Art That Melts

After a long Chicago winter, who would be excited for more snow? I sure didn't think that I would be until I walked down Michigan Avenue two weeks ago. Aside from the usual trees and traffic that line Grant Park, larger-than-life size snow sculptures were causing pedestrians to do double-takes. Monsters, gorillas, and dragons were staring at me from across the street. A large sign above the sculptures read "Snow Days Chicago". It was a free five-day event to promote winter activities in Chicago. Oh how I love the surplus of Chicago's free events!

The snow sculptures were created for the competition in which teams from nearby cities and states gathered to build works of art out of the fluffy white stuff we have learned to dread. Walking through the sculptures had the same effect of walking through the skyrises. They were all impressive and towering about eight to ten feet high.

One piece that caught my attention was a little boy on top of a giant monster and it was titled "Max and the Wild Thing". Talk about bringing a story to life! The "Wild Thing" was carefully crafted with incredible detail in the texture of the monster's fur and a mischievous look on his face. It seemed though that less care was given to "Max" who stands triumphantly on the monster's head. Whereas the "Wild Thing" looked real, "Max" did not.

I was so enamored by the snow sculptures and at the same time, I was dispirited to know that they wouldn't last. It instilled in me the idea that you really have to enjoy the moment and appreciate what is in front of you, because like the snow sculptures, life can melt in an instant.

Building Peace by Peace

British writer Steve Rose poses the hopeful question, "Can architecture end a war?" in regards to the Peres Peace House in Israel. This monumental building was established to promote peace throughout Israel and between its neighbors. Designed by Italian architect Massimiliano Fuksas, the aesthetic and functional elements of the building represent much of the situation and atmosphere in that region.

Rose elaborates on the major details of the structure and paints a vivid image of the Peace House for his readers. His descriptions are poetic and precise. He describes the walls as being "flat and smooth on the outside, on the inside the concrete strata project out, giving the sides an undulating, almost natural texture." Every aspect of the design is a metaphor, according to Fuksas. Rose explains the metaphors with proper care as he relates the design elements to the past and present situations of the region. The language he uses supports the idea of peace, which is the ultimate goal for the future of Israel.

The review is lengthy, but Rose manages to make every word worth the reader's attention. He reflects on the political and social environment of Israel without getting carried away. Every thought ties into the architecture, and since the design and function of the architecture is to promote peace, Rose's article is an extension of that strive for peace. He ends his article with a quote from Fuksas saying, "We must never stop thinking peace is possible."

In Your Wildest Dreams

Dada and Surrealist Masterpieces Make US Stop by Lisa Cornwell is a review about the upcoming exhibit at the Cincinnati Art Museum. Cornwell begins her review by listing some of the more absurd pieces of the movement, such as the Mona Lisa with a mustache and goatee. She tries to shock the reader as the art once shocked the world.

Cornwell goes in depth about the history of the Dada and Surrealist movements, which is good for people who are not familiar with the works, but the review of the exhibit soon becomes a history lesson. The pace of the review slows down when it should be picking up speed and excitement to promote this "once in a lifetime" event.

Works from Pablo Picasso, Salvador Dali, Rene Magritte, and other icons of the movement symbolize everything that is "outside the box" thinking. They evoke the viewer to question reality and existence, whether you like the piece or not. Cornwell's review sparks a little bit of curiosity by providing brief descriptions of the stranger pieces, but she doesn't generate the kind of buzz that an exhibit like this one deserves. She doesn't even include the duration of the exhibit, which is only showing February 15-May17. Three months is not that much time to go see these significant works of art, especially since it is the only U.S. appearance of this collection.

Other than the art pieces themselves, she briefly describes the design of the exhibition. She says the layout of the display tries to imitate the style of the movement, "Theatrical scrims - gauzy fabric panels - encase some of the objects and create a sense of looking through a mist." Her description makes me go, "hmm", rather than, "awesome!"

I am thoroughly fascinated by Dada and Surrealism and I would definitely go see this exhibit if I can find the time this semester to make my way out to Ohio. However, Cornwell's review did not seem to express much enthusiasm for the collection and she did not influence me in any way to go see it. Maybe she was relying on the fact that the artists are well known to draw crowds to the Cincinnati Art Museum. Her title isn't all that intriguing either. After reading her review, I got the sense that it was just another assignment with a deadline.

Maybe next weekend I'll hop a train to Cincinnati to check out the exhibition. I expect to come back with a review that will make everyone want to flood the Surrealism and Beyond* showcase!

*Cornwell didn't even provide the actual title of the exhibit.

Who Wants to Be a Star?

All Smiles by Joan Acocella is a brief article that criticizes the "pop star" atmosphere that is taking over the ballet scene. The general idea of going to the ballet is viewed as arts for the privileged and the elite. The ballet is supposed to be sophisticated, classy, and highbrow. However, Acocella claims that dancers of the premier American Ballet Theatre company have been "wooing" and "flirting" with the audience for extra attention. This type of performance behavior is usually reserved for mainstream entertainment that feeds off of the energy and money of adoring fans.

Grinning, winking, and "saucy looks" degrade the performance value, according to Acocella. Her word choices clearly show her dislike for what she's been witnessing in the ballet. In the opening sentence, she throws down the word "epidemic" to describe the unwanted behaviors. They are a "problem" and they "attack". She treats the dancers as criminals when she calls out one particular dancer as the "worst offender". One thing she does to slightly lessen the blow of her article is to say that talent is not the subject of questioning. The dancers are more than qualified to be performing in such esteemed shows.

One thing to consider, that maybe Acocella hasn't, is the economy. Perhaps the American Ballet Theatre is broadening their demographic to increase revenue, and that pop star performance is what the general public likes to see. Developing a connection with the audience is a method to engage them in the performance. Feeling connected keeps them coming back for more.

Are these behaviors just cheap tricks that should be left to the likes of Miley Cyrus and light-hearted musicals? Is it really hurting the value of the piece, especially a serious one, to shoot a smile at a member of the audience?