Naskah Pidato - The William Benton Museum of Art is devoted to a theme of human transition as it recently unveiled three new exhibits: “Poem and Picture,” “CounterMart” and “Future Shock.”
At first glance, the three displays seem disconnected from one another. But after walking through the art collections and taking in each voyeur’s perspective on the world, it is apparent that there is a motif. Kartik Patel, a 6th-semester molecular and cell biology and psychology major, said that the trio of exhibits “flow in a way because they talk about the patterns in human society.” He perceived the changes as ones that have made humans displace their interests from imagination, to consumerism, to technology.
“Poem and Picture,” an exhibit based on the relationship through antiquity, is a presentation of the marriage between visual art and the written word. There is an extensive historical background to this display, as the hybridization of art forms originated in the times of Horace and Leonardo DaVinci. Some of the art was a literal interpretation, as was the case with Robert Frost’s “A Star in a Stone-Boat.” But others were more abstract, like T.S. Eliot’s “A Song for Simeon.” An array of lithographs by Russian poets and artists were on display alongside canvas sketches and seemingly random wallpaper patterns. More unconventional designs included a comic strip poem by Frank O’Hara and David Antin’s “Black Plague, which was conceptualized on graph paper. The exhibit also showed diversity with Spanish poems from Jorge Luis Borges. The pieces in “Poem and Picture” were either donated or loaned to the Benton by the Thomas J. Dodd Research Center and the Homer Babbidge Library.
Following “Poem and Picture” is Abby Manock’s analysis of social consumerism. “CounterMart,” a result of extreme imagination, was a combination of Manock’s hypnotizing film “Counters” and an interactive set. The artist’s objective is to allow the audience to interpret the set and become counter themselves. Visitors are encouraged to scan barcodes as they follow Manock’s vignettes about production, transportation, and exchange.
An assortment of shocking visuals labeled as “Future Shock” brings author Alvin Toffler’s prediction of a “disease of change” to life. Toffler’s novel “Future Shock” came out in 1970 and condemned society’s obsession with technology, media and consumption. While walking into the exhibit, it is easy to notice the two massive pillars of shredded plastic.
Another distinguishing piece is Lauren Laudano’s “Elastic”, which looks like a spider web made from knotted rubber bands. Kasey Lou Lindley’s “Pixel Park” is a pallet of changing colors, reflections and abstract shapes. Her work was complemented by two other displays, “Pixel Plumes” and “Pixel Pop,” which incorporated auditory elements to represent an urban environment. Some of the other pieces in “Future Shock” were more stark and cynical. Skeletal paintings, zombie sketches and tragic collages make visitors wonder if this really is the greatest generation.
Teri La Montagne, a 10th-semester psychology major, said that Katie Mansfield’s poster photographs caught her eye. She said that she liked how the conflicts of rural and modern society were personified and how the artists tried to “understand how Americans perceive the rural world.” This exemplifies the purpose of the exhibit and Toffler’s recommendation that society should have an “adaptation to understanding.”
At first glance, the three displays seem disconnected from one another. But after walking through the art collections and taking in each voyeur’s perspective on the world, it is apparent that there is a motif. Kartik Patel, a 6th-semester molecular and cell biology and psychology major, said that the trio of exhibits “flow in a way because they talk about the patterns in human society.” He perceived the changes as ones that have made humans displace their interests from imagination, to consumerism, to technology.
“Poem and Picture,” an exhibit based on the relationship through antiquity, is a presentation of the marriage between visual art and the written word. There is an extensive historical background to this display, as the hybridization of art forms originated in the times of Horace and Leonardo DaVinci. Some of the art was a literal interpretation, as was the case with Robert Frost’s “A Star in a Stone-Boat.” But others were more abstract, like T.S. Eliot’s “A Song for Simeon.” An array of lithographs by Russian poets and artists were on display alongside canvas sketches and seemingly random wallpaper patterns. More unconventional designs included a comic strip poem by Frank O’Hara and David Antin’s “Black Plague, which was conceptualized on graph paper. The exhibit also showed diversity with Spanish poems from Jorge Luis Borges. The pieces in “Poem and Picture” were either donated or loaned to the Benton by the Thomas J. Dodd Research Center and the Homer Babbidge Library.
Following “Poem and Picture” is Abby Manock’s analysis of social consumerism. “CounterMart,” a result of extreme imagination, was a combination of Manock’s hypnotizing film “Counters” and an interactive set. The artist’s objective is to allow the audience to interpret the set and become counter themselves. Visitors are encouraged to scan barcodes as they follow Manock’s vignettes about production, transportation, and exchange.
An assortment of shocking visuals labeled as “Future Shock” brings author Alvin Toffler’s prediction of a “disease of change” to life. Toffler’s novel “Future Shock” came out in 1970 and condemned society’s obsession with technology, media and consumption. While walking into the exhibit, it is easy to notice the two massive pillars of shredded plastic.
Another distinguishing piece is Lauren Laudano’s “Elastic”, which looks like a spider web made from knotted rubber bands. Kasey Lou Lindley’s “Pixel Park” is a pallet of changing colors, reflections and abstract shapes. Her work was complemented by two other displays, “Pixel Plumes” and “Pixel Pop,” which incorporated auditory elements to represent an urban environment. Some of the other pieces in “Future Shock” were more stark and cynical. Skeletal paintings, zombie sketches and tragic collages make visitors wonder if this really is the greatest generation.
Teri La Montagne, a 10th-semester psychology major, said that Katie Mansfield’s poster photographs caught her eye. She said that she liked how the conflicts of rural and modern society were personified and how the artists tried to “understand how Americans perceive the rural world.” This exemplifies the purpose of the exhibit and Toffler’s recommendation that society should have an “adaptation to understanding.”
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