a progressive streak, churning out a whole host of movies with modern messages, such as 2013’s massive hit Frozen, 2015’s Inside Out and the upcoming film Moana. But now, Disney is straying from their cinematic comfort zone and stepping into a whole new world: the world of Snapchat.

For an exciting new project, the company teamed up with the Los Angeles County Museum of Art to retell the story of Beauty and the Beast using the popular social media outlet Snapchat earlier this October. The collaboration is built upon the current cultural significance of social media platforms like Snapchat, and the companies are using Snapchat to reach a wider audience of people. Disney and LACMA hope to combine humorous content designed for the museum’s Snapchat story with easier access to the artwork displayed at the museum, according to LACMA CEO Michael Govan.

“LACMA’s intentionally humorous Snapchat account not only has made important artworks from our collection vastly more accessible to new audiences, but it has also allowed us to explore these artworks from new points of view,” Govan said.

This project comes right before the 25th anniversary of the Disney film’s original theatrical release as well as the November release of their highly anticipated live-action remake of Beauty and the Beast. This new film stars an exciting cast of talented Hollywood stars, including Emma Watson as Belle, Dan Stevens as the Beast, Josh Gad as LeFou, Ewan McGregor as Lumiere, Ian McKellen as Cogsworth and Emma Thompson as Mrs. Potts.

The museum’s Snapchat story kicked off the event by snapping the museum’s art pieces, which were accompanied by captions that retold the story of the Disney classic. Disney’s own blog and the main platform for the collaboration, OhMyDisney, continued the story the next day on its own Snapchat account.

The collaboration occurred in an attempt to appeal to both Disney lovers and art lovers alike, according to Disney Consumer Products and Interactive Media VP, Content, Social and Programming Dan Reynolds.

“Our Snapchat campaign with LACMA opens up new ways for our audiences to experience art and their favorite Disney stories,” Reynolds said. “The LACMA Snapchat account already captures that contemporary and culturally savvy voice and tone that our OhMyDisney Snapchat audience loves, and this collaboration is a natural way to add a little magic to the artworks and storytelling, to reach a new generation of art and Disney fans alike.”

Disney and LACMA plan to continue the project with a variety of Disney’s classic films in the upcoming months. Using “filters, pop-culture references, and hand-drawn overlays,” OhMyDisney will collaborate on a bi-monthly basis—with access to over 130,000 pieces in LACMA’s collection—in order to bring various Disney stories to life.

LACMA was one of the first museums to join Snapchat in July 2014; they eventually won a Webby for its unique approach to garnering interest in its art collection. This new project is just another example of the museum’s innovative relationship with modern technology. “Partnering with Disney—one of the most influential and dynamic storytellers of our time—is a perfect marriage of two Los Angeles institutions that love to engage the public with images,” Govan said.

The Beauty and the Beast Snapchat story utilized artwork at the museum, including paintings by Paul Gauguin, a lithograph of Alphonse Mucha’s “Zodiac,” a sculpture from Ishikawa Mitsuaki and many more. The list will only continue to expand as the new partners continue to visually narrate Disney films.

The ultimate goal for both the LACMA and the Walt Disney Company may be to increase viewership, but it’s safe to say this latest venture is anything but your typical business deal. Rather, the duo has created a form of entertainment that is as easily accessible as it is delightful.

Anyone from young to old can experience the timeless story for the first time or for the first time in years—and all in just a matter of seconds.

Geneseo professor combines music, science through Antarctic sounds

Geneseo’s all-star faculty has once again made headlines with their groundbreaking work. Composer and adjunct professor of English Glenn McClure has just embarked on a five-week journey through Antarctica in order to translate the sounds of the continent into music. With the help of Peter Bromirski, McClure will create choral and orchestral pieces that will be used as inspiration for various high school classes throughout the country as they compose their own pieces. In order to make this dream come to life, McClure applied for and received an Antarctic Artists and Writers Fellowship from the National Science Foundation. The fellowship brings creators and scientists together to “create works of art that dramatize and educate the general public on the good work of scientists.”

Since the Polar Division of the NSF has such difficulty shining a public light on their work, the fellowship is restricted to their division. Thus, McClure decided to head to the frosty glaciers of Antarctica; he’s spent days traipsing around in -4 degree weather.

McClure is currently in Antarctica working on recording “environmental sounds both on the surface (penguins, wind, snow crunch) and underwater with a hydrophone (seal talk, whales),” McClure said in an email. Meanwhile, Bromirski and his team are measuring the movement of “the largest floating piece of ice on the planet,” which is the Ross Ice Shelf, according to McClure.

The Ross Ice Shelf—which is the size of France—responds to the ocean waves from the North, “causing it to heave and contract.” McClure will then “sonify” these movements and convert it into “melodies, harmonies and rhythms” in order to fulfill his duty as a composer to “tell the story of this work in music and sound.”

Apart from composing some down-to-earth and creative music, McClure hopes to set an example of how the arts and sciences can merge to create beautiful works of art.

“I want to demonstrate the benefits of scientists and artists working together. From the ancient Greeks all the way up to Galileo, science, math and music were intertwined,” McClure said. “In the last couple of centuries, we have built intellectual barriers between them. I want to put them back together.”

McClure has a great support system back here in Geneseo who are helping him achieve this noteworthy goal. “We have professors and students in physics, geology, history and English doing research that helps tell the story of both the important scientific work in Antarctica, as well as the history of artists working with scientists,” he said.

Geneseo students and community members can follow along with McClure’s progress and experiences in Antarctica through his Music in the Ice blog, which is available through his website. There, he recounts his adventures ice-tenting with his scientific team, going 80 feet under the ice to record underwater sounds via a holding tank and celebrating an Antarctic Halloween.

Geneseo is lucky indeed to have such an adventurous and groundbreaking faculty member who allows us all to feel part of something revolutionary.

Musical theater department expands, offers course in cabaret

Geneseo’s musical theater majors capitalized on an opportunity to perform at Rochester’s resident professional theater venue, Geva Theatre Center, on Friday Oct. 28 and Saturday Oct. 29. The group of students performed an array of musical theater songs in a Late-Night Cabaret. The cabaret performances followed Geva’s current production, “A Funny Thing Happened on the Way to the Forum,” which features two current Geneseo students, psychology major senior Nicole Eras and musical theater major junior Jessica Murphy.

The cabaret was performed in the recently renovated Geva Theatre lobby, which created a casual and conversational atmosphere for both the audience and performers. The show attracted Rochester locals, Geneseo students and professionals currently working at the theater.

The show provided the College’s musical theater majors with the opportunity to sing in an intimate space—a chance they don’t often get here at Geneseo. Musical theater major freshman Brett Hammes said that the show required him to “change from just performing a song to interacting with the audience.”

Each performer in the cabaret introduced their own piece, allowing audience members to better connect with the students and their songs. In addition, mathematics and adolescent education double major senior Ben Reiner and Eras—as well as communication and musical theater double major junior Sophie Yeomans and musical theater major sophomore Brian Sousis—entertained the audience as emcees throughout the night.

Guiding the performance, the emcees introduced each individual performer and cracked a few jokes along the way—all while holding the tremendous responsibility of creating an upbeat atmosphere for the duration of the evening.

The show opened with an uplifting group number titled “Become,” which was most recently performed in Geneseo’s production of “Edges.” A mix of relatable lyrics and beautiful harmonies in the opening number created a positive start to the performance and let the audience know that they were in for a treat.

The rest of the performance was comprised of various musical theater solo performances by each student. Songs ranged from emotional and heartfelt ballads, such as political science and musical theater double major junior Aram Peers’ “Like It Here” from the web-musical “The Hinterlands” to comical and witty tunes, such as political science major junior Maria Cento’s “In Short” from “Edges.”

The set performed was a mix of touching ballads, hilarious contemporary up-tempos and a powerhouse closer by the women in the major. This included featuring Yeomans with a rendition of composing team Benj Pasek and Justin Paul’s “Ready To Be Loved” from “Edges.”

This opportunity was presented to musical theater majors through a new experimental cabaret course headed by professor of English and theater Melanie Blood and lecturer Don Kot, resident music director at Geva Theatre and coordinator of the musical theater department here at Geneseo.

“So many professional musical theater performers appear in this environment now; it seemed essential to start exposing students to this genre and to be able to perform in a close, less-formal atmosphere,” Kot said.

Musical theater major junior Kim Cole shared what this course has taught her so far. “It’s most important [in this setting] to tell a story and send a message to the audience,” Cole said.

The course is just one of many experimental classes offered by the department, which has an ultimate goal to expand as a whole. These experimental courses will be permanently offered in the future to allow students studying musical theater to become more versatile and well-rounded performers.

Orchestra brings Halloween spirit to campus

The Geneseo Symphony Orchestra gave a special Halloween Pops concert on Sunday Oct. 30. Occurring in Wadsworth Auditorium, the event venue was decked out with balloons, pumpkins, bales of hay and other decorations. In truth, the performance felt more like a party than anything else, and that’s exactly how adjunct faculty in music and director Jim Tiller wanted it.

The festive program included instrumental selections from popular film and television—such as Star Wars, “Game of Thrones” and Harry Potter—in addition to various other Halloween-themed pieces, like Camille Saint-Saens’ “Danse Macabre.” The concert also doubled as a costume contest, as everyone in the audience was encouraged to dress up.

The whole orchestra was in top-notch costumes as well, including Tiller. Pirates, Pikachus and a Princess Leia could be spotted on stage–along with a very convincing Donald Trump in the percussion section.

The orchestra concert had originally been scheduled for the week prior, but when Tiller saw how close it was to Halloween, he knew it was a great opportunity to do something special for the students. He requested that the date be pushed back a week to the day before Halloween. He then reached out to local Geneseo businesses, including Mama Mia’s, Geneseo Family Restaurant and Wegmans, who generously donated decorations and gift-card prizes for the contest winners.

Tiller wanted the Halloween Pops concert to be a different kind of concert. His goals were to get as many people involved as he could and to increase both energy and enthusiasm among the students in order to make the concert as interactive as possible. He used the non-traditional program to get students more excited about playing in the orchestra, especially those who weren’t so familiar with the usual classical repertoire.

“A majority of the students [in the orchestra] are non-music majors” Tiller said. “They’re doing it because they love it … If it gets a little rowdy, I’m totally cool with that.”

The performance was meant to be a time for celebration and school spirit, and as a result Tiller’s vision for the concert was wonderfully and energetically received. It had something for everyone, and all kinds of student groups could be found in the audience: members of the Chinese club, the Geneseo Chamber singers and even athletes from the swimming and diving team.

And of course, everyone was in costume. Judges for the contest wandered the aisles during the first half of the concert; winners were announced during the intermission. Among the winners were a violinist dressed as the Pope and an audience member clothed as a very convincing Jon Snow from “Game of Thrones.” First prize–which was a $100 gift certificate to Wegmans–went to a particularly clever group of music majors, as they were dressed as augmented sixth chords: the German sixth, French sixth and Italian sixth.

The concert was filled with energy, from start to finish. Included in the second set were two songs from “Phantom of the Opera,” featuring baritone music major senior Jordan Bachmann and professional soprano Carley DeFranco. Their impressive and dramatic performance ended the concert with a bang.

This unique and interactive concert was a real Halloween treat; the last song was met with thundering applause. The energy and enthusiasm in the room was palpable, with everyone bonding over the spirit of Halloween.

Netflix combines comedy, fame in YouTube star’s original show

One of Netflix’s newest original shows—titled “Haters Back Off!”—premiered on Oct 14. The “bizarre family comedy” stars Colleen Ballinger as her hit online personality, Miranda Sings. The series follows the story of Miranda, a self-absorbed, delusional and arrogant young performer who seeks YouTube fame.

Adapting a YouTube channel into a traditional TV show is untouched territory for Netflix, but Colleen’s channel—as dedicated to her character Miranda—seems like a great first choice. Netflix describes the show as “a commentary on society today and our fascination with fame,” and Miranda is certainly a character that exemplifies that.

The show follows Miranda as she uploads her first video, achieves the fame she chases as one of her videos goes viral and more. The show kicks off with Miranda singing her rendition of “Defying Gravity” as Uncle Jim records her. It’s obvious to the viewer that she cannot sing, but her astounding faith in her abilities is only fueled by her uncle’s praises.

Miranda fans will be excited to finally get the chance to see her mother Bethany and Uncle Jim—played by Angela Kinsey of “The Office” and Steve Little of “Eastbound and Down,” respectively—who are frequently mentioned in her YouTube videos. Miranda’s hypochondriac mother recognizes her daughter’s problematic behavior but is unable to speak up for fear of backlash from both Miranda and Jim, who are bent on achieving fame.

Viewers are also introduced to a few completely new faces, namely Miranda’s sister Emily—played by Francesca Reale—and best friend Patrick—played by Erik Stocklin. The only conventionally normal member of the family is Emily, who is seen by the rest of her family as the weird one. Patrick—who sells popsicles—is equally as funky as Miranda, but seems to take her flippant behavior to heart.

The major issue with the show—and perhaps the biggest concern for long-time fans of Ballinger’s Miranda Sings YouTube channel—is the transition between the short, inconsequential videos to the 30-minute episodes. The show tries to not only root the Miranda Sings’ character in reality, but also to create a more meaningful background story.

With this show, Netflix attempts to combine the offbeat comedy of Miranda’s character with a deeper message of society’s obsession with fame. Ballinger has expressed that she is aiming to show a different, more vulnerable side of Miranda—one that explains the source of her insecurities and her hilariously ridiculous personality.

Still, this combination can be jarring. The early episodes are full of cringe-worthy moments that create an atmosphere starkly different from the original YouTube videos. Fans are used to experiencing a Miranda whose purpose is purely to entertain. On YouTube she exists solely in the realm of online virality—she’s not real. The Miranda in “Haters Back Off!,” however, is like a real person, and her problematic nature becomes increasingly apparent—almost to the point of discomfort.

That being said, it may be helpful for those new to Miranda Sings to go online and familiarize themselves with her quirky humor and unfamiliar format. After watching her YouTube videos, the show’s message is clearer, thus prompting the viewer to question cultural norms and society’s hunger for fame and acceptance, in addition to the Internet’s role in that process.

All in all, the show is successful in taking Miranda Sings’ image and transforming it into something meaningful, and creating a person who—despite her odd behavior—is wildly relatable.

Video game opens portal to world of Jane Austen

Have you ever wanted to jump into your favorite novel? Seeing it adapted into a film is a great substitution, but what if you could actually fully immerse yourself in a novel’s fictional world? Thanks to founder of 3 Turn Productions Judy L. Tyrer, Jane Austen fanatics are finally getting that opportunity with the phenomenon Ever, Jane.

It is a little odd to think that Austen’s Victorian novels could be the inspiration for a modern day video game, but Ever, Jane allows English majors and Austen lovers alike to enjoy a virtual world derived from the works of the 18th century author. The game is currently in open-beta format, but it will be fully released in 2017.

Austen’s novels take place in late 18th century England—a time during which a strict social hierarchy ruled and women were financially dependent on men. Austen criticizes this hierarchy in novels such as Sense and Sensibility. This criticism is something that the creators of Ever, Jane attempted to place into their game.

A massively multiplayer online game—MMO—Ever, Jane successfully weaves in elements from Austen’s major works. Quotes from her novels appear on the loading screens and task prompts, and period music plays as you create a character from 18th century England.

Once players create their characters and click play, they enter the fictional town of Tyrehampton—a quaint town full of gossip, balls, churches and small shops. Since the game is role-playing, players interact with other online gamers who speak proper 18th century English.

Despite the game’s lack of completion, it is already fairly developed. The gameplay screen is full of different actions such as chatting, gossiping and various amounts of gestures—in addition to many more unfinished attributes.

Like other MMO games, the creators of Ever, Jane give the players qualities to develop over the course of their gameplay. Unlike other MMO games, which include statistics such as strength or power, players of Ever, Jane strive to improve their “Austen-like” traits, such as status, duty and kindness.

Other fun attributes involve ballroom dancing, writing letters and gossiping about other players. Where other MMO games use weapons, Ever, Jane uses gossip, replacing swords, shields and guns with disparaging comments about other Tyrehampton residents.

In addition, Ever, Jane equates family systems with the alliances in other MMO games. Players can adopt, marry, divorce and disown each other to increase their loyalty or their anger toward other players. But the status of your character determines whom you are allowed to interact with, making it a bit hard to rise up in the ranks, just like in Austen’s famous fictional world.

The game is free to play for now, but after its official release the subscription level will determine a player’s wealth. For example, if you want to play for free, your character will be a servant, but if you pay $25 a month, your character will gain property and a title.

The production company has faced some criticism for the manner in which you can increase your character’s status, but Tyrer is firm in her defense of the game. In any case, if you don’t want to invest money into the game, marriage—much like in 18th century England—is an alternative way to increase your social status.

These small kinks in the game are only a temporary setback. Hopefully in the next couple of months, Ever, Jane will become a place where people can communicate and interact in the 18th century world.

For now, Ever, Jane is a place where Austen fans and booklovers can finally call home.

Public awaits Bob Dylan’s acknowledgment, acceptance of Nobel Prize for Literature

Bob Dylan was announced as the winner of this year’s Nobel Prize for Literature earlier this month. That’s right, literature. Giving such a prestigious award to a famous lyricist has sparked heavy controversy in the literary community, and a variety of opinions are pouring forth from readers, writers and listeners alike—from everyone, it seems, except Dylan himself.

But how did this happen? Visiting associate professor of English at Washington and Lee University Gordon Ball said he is behind Dylan’s nomination. “I nominated Bob Dylan for the Nobel Prize more than a dozen times,” he said in an article for The Washington Post. Ball claimed that Dylan’s poetic lyrics fit the criteria just as well as the work of any other prizewinner.

Nominators must be of proper qualifications; they are usually literature or linguistics professors, past laureates, presidents of national writers’ groups or the like.

Alfred Nobel specified that the recipient of the prize must be “the most outstanding ... Of an idealistic tendency” and that they must “have conferred the greatest benefit on mankind.” To fit these criteria, Ball cites Dylan’s many idealistic, activist-charged lyrics.

Dylan won the Tom Paine Award for songs such as “Blowin’ in the Wind” and “Oxford Town.” In the 60s, many of his lyrics turned a critical eye to political authority. Their thought provoking nature is believed to have played a possible role in the public’s response to Watergate in 1972.

To Ball, it’s the lyrics’ longevity and impact on social and political change—in addition to their poetic nature—that make Dylan deserving of the award. Whether or not his writing comes with a musical backdrop does not negate the fact that it is, in fact, great writing, making it just as eligible as any past winners. Such is the argument of supporters like Ball. But everyone doesn’t share this opinion.

One of Dylan’s biggest skeptics throughout the nomination process was Alex Shephard, editor at The New Republic. He was one of many who never believed Dylan would actually win, as he was under the impression that despite Dylan’s skill and value as a musician and lyricist, he should never have been considered in the first place.

“He is a musician,” Shepard said. “It’s a category error. Music is an entirely different mode of expression that uses tools that are unavailable to the writer.”

In addition, many believe that giving Dylan an award for literature is a shame because it takes away an opportunity for talented, hard-working traditional writers to gain notoriety. Traditionally, when an author wins the prize, his or her works fly off the shelves and are translated into other languages for all to read. Dylan hardly needs any help gaining spotlight.

But, despite these arguments, the strangest response of them all has been Dylan’s. The star has all but completely ignored the Swedish Academy, who is responsible for the award. No public statement from Dylan has been made—save for a brief mention of the award on his website, which he quickly removed after the media caught wind of it. The Academy has officially agreed to let Dylan respond to the award in his own time, firmly expressing that it is his decision to accept or decline, just the same as every winner.

One Academy member, however, recently expressed their personal opinion, considering Dylan’s silence to be “impolite and arrogant.” Some wonder if perhaps the Swedish Academy regrets its decision. Nevertheless, the ball lies in Dylan’s court now. All we can do is wait for his response.

Watt’s woven works reveal Native American collectivist culture, social protest

Artist Marie Watt opened her exhibit “Witness” in Geneseo’s Lederer Gallery on Wednesday Oct. 26, corresponding with the college’s Cultural Harmony Week. Watt draws her inspiration from her Native American culture, and primarily uses wool to create beautifully colorful and intricate blankets.

The exhibit contained a few prints, but is mostly dominated by large woolen blankets, which were suspended in the air a few inches away from the wall. The blankets vary in style—some have multicolored patterns of quilting, while others have images stitched into them with thread. The main piece, titled “Witness,” lends its name to the full exhibit and covers almost an entire gallery wall, standing out from the rest in both size and style.

“Witness” is larger than a normal blanket, with a scene stitched into it with black thread. The scene is based off a photograph taken in 1913 of a Native American potlatch. Potlatches were events in which Native American communities would gather, with one family giving away gifts to the crowd. This gifting brought wealth and status to the family. In the picture, someone is throwing gifts off of a roof and sailing through the air is a blanket. The crowd below can be seen reaching out for it, their hands uplifted toward the sky.

The actions taking place in this scene have a deep historical significance. During the time the photograph was taken, the colonists—who wanted to prevent native people from gathering—had outlawed potlatches. The colonists were also unsettled by the tradition of gifting. To them, one was supposed to gain wealth through the system of capitalism—not by giving things away. So these potlatches became acts of civil disobedience, and the onlookers became witnesses to the event.

The image of a crowd raising their arms in the air mirrors the protests of social issues happening in our society today. Just looking at the huge scene in the gallery—cinematic in scope—we, too, become witnesses of history and culture, while at the same time becoming united.

Bringing people together is another central theme in Watt’s work. She does this quite literally by reaching out into the community to complete her pieces. Many of the blankets were partially done by community sewing circles, where anyone can help stitch an image into the wool. Looking closely, you can see the different stitching styles of each individual who lent a hand to complete a section of blanket.

Watt explains that she values these differences immensely because they bring character to the pieces. “I don’t think of myself as a textile artist as much as a rogue stitcher,” she said, pulling back one of the blankets to reveal the back side, covered in knots and loose thread marking where different sewers left off.

Watt told the crowd that she will never take out the stitches of a less experienced sewer—only reinforce and strengthen them. “There is room for everybody in a circle,” she said. “Everybody’s stitch is like a signature, like the way you write your name … It’s a metaphor for how we’re all related and connected.”

She especially values the way the blankets create multi-generational connections. Blankets are often passed down through families, but can also unite generations in other ways. Watt explained the social dynamic of the sewing circles, in which different types of people—old and young—sit side-by-side passing around stories as they work. This is exactly how Native Americans have passed on their oral history and culture—sitting together, wrapped in a blanket.

Although they are beautiful to the eye, these blankets are so much more than works of art. They are physical testaments to the relationships we have with one another, with the present and with the past. They are the product of the connections that we make, stories woven tightly together with needle and thread.

Klimt’s “The Kiss” transformed into 3D touchable art for visually impaired

“Please don’t touch the artwork” is a phrase we often hear or see plastered on the wall next to masterpieces in museums. Some contemporary artists, however, have expanded their ideas of how artwork can be perceived to make their pieces more inclusive to everyone through the use of 3D printing. Museums enforce no touching of artwork in order to protect the historical artifacts on display from being damaged in addition to ensuring that their monetary value is protected. For the vast majority of art lovers, however, viewing pieces from behind glass frames or displays has little effect on their understanding of the work. By using 3D printing technology, those who are blind or visually impaired are now able to experience classic pieces of art through their sense of touch.

In fact, not only are observers allowed to touch the artwork, but they are encouraged to do so. The most recent of these pieces is a 3D version of Gustav Klimt’s “The Kiss,” which was put on display at the Belvedere Museum in Vienna.

This touchable version of the famous symbolist painting is not exactly identical to the original. The sculpture is stark white, completely lacking the bright yellows, greens and reds of Klimt’s classic work. Since this new version is intended to be enjoyed by the visually impaired, only texture—not color—is used to survey the piece.

While the practice of creating touchable replicas of classic artwork is still relatively new, this is not the first time museums have turned to 3D printing as a way to extend the enjoyment of art to the visually impaired. The Prado Museum in Madrid hosted an exhibit titled “Touching the Prado” in 2015. This exhibit featured 3D versions of the museum’s most famous artwork, including pieces by Goya, El Greco and Velázquez.

In this collection, however, the touchable versions were intended to recreate the colors of the original artwork as closely as possible. “You have to remember that not everyone who is registered blind can see nothing at all,” Head Designer at Estudios Durero—the group that designed the Prado’s touchable art—Cristina Velasco said. “Many have at least a little vision. For this reason, we knew we had to replicate the original colors as closely as possible.”

Although the 3D version of “The Kiss” lacks color, the varying texture of the sculpture intends to create an image for all who touch it to experience. In addition, most 3D printers can print this replica of “The Kiss” as long as they have access to the correct files.

Many people hope that this revolutionary step in how the world views artwork will lead more museums and galleries to create 3D touchable versions of their famous masterpieces to put on display. Art is a form of expression that everyone deserves to experience, and expanding the amount of people that will have access to it will only better the world as a whole.

SPOTLIGHT ON: Emma Belson

Roslyn Heights, Long Island may be far from Geneseo, but that doesn’t make it any less of an inspiration to Geneseo Campus Activities Board Arts & Exhibits Coordinator Emma Belson. The childhood with special education and English double major has an artistic eye that reaches homeward in her own work, but outward in others’. The Long Island native—a sophomore here at Geneseo—has taken over the MacVittie College Union Kinetic Gallery this year and is determined to bring all students a bit of color, whether it’s local, regional or nationwide.

“I want [the Kinetic Gallery] to be colorful—not that art can’t be black and white and can’t still be beautiful,” Belson said. She instead referred to the many gray months that accompany Geneseo’s traditionally harsh winters as her motivation.

“If it was up to me, I’d probably have one of those artists come in and just repaint the whole gallery in one of their installations,” she said.

A former GCAB general member, Belson decided to put her passion for the arts to good use and run for the position of arts and exhibits coordinator. She began sketching in art classes long before her college years, however, developing an appreciation for her home and family that influenced the evolution of her style.

“One of the biggest things I usually try and get right—but I never do—is my house. I take a lot of inspiration from that because it’s my home and I just love it,” she said. “There’s a big green tree out front, and my dog playing or something.”

Transcendent of her creative drawing ability, Belson’s dorm room walls are adorned with delicate Barbie sketches by Robert Best, which give an elegant interpretation of the plastic figurine. “They always remind me of something … it brings back memories,” she said.

Belson finds the greatest connection with a different medium, however. Photography has given an additional lens through which she fully immerses herself in the versatility that art can offer.

Her soft-spoken nature perhaps enhances her skill behind the camera, quietly capturing landscapes as Monet—her favorite artist—would do with a paintbrush.

“If we were to go outside Sturges right now, I’d look for all the bright colored leaves,” she said. “It makes you so happy … it could just be an old building or a piece of granite or cement that cracked in a certain way that you like.”

This harmony between photography and architecture fascinates Belson. Her travels across Europe’s most paramount cities—from Paris to Barcelona—have only heightened this curiosity, camera clicking to catch Notre Dame or the Sagrada Familia.

“If I had the skills in math, I’d probably be an architect,” Belson said.

The position of arts and exhibits coordinator for GCAB is a responsibility as large as the famous structures Belson admires. She finds and contacts potential artists, drafts their contracts, organizes their exhibits, controls advertisement, executes the opening ceremonies—down to the refreshments—and cleans it all up afterword.

“I basically do everything,” she said. “One of the biggest things is finding the artist. They can either be student artists from campus or they can be someone that I pick out at random from Google, but I usually have an idea in mind of where I want to go.”

The gallery is currently showcasing Suzanne Anker’s collection, “Blue Eggs and Spam,” which incorporates biology into its aesthetic. Belson hoped to integrate the interests of Geneseo’s large population of biology majors in the exhibit, an achievement in her objective to inspire students across all disciplines.

“Art has a lot of influence on people. It’s a way for people to release tension,” she said. “So many people are worried about college students and their depression, how they are handling things, but art is a way of releasing that.”

Each exhibit runs for approximately four weeks. The Arc of Livingston-Wyoming—a not-for-profit organization servicing the developmentally disabled—will display photographs taken by the students it supports in the gallery beginning Nov. 15, according to Belson.

At the heart of campus in the Union’s center, this particular exhibition embodies Belson’s theme of accessibility, expression and inclusion.

“You look around, everything is a piece of art. But some things are popping out a little bit more than other things would,” she said. “I think when you have a chance to look at things, you should.”

Ephemeral Arts Festival sparks creative freedom, environmentalism

Geneseo’s second annual Ephemeral Arts Festival continued on Saturday Oct. 22, as students gathered in the Roemer Arboretum to “let nature be [their] canvas.” A collaborative effort between the college’s Office of Sustainability, Nature Walk Club and Art Club, the festival aimed to bring artistic creativity back to the campus through an environmental lens. For the festival’s main event, students were invited to create pieces using any materials found within the arboretum.

The only rule was to avoid “research, restoration efforts or aesthetic value,” which were marked by blue flags, boards and protective cones. Photographers were available on hand to snap pictures of the completed projects, which are going to be exhibited at Cricket’s Coffee Company starting Thursday Oct. 27.

The project was partly inspired by sculptor and photographer Andy Goldsworthy and earth art of the 1970s, which is the slight modification and manipulation of natural landscapes for artistic purposes. Goldsworthy is famous for creating ephemeral pieces—pieces that are not meant to last forever, but to degrade over time. Armed with only a camera, Goldsworthy snapped photos of his work, effectively stopping time and documenting the natural materials in exactly that moment.

That being said, Director of Sustainability Dan DeZarn expressed that his hope was for student participants not only mimic Goldsworthy’s style, but also to create their own processes of creating earth art. Last year’s festival was fruitful, as students wove together wreaths and constructed sculptures out of sticks by placing leaves into beautifully colorful arrangements.

Geography major senior Sarah Kowalski—who is currently an intern at the Office of Sustainability and a past participant of the festival—remarked how fascinating it is to see how the pieces change over time. “You know that humans had something to do with it, but you don’t know the exact purpose,” Kowalski said.

In fact, one of the pieces—a wreath created by DeZarn—is still hanging in its spot on a tree branch.

As a campus that is more academically oriented—especially after the demise of the Studio Art major in 2014—it’s tough to find time to appreciate both the arts and our natural environment. Participating in the Ephemeral Arts Festival—or even finding time to simply walk through the Arboretum and creating earth art on your own—is both humbling and freeing in one of the best ways.

The process of creating earth art forces you to focus on your surroundings and to notice even the smallest of details. The rough dirt peeking through thousands of tiny bright yellow leaves, the delicate meandering veins on maple leaves and webs of thin branches all becoming visible allow participants to leave the stress of schoolwork behind and to see a bigger picture.  In a way, it ensures you that everything will be all right, the world will keep turning and the leaves will keep falling each year—even if you’re personally in a vastly different place.

With its ability to be simply beautiful, amazingly intricate or anything in between, earth art gives you a peculiar feeling of being at one with nature, while also having total control over it, as it makes you aware of your human status. It’s extremely rare that any other process of art evokes such a feeling, and it’s all thanks to those involved in the production of the Ephemeral Arts Festival that Geneseo students have such an opportunity.

Redhawk Council embodies Cultural Heritage Week, promotes unity

The Redhawk Native American Arts Council treated Geneseo to an educational dance performance on Tuesday Oct. 18 as a part of the college’s Cultural Harmony Week. The council is made up of Native American artists and educators seeking to spread knowledge and awareness for their people and their culture. Four dancers from the council traveled all the way from New York City to perform the traditional Native American dances. They also explained the dances’ significance before holding an open discussion.

The dancers—all beautifully dressed in traditional garb—performed several dances, each of which symbolized different meanings within their native tribes. A drum and a single voice accompanied all the dances, as the drum is a crucial symbol in the dances. Its circular shape represents the earth, and in the Native American culture—as well as many other cultures around the world—the Earth is believed to be a living creature. So the beat of the drum will always resemble a heartbeat.

Before each dance, the council explained the individual stories that the dances represented. “Jingle Dress Dance” is a healing dance that tells the story of a little girl whom the rain healed. The dancer wore an ornate dress with small silver cones that covered the bottom, jingling as she danced. Each cone represented a prayer that was said for the sick girl, and the noise they made symbolized the rain that healed her.

The way the dancers dress is often significant to the dances, too. They all wore feathered headdresses, explaining that the number of feathers serves to differentiate the tribes from one another. Members of the Seneca tribe—who are the people that once inhabited this area—wore only one feather in their headdresses, while others wore two, three or none. The feathers are so vital to their culture, in fact, that the Native Americans are actually the only people legally permitted to possess feathers from the protected Golden Eagle.

After the dances, the four council members gathered to answer questions from the audience. They explained the challenges that Native Americans face in addition to talking about their feelings regarding the current state of Native American culture in the United States.

“The founding of this country is a very sad part of the history of the world,” Director of Redhawk Native American Arts Council Cliff Matias said.

Now it is their goal to remind people of our country’s history and to help people “understand that these traditions and the people behind them are real, and [that] they matter,” according to the Redhawk Native American Arts Council. It is a culture that only exists in history books in addition to being misrepresented within Hollywood films—but it’s also something that many people in this country live and experience everyday.

While it’s vital to provide a space for Native American culture in today’s society, the council explained that their greatest goal is not to retake the country that was once theirs, but to live in harmony with all of the American people. Matias explained that this is the very nature of their culture.

“We don’t want people to leave, we want people to respect each other,” Matias said. “When the pilgrims came to America, [the natives] wanted to make the pilgrims Wampanoags … they wanted to adopt them.”

Of course, as Americans, we should know by now that the pilgrims had no intention of living in harmony with the native peoples, and after two years 50 percent of the Wampanoag population was extinguished.

Despite the long and grueling journey the Native Americans have faced, however, the council has hope for the future: “The whole world is changing. People are changing Columbus Day to Indigenous People’s Day.”

One member of the Students Against Social Injustice group on campus inquired what Geneseo students could do right now to help the Native American culture. “You’re talking about it … and that’s the first step,” Matias said.

We as students are powerful in changing how the world views cultural differences, because—as people constantly point out—we are the future of this country. Though a notoriously trite statement, these kinds of thoughts lead to the types of conversation and cultural appreciation that is vital for change.

We have the power to make cultural harmony last much longer than just one week.

Solange epitomizes black female strength in third solo album

Solange Knowles—younger sister to musical sensation, Beyoncé—has recently wowed audiences with her third solo album, A Seat at the Table. As a document of the struggles of black women, Solange expresses intense emotions and painful memories while also addressing current race issues in the U.S. After taking an eight-year hiatus to get married, give birth to son Julez, move to Idaho, star in Bring It On: All or Nothing, get divorced and write songs for her sister’s albums, Solange has decided to alter her sound dramatically.

Her previous albums invited influences from the ’60s funk and soul scenes. They aimed to express her individuality and reject the expectations attached to being Beyoncé’s sister. Her 2012 album True mixed the current pop trends with her already established funk and soul-inspired sound.

A Seat at the Table, however, takes her musicality in a completely different direction as she invites discussion about current political, social and racial affairs while utilizing an emotional openness that has not been present on her previous albums. Some listeners have commented that this dramatic change in sound is a direct result of a recent, rather traumatic, event in her personal life, which has led to a growth in maturity.

In contrast to the opening tracks of her previous albums, which demanded the listener’s attention with hard-hitting beats and suggestive lyrics, “Rise” opens the album slowly with a piano instrumental. When Solange’s voice enters, it is barely recognizable as the same artist who sang the theme song for Disney’s animated television series “The Proud Family.”

“Rise” acts as an anthem for black women in this current time of desperation. The lyrics strongly echo sentiments of recent events and the encouraging lines of the melody lay out the album’s central tension surrounding sorrow, pride and pain.

“Cranes in the Sky” details Solange’s desire to escape the rejection experienced in her life, specifically referencing her struggles during her childhood, marriage and divorce, as well as her personal process of coping. The song also features subtle nods to the infamous elevator incident, in which Solange physically attacked her sister’s husband, rapper Jay-Z, for publically unknown reasons.

Toward the end of the song, listeners are reminded of the singer’s strong vocals, which are influenced by the likes of Minnie Riperton, who is famous for her immense control in the upper registers of the voice. In fact, these strong vocals are what allow Solange to remain at the center of the album, rising above the catchy beats in the background, which are created by stars in their own right, Timbaland and The Neptunes.

A subtext of issues surrounding racial discrimination can be read into almost every song on the album, and a discussion about A Seat at the Table is barely complete without addressing these. Solange addresses her own personal disgust at society, while also aiming to encourage black women to strive for success and to reject the social stigmas attached to them.

As a child, her family was forced out of their home in Louisiana due to racial tensions. She uses these memories and, along with current events, sings with a rawness that echoes the sentiments of many across America.

A Seat at the Table strongly confirms Solange’s rightful place within the music industry. It forces her out of her sister’s shadow and allows Solange to present a unique and powerful mastery of vocals, tension, performance and emotion.u

Historically significant Van Gogh paintings recovered after 14 years

Two missing paintings by Vincent Van Gogh have recently been miraculously recovered after 14 long years of searching. Stolen in 2002 during a raid on the Van Gogh Museum in Amsterdam, the paintings “Seascape at Scheveningen” (1882) and “Congregation Leaving the Reformed Church in Nuenen” (1884-85) were considered to be among the most searched for artworks in the world. Both pieces were on the FBI’s list of the “Top 10 Art Crimes.”

Thieves had broken into the Van Gogh Museum by making it past the guards and infrared security system through the use of ladders and sledgehammers to steal the two paintings. The 14-year search finally ceased at the end of September after Italian police found the paintings in an old farmhouse in the seaside town of Castellammare di Stabia, near Pompeii. A curator inspected the paintings and has firmly concluded that they are, in fact, the stolen originals.

The paintings were recovered as part of a larger investigation by the Guardia di Finanza team, which is an Italian law enforcement agency that specializes in organized crime. The team suspects the culprits to be part of the Camorra, an Italian mafia-style crime organization. The paintings were seized along with 20 million euros worth of assets, which were rumored to have been held by two drug kingpins.

The Camorra is one of the three largest crime syndicates in Italy, and they are always looking for ways to launder their illegal revenues. Specific information has yet to be released regarding the farmhouse where the paintings were found, and the case remains under investigation.

Thankfully, the paintings are in surprisingly good condition. They were found propped up on easels, removed from their frames and covered with a cotton cloth. “Seascape at Scheveningen” is the more damaged of the two, with a portion of the paint chipped away from the bottom left corner.

The museum, however, is just relieved that the paintings were returned at all. Axel Rüger, director of the Van Gogh Museum, admitted that even he had begun to lose hope in ever recovering them.

“The paintings have been found!” Rüger said. “That I would be able to ever pronounce these words is something I had no longer dared to hope for.”

These two paintings each hold a unique artistic significance. “Seascape at Scheveningen” is the only piece in the Van Gogh Museum from that specific time period. It’s one of his first major works and one of only two seascapes he painted during his time in the Netherlands. On the canvas are actual grains of sand from the Dutch beach, which blew onto the wet paint as he painted it over the course of two days. Its return fills an important gap in the collection.

The “Congregation Leaving the Reformed Church in Nuenen” holds more of a biographical and emotional value regarding Van Gogh himself. It’s a smaller piece that he painted for his mother, depicting the church where his father was minister. After his father’s death, Van Gogh reworked the painting, adding funeral mourners in the foreground.

The museum rejoices at the discovery of the missing paintings; it will be some time, however, before they are returned to their rightful places in the gallery. For now, they must remain in Italy as evidence for the continuing investigation of the Camorra’s illegal activities. The time of the trial has not yet been announced, but Rüger says the museum is willing to wait: “Naturally the only thing you want is to take them straight home with you. We will have to exercise a little bit more patience, but I am convinced that we can count on the support of the Italian authorities.”

Lonely Planet reading explores AIDS epidemic through friendship

Geneseo saw the second of this semester’s department of theater and dance’s staged readings on Thursday Oct. 13—a play that boldly explored the AIDS epidemic of the 1980s. Lonely Planet, written by Steven Dietz, was directed by theater and communication double major senior William Gfeller. It also starred communication major senior Casey Churches and musical theater major sophomore Brian Sousis.

Performed in the Robert Sinclair Theatre, the staged readings give students the opportunity to hone their directing and acting skills. They are produced in partial fulfillment of professor Randy Kaplan’s Directing II course. Students handpick their own production to produce, cast the actors and direct the play for performance in the class.

Gfeller directed two staged readings prior to Lonely Planet. His previous plays lacked staging, however, and instead focused on the actors’ voices as they simply read from their scripts. This is his first fully staged performance, complete with blocking, props, sound, costumes and lighting cues.

Gfeller said he strived for a sense of realism when he chose Lonely Planet as his third staged reading. He was drawn to the play because it depicted the HIV/AIDS epidemic in the context of friendship, rather than with a romantic or family relationship like most other works in the canon of AIDS drama.

“It’s just important to understand that if you don’t acknowledge [the HIV/AIDS epidemic], you’re going to forget it,” Gfeller said. “It’s important that it retains its place in our cultural dialogue.”

Dietz’s masterpiece, while still considered to be a modern text, first premiered in 1993 after the epidemic that caused so much hysteria. Although many people are still affected by the disease today, Gfeller and his actors engaged in multiple discussions during rehearsals and did research in order to better understand the main issue of the play.

With only two actors involved, the play is very dependent on their relationship. Luckily, Gfeller, Churches and Sousis are longtime best friends.

“There were a lot of laughs … and a lot of tears,” Gfeller said. Their personal relationship inevitably affected the rehearsal process.

Following every staged reading, there is a “talk-back” in which the audience, the actors and the director exchange comments and opinions and ask questions. The talk-backs resemble Q&A sessions, while also acting as a discussion, so that by the end the conversation, audience members, actors and director alike are all sharing thoughts on the work.

The ability to talk in an open discussion immediately after seeing a production is one of the greatest parts of the college’s staged reading program—it successfully gets everyone involved and allows for different perspectives to be shared.

Upcoming staged readings include Henry James’ “The Turn of the Screw,” as adapted by Jeffrey Hatcher and directed by theater and English adolescent education double major senior Benjamin Ranalli on Thursday Oct. 20 and Athol Fugard’s A Lesson from Aloes, directed by communication and musical theatre double major senior Brittani Samuel on Nov. 17.

All staged readings directed by students are free admission.

Parker’s controversial past resurfaces in midst of directorial debut

It was during the early hours of Aug. 21, 1999 that a woman, reported as Jane Doe, was raped while unconscious by two student athletes at Pennsylvania State University. After a night out drinking, Doe’s date led her back to his room. She then woke up to her date and his roommate raping her. Her date’s name is Nate Parker.

When Parker’s film, The Birth of a Nation, premiered at the Sundance Film Festival in January, the credits rolled on screen to great praise. Fox Searchlight Pictures soon bought the rights for the film for $17.5 million, a record for the festival.

The movie tells the story of Nat Turner’s slave rebellion during the 19th century. Turner was an enslaved Baptist preacher on a Virginia plantation, and after witnessing the horrific treatment of his peers, decided that he could no longer be a bystander. His actions prompted one of the largest slave rebellions in Southampton County—one that was both violent and historic.

The premise of the movie and the significance of the story regarding black history drew a large amount of excitement over its reprisal on the big screen. Parker is the writer, director, producer and actor who portrays main character Turner. Coming so soon after the #OscarsSoWhite trend on Twitter and criticism over a whitewashed Hollywood landscape, Parker’s prominent role in the production of the movie generated praise and excitement in the black community and throughout the country.

Then the Penn State rape case was brought back to light, complicating matters. After Doe reported the rape to the university, a lengthy legal process ensued. At first convicted, Parker was later acquitted. His roommate Jean Celestin was also convicted, but his charges were also overturned. In November of 1999, Doe attempted to commit suicide. Years later in 2012, she was successful.

In a statement regarding the suicide, Parker insisted the sexual encounter in question was consensual. The victim was intoxicated and unconscious, however, resulting in the absence of consent. The acquittal of rape charges does not make Parker innocent, especially as earlier evidence from the court case proved that the victim was indeed raped. Parker’s acquittal only perpetuates a cycle of aggression and male privilege, and serves to undermine the worth of women.

The return of Parker’s rape allegations to the spotlight has caused many to question the morality of seeing a movie whose creator is a rapist. Interestingly enough, The Birth of a Nation features a character who is a victim of rape, played by actress Gabrielle Union—a rape victim herself. In an open letter, she tells the world, “As important and ground-breaking as this film is, I cannot take these allegations lightly. It’s very possible [Parker] thought he [got consent]. Yet by his own admission, he did not have verbal affirmation.”

While The Birth of a Nation highlights the always-important issue of racism, the film essentially supports one marginalized group at the expense of another. Rape victims need a voice, and it’s hypocritical to support a movie that gives a voice to one group of oppressed people while its main beneficiary, Parker, silenced a woman who fell victim to a culture that oppressed and faulted her.

Many people stand by the movie because it deals with such a worthy cause. But there are many other black filmmakers and creators who address important issues as well. Take, for example, Ava DuVernay, writer and director of the film Selma, or Barry Jenkins, writer and director of Medicine for Melancholy.

It is imperative to understand the importance of deconstructing rape culture in our society. Like the spirit of Nat Turner’s slave rebellion, it is never OK to be a bystander to the suffering of others.

Original Raphael painting discovered in Scotland

Art historian Bendor Grosvenor and a team of experts were in for a surprise when they recently found a probable Raphael painting in an 18th century home in Aberdeenshire, Scotland. What used to be a painting worth around 20 British pounds could now be worth 20 million. Grosvenor was researching for a new BBC series, “Britain’s Lost Masterpieces,” when he found the over 500-year-old painting in the attic of the Haddo House. After further investigation, Grosvenor discovered it was bought in the early 19th century as an authentic Raphael painting and was exhibited at the British Institution in London alongside other accepted and authenticated Raphael paintings. Later, however, it was “downgraded” and attributed to another Italian artist, Innocenzo da Imola.

Like Raphael, da Imola was a painter during the early 16th century and is known for such religious paintings as “The Virgin and Child with Saints John the Baptist,” “Peter and Paul” and “Joachim and Anne and The Holy Family.” Interestingly enough, da Imola is also known for his “Raphaelesque” style.

After closely examining the painting—which depicts the Virgin Mary—Grosvenor suspected it was not a work from da Imola. “It is simply too good to be by Innocenzo,” Grosvenor said in an interview with The Guardian. After cleaning the painting, he was able to admire its true greatness, and was taken aback: “You stand there and wonder, ‘How did he do that,’ which you do with all great painters.”

The painting—which is dated between 1505 and 1510—is very similar in style to Raphael’s other works. Grosvenor observed that the profile of the Virgin, as well as the model and style of her face, is considerably “Raphaelesque.”

The story of the discovery appeared on the Oct. 5 episode of “Britain’s Lost Masterpieces,” which features Grosvenor and art historian Jacky Klein as co-presenters. “We had to turn this series round in very quick order,” Grosvenor said of the episode’s production.

“We didn’t have time or resources to take it on a European tour of Raphael scholars,” he continued, emphasizing the significance of the discovery. “All the evidence seems to point in the right direction … it would be Scotland’s only publicly owned Raphael.”

Grosvenor is most likely correct about the painting’s origins. In the BBC program, former director of the National Gallery—one of Britain’s most renowned museums—Sir Nicholas Penny confessed the strong possibility that the painting is in fact a true Raphael. All he needed was “a bit more time and courage” to be completely convinced.

Haddo House has a rich history of being the home of earls and marquises of Aberdeen in the 19th century. In 1976, The National Trust for Scotland was given ownership of the house and everything in it, including the painting. Perhaps the presence of a Raphael will draw greater tourism to Aberdeenshire.

“Finding a possible Raphael is about as exciting as it gets,” Grosvenor said. “This is a beautiful picture that deserves to be seen by as many people as possible. I hope ‘the Haddo Madonna’ … brings many people to this part of Aberdeenshire.”

The painting is currently in the dining room of the Haddo House, where it can be appreciated for its timeless beauty.

Sustainability director depicts ephermeral art, encourages “creative problem solving”

Geneseo holds a true diamond in the rough on its campus. Dan DeZarn is the college’s director of sustainability and the former chair of the art department. But chiefly, DeZarn is an artist who strives to create sustainable pieces. DeZarn and the Office of Sustainability have partnered with Geneseo’s Art Club, Nature Walk Club and the Roemer Arboretum to host the Ephemeral Art Festival, a three-part event beginning with a lecture on sustainable art by DeZarn himself.

The talk, which took place on Wednesday Oct. 19, had DeZarn discussing his own work as well as the Earth Art of the late 1960s, both of which he hopes will serve as creative inspiration for the second leg of the festival. The second part was an art-making session in the Roemer Arboretum on the south side of campus. The final event of the festival will be an exhibit of the art made at the Arboretum on Thursday Oct. 27 at Cricket’s Coffee Shop.

DeZarn will expectantly share some of his skills and techniques during the creative session at the Arboretum. He wants his viewers to “not know [his art] is art”—a goal that is easily achieved through his exclusive use of natural and recycled materials. The pieces—which are not meant to last forever—have focused on gradual natural processes, with the goal to bring the viewer back to each piece repeatedly, allowing them to observe the phases that each go through as their natural materials change and deteriorate.

His piece “The Bridge That Connects Two Places That No Longer Exist” was a bridge constructed of metal dripping with a honey-like candy. Over time, the candy eventually fell completely from the bridge, leaving the metal structure to stand alone.

“A Study of Lightness, Proximity and Function” was composed of several wooden structures in the likeness of power lines, built to mimic DeZarn’s own measurements. Attached to these were sets of helium balloons that then carried the sculptures away across the landscape. DeZarn captured their flight with photography, but never knew where they ended up.

In addition to his individual pieces, DeZarn has participated in collaborative projects, such as “Pulled Resources,” which he worked on with Thomas Sturgill. A series of large-scale ephemeral pieces, the project focused on reacting to issues of climate change and processing those issues through an artistic lens.

In particular, one piece aptly titled “Bootstraps” critiques the lack of help given to those affected by Hurricane Katrina during the first few weeks of the storm, the people who were told to “pull up their bootstraps” and to help themselves. The piece takes the form of rafts and stilts built from the wood of a demolished house.

Sustainability is not just an artistic interest for DeZarn, however; he is constantly integrating it into his personal life, as well. He built his entirely sustainable house from the ground-up with his wife, who is also an artist, and is still working on it today, constantly making updates.

With the house, the two are striving to achieve “a beautiful means of living,” one that is completely hands on. As the building progressed, many of its elements actually doubled as minimalist pieces exhibited in galleries. Of this work—which arguably is largest to date—DeZarn said, “It’s a freaky and weird way to make art; it’s become bigger than me.”

DeZarn laments the scarcity of art on the campus. He is a true believer in the power of artists as “creative problem solvers.” His involvement in the Ephemeral Arts Festival plays a vital role in bringing creativity back to Geneseo. He hopes the program will inspire students to think about what we use and what we leave behind. With his help, the upcoming festival events should prove to do just that.

Former Hussein palace transformed into archeological museum

Qahtan al-Abeed, the director of the Basra Section of Iraq’s State Board of Antiques and Heritage, has taken on a massive project. He and his team are planning on opening Iraq’s first new museum since 2003 in one of former Iraqi president Saddam Hussein’s palaces. While there have been multiple obstacles in the construction and opening of the museum, Iraqi officials are hopeful that this will spark a cultural revolution in Basra.

Opening a new museum in an area so recently ravaged by the Islamic State of Iraq and Syria may seem like an unrealistic goal, especially when reminders of the conflict still linger. There are still occasional threats from a nearby Shiite Militia group, and the building itself—which previously served as a mess hall for the British army—still shows scars from several car bombs. Despite these issues, the area has recently achieved a degree of political stability, paving the way for the creation of a new museum.

Although it took two years to gain government approval, al-Abeed believes that the museum’s progress is a huge step in the right direction considering that this same area saw frequent fights between competing militias just a few years ago. The Basra government has agreed to contribute $3 million of this $3.5 million project, with the remaining funds backed mostly by charity from oil companies.

The museum is expected to include 3,500–4,000 artifacts from the ancient Sumer, Babylon, Assyria and Islamic periods. Due to looting instances in the past, al-Abeed plans to have large steel doors that can quickly be sealed in order to protect the treasures inside the museum. He doesn’t, however, want the strong security system to overpower the sense of openness necessary for the contemporary and interactive displays in the museum.

“We want a very modern museum that does more than just display objects,” al-Abeed said to National Geographic. “We want to bring in people for all kinds of art and cultural activities, including training courses and professional meetings.”

Hopefully the museum will bring the rich history of Basra and Iraq to the world’s attention. Founded in the year 636, Basra became an indispensable trade port as well as a center for the arts. The area remained mostly uninhabited until the 1990s, when Saddam Hussein used its land to create factories.

Fast-forward to today, and Basra is one of the least explored archaeological sites in the world, making it the prime location for a new museum. The city’s oil business is growing rapidly and the area around the city is currently undergoing rehabilitation.

Now that Basra is expanding, however, the demand for land is growing and stakes are high for al-Abeed and his organization. They continue to receive outside pressure to prove that the site houses significant archaeological remains. If they fail to do so, it could jeopardize the museum’s further development.

But al-Abeed is still marching forward with progress on the museum, as he is currently taking steps to list the area as a World Heritage site under UNESCO—hoping to protect and preserve the history of his home.