The Final Project

Robert Frank- The Americans

One of the most celebrated American photographers of the twentieth-century, Robert Frank used his camera to document the good and bad in American life. Born in Switzerland in 1924, Frank turned to photography as a way to escape a stifling business-oriented family. At the age of twenty-three he moved to New York and began work as a photographer. As time passed in the United States, his previously optimistic view of “the American Dream” gradually dimmed as he observed the rampant greed and pride afflicting American society. This disapproval is apparent in many of the photographs in his most famous work, The Americans, a book comprised of pictures taken as Frank traveled across the United States. In ingenious, creative ways, Frank utilized the medium of photography to address issues of race, cultural divides, and disillusionment in the American public. (Wikipedia, “Robert Frank”)

Frank, to me, embodies a modern artistic genius. The composition and spontaneity of his pictures is spectacular, and the ways in which he subtly infused moral lessons into his works is equally impressive. He was not afraid to employ low lighting, unusual focus and cropping to create a new brand of photography. It was a complicated time in the States, and Frank recognized and portrayed perfectly these mixed emotions and ethics in The Americans.

In 2008, an updated edition of The Americans was released to celebrate its fiftieth anniversary. His photographs are relevant today, and their lessons are just as applicable. Certainly America has come a long way in racial equality since Frank’s time, but there still exists obvious feelings of racism and superiority. Also just as prevalent is the greed and vanity showcased by so many American citizens; class distinction remains a very real aspect of modern American life. While some critics argue that Frank’s photographs were overly negative, and didn’t truthfully depict American life, I would contend that Frank was keenly aware of and sensitive to the painfully real problems around him. Furthermore, Frank should be praised for working as an artist to help bring about change.

I chose to pay tribute to Robert Frank and The Americans for several reasons. Firstly, for the past few years I’ve had a growing appreciation of photography as an art form. Secondly (and perhaps as a direct result of the first reason), as we were discussing Frank and looking at his photographs in class I was instantly impressed and drawn to his work. When deciding what to do for the final project, taking pictures in the style of Robert Frank was literally my first idea.

Like Frank who traveled America to document the lives of Americans, I got in my car and traveled Provo to document the people and places of the city we all know and love. It was an interesting experience to try and think like a photographer, always looking for a good thing to take a picture of. It was difficult, and my respect for Frank’s talent and keen eye for a good picture grew immensely. I tried to add an aspect of spontaneity to my photographs by taking them from my car as I drove. More than once I saw something I liked and had to make a rapid u-turn to go back and capture it. I also felt uncomfortable taking pictures of strangers, and I tried to make it very subtle whenever I took out my camera to take a picture of someone. I suppose I could have gotten out and asked if I could take a picture, but I thought the portraits would have lost the element of candidness. It was also really hard to try and make social commentary through the pictures. It was a fun project, and I hope to be able to take better pictures in the future as a result.

Here is one of the photos I took as part of my final project. I call it, "Lost".

The Rothko Chapel

Mark Rothko is one of the most prominent American painters of the twentieth century. Although he is considered by art historians to be associated with the Abstract Expressionist movement, Rothko himself denied this. Born in 1903 in Russia, he migrated to the United States with his family when he was just ten years old. He had an interest in art as he advanced in his schooling, and after leaving Yale after two years he began his career as an artist in New York City. During his early years as a painter he painted portraits, aquarelles, and urban scenes, but gradually his focus in painting shifted to its most elemental component—color.

Rothko’s most famous paintings came as a result of this shift in focus. His paintings of large rectangles floating in fields of color led to the Color Field movement of the 1960s. His earlier works featured shades of bright yellow, red, and orange. Later paintings featured darker colors, such as black and deep purple. It was during this phase of more somber paintings that Rothko was commissioned to paint several large murals for what has come to be called the “Rothko Chapel” outside of Houston, Texas. The paintings were done in his studio in New York, and were installed in the chapel in 1971 just prior to its dedication. Unfortunately, Rothko’s suicide earlier in the year prevented him from being present at the ceremony.

For Rothko, the chapel was meant to be a place of pilgrimage for those wishing to get away from the center of art in New York. Upon entering the chapel, one is surrounded by Rothko’s paintings—triptychs of soft brown, and rectangles of deep black. His belief in the transcendentalism of art is apparent in every direction. Thousands of visitors walk through the chapel every year, experiencing this same transcendent feeling. If I ever find myself in the Houston area, I plan on making a visit to this religious masterpiece. Like Rothko, I cannot deny the divine power and inspiration associated with great art.

Sources: rothkochapel.org; Wikipedia, "Mark Rothko" & "Rothko Chapel"

Crackin' the Top 100

Several years ago, National Public Radio picked the 100 most important American musical works of the twentieth century. Here are three of my favorites:

1. Samuel Barber’s “Adagio for Strings”

This piece has been labeled by many as the saddest song in the world—the “funeral” song. From its opening chords to its powerful, melancholy climax this piece masterfully portrays a sense of serene sadness. I have heard this song countless times, and every time I listen to it I am blown away by the simple beauty of the deep chords and flowing melodies. String instruments are unique in their ability to produce such inspiring, touching music and Barber’s decision to use only strings was perfectly made.

As such a moving, emotional song it has been used in many films, which the NPR clip discusses. Two of the most prominent films that used this piece are “The Elephant Man” (1980) and “Platoon” (1986). I watched the clips of the films that showcase this piece and both were powerful in their usage of this music. In the scene from “Platoon”, a group of American soldiers fighting in Vietnam board a

helicopter for safety and fly away. As they are ascending, they notice a fellow American soldier and friend left behind. He is running away from the enemy and as he runs, the song begins playing and the shot jumps back and forth from the men on the helicopter to the soldier running and dodging bullets below. Eventually he is shot in the back several times and falls to the earth, but not before raising his hands in the air, as if he were praying. It is at this moment that the Barber “Adagio” reaches its climax and the melancholy hope in the music mirrors closely the soldier’s fate. He dies, which is horribly tragic, but it is also hopeful as it provides an end to the meaningless fighting and suffering that he has had to endure. Barber will forever be remembered for this powerful work.

2. John Cage’s “4:33”

I had heard of John Cage prior to listening to this clip about “4:33”, but I knew little beyond the fact that he was a very avant-garde modern composer. He challenged what the world thought concerning the definition of music, and “4:33” is a perfect example of this. To have the audience simply listen to silence was bold and beautiful—there is so much noise around us all the time (even when we’re trying to be quiet) and isn’t that exactly what music is? Cage was brilliant in his recognition of this, and the modern music scene in twentieth-century America provided a perfect environment for him to channel these inspirations.

“4:33” is divided up into three movements. The first is thirty seconds long, the second two minutes and twenty-three seconds, and the third one minute and forty seconds. Of course no instrument is played during any of the movements, but it makes me wonder why or how Cage determined the length of each movement. Perhaps this was just another way of introducing an element of randomness into the song. Like other modernists of the day, Cage worked to present music in its raw form, free from personal and societal influence. His “4:33” is an American masterpiece because it accomplished this perfectly- you can’t critique silence.

3. George Gershwin’s “Rhapsody in Blue”

Although I began playing the piano when I was seven years old, it was not until my early teenage years that I was introduced to the piano music of George Gershwin. I was instantly drawn to it because while it contained many elements of classical piano music that I had come to love, it was jazzier, more fun. This fusion of classical and jazz is a trademark of Gershwin’s work, and the NPR clip on Gershwin mentioned that he was further influenced by the tunes of Tin Pan Alley. A fascinating part of his music (which is especially apparent in “Rhapsody in Blue”) is the way it conveys a feeling of the hustle and bustle of New York City life.

The mere composition of such an enduring piece is enough to label Gershwin as a musical genius, but the fact that he composed the piece in three weeks leaves no doubt. Furthermore, he was only twenty-five

years old at the time. “Rhapsody in Blue” is an American staple because it is so American—it’s upbeat, original, and catchy. I love the way it bounces back and forth from theme to memorable theme. The radio clip mentioned that one of the major critiques of “Rhapsody” was that it didn’t follow an acceptable musical structure, but this is precisely why it was such a remarkable piece. It followed its own form, reflecting the changing scene of early twentieth-century American music.

Ansel Adams (1902-1984) was a well known American photographer and environmentalist. Most of his pictures feature landscapes of the Western United States. The three below, all of which feature spectacular mountains, are some of my favorites.

Tetons and the Snake River

I’ve always loved the mountains. Whether this is because I’ve been blessed to grow up in Utah and be surrounded by mountains, or whether it is just an inherent part of who I am I don’t know, but regardless, there is definitely something moving and majestic about mountains. The mountain peaks ascend toward heaven, cutting the sky and announcing their dominion over the landscape below. This photograph showcases the majesty as light appears to be beaming from behind the mountain peaks. Additionally, the river, an outgrowth of the mountain from which it originated, winds through the valley floor almost like an arm of the mountain, extending its influence far away. The textures of the photograph are also compelling, from the glassy ripples in the river to the soft speckles of the trees.

Yosemite Valley, Thunderstorm

There are few things in life that merit the description of “epic”—this picture is one of them. From the sweeping diagonal of the trees, to the jagged mountains and the white line of the waterfall, this picture powerfully demonstrates the majesty of nature. I believe Adams chose to take his pictures in black and white because it allows for deeper contrasts and accentuation of the textures.

Mount Williamson, the Sierra Nevada, 1945

Although the focus of the picture is a mountain, it’s interesting that the boulders at the front of the picture are so prominent. They have an authentic, ennobling quality. Mountains are important, but equally important are the boulders that help form them. I also really like the cloud formations and the way the light plays such a big part of the rocky landscape.

"The Wood Cutters"

As America saw its frontier expanding westward during the latter half of the nineteenth century, the ideal of taming and settling the “Wild West” became a common theme in American arts. Increasingly, paintings depicted untamed landscapes with human figures dwarfed by the grandeur of mountain or forest. Henry Ward Ranger was an active painter during this time, and drawing from Impressionist styles and the French Barbizon School, he painted beautiful landscapes scenes; one of the most striking depicts two wood cutters, tiny specks of white and red in the middle of an autumn forest. This painting, entitled “The Wood Cutters,” symbolizes beautifully the expanding American frontier and elicits a feeling of reverence and respect for the majesty of nature.

Born in January of 1858 in New York State, Ranger began painting and drawing as a child and, encouraged by parents and peers, moved to New York City at the age of twenty to formally study art. It was there that he was first introduced to paintings of the French Barbizon School (Wikipedia, “Henry Ward Ranger”). Like George Inness, Ranger was

drawn to the beauty and realism of the Barbizon paintings. That these paintings clearly influenced Ranger’s own painting style is clearly shown in “The Wood Cutters.” The unfinished scene—a scaled-down vignette—portrays an uneventful, yet truthful occurrence: the chopping down of a tree. Ranger captures a moment and leaves it up to the viewer to interpret it and apply further meaning. Though the autumn-tinged forest dominates most of the painting, our eyes are drawn instantly to the two figures standing next to a pile of chopped wood. Additionally, the lines of the painting emanate from above and beyond, and spill onto the little people as if heaven were granting its approval to their labors. Certainly Ranger designed “The Wood Cutters” to symbolize the expanding American frontier. Presumably, these two small figures are pioneers readying the way for more to come. They are hard at work, and even though their influence on the landscape will be prominent, the painting makes it clear that nature will always trump man’s efforts in majesty.

After residing in New York City for a few years, Ranger, like so many of his fellow American painters, relocated to Europe to further his career as a painter. Although he initially visited Paris, he settled in Holland, where he began studying with artists of the Hague School (Wikipedia, “Henry Ward Ranger”). They too were influenced by the French Barbizon School, and sought to infuse their art with more realistic settings and impressions of them. Their focus on nature and light is reflected prominently in the works of Ranger, whose favorite subject matter was the woods. It was during his first year in Holland that Ranger painted “The Wood Cutters” (1884). With an Impressionistic feel, the painting features short brush strokes, and warrants a viewing from a distance to let the eye blend the colors together. One of the most praiseworthy aspects of the painting is the way that Ranger utilizes these brush strokes to create a warm, approachable atmosphere. The lovely, soft light evokes feelings of reverence and respect for nature and its stunning, simple beauty. This style also more accurately represents how one would truly perceive a forest scene: leaves and branches blended together in browns and yellows, and a light blue sky blended with cloudy white. It is a serene setting, and leaves the viewer reflecting on his or her own appreciation of nature.

Eventually, Ranger moved back to the United States and set up a studio in New York City. He continued painting landscapes and became a leader of the “Tonal” school of painting, showcasing landscapes with a colored hue, and an emphasis on mood and feeling (Wikipedia, “Tonalism”). Although “The Wood Cutters” was painted many years earlier, it showcases this “Tonal” method of painting, and undoubtedly served as a springboard for Ranger into this new school of painting. In this respect, Ranger was a visionary man, paving the way for future artists and artistic schools of thought.

Even though Ranger was relatively successful as a painter throughout his life, he is not nearly as well-known as some of his fellow American painters, such as George Inness, and James McNeil Whistler. Although I am not entirely sure of the reasons for this, I am certain that it was not a lack of talent on Ranger’s part. While walking through the American Dreams Art Exhibit at the Museum of Art, I liked several of the paintings, but “The Wood Cutters” made me really stop and look and study what I saw. As a painting in a museum, it is one that can be admired for its sheer beauty. Yet, it is much more than a simple landscape—it is an interpretation of the American Dream of going west. It demonstrates the relationship that we have with nature; we have the power to work and change our surroundings, but we will always be shadowed by nature and God. In my interpretation of the painting, the descending diagonal line from the top corner brings light to the wood cutters—God is helping them, approving of their task. So too, then, does the painting represent the American Dream, and the ideal of accomplishing anything in this great land with hard work and God’s help.

America has seen countless incredible artists in its relatively brief history. With the constant evolution of the populace and its culture, American artists have been continually required to adapt their styles in the quest to find their own. Henry Ward Ranger was no exception. Showing great skill from a young age, Ranger worked to perfect his talent and style of painting, and ventured to Europe and back to accomplish it. His painting, “The Wood Cutters” demonstrates the skill and style this man had, and it transmits his belief in the American Dream, and the quest for expansion among the unknown.

To Kill a Mockingbird- An American Classic

A few weeks ago International Cinema kept things close to home and played the American film classic To Kill a Mockingbird. Based on the beloved novel by the same title, the movie is one of the rare cases in which a film is nearly as good as the book upon which it is based. The book has sold more than thirty million copies since its publication in 1960, and is considered to be one of the most influential books in American history. Similarly, the American Film Institute has the film at number twenty-five on its Top 100 list of the best American movies. It is a timeless story, with unforgettable characters and a truly American voice.

One thing that I really enjoy about To Kill a Mockingbird is that it centers on a very mature incident (an accused rape of a white woman by a black man in 1930s Alabama), and yet it’s told from the perspective of a six-year-old girl. This fresh perspective adds an innocent air to what could otherwise be a heavy and overly negative story. We see things as Scout sees them, and the young actress who portrays Scout does a masterful job at being timid, yet bold—foolish, yet wise beyond her years. Seeing Scout running and playing and being a typical child reminded me of my six-year-old niece who, like Scout, plays and jokes, yet often says things that show maturity and an innocent understanding beyond what we as adults can even understand. The movie captures perfectly the attitudes and personality of Scout.

Another powerful performance is given by Gregory Peck, who won an Academy Award for his role as Atticus Finch. He truly captured the nature of Atticus as it is portrayed in the novel. He is loving and wise, and he stands up for what is right, regardless of the consequences. All of the scenes that focused on his interactions with Jem and Scout are particularly touching. He exemplifies an outstanding father, and he treats his children with respect and expects them to treat him, as well as everyone else, with the same respect.

Atticus’ most moving scene in the film takes place during the trial. It is clear that the odds are not in his favor, even though he does a spectacular job at defending Tom Robinson and provides obvious evidence of his innocence. In his final speech before the jury he pleads with them to really think about the truth and, brilliantly but less apparently, to consider their underlying prejudices and motives. Even after he has done all that he could do, the jury returns and announces a guilty verdict. As the judge, jury, and crowd slowly leave the courtroom floor, only the members of the “black section” on the balcony and Atticus are left behind. Atticus turns around to leave, and out of respect, everybody on the balcony stands in a silent tribute to the noble man who defended their innocent friend. This was an emotional moment for me—it made me think about my life and whether or not I am willing to defend and fight for justice despite the social ramifications. It also made me appreciate good people who, like Atticus, defend those who really need help and keep fighting even when all odds are against them.

Finally, one aspect of the film that I truly appreciated as a student of American Humanities was the overarching presence of strong American morals. These morals have been displayed in paintings, sculpture, literature and music, and they are certainly present in this film. Atticus represents the ideal American man and father: one who works hard in the service of others and raises his children to do what is right and accept others for who they are. Atticus shows that doing what’s right isn’t always easy or desirable, but it must be done. Undoubtedly no other lawyer would have wanted to defend Tom, but Atticus recognized his duty as a public attorney and went above and beyond expectations in Tom’s defense. If we all worked as tirelessly as Atticus Finch in the pursuit of justice and equality, surely America would be a much different and better place today.

Bounteous Blessings

This story is patterned after Twain's "The War Prayer", a short, satirical piece about war and the questionable patriotic and religious motives behind it. I titled it "Bounteous Blessings." Hope you enjoy.

It was obvious to everyone in the small town of Walnut, Iowa that this year’s Independence Day was going to be special. For reasons that no one could quite explain, every one of Walnut’s faithful citizens felt a heightened sense of patriotism as they readied their houses for the celebration. Flags were unfurled and banners hung, and at any one moment it was perfectly probable to hear someone humming a line from “America the Beautiful.” The smiles and laughter were contagious. The older generation was delighted to see their neighbors publicly celebrating the country they loved: “We’ve needed a revival of patriotism,” they said knowingly, and the mothers and fathers of Walnut nodded amicably in agreement.

“It’s true,” said Mrs. Abigail Smith, a plump, sweet house maker and mother of four, “I’ve been saying that for quite some time.”

“Yes, yes,” chimed her equally portly neighbors, “we must remember our noble heritage, and our many blessings.”

“And especially here in Walnut,” Mrs. Smith replied, reaching for yet another slice of pumpkin pie, “Even with the country in shambles- the unemployment, and the recession and all…we have been blessed here, very blessed.”

And she was right—Walnut had done remarkably well despite unemployment being at an all-time high across the country. People continued to work their little jobs, and the local government had quite ingeniously put into play an advertising campaign to attract tourists to see the quaint houses of Walnut’s Historic District. It seemed that with the economic recession, many people had decided that rather than go on extravagant, faraway vacations, they could go somewhere close and familiar; Walnut fit the criteria perfectly. With several small restaurants and Bed and Breakfasts busily functioning throughout the city, Walnut saw economic growth and even prosperity. So yes, they had been blessed, very blessed.

If the citizens of the town could not look around and see the evidence of their being very blessed, they were at least reminded of it as they went to church each Sunday and listened to the preacher’s powerful sermons. (Of course, not everyone went to church, but the good Christian folk did, and they made up the majority of the town’s populace). The preacher loved to remind his congregation that they were very fortunate to live in America, and, more specifically, to be living in the beautiful corner of Earth called Walnut, Iowa, which “God himself continues to smile upon.” His favorite phrase was “bounteous blessings,” and to further emphasize how blessed they were, the preacher also liked to mention how so much of the world suffered from hunger and poverty and a host of other miserable afflictions. “Those poor people,” the members murmured amidst the pews, “if only God could smile on them as well.” If only, if only…It was easy to relate to his eloquent words because each member of the audience felt the truth of them as they drove their new cars, ate their large suppers, and stared at their oversized television screens.

When the Fourth of July finally arrived, it brought with it an exquisite sunrise, and those who were awake to witness the sublime scene couldn’t help but interpret it as a symbol of God’s approving eye on their lovely town. The mothers of Walnut busily prepared sumptuous morning meals for their families, and the fathers of the town read newspapers and gradually coaxed their children out of their comfortable beds. As the morning progressed, people began filing onto the sidewalks of Main Street and laid out their blankets and lawn chairs for the Grand Parade. It was a Walnut tradition that on every Fourth of July, at exactly 11 am, the Walnut Independence Day Grand Parade began with the stroke of the city hall bell. Every year, there were a number of impressive floats, but the floats this year were extraordinary to say the least. Every one commented that it was the best parade in recent memory.

At the conclusion of the parade, the crowd took the short walk over to the city park where a number of large white tables and chairs had been set up on the baseball diamond. The hour of the annual “Fourth Feast” had arrived. This celebration of their bounteous blessings featured, among other American delicacies, gigantic cheeseburgers, foot long hotdogs, piles of hot French fries, rows of assorted pies, and gallons of iced sodas. It was a glorious affair, and everyone ate until they were quite full (“We have so much extra food and it would be a shame to waste it,” Mrs. A. Smith had declared, while reaching for yet another fistful of fries.)

As they finished their last slice of apple or chocolate cream pie, a podium was placed in front of the tables. It was now time for the Mayor’s speech. Although many felt the familiar tug of that sweet sleep that follows a hardy gorging, all were eager to see what their wise leader had to say.“Good afternoon, and Happy Fourth of July!” the Mayor said to a thunderous round of applause. “It’s a beautiful day isn’t it? How lucky we are to be here in America, how lucky to live in this beautiful town!”

The mayor continued, and spoke a great deal about the freedom and the liberty they shared as citizens of America, and yet again reminded them how blessed they were to live in Walnut. “How fortunate we are to have food at our tables,” he said, “and that we never go hungry.” After a few patriotic quotes from very patriotic people, he concluded with a rousing “Here’s to another great year! God bless America!” It was a perfect ending note, but suddenly, in the split second after the mayor’s final word was spoken and before the audience had a chance to begin their applause, all the tradition that Walnut had grown so accustomed to was shattered.

“WAIT! WAIT!” a tall man shouted loudly and urgently from behind the mass of people. A stunned silence settled over the group, as automatically every head turned in the direction of the unwelcomed voice. “I have something to say, something important. Stop and look around. Look at your plates, look at the remaining food—look at yourselves! Parents look at your children, your young children who suffer at your hands. Is nothing wrong with this scene? Does nobody see what I see? Does nobody see where we are heading?

“We are killing ourselves! We are living gluttonous lives and no one seems to see or care how fat and lazy we have become. We eat and eat as if that’s the only important thing in the whole world. The mayor said that we are blessed to never go hungry, but this doesn’t mean that we have to eat a meal between lunch and dinner just because we feel a tinge of hunger! We raise our children on horrible, fake, and fattened food and then we wonder how they’ve come to be so heavy. Is it really a mystery? Obesity is rampant here, and only on the rise! We are all to blame for this, and steps must be taken now to correct it—before it’s too late! We need to cut back! We need to eat less and do more! The future of America depends on it! Thank you and Happy Fourth of July!”

With that, the mysterious prophet turned and ran swiftly away from the bloated crowd. For a few minutes nothing was said, but eventually many people began discussing the preposterous things that had been spoken by the outspoken stranger.

“What an awful guy,” it was said. “What kind of mean-spirited, unpatriotic person would want to disrupt a perfectly good Independence Day celebration?”

After some discussion, it was clear to the people of Walnut that the “awful guy” was not entirely a reliable source for dietary habits- a few of the people near the back of the audience noted that the man staggered slightly as he ran away, and one woman even commented that she had smelt alcohol on his breath.

The day ended, weeks passed, and July and then summer came to a peaceful end. The townsfolk continued in their little ways, content with their happy lives and their pleasantly large meals. And they never did go hungry.