MoMA inspiration

I spent my last full day in New York visiting the Museum of Modern Art. What a great way to lead up to my departure and beginning this project. I was especially inspired by the exhibit Transmissions: Art in Eastern Europe and Latin America, 1960-1980. Artists use subtle and not-so-subtle visual alterations to tell stories. 

  
 In his piece “Memorial,” Luis Camnitzer digitally altered a telephone book to insert names of those who disappeared during the military dictatorship in Uruguay. At first glance, it seems to just be a telephone book. What does it mean, to have the names of those who disappeared between 1973-1985 inserted alongside other names that were originally in the telephone book? Is this a way of remembering them? Or forgetting them again? 

  

Mangelos (Dimitrije Bašicevic) | Manifest de la relation | 1976. What statement does a washed out globe with text on it make? What does global communication look like? How can words cross boundaries like countries? 

 

In her piece “Gone: An Historical Romance of a Civil War as It Occurred b’tween the Dusky Thighs of One Young Negress and Her Heart,” Kara Walker uses 18th century cut-paper silhouette. She transforms this traditional art form into one that tells a story that is more often than not ignored due to the uncomfortable process of acknowledging stereotypes, old and new, and the stories of marginalized and oppressed groups of people. 

  
The placement of pop-culture images makes bold statements. When I saw Love by Marisol, I immediately began to think about themes of addiction, love vs. lust, what is the connection between a blow job and Coca Cola, desire, control…all because of the placement of a coke bottle and the title of her work.

 
Doris Salcedo’s piece, Atrabilious, really stood out to me. ‘Atrabiliarios (Atrabilious) was conceived in response to testimony the artist gathered from relatives and loved ones of those who disappeared during the Colombian Civil War, an armed conflict that began in the 1960s. Worn female shoes in sealed niches are stand-ins for the missing bodies and evoke reliquaries for the remains of saints. “I believe that the major possibilities of art are not in showing the spectacle of violence but instead in hiding it,” the artist has said. “It is the proximity, the latency of violence that interests me.”‘ The symbolic representation of missing people was striking. 

I left the MoMA wondering

  • What kinds of ideas, feelings, issues, stories will the farmers of Mulgavan and I feel inspired to speak about through the art that we will create?
  • How can we use symbols, color, texture, scale, to tell these stories?
  • Can we play with traditional art forms, like block printing, and co-opt them to tell the untold stories, like Kara Walker did in “Gone”?

I suppose we’ll find answers to these questions over the next several weeks. Stay tuned!

Photography Opening at Left Bank Dance Studio

I recently had the opportunity to select a few photos (out of hundreds!) from my research in India and put together a collection to display at the Left Bank Dance Studio in Alton, IL.  It’s wonderful how these opportunities just keep knocking at my door and I am so grateful for the tangible support of the Arts in the community of Elsah/Alton, IL.

Here are 13 of the 18 photos that are hanging in the beautiful Left Bank Dance Studio. The brick wall is the perfect backdrop for the vibrant colors that I captured with my camera while living in Maharashtra last year. The photos will remain at the studio for several more weeks. Dance on over and take a peek!

Here are 13 of the 18 photos that are hanging in the beautiful Left Bank Dance Studio. The brick wall is the perfect backdrop for the vibrant colors that I captured with my camera while living in Maharashtra last year. The photos will remain at the studio for several more weeks. Dance on over and take a peek!

On Saturday, January 26, I hosted a screening of the film “Bitter Seeds,” the final film in Micha X. Peled’s Globalization Trilogy. Here is the synopsis from their website:

Bitter Seeds follows a season in a village at the epicenter of the crisis, from sowing to harvest. Like most of his neighbors, cotton-farmer Ram Krishna must borrow heavily in order to afford the mounting costs of modern farming. Required by a money-lender to put up his land as collateral, he gambles on everything he has.

When his crop is attacked by pests, Ram Krishna must do whatever he can to avoid losing the family land. Adding to his burden is another duty – his daughter has reached marrying age, and he must find the money for an expensive dowry. Ram Krishna has just become a candidate for joining the ranks of the farmers who commit suicide in despair.

Weaving in and out of Ram Krishna’s story is that of his neighbor’s daughter. Manjusha, a college student, is determined to become a journalist and tell the world about the farmers’ predicament. Her family opposes her plans, which go against village traditions. Manjusha’s ambition is also fueled by her personal history – her father was one of the suicide victims. When a newspaper reporter agrees to look at her writing, Manjusha takes on Ram Krishna’s plight as her first reporting project. Armed with a small camera from the production team, her video becomes part of the film.

The film follows the seeds salesmen from the remote village in the state of Maharashtra to their company’s headquarters. Interviews with seed industry executives (including Monsanto’s) and their critic, Vandana Shiva, flesh out the debate.

Bitter Seeds features compelling characters to tell a deeply moving story from the heart of the worldwide controversy about the future of farming.

“Films like this can change the world.” – Alice Waters

“A tragedy for our times, beautifully told, deeply disturbing.” – Michael Pollan

The film is available on Netflix. If you are interested in purchasing the film, visit the Teddy Bear Films website. I highly recommend seeing it!

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Here I am introducing the film “Bitter Seeds” and briefly explaining what my experience in India was like.

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Watching “Bitter Seeds” at the Left Bank Dance Studio in Alton, IL.

I can’t even begin to explain how neat it was to have that film as a resource for my audience. It was filmed in the region where I did my research about a year before I arrived. Some of the folks interviewed in the film were people that I also met and spoke with while I was in India. It was a great window into the world that I had immersed myself in last year; there were scenes on buses and around towns that felt very familiar to me. As I watched the film with all of the friendly folks that came out to support me and learn more about cotton farming in India, I thought about my friends in India and wondered how their harvest had turned out.

Answering questions about cotton farming in India after the film.

Answering questions about cotton farming in India after the film.

Being able to display my photos, screen this film, and talk with people about my research and my experiences was so gratifying. There were so many good questions about the film and my research. I was thrilled to see a discussion about agriculture in India taking place in the backyard of Monsanto’s headquarters. Here in southern Illinois we are surrounded by farming. Monsanto’s headquarters are just a short drive away in St. Louis, MO. How encouraging, to see people drawing connections from the clothing that they wear to the farmers who grew the cotton a half a world away.

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Mingling and looking at photos before the film.

All photos are for sale and if you are interested in purchasing one, please contact me: amcmullin@gm.slc.edu

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"Afternoon Tea." 5x7 photo with 9x12 mat. $50

“Afternoon Tea.” 5×7 photo with 9×12 white mat. $50

"Waiting for Loan." 5x7 photo with 8x10 mat. $40

“Waiting for Loan.” 5×7 photo with 8×10 white mat. $40

"Distributing the Loan." 4x6 & 8x10 photos with 12x16 mat. $60

“Distributing the Loan.” 4×6 & 8×10 photos with 12×16 white mat. $60

"Playing Cards at the Farm." 4x6 & 8x10 photo with 12x16 mat. $60

“Playing Cards at the Farm.” 4×6 & 8×10 photo with 12×16 white mat. $60

"Buying Cotton Seeds." 8x10 & 5x7 photos with 16x20 mat. $75

“Buying Cotton Seeds.” 8×10 & 5×7 photos with 16×20 white mat. $75

"Blessing the Land for the New Season." 4x4, 5x7, 5x7 & 8x10 photos with 16x20 mat. $75

“Blessing the Land for the New Season.” 4×4, 5×7, 5×7 & 8×10 photos with 16×20 white mat. $75

"Planting 5 Acres of Cotton." 11x14 photo with 16x20 mat. $65

“Planting 5 Acres of Cotton.” 11×14 photo with 16×20 white mat. $65

"Planting Cotton." 5x7 photo with 8x10 mat. $35

“Planting Cotton.” 5×7 photo with 8×10 white mat. $35

"Praying for Rain." 6x8 and 4x6 photos with 12x16 mat. $60

“Praying for Rain.” 6×8 and 4×6 photos with 12×16 white mat. $60

"Lunch Break." 5x7 photo with 8x10 mat. $40

“Lunch Break.” 5×7 photo with 8×10 white mat. $40

"Chemical Fertilizer." 4x4, 5x7, 5x7, & 5x7 photos with 16x20 mat. $75

“Chemical Fertilizer.” 4×4, 5×7, 5×7, & 5×7 photos with 16×20 white mat. $75

"Grinding Jowar." 4x6 & 6x8 photos with 11x14 mat. $60

“Grinding Jowar.” 4×6 & 6×8 photos with 11×14 white mat. $60

"Preparing for Pola - The Festival of the Bulls." 5x5 & 6x8 photos with 12x16 mat. $65

“Preparing for Pola – The Festival of the Bulls.” 5×5 & 6×8 photos with 12×16 white mat. $65

Top: "Dressing up for Pola - Festival of the Bulls." 4 5x7 photos with 16x20 mat. $70Bottom: "Festival of the Bulls - Village Square." 11x14 photo with 16x20 mat. $65

Top: “Dressing up for Pola – Festival of the Bulls.” 4 5×7 photos with 16×20 white mat. $70
Bottom: “Festival of the Bulls – Village Square.” 11×14 photo with 16×20 white mat. $65

Not pictured: “Bollgard Toy Car.” 4×6 and 6×8 on 11×14 white mat. $60

6x8 in "Bollgard Toy Car"

6×8 in “Bollgard Toy Car”

4x6 in "Bollgard Toy Car"

4×6 in “Bollgard Toy Car”

Not pictured: “Making Papad.” 5×7, 4×6, 4×4, & 5×7 photos on 16×20 white mat. $70

5x7, "Making Papad"

5×7, “Making Papad”

4x6, "Making Papad"

4×6, “Making Papad”

4x4, "Making Papad"

4×4, “Making Papad”

5x7, "Making Papad"

5×7, “Making Papad”

Not pictured: “Pola dye.” 11×14 photo on 16×20 white mat.

Ropes were dyed, houses re-painted. This little boy decided he wanted his hands to match the color of his shirt.

“Pola dye.” 11×14 photo on 16×20 white mat. $90

 

 

 

 

 

 

 

 

 

 

A big THANK YOU to my family for helping me pull this off! My little sister #1 is really the photographer in the family. Her opinion was crucial in narrowing down my pictures to this final selection. She gave me feedback every step of the way and I couldn’t have done this without her. And thanks to her, I have photos of the event! A HUGE thank you to my mom and dad, the crafter and the Mathematician in the family, who helped me to custom cut all of the mats with multiple photos in them. It actually took 3 pairs of hands sometimes. And a big thanks to little brother #1, the techie in the family. He picked up the projector for the film, set it up, connected the sound, and then returned it after the event. And little brother #2, the athlete in the family, did lots of heavy lifting, helping me to transport all of the frames to the Studio. And little sister #2, thanks for helping all of my guests find the popcorn! ;)

I’m so lucky to have such a talented family on which I can depend!

And of course, thanks again to the Left Bank Dance Studio for offering me its walls and giving me the opportunity to share this work in another small but extraordinarily gratifying way.

Above all, I want to thank the villagers of Mulgavan for opening their homes to a stranger from a foreign land and for humoring me as I stumbled through learning Marathi and kicked off my flip flops to traipse along with them through muddy fields. धन्यवाद!