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Washed Away

One of the climate issues I feel particularly passionate about is the problem of rising sea levels. In my experience, this is the issue that individuals have the hardest time connecting with, as it can seem like someone else’s problem. Sea levels have risen almost four inches since 1993, with the potential to reach growth of nine feet by 2100 (Lindsey, 2020). This has and will continue to displace island and coastline residents as the waves wash over their homes. Islands continue to sink below the surface, while hurricanes and other dangerous storms grow more destructive with the higher water levels. The displacement of residents and the destruction of coastline infrastructure affects everyone, even those further inland.

https://www.google.com/url?sa=i&url=https%3A%2F%2Fprc.org%2Flets-clear-air-poster-challenge-2020-winners-announced%2F&psig=AOvVaw1AbYe-2_pUrSC0vlCeXxFI&ust=1636685058727000&source=images&cd=vfe&ved=0CAsQjRxqFwoTCPDd7JClj_QCFQAAAAAdAAAAABAD

In the context of an art class, I think creating a project to spread awareness about rising sea levels, particularly in marinas, would be helpful. Clean Ocean Action (n.d.) released a guide for individuals to help address the issues of rising sea levels, including being conscious of one’s boat wake and leaving sand and dunes built up against erosion. Having students design eye-catching signs with these messages and placing them around docks can help to address mistreatment of the environment. They could decorate the posters however they see fit, to best convey the issue of climate change.

https://www.google.com/url?sa=i&url=http%3A%2F%2Fcodylee.co%2F2019%2F03%2Flines-57-59n-7-16w%2F&psig=AOvVaw31WT2Ult736F4P1Lu9boXZ&ust=1636686296781000&source=images&cd=vfe&ved=0CAsQjRxqFwoTCPCQztypj_QCFQAAAAAdAAAAABAD

Another possible art project would be following the work of Finnish artists Pekka Niittyvirta and Timo Aho. Their installation Lines involved taking strings of lights and placing them at the height of future sea levels on buildings, showing how much of their home would be underwater. To further spread awareness about rising sea levels, students could research the predicted heights in different areas, then measure and tape the heights on the wall in the hallway. This could help them understand why the rising sea levels are so concerning, that a few inches of water for them could be a few feet for others. They could also include images of species that are at risk of extinction due to rising sea levels, to further emphasize the problem.

Environmental justice can be intimidating to teach to others. The scientific background can feel complicated and confusing, especially as a teacher trying to express it to children. Government and nonprofit websites can be very helpful for this, as their information is formatted by professionals who know how to condense the information into a digestible, but still accurate, package. Students today have access to the information, but as teachers we can help the information to be more personal.

References

Clean Ocean Action. (n.d.). 10 tips on sea level rise. Clean Ocean Action. https://cleanoceanaction.org/fileadmin/editor_group2/COAST/10_Tips_on_Sea_Level_Rise_final.pdf

Lindsey, R. (2020, Aug 14). Climate change: Global sea level. Climate.gov. https://www.climate.gov/news-features/understanding-climate/climate-change-global-sea-level

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Meant to Perform

When I consider negative gender stereotypes, I tend to think right away of beauty advertising. I have a love-hate relationship with this sort of advertising, as I enjoy beauty products but do not enjoy the way they are marketed. My relationship with makeup was initially nonexistent, as I refused to be a girl who “needs makeup and has to get up early.” My rebuttal of the gender stereotypes surrounding makeup had me contributing to these stereotypes, as I then viewed those who wore makeup every day as girly and trying too hard for attention. This was no freeing concept of my gender; I was still painfully aware of any felt shortcomings and chose to take that out on other women rather than on the media forcing the stereotypes on us.

In considering beauty advertising, I think of the priorities it assumes women have. I think of this concealer advertisement from Benefit, that pushes the idea that it is unthinkable to go without makeup for a day. A conventionally attractive women with pink textbooks is implied to have woken up late, but of course she will choose to put on her concealer over getting to class on time. I could not find such ads geared towards men, implying to them that they should prioritize their appearance over other pursuits. This kind of ad makes me frustrated, as it perpetuates the value of makeup as a way to be conventionally attractive rather than its own unique art form. Femininity and women in beauty are contained to these beauty stereotypes.

Upon further research, I found studies conducted that found these negative stereotypes weasel their way deep into our self-esteem. Studies focused on women have found that advertisements for beauty-enhancing products lead women to focus on their short-comings, even if there are no women depicted in the ad (Paul, 2010). These advertisements depend on these feelings of inadequacy, to the point where they edit their models until they no longer look like real people (Swinson, 2011). The products will not help women fit into the gender stereotype, only computer editing can accomplish that. Preying on our negative self-perceptions makes for effective advertising, but continues the harms done by expectations of gender.

My journey with beauty products took its turn for the better during quarantine, when the pressure to perform as feminine was suddenly and unexpectedly lifted. I was stuck at home with little to do, so I began to play and experiment with my beauty products. Breaking some of the beauty rules that I was accustomed to became a fun pastime, as I took more artistic liberties with my appearance. As I reduced my gender performativity, so did my attachment to being “female” lessen. Returning to a social world has become somewhat confusing, as the expectations for gender performativity still exist without my desire to fulfill them. I have had to reconsider what being female means and in what parts of gender performativity I am willing to participate.

References

Benefit Cosmetics. (n.d.) Boi-ing Concealer Ad [image]. https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.reddit.com%2Fr%2Fmuacjdiscussion%2Fcomments%2Fbxcalw%2Fwhat_are_some_controversial_makeup_advertisements%2F&psig=AOvVaw1X1lWELJtgQvvlECpqVt_c&ust=1634869574674000&source=images&cd=vfe&ved=0CAsQjRxqFwoTCICo0vu52vMCFQAAAAAdAAAAABAP

Paul, P. (2010, Dec 10). Flattery will get an ad nowhere. The New York Times. https://www.nytimes.com/2010/12/12/fashion/12Studied.html

The Perfume Girl. (2018). Perfume advertisements [image]. https://www.theperfumegirl.com/perfumes/magazine-ads/2018/

Swinson, J. (2011, Aug 10). False beauty in advertising and the pressure to look ‘good.’ CNN. http://www.cnn.com/2011/OPINION/08/08/swinson.airbrushing.ads/index.html

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Challenging My Own Racism

I have had the privilege of growing up without strongly considering my race. I was aware that I looked different from some of my peers, but I was always part of a majority. This meant that I never felt discomfited by these differences; no one ever pointed them out or singled me out for them. As I got older, I became more aware of the historical experiences of people of color in the United States, but it all felt so distant that I struggled to make the connection that racism was still a major problem. Growing up with the Catholic perspective, I figured we were all the same and being treated the same, surely the racists were the minority of people still living in the past?

Looking back on this now, it is hard not to feel personally at fault for this way of thinking. How could I not have known better? Was I asking the wrong questions of the wrong people? Why was I not paying more attention to the world around me?

Now, I look at that experience as typical of a white child growing up in a middle-class environment: I never encountered race, so my parents and teachers felt no need to expose us to the concept and build our understanding of how we are complicit. Elie Mystal (2021) describes the phenomenon as “keeping white kids ignorant” in order to continue whitewashing history and promoting white exceptionalism. No one is forcing educators to teach the horrible, painful truth, so they avoid it altogether.

Once I entered my freshman year of college, I began to encounter different people than those of my WASP neighborhood. My college writing class did the work of all my previous teachers, assigning us article after article of the racism rampant in our country today. I was horrified, how could this have been happening and I had not noticed? Surely I could not be part of the problem, I had never attacked someone for their race.

My writing class once more showed me how ignorant I was. We talked about the various ways one can be complicit in racism, down to failing to educate oneself about one’s own biases. I knew I needed to do more research, to do the work I had neglected so far. College soon became an easy excuse, however, as I felt my grades were more important.

Then the pandemic hit, followed shortly by June. The fury of protests opened my eyes further to the work I had intentionally neglected. It was not enough to not be a racist, but rather I needed to be taking action to put racism down. This may seem overwhelming and like an impossible task, as that was my initial perception. The National Museum of African American History and Culture (n.d.) breaks down the process of being antiracist on an individual and interpersonal level. What I found most helpful in their article was the practice of having a questioning mind. In order to correct the biases I currently possess, I need to ask myself questions about each of the assumptions I make when I make them. This can give me a jumping board to continue my research and personal education.

 References

Mystal, E. (2021, Jun 3). The miseducation of white children. The Nation. https://www.thenation.com/article/society/critical-race-theory-white/

National Museum of African American History and Culture. (n.d.). Talking about race. https://nmaahc.si.edu/learn/talking-about-race/topics/being-antiracist

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Visual Identity

One of the most recognizable ways that we express our identities is through our appearance. That first impression makes a serious difference in how others will treat you, as they gather information from the way you present yourself to them. I grew up hearing certain stereotypes and assumptions from my parents, which in turn influenced how I perceived others. One example would be around tattoos, of which my family members did not approve. My understanding became that people with tattoos made poor, rash choices and tended to be standoffish. As I have interacted with more people with tattoos, however, I have found that to be nowhere near the norm. Anyone who did not behave in a way I found “normal” made me nervous, as how could I understand someone so different from myself?

An example of my new understanding of tattoos would be Paul Booth, a tattoo artist who developed his own technique to add more depth to the images. He appears as the sort of intimidating person that I would attach to my previously-held stereotypes, but is a visionary with his work. The emphasis of his career has been to show the artistic skill in tattooing and encourage artists to collaborate and push their abilities further.

Paul Booth is an artist, tending towards the darker and more challenging subjects. He continues to challenge himself in his projects, expanding from tattoos to sculpture and film. He connects very closely with the founding principles of many alternative subcultures, showing this through his dress and facial piercings. His visual identity pays homage to these subcultures and the focus of his art: dark, somewhat intimidating subjects with valuable messages.

Another example of visual identity is Will Wood, best known for his music and eccentric public appearances. He chooses to pull from multiple genres and styles, each song working to express his messages and feelings. He has carefully curated his visual image by foregoing social media and doing interviews with smaller productions. He films his own music videos and designs his album covers. He changes up his appearance frequently, filming a music video in a clean cut suit, attending an interview with a third eye drawn on his forehead, and then shaving his head and face. He has drawn a cult following, with an attitude of “you either like him or you don’t.”

Wood’s struggle with bipolar disorder has been a defining factor of his musical career, as he has used his music and artwork to show how he experiences this disorder. Music, his appearance, and his art will take sudden twists and turns. Outside of this visual identity, Wood is very private, so the only information consumers have is his music, videos, and public appearances. This adds to the eccentricity, as the consumer only knows the Will Wood that is presented. We do not know if he is playing a character.

We can express ourselves in a number of ways, with a major part of our personal development being learning to present ourselves authentically. There are more options to this than we may assume, as standing out may seem alarming. Both Booth and Wood show us that we can step outside of the box with our visual identities, using our creativity in a multitude of ways.

REFERENCES

Paul Booth’s Bio [Photograph]. (2021). Paul Booth Art. https://www.paulboothart.com/

The Pop Break. (2017, Sept 5). Interview: who is the real Will Wood?. The Pop Break. https://thepopbreak.com/2017/09/05/interview-real-will-wood/

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Nicholas Galanin

I chose to interpret one of the photography works of Nicholas Galanin, The violence of blood quantum, half human (animal), half human (animal) after James Luna (2019).

Galanin, N. (2019). The violence of blood quantum, half human (animal), half human (animal) after James Luna [Photograph]. The Museum of Modern Art, New York, NY, United States. https://www.moma.org/collection/works/419822

To look at this image denotatively, you see a photo that has been torn in half. One side of the man's face appears normal, while the other side is bruised and swollen. His expression appears the same on either side, staring heavy-lidded at the camera, and the background is blank. To understand the meaning of this piece, I did some extra research into Galanin. The focus of his work is to bring his Indigenous culture into a modern context, so that is no longer connotated as being "historical" or "part of the past" (Macalester College, 2019). This piece in particular is focused on his heritage as an Indigenous man, as blood quantum was used in the past to invalidate the identities of many Indigenous people across the world. His activism for Indigenous land rights does not change based on the attempts of others to determine "how native he is." He is still attacked for his identity and still fighting for the recognition of what is his by right.

This image can be interpreted by the way other artists have used this approach, as Galanin took inspiration from the works of James Luna.

Luna, J. (2011). Sometimes I get so lonely (Ishi) I [Photograph]. Garth Greenan Gallery, New York, NY. http://www.artnet.com/artists/james-luna/sometimes-i-get-so-lonely-ishi-i-a-rM2Q8kltYZi03o4ghJhixQ2

Luna, J. (1996). Half Indian/half Mexican [Photograph]. Washington State Art Commission. https://www.arts.wa.gov/artwork/?request=record;id=11885;type=101

In the two works of Luna shown above, one can see the parallels to Galanin's piece. They have the contrasting images, although Luna's focus more on showing that, in either way he appears, he is still Indigenous. He makes sure that the images are similar enough in pose, background, and expression that the differences jump out to the viewer. Galanin uses this technique to show the viewer what is happening to Indigenous people, that they are being beaten and treated like animals.

This activity has shown the ideas of visuality and social construction in that one image is able to show multiple layers of a person. They are not limited to the two-dimensional image, but the facets of their identities are able to be described through juxtaposition.

Macalester College. (2019). Nicholas Galanin. Macalester. https://www.macalester.edu/gallery/pastexhibits/2019-20/nicholas-galanin/