Monuments Men by Flor

FLOR WIDMAR
Monuments Men

I think that the moment in history that Monuments Men is about is very interesting.  To get to see the kind of attitude the Monuments Men had towards art and the fact that they really want to defend it even if they had put their own lives at risk to do so.  To see so many famous actors taking on the roles of artists shows that this was a serious subject. 

The Hollywood aspect of it was not too realistic.  If you where in that era and circumstances you could not be as clean-cut as the actors were shown to be.  We never saw them super dirty which I'm sure they did not have time to take showers and shave.

To see George Clooney always so clean-cut and handsome took away from the dangers of war.

The Hollywood take on it was a bit cheesy. There were parts that were too dramatized.  I didn’t like the scene when they got packages and got to play music on the intercom with the on man taking a shower.  It seemed to be super cliché from so many other war movies and they could have used that time to show more important things. 

I would have like to seen more of the ashen side of it. More of the way of how they retrieved the work and how they knew how important the art was.  The monuments Men did a lot of work to restore and save the art works.  The movie ended before they show how much work they all did after the war.  This move was short on all of these topics.  It was more of a hero story and no background on it. 

The one thing that was crazy to see and think about was the part that showed the train station with all the Jews property.  It was just stuff stacked on more stuff and seeing Matt Damon act so disturbed and sad about it was my favorite part of the whole movie. 

I was good to see that Rosa Valiant cared so much about what she did and how patient she was about the work that she tagged and documented.  She knew where all the work ended up. By the end of the movie she was a big help to finding all the art works and it would have been impassible to find if it without her. I don’t think that they gave here enough credit for this!! 

I would like to know more about why George Clooney wanted to get the art and what he did as a job in America.  It could hava also shown how he became interested in going to rescue the art and more about what he stood for. It was barley touched on and I think this is important to the story to know his intent and where it came from.

Over all I don’t think this was a good film because the story was not that precise and was missing some important facts but moves can only be so long as well so I understand that they couldn’t put everything in. It is Nice to see that people did not let this art be destroyed and that they defended it and studied up and did something to save it so future generations will get to know and see it 

Monuments Men Critique

Monuments Men Review

The film Monuments Men, staring and directed by George Clooney was based on the true events surrounding the men responsible for protecting the artwork at risk in Europe during World War 2.  The Monuments Men consisted of a seven-man team of hand picked art experts.  These men were not trained soldiers, yet they often found themselves fighting on the frontline as the sole defenders of cultural property.  While the film did use a fair amount of artistic license to spice up the drama, the overall message of the movie was in alignment with what we learned about in class, and in the documentary: The Rape of Europa. 

The struggles to find funds, as well as the passion that the Monuments Men demonstrated for their love of art was clearly present in the film.  There were historical elements packed in with all of the edge-of-your-seat-action, and drama.  An example would be the plotline that followed Cate Blanchett’s character Rose Valland.  In reality, she did exist, and her book that documented the transport of the paintings really did play a major roll in the recovery and discovery of the Nazi mines.  Her character was spruced up by scenes like the one showing her secretly spitting into a Nazi general’s Champaign glass. 

The intimate relationship that director George Clooney built between the audience and the each of the characters gave us a look into the true severity of the situation.  Their mission became of upmost importance as the falling Nazi regime threatened to destroy their plundered collection in a final stand.  This was occurring simultaneously with the uprising of the Russian Trophy Brigade (an elite team of Russian Soldiers whose goal was to keep the art for themselves.)  Monuments Men did an excellent job of showing the European citizens distrust of the monuments men due to the actions of the Trophy Brigade.  There was a strong belief across much of Europe that the American Army was deploying men to steal the artwork for their own collections in the US.  In reality, this was a serious problem that the men did have to overcome in order to find the storage facilities of the Nazis before they were burned. 

There was a scene in the movie that showed one of the mines full of paintings being burned.  They showed Nazi soldiers igniting countless numbers of paintings with flamethrowers.  As the camera paned out to show how vast the collection truly was, it paused on a particular painting.   The frame began to smolder, as the oil paint slowly bubbled away to ash.  The painting was: Portrait of a Young Man by Raphael.  The actual location and fate of this masterpiece remains unknown to this day.  The documentary The Rape of Europa took a more optimistic approach, stating that they are still hopeful that the painting will resurface. 

Overall, the film Monuments Men did a great job balancing history with theatrical drama and action.  I left the theater with an understanding of the risks that the seven Monuments Men were prepared to take in order to preserve not only the artwork of Europe, but also the cultures and histories of thousands of families, villages and the overall spirits of a trampled continent. 

Field Paper: Ian

Beth Cavener's Snake and Rabbit Sculpture

The link above takes you to a website with many detailed photos of Beth sculpture. At first glance of Beth's sculpture of the snake and rabbit called, "Tangled Up in You," I thought that the snake was eating the rabbit. I love shark week and watching National Geographic episodes where animals attack their pray, so right away I thought this was the sickest! The first time I saw Beth's work was in class, and now that I got to see it at the Milwaukee Museum of Art, was unreal! I was star struck! I was shocked at the sheer size of this Sculpture. It's probably a 5 foot by 4 foot sculpture suspended above the ground by about 4 feet. Just the construction of this piece makes me wonder, "how the hell did she build this thing?" When I look at sculptures first I wonder the process on how the artist constructed the piece. If I can't tell right away than I'm impressed. Beth built this sculpture out of solid clay and than cut it into pieces and hollowed it out. Than fired it in those pieces. Next I think about their glazing techniques. What glazes did they use? What temperature was the piece fired to? Beth had Alessandro Gallo paint the snake. The snake has reminiscent of traditional Japanese tattoo art on it. I really like that she collaborated on this piece. The tattoos on the snake complements the texture of the rabbits fur. I love Beth's fur texture. It is her own style that I haven't seen it done as good as she does. She has other pieces with the same texture, and I want to touch it so bad to see what it feels like! I bet it's amazing. Once I think about all the sculptural and constructional details, I start to break down the piece and think about it conceptually. I look for clues to see what kind of message Beth is getting across. Looking at the label and the title of the piece is the first clue. I feel that not too many people look at the labels of the pieces. "Tangled Up in You" makes me think that the piece is about embrace and nurturing. The rabbit is not struggling, the rabbit looks relaxed and content. The rabbit is in the process of stuffing his face into his stomach to get into the feudal position and curl up. Even though the snake is biting the rabbit, I think that it is one of those love bites. Ya know like a cute little nibble. Some would think that it's an actual bit that supports the fact that the snake is gonna eat the rabbit, but bitting the shoulder isn't an aggressive move for the snake. The snake most likely would be rapped around the rabbit more than it is. The snake is in more of a cradling position. I really like what Beth Cavener is doing and her piece, "Tangled Up in You" is still my favorite ceramic piece of all time.

Alexa Field Paper

I have always enjoyed the Nevada Museum of Art. They always have exhibits that are memorable, bright, or historically interesting. I was especially pleased last time I went and I got the chance to view a whole lot of Phyllis Shafer’s art work. I had briefly read about her prior because she is planning on teaching a workshop over summer at Sierra Nevada College. Seeing her work in person was really quite an experience for me. Each of her paintings radiates excitement and appreciation for the local environment. Her style is very unique and something that I have never seen before. I think that is part of the reason I was so captivated. The way the museum set up her exhibit worked very well with my curious mind. It was in a very open space where I didn’t feel pressured to rush through because there were people next to me trying to look at the same painting. I liked the alternating sizes. It gave me a sense of variety even though it was all from the same body of work. I also found the glass case with her sketch books to be a wonderful treat. I already felt a connection to the artist because she is a local, but being able to see her very detailed sketchbooks makes for an even better experience. I also thought that the addition of a short informational film was a good addition to the exhibit. It was only a few minutes long, had a nice comfy bench to sit on, and wasn’t too distracting from the rest of the pieces. I do think that it may have worked better if it was in the beginning rather than tucked away in the back corner only because I would have liked to hear the interview with Phyllis before I looked at all of her work. However, I do think there was some thought that went into the location of the video because when I walked in I heard the audio of that before I even got a chance to view any of her art. So, in a way I think it may have drawn me in with curiosity. I loved this exhibit and I would like to see it again before it moves on!

Field Study: Nevada Museum of Art, Phyllis Shaffer Exhibition by Stephanie

Stephanie Campbell

ARTH 480

04/24/2014

Field Study: Nevada Museum of Art, Phyllis Shaffer Exhibition

            I recall hearing about Shaffer’s summer workshop here at Sierra Nevada College, and was interested to see her exhibition. Because I’m a two-dimensional fine arts major, I highly anticipated to take her course over the summer, and so was excited to get a chance to view her work beforehand and gain a sense of her style.

            As I approached the floor in which her exhibition was on display, the echoes of a crowd of children grew louder. Just adjacent to Shaffer’s open-entranced exhibit, was a show angled for children, encompassing the “Where the Wild Things Are” story and drawings and such. In the center of this exhibition space was a wooden boat with the waves cut out around it on the floor. There was also a reading occurring just around the corner, with many children and families attending. The images on the walls were at an average child’s height, which was noticeable.

            Just outside, however, was Shaffer’s work, of which large abstract works could be seen, as well as many paintings of presumably local landscapes. This exhibition space has always bothered me, due to the fact that the far right wall, which runs all the way to the back of the room, is angled to face down towards the viewer, and the sensation that it causes which upsets me, is that the wall is weighing down on the viewer. The works that are hung on this wall also feel strange and slightly disorienting.

            Shaffer has painted many landscapes. This large exhibition hall was very full. I have a feeling that she has many more, and this may have been difficult to pick out all of the works she wanted to display. To keep the room less overwhelming and more segmented, there were three impermanent walls throughout the room, one of which had a looped video of Shaffer explaining her work and process. The information provided for her work included an artist statement or summation of her progression and this biography-like video. I think this helped me as much as I could be helped, into understanding her work.

            The space was definitely defined by types of climates in a collected area, her graduate work in the entrance way, and her process and elements revolving that aspect towards the back half of the room. The size of her works varied – her graduate work was predominately on very large canvasses, and featured very abstract forms in a range of colors and textures. The few different kinds of landscapes that were grouped together were of small lakes, rivers, creeks, meadows, and deserts.

            The subtle changes Shaffer makes to her perspectives in each painting had a fish-eye lens affect, and the palette she used had a slightly muted and simplified feeling. With this aspect in mind, her more current works, which were now more approximately the same size, shared a blurred sense of an abundantly explored concept of viewing landscapes.

            The exhibition was set up in a manner that made chronological and categorical sense. Perhaps because Shaffer’s work shares too much of a commonality within itself, I did not get the sense that this gallery space stuck out to me.  I would have been interested to see various types of landscapes mixed with her Graduate work, to truly see the differences and progression she has taken in her work.

Extra Credit Response: Monuments Men, by Stephanie Campbell

Stephanie Campbell

ARTH 480

04/23/2014

Extra Credit Response: Monuments Men

            The story of the Monuments Men was very simplified in terms of the small group of men that committed to the cause, but also very vague in conveying the passing of time. The group of men was very select and few, and that surprised me.

             I was frustrated at the lack of progress they were having in the beginning of their excursion, waiting around, it almost appeared, and pointing to maps a lot. They were in or near the frontlines, but didn’t seem to come across problems with Germans which was interesting. They did have several instances where they were very close to the enemy, and those were just moments that I felt like they did not plan ahead very well.

             For instance when a pair of them were lost, they ventured into unknown territory and, being the artists and aesthetic appreciators they were, one was shot and killed because of his distraction to a horse. The other, named Donald, did try to plan ahead, but the American forces would not join him. I was upset that he did not plan out his defense against the thief-Nazis of the Madonna and Child, and he appeared to have been shot, easily.

            Little loses like this really bothered me, because I felt as though there is a comparison being made between those who are brave in war movies as soldiers and as art-recoverers, and the level of “skill” in war is portrayed as being much more successful in one than the other. But, when evaluating the works recovered by such a small band and fairly last-minute effort, the monuments men did do a fine job.

            The need to publicize this success, which in the film, led the Nazis to destroying some of their loot because they became aware of the monuments men, really troubled me in the sense of true short-sightedness. I really did not enjoy watching them torch a room full of paintings; it was a painful thing to watch.

             I can’t imagine what we might not have, had these people not come together to sacrifice their lives and time to finding all the work. I think the whole concept of art-rescuers is so significant and culturally profound, it almost passes as something that should just be expected. That was what put this story in perspective for me – our priorities in our civilizations are still under-worked in terms of efficiency in protecting what in this world we do know.

            When having researched the true story, I discovered that 345 men and women from across 13 countries were involved in the monuments men cause, however referred to as the MFAA (Monuments, Fine Arts, & Archives). Until Robert Edsel began questioning how all the art in Europe survived the war, this cause and these people were not really recognized and honored for their world-wide efforts. This information is essential in the ways we view art today.

            There is a respect to practice in any point of time, and how it is inexplicably paramount to our current understanding of this world we make for ourselves. Respecting the masters, the past, and the sacrifices in the lives of these artists and the legacy of their work is what we strive to branch from today. This film touched on a subject that can expand into everyone’s lives, and I truly honor those brave enough to be part of MFAA.

Weekly Article Review by Jennifer Hart

Jennifer has been experiencing some computer issues...she has sent me her article review and I'm posting it on her behalf. Thanks Jennifer! - Hannah

http://www.sfgate.com/art/article/Art-community-spirit-merge-in-project-under-a-5413784.php​

Art, community spirit merge in project under a freeway

Sam Whiting

Updated 4:40 pm, Friday, April 18, 2014

Since I have spent close to four years commuting from my home in Palo Alto to my job in downtown San Francisco, this article grabbed my attention right away. My daily drive on highway 280 and 101 was filled with angry drivers, stagnant traffic and ugly cement covered medians. I was thrilled to learn that The Alemany Island Project, coordinated by the Portola Neighborhood Association and financed through a Community Challenge Grant, collaborated with the public to beautify San Francisco's commuter landscape.  This three-part installation began with a teenage painter named Cory Ferris.  His inked flora design painted on a highway 101 support pillar inspired community members, commuters and college students of all ages and backgrounds. There was so much positive feedback from Cory's audience that the second part of the installation enlisted the help of a City College Horticulture class.  These students designed and planted a native garden in the island around Cory's painted pillar.  The third part of the installation gave Portola community members an opportunity to enhance their cultural surroundings by painting their own scenes across the entire Cal Trains fence.  Some of the participants were professional artists and some of the participants had little to no art experience at all.  Regardless of skill level, participants had a lot of fun working together to create something beautiful and aesthetically pleasing. Thanks to public art projects like this one, the sound of honking horns and angry drivers can be drowned out and replaced with vibrant colors and beautifully painted scenery. I just wish they started this project years ago, it would have made my commute a lot more calming and enjoyable!