Photography and musings on the visual arts

I admire artists. I have several friends who have the visual arts among their gifts, as does the teenager’s dad and his family. They have « the music » too. Well, the teenager’s dad has a pretty good ear for music, but he doesn’t make any. But visual arts is a language he speaks. And he almost went to Pratt Art Institute instead of Moravian College.

Me, I have always loved all of the arts but I have an absolute tin ear for music—it’s just an alien language I cannot speak or hear as those who are fluent do—and I struggle with visual arts.

I practiced for years to learn the basics of fashion drawing and every time I stop doing it I have to get out the books and magazines and teach myself all over again.

I commissioned a fashion illustration from Renie Hanna that still hangs in my living room.

Original commission by Renie Hanna

I love the Impressionists— Berthe Morisot is my favorite and my favorite museum is the Musée D’Orsay in Paris.

My friend Rachel has given us watercolor paintings, which I hang with pride. We need new glass for one, the strange one, which is slated for a new home in the living room.

And the only painting I ever saw that I HAD to have was one by Heather Pasqualino Weirich— and it has hung in my “entry hall” for about a decade and still mesmerizes me with it’s vibrancy and simplicity.

Heather Pasqualino Fine Art

Interestingly, the two paintings in my bedroom were done by me and my step mom in those “any idiot can paint” classes. I love them, but I know they are relatively crude and awful.

How anyone can pull a picture out of their head and see the details to replicate on paper is a great mystery to me.

That is why I love photography. It captures moments that are happening. It freezes time. There are two great tricks to photography: 1. To take a lot of photos so you don’t miss anything and 2. To sense when a real moment is about to happen and not miss it.

My daughter’s latest iPhone has a camera way better than my iPhoneX and it has given her a chance to explore photography. Perhaps when she rouses from her bed on this rainy Sunday, I can convince her to pick a series of her favorites and host a show here on my blog.

But she took these photos of me yesterday, and I want to share them with you because they capture so much… We went to pick up her dress at The Attic clothes in Bethlehem. They are hosting online sales via Instagram and Facebook.

She asked to surprise her grandparents (her father’s parents) who live a few blocks away.

I said sure.

Now, my husband and I have lived apart for 10 months. We haven’t started divorce proceedings yet probably because it’s a new process and neither one of us likes to do new things that make us uncomfortable. There’s a whole lot of practical things that don’t impede our daily lives that we need to untangle. And we just haven’t.

So I always feel a little awkward showing up at his parents’ house. Especially unannounced as I have no reason to be there.

But I had a lovely conversation with my father-in-law and my mother-in-law fed us the leftovers her husband didn’t want to eat and she told the teenager stories.

Cabbage and noodles with the teen

And we compared the teenager to her paternal great grandfather who died before she was born. Pappy Buss was a farmer, a master carpenter who did some work for Martin Guitar, a pure-hearted Christian man who embodied everything a good person should be, and a mischievous prankster.

His first language was Pennsylvania Dutch and he played trumpet, unless I have my facts wrong.

But every since the day my daughter was born, I felt she had a piece of Pappy in her. And it gets stronger as she ages. Of course, she doesn’t have Pappy’s quiet demeanor.

So, here are the photos the teenager took of me at her grandmother’s kitchen table, eating angel food cake.

Facing modern Orientalism in Lalla Essaydi photographs at Lafayette College

This is the final week to see Lalla Essaydi’s photographs at the Williams Center for the Arts gallery at Lafayette College.

This seven photograph exhibit takes a journey into contemporary Muslim women’s space while exploring traditional Orientalist beliefs, otherwise known as Western stereotypes of the Muslim/Arab experience.

Immediately, I recognized these themes in Essaydi’s photography. My previous exposure both academically (my interest in post colonial Francophone Africa, how it intersects with the Muslim world, and the impact these topics have on contemporary international politics) and via travel in Africa and the Middle East came rushing into my head like a lost dream you fight to remember upon waking.

This exhibit features five photographs that use white/beige colors, Arabic writing, henna and women in various levels of religious covering and two photographs more steeped in color.

The seven photographs come from three different series: Converging Territories, Harem and Bullets. Just reading those titles should leave a certain taste in the mouth. I have with me an exhibit guide but I haven’t referred to it yet as I prefer to digest the works on my own first.

The first piece one encounters in the exhibit is 2004’s Converging Territories #24, featuring a woman’s face, only eyes showing, with writing on her face and the cloth covering her. The chromogenic print mounted on aluminum divides the woman’s face into four panels, each an almost even display of skin, lettering, and beige fabric.

This one did not attract or impress me. That is not to say it does not present a strong harmonious image. It is certainly a lovely piece of artwork, but artwork often speaks to the viewer in unique ways and this one seemed what one would expect from an exhibit like this.

Next came Harem #2 (2009). Instantly, I noticed the use of the term harem and the mimicry of traditional Orientalist images prevalent in I believe it was 19th century Western paintings capturing a fantasy of what Western/European artists expected the Muslim/Arab lifestyle to be.

The Harem series uses more color, more texture, and repeats the Orientalist themes of a reclining woman in exotic dress. The repetition of these stereotypical themes used by a Muslim female photography made me bristle. But this woman is propped on one arm and seated rather proudly so I sense the challenge to the age-old idea of the Middle Eastern harem.

Next, I found Bullets #3 (2003). The woman  in this photograph has a sassy shoulder turned to the camera. She is covered, but showing more flesh than normally proper throughout the arm. The backdrop is all bullets as if they were tiles on the wall, bullets also adorn her clothes. Another stunning photograph, but frankly I grow tired of the constant obsession of the Muslim identity automatically connecting with terrorism. I’m sure that’s Essaydi’s point, too.

I’m going to skip my favorite piece and turn instead to Harem Revisited #34 (2012). Perhaps this is the most colorful piece presented at Lafayette. It is three years newer than the other, and the woman’s pose in this one is not only more docile and reclined but divided into three panels, an immediate detraction from her humanity. She is reduced to pieces.

But the focal point of the exhibit (and my favorite), if I can proclaim that based on not only the fact that it was in my opinion very prominently displayed, is Converging Territories #30 (2004). [Featured image for this post.] It depicts, with the same beige clothing on beige background covered with writing and people decorated with henna, four females standing side by side in various levels of garb.

The largest woman, whom appears to be the only adult in the group, is completely covered head to toe. I can’t even refer to it as burqa as she doesn’t even have a slit or a screen for her eyes. I see them as a family, and the next one is in more traditional burqa and appears to be an adolescent. The next girl, a sweet looking pre-teen, has her scarf tied under her chin, exposing her whole face but not her hair. The last little girl has no head covering.

What I adore about this photograph is the vivid use of the progression of covering as it follows a woman through various stages of life and suggests not only the typical message of how a woman’s identity is limited by strict forms of covering, but also attaches this idea to the act of mothering and potentially makes it more universal. To me, the suggestion is that all women lose a part of their identity as they transition into a maternal role. This has nothing to do with religion.

If you miss the exhibit at Lafayette, a similar exhibit runs through May at the Trout Gallery of Dickinson College.

About Lalla Essaydi: According to the exhibit guide, she grew up in Morocco, raised her family in Saudi Arabia, and lived in both France and the United States. She received her arts education from prestigious art programs in both France and the United States.

The Adventures of PJ the Bear

A good friend recently gave me a little stuffed bear, a Corduroy bear. It’s a stressful time of year for me. The end of the semester. The holiday seasoning working retail. Family obligations. So when I received this bear, I got a little silly. I named him PJ and started taking photos of him. To my surprise, a lot of my friends started to look for his adventures.

My one friend says it’s because PJ is fun and non-political.

First thing PJ and I did was to go grocery shopping.

Then we came home and PJ took a nap.


When I went up to wake him, I discovered a very naughty bear.

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For more on his adventures, see his photo page:

https://angelackerman.com/photography/personal-photography/adventures-of-pj-the-bear/

 

Called a Chinese tourist 

My friends mock me for taking so many photos, and truth be told most of them get deleted by the end of the day.

This morning the idea that I might need an intervention hit home when a Djiboutian man pushing a wheelbarrow saw me taking photos in the street and greeted me with a hello in Chinese.

M’s main mission for today was to buy a simm card for his phone so we’d have a local number. After coffee, croissant and bread (yes, we got up before they ran out), we headed to Djibouti Telecomm.

The day started out at 79 degrees and 50% humidity. It honestly gave me a bit of a chill. Quickly, the humidity built. The sun came out and we began to bake and sweat.

M went into the telephone office and I opted to wait outside and watch people. I noticed that I can now distinguish some basic words in Somali, which with my abysmal ear for languages is impressive.

Only one man talked to me and our conversation, in French, went something like this:

Man: How’s it going?

Me: it goes

Man: You live in France
Me: No 

Him: You live here 

Me: No

Him: But you are French

Me: No 

Him: But then…

Me: I am American

At which point he departed. Abruptly, scratching his head.

We walked town a bit and stopped for coffee and juice at Bunna House. We freshened up at the hotel and went to the rotisserie stand in front of City Burger to buy a herbed, spiced roasted chicken.

  
We ripped that chicken apart with our hands, using tissues as our napkins, picking through skin, bones and the paste remaining of chicken guts. It was amazing.

We then went for a walk, knowing full well we were approaching the 1 pm shutdown of town. Let me say that if we attracted attention in the market at other times of day, today we learned that at 1 pm, we’re the only people out there and the locals descend upon us like vultures.

  
We took brief naps and then made our daily visit to Nougaprix where today we bought two “coconut brownies.” Very dry but tasty. The two of them cost, together, about 75 cents.

  

Our region has suffered from an average of two snow storms a week and temperatures below freezing for extended periods of time. My daughter, her friend and I walk to school everyday and today I took my phone. I wanted to snap some casual photos.

While wearing two coats, a scarf, a hat, a hood and gloves, it’s hard to motivate oneself to unveil a hand and take photos.

But I did.

My daughter had positioned this chair under some frozen ivy so she could play with the icicles. Unbeknownst to her, the melting ivy created new icicles on her chair.

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Icy Chair

Expressing Visions

I had an opportunity at the end of January to explore a position in the fine arts field, using my words to promote their art. That gave me the opportunity to spend some quality time with my scanner. I reconnected with several pieces from Lafayette College magazine.

I wrote this piece on senior art projects and even had a photo featured. (Bottom photo on the second page.)

express vision1 express vision 2

Then there was this feature on Gregory Gillespie working with Lafayette College students.

gillespie

Feature: Keep on Riding (bicycle commuting, 2003)

The part of being a journalist on a regular beat is the relationships you form with people. This feature on bicycle commuting featured a local business owner (Russ Padgett, Cycle Funattic in Phillipsburg, N.J.) and if I remember correctly, because it was a decade ago, the idea came from him.

To put this story together, we followed Russ on his commuting route, a good 15 miles, and our staff photographer literally hung out of my car like we were on The Dukes of Hazzard.

I like the way the story turned out, and I feel like it was a very timely piece for its day. Gas prices then were escalating, but not nearly to the extent we would see a few years later.

This ran in the Phillipsburg Chronicle, August 1, 2003 as a “Community Life” feature. For more information on Cycle Funattic, see their web site: http://www.cyclefunattic.com/.

Feature on bicycle commuting, section 1 of 3

Feature on bicycle commuting, section 1 of 3

Bicycle commuting, section 2 of 3

Bicycle commuting, section 2 of 3

Russ Padgett, bicycle commuting part 3

Russ Padgett, bicycle commuting part 3