Trying to find the one meal that is Baltimore? You know, the one all natives devour? Look no farther. It doesn’t exist. Baltimore brews diversity; the cultural menu seems endless. No one person, culture, or dish can give you a taste of all Baltimore has to offer. If you blend them together, though, Baltimore will emit a spice like no other city.
One uniting ingredient sprinkles itself atop all Baltimorean dishes. No, not Old Bay. Culture.
You are what you eat. Become Baltimore.
Friday, November 14, 2008
ENCOUNTERING WEST AT THE BMA
An exhibition of the work of the contemporary Austrian artist Franz West opened at the Baltimore Museum of Art on October 12, 2008 and will be on display until January 4, 2009. The exhibition is called To Build a House You Start with the Roof: Work 1972-2008. Having visited the museum, I can say that this collection is thought-provoking, to say the least.
I think Franz West makes everyone rethink the idea of art. We live in a modern, technological world that is pushing boundaries in so many ways, and we seem to think that we are comfortable with the world of contemporary art as a natural extension of our modern world. After all, we understand that art is a form of expression, and we live in a forward-thinking society. But Franz West’s work threw me off guard. His art confronted and startled me—sometimes in a positive and unexpected manner but more often in an uncomfortable manner. Apparently, I do have certain expectations of what art should be, and I would assert that we all share this to a certain extent. Therefore, walking through and reflecting on this exhibit offers a challenging and interesting experience for those who dare to take on West’s works.
I can appreciate many of West’s pieces as works of art. His sculpture The Ego and the Id impressed me the most. It is composed of two colorful sculptures of aluminum welded together in such a way as to form a kind of angular piping that soars roughly two stories up into the air and then curves into steep dives back to the floor wherein the sculpture either ends in the form of a seat or turns back up to the ceiling only to plunge down once again. This work is whimsical and fun to contemplate. One woman described it as “Seuss-like,” and I couldn’t agree more. But perhaps what is most striking about this work and West’s art in general is its interactive quality. This sculpture was meant to be walked through, touched, and sat upon. West invites you to participate in a lot of his work; it is as if you are supposed to be part of it.
This interactive quality is something unconventional and surprising. That people are expected to physically engage with his work challenges our understanding of art. We are used to being on the outside of a piece of art, but West literally brings you into many of his. The most extreme example of this is a collection of pieces called Adaptives. It consists of four heavy, irregularly shaped, plaster forms with metal rods stuck through them. You are supposed to take an Adaptive with you into a little room with a mirror and essentially play around with these strange objects. I gave it a fair try, but it was an awkward experience. The Adaptives were somewhat difficult to handle, and I felt lost trying to interact with them. Perhaps this is the feeling West wants to produce, yet I could not help but think to myself, “Is this art? Could swinging around a rod skewering a blob of plaster be art? I feel like an idiot.” One thing is for certain, he presents a strange and provoking approach to the concept of art.
While I was making my way through the exhibit, the question “Is this art?” popped into my head on several occasions, and I do not think this would be an uncommon reaction among most people. A number of his smaller sculptures look like something an elementary class might turn out after a paper mâché lesson, and I was not always sure as to what to make of his non-sculptural work either. It is often sexual in nature and features distortions and perversions of the human body. Depending upon the piece and your perspective, these works could seem disturbing, humorous, or a combination of both. Franz West is an artist with no limits. You never know what you may find among his pieces. His works are undoubtedly original and often larger-than-life. Most importantly, West’s work has the potential to change the way you think about art.
I think Franz West makes everyone rethink the idea of art. We live in a modern, technological world that is pushing boundaries in so many ways, and we seem to think that we are comfortable with the world of contemporary art as a natural extension of our modern world. After all, we understand that art is a form of expression, and we live in a forward-thinking society. But Franz West’s work threw me off guard. His art confronted and startled me—sometimes in a positive and unexpected manner but more often in an uncomfortable manner. Apparently, I do have certain expectations of what art should be, and I would assert that we all share this to a certain extent. Therefore, walking through and reflecting on this exhibit offers a challenging and interesting experience for those who dare to take on West’s works.
I can appreciate many of West’s pieces as works of art. His sculpture The Ego and the Id impressed me the most. It is composed of two colorful sculptures of aluminum welded together in such a way as to form a kind of angular piping that soars roughly two stories up into the air and then curves into steep dives back to the floor wherein the sculpture either ends in the form of a seat or turns back up to the ceiling only to plunge down once again. This work is whimsical and fun to contemplate. One woman described it as “Seuss-like,” and I couldn’t agree more. But perhaps what is most striking about this work and West’s art in general is its interactive quality. This sculpture was meant to be walked through, touched, and sat upon. West invites you to participate in a lot of his work; it is as if you are supposed to be part of it.
This interactive quality is something unconventional and surprising. That people are expected to physically engage with his work challenges our understanding of art. We are used to being on the outside of a piece of art, but West literally brings you into many of his. The most extreme example of this is a collection of pieces called Adaptives. It consists of four heavy, irregularly shaped, plaster forms with metal rods stuck through them. You are supposed to take an Adaptive with you into a little room with a mirror and essentially play around with these strange objects. I gave it a fair try, but it was an awkward experience. The Adaptives were somewhat difficult to handle, and I felt lost trying to interact with them. Perhaps this is the feeling West wants to produce, yet I could not help but think to myself, “Is this art? Could swinging around a rod skewering a blob of plaster be art? I feel like an idiot.” One thing is for certain, he presents a strange and provoking approach to the concept of art.
While I was making my way through the exhibit, the question “Is this art?” popped into my head on several occasions, and I do not think this would be an uncommon reaction among most people. A number of his smaller sculptures look like something an elementary class might turn out after a paper mâché lesson, and I was not always sure as to what to make of his non-sculptural work either. It is often sexual in nature and features distortions and perversions of the human body. Depending upon the piece and your perspective, these works could seem disturbing, humorous, or a combination of both. Franz West is an artist with no limits. You never know what you may find among his pieces. His works are undoubtedly original and often larger-than-life. Most importantly, West’s work has the potential to change the way you think about art.
Invisible Inc.
As one of the most notable young spoken word poets, George Watsky has earned his title of “Undisputed Back-Talk Champion” on many instances, being a six-time Youth Speaks Grand Slam finalist and also as a feature on season six of Russell Simmons Presents Def Poetry. Beginning at the age of sixteen, the charismatic performer has been bringing his unique blend of teenage angst and profound political insight to new heights, even performing at both the Democratic and Republican National Conventions this year. Watsky has also used his influence to promote environmental activism, working with Robert Redford at Sundance and also with Greenbuild Chicago.
Born in San Francisco, CA, Watsky now operates mainly out of Boston, where he attends Emerson University. While not in class, Watsky tours colleges and universities across the country performing poetry, promoting his respective causes, and beefing with look-alike/George Watsky impersonator Michael Cera. Even outside of his native context, Watsky’s work has translated and manifested itself in new and exciting forms including: a one man stage show called “So Many Levels”, a book and CD set titled after his moniker of “Undisputed Back-Talk Champion”, and his genre-defiant rap group Invisible Inc.
Invisible Inc. was formed in 2007 when Watsky recorded the band’s debut CD with fellow Bay Area performers Daniel Riera and Max Miller-Loran. Riera, a student at Berklee College of Music, is the bands producer, flutist, and bassist – offering an eclectic blend of top-production computer loops and expert musicianship. Featured at both the San Francisco Jazz Festival and the San Jose Jazz Festival, Riera sports an impressive repertoire which includes being named a Young Jazz Composer by the Association of Songwriters, Composers and Publishers in 2004.
From left to right: Max Miller-Loran, Daniel Riera, and George Watsky (not Michael Cera)
Watsky, of course, brings his sharp-witted tongue and playful diction to the group as lead emcee. Together, the group takes on a unique sound combining the creative juices of hip-hop and jazz to make a delicious cocktail for the ear. Their superb musical talent is showcased in such songs as “Five Finger Discount”, a song entirely in 5/4 time, all the while Watsky’s rapping flirts more with poetry than mainstream hip-hop. “We’re taking it back from whack Cadillac dudes bustin’ shots over silly crap (brrrrrrrrrrat) are you seriously feelin’ that? Let us take a crack at it.” Miller-Loran wonders on the groups’ self-titled debut, showing separating Invisible Inc. from the endless flow of disposable “gangsta” rappers who dominate the scene today. After all, what’s so gangsta about suburban white musicians from San Fran fronted by a half-Jewish emcee with a lisp? N.W.A. never had a flutist.
Invisible Inc. also delves into the realm of politics, offering the insight of three young minds on the forefront of their respective creative engines. The groups’ message is understandably liberal, given their college roots in the Democratic Northeast and pro-green ideals – but their opinions are well-formed and mature. Still skeptical? Check out Invisible Inc.’s self-titled debut on iTunes or MySpace and leave comments below. Also, pick up tour information, check out blog entries and get updates on Watsky’s upcoming solo album (due in 2009) in his website.
Miller-Loran has also performed at the San Jose Jazz Festival as well as being featured on the 99.1 KCSM, the Bay Area’s Jazz Station. He plays the role of beatmaker/trumpeter/keyboardist/emcee in Invisible Inc., utilizing his Berklee education and stint as a member of the Latin Jazz Youth Ensemble of San Francisco to round the group into a formidable wave of creation.
Born in San Francisco, CA, Watsky now operates mainly out of Boston, where he attends Emerson University. While not in class, Watsky tours colleges and universities across the country performing poetry, promoting his respective causes, and beefing with look-alike/George Watsky impersonator Michael Cera. Even outside of his native context, Watsky’s work has translated and manifested itself in new and exciting forms including: a one man stage show called “So Many Levels”, a book and CD set titled after his moniker of “Undisputed Back-Talk Champion”, and his genre-defiant rap group Invisible Inc.
Invisible Inc. was formed in 2007 when Watsky recorded the band’s debut CD with fellow Bay Area performers Daniel Riera and Max Miller-Loran. Riera, a student at Berklee College of Music, is the bands producer, flutist, and bassist – offering an eclectic blend of top-production computer loops and expert musicianship. Featured at both the San Francisco Jazz Festival and the San Jose Jazz Festival, Riera sports an impressive repertoire which includes being named a Young Jazz Composer by the Association of Songwriters, Composers and Publishers in 2004.
From left to right: Max Miller-Loran, Daniel Riera, and George Watsky (not Michael Cera)
Watsky, of course, brings his sharp-witted tongue and playful diction to the group as lead emcee. Together, the group takes on a unique sound combining the creative juices of hip-hop and jazz to make a delicious cocktail for the ear. Their superb musical talent is showcased in such songs as “Five Finger Discount”, a song entirely in 5/4 time, all the while Watsky’s rapping flirts more with poetry than mainstream hip-hop. “We’re taking it back from whack Cadillac dudes bustin’ shots over silly crap (brrrrrrrrrrat) are you seriously feelin’ that? Let us take a crack at it.” Miller-Loran wonders on the groups’ self-titled debut, showing separating Invisible Inc. from the endless flow of disposable “gangsta” rappers who dominate the scene today. After all, what’s so gangsta about suburban white musicians from San Fran fronted by a half-Jewish emcee with a lisp? N.W.A. never had a flutist.
Invisible Inc. also delves into the realm of politics, offering the insight of three young minds on the forefront of their respective creative engines. The groups’ message is understandably liberal, given their college roots in the Democratic Northeast and pro-green ideals – but their opinions are well-formed and mature. Still skeptical? Check out Invisible Inc.’s self-titled debut on iTunes or MySpace and leave comments below. Also, pick up tour information, check out blog entries and get updates on Watsky’s upcoming solo album (due in 2009) in his website.
Miller-Loran has also performed at the San Jose Jazz Festival as well as being featured on the 99.1 KCSM, the Bay Area’s Jazz Station. He plays the role of beatmaker/trumpeter/keyboardist/emcee in Invisible Inc., utilizing his Berklee education and stint as a member of the Latin Jazz Youth Ensemble of San Francisco to round the group into a formidable wave of creation.
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