Henri Murger’s piece, Scenes from a Latin Quarter, portrays the Bohemian lifestyle by closely delving into the lives of four friends, Schaunard, Rodolphe, Marcel, and Colline. The work carefully details the conditions under which Bohemians lived. The Bohemian lifestyle is described as a way of life where people make commitments to unconventional lifestyles and live freely, despite hardships. As a result of their sacrifices, the main characters live in poor conditions and can not afford themselves luxury, however they fervently pursue their artistic passions such as music, art, education, and more. Schanaurd struggles to afford himself a normal living, constantly borrowing money from others to pay off the rent for his living space, thus he ultimately ends up sharing the apartment from which he is evicted with Marcel, who can not afford furniture. Colline makes money by tutoring people and Rodolphe who is later revealed to be a former member of the band, Water Drinkers. Another member of this band was Jacques, who is opposed to Rodolphe’s character. Whereas Rodolphe prioritizes Bohemian life over his personal relationships, Jacques leaves his band in order to attain a stable job and earn enough money to sustain his partner, Francine, proving that there are disparities in the lifestyles and priorities of Bohemian members due to the challenges that certain individuals are willing to face. Rodolphe has a brief affair with another lady, however he is unable to commit to a serious relationship unless he leaves the Bohemian lifestyle behind, a fate only Jacques is willing to undertake. Similar themes are recounted in the movie Rent, a musical detailing the lives of a group of New Yorkers during the late twentieth century. These residents struggle with various aspects of their lives such as the outbreak of AIDS, their careers, and personal relationships, similar fates that are experienced by the characters of Scenes from a Latin Quarter. Roger is a musician afflicted with HIV who scrambles for money in order to pay rent to their landlord, Benny. This showcases the difficulties that unconventional and artistic lifestyles may lead to, intensified by the consequences of the epidemic, exemplified by the fatal conditions that their friend, Tom, is afflicted with due to AIDS. Overall, these artistic themes connect with the displayed culture of Opera. The progression of Opera is recounted, where the precursors to opera were medieval dramas which included songs. Italian groups of poets and artistic minds yearned for the aesthetics of Greek style. The first opera performed was in 1958 in Italy, Florence. Baroque was a style characterized by an irregular period of musical changes where lavish things and grandeur were appreciated; mythology and religious stories exaggerated bold colors. Later, Puccini’s work in the late twentieth century explored lives of the common folks. The first all-African-American cast was featured in an opera that also introduced the influence of jazz. On a conclusive note, John Adams’ work on the Oppenheimer opera is shown, revealing the emotional intensity of his coming-to-terms with what he has done regarding the atomic bomb’s development. Overall, the Scenes from a Latin Quarter, Rent, and history concerning Opera, reveal foundational aspects of their significance and interconnectedness.

Having a guest speaker talk about his experiences with punk rock was very unique and interesting, as it is not a field I normally hear about. Listening to Rich Stremme take us along his punk rock journey was very captivating. For him, his story started when his family moved to Connecticut and he was 11 years old. His aunt and uncle took him to a show and he found a group that sparked his interest, realizing that he wanted to be a part of their world. At the age of 12, he started making zines in order to start communication with people he did not know. Zines allowed him to network with people and create scenes with those in his area. His first show was to see the Anrthax and they later moved from the eastern part of Connecticut to the western part of the state for more space. He noticed that predominantly males attended these events, revealing the culture surrounding punk rock at the time. When he went to this show, he spread his zines around and met people that he ultimately wanted to begin a band with. Once he began making his own records, he sold them for a third less than what it cost him to produce, therefore he proved that the value for him was not in climbing an economic scale, but only socially become known. One of his most vibrant memories is the show he held in a poor neighborhood in Texas, nevertheless with people attending from both sides of the border. The events he experienced during this show felt surreal to him, as helicopters circulated with lights trying to catch border-hoppers. He channeled his experience in El Paso into the writing of his vinyl, Ashamed To Be White. After he graduated college, he moved to Brooklyn and met a graffiti artist, Revs. They initiated a collective band named God Squad and always had a mission; they would make crosses out wood and place them all over the city. Overall, punk rock is a free space, thus it does not need to be audio or physical, but whatever one can carve out and express, as Rich Stremme quotes from Ian MacKaye, concluding the essence of this topic.

Usually, I do not travel to our Sunday seminar trips with much anticipation or excitement. However, our trip to the Macaulay Honors College, to view Stephen Gracia’s The Woman Who Gave Birth to Rabbits, was an exception. Despite the seeming absurdity of this play, it was ironically that very characteristic which built up more interest within me to speak with the playwright and view the unfolding of this work in real-time. The commute, unfortunately, was extremely dreadful and longer than normal, amounting to almost two hours of travel in each direction. Upon arrival to the destination, I was eager to finally see the Macaulay Building, in-person, for the first time. The area was very nice and I actually enjoyed it, considering the fact that I am not a fan of the city.

When it came time to view the play, the first emotion I felt was shock at both, the set of actors and the acting, which were unexpected. To clarify, I was not expecting to find the cast of the play to be older than the age of twenty and I was also left very impressed with how effectively they performed. During the scene where a woman screams for the first time, I was not expecting such a loud, sudden, and awfully distressing voice, which troubled and completely took me by surprise. I also felt that the actors suited their roles very well and successfully portrayed the intended demeanors.

Something I was surprised to learn is that the storyline is partially based on true events, as a lady named Mary Toft created a similar situation through a hoax. However, the playwright claimed that he decided to change the plot, making the event realistic, although with a purpose that revealed the gender struggles during the according time period, thus forming a purpose to its unfolding. The play conveyed many implicit themes such as hierarchy and patriarchy, evident through the tone and diction of Thomas Ahlers and Joshua Toft, the male characters. Ultimately, it became evident how woman were exploited by men and treated inferior during 18th century England.

Along with the themes of the play, speaking with the playwright and actors brought many other lessons to light such as the reality surrounding an artist’s lifestyle and the materialistic culture formed around art in America. Stephen Gracia asserted his mission of providing affordable and preferably free art, however battled with the issue of not receiving appreciation for it. He claimed that he was told by a friend, “If you do not put a price on your art then it will not be valued.” Therefore, conflicted with his morals, Stephen Gracia was obligated to modify his approach to art in order to preserve his skill. Furthermore, learning about the individual lifestyles of every actor was insightful into the world surrounding their career choices and how hard they must work in order to afford the craft that they love, especially in a society like our country.

“The Night at the Museum” is a phrase that I commonly heard upon entering Macaulay. Rumored as one of the best Macaulay experiences, I experienced anticipation for this trip. Earlier in the day, I ran errands, ultimately taking the bus to campus. The weather was extremely unpleasant, as it was cold and slightly windy. After arriving, it was nice to see everyone and take a bus to the Brooklyn Museum; it felt as if I was reliving my middle school field trips.

Assyrian Palace Reliefs, 879 B.C.E.

Upon arrival at the museum, we were directed into a spacious and brightly-lit room. The first piece of art that caught my eye was the collection of Assyrian Palace Reliefs. These relics were actually the first main piece of artwork that I came across after entering the museum, and ironically, were the ones to resonate the most with me after leaving. The reason for this is because I come from an Armenian background which shares some commonalities with the characteristics of Assyrian culture. For instance, both groups were among the first to adapt Christianity, both groups have suffered persecution under the same Muslim rulers, and both groups were victims of genocide under the Ottoman Empire. The presented artifacts appeared extremely historical and therefore intriguing. After reading the description, I learned that Assyrian palaces were decorated with such objects in order to overwhelm the ancient visitors with the king’s power, revealing the supernatural world where the king existed. Those on display decorated the palace of one of the greatest rulers in ancient Assyria, Ashur-nasir-pal II, which was before the common era, showcasing its intricate nature. The carvings on these materials conveyed images of kings, divinities, sacred trees, and magical beings called apkallu (human bodies with wings and either human, eagle, or fish heads), along with inscriptions. Accordingly, the Assyrians believed that apkallu survived a mythical flood to serve the king.

The Bridge, 1938

The paintings that I appreciated the most were those that resembled real life and were effective in clearly portraying specific images. For instance, the work depicting Venice was very beautifully conveyed, using watercolor techniques and portraying a place that I, myself, desire to visit. The drawing is very simple, elegant, and comforting, revealing the artist’s usage of Impressionist style and transition into Post-Impressionist application of color. The talent in this composition was undeniably evident and I enjoyed looking at the unified presentations with the section themed by water’s presence.

Afterwards, we walked to different floors and explored them. Although it was aesthetically nice to enter differently decorated rooms, I was mostly overcome with tiredness. My favorite part of the museum was the exhibited storage room, full of antiques and glassware. The displays themselves were very nice and it was cool to witness the distinctions among each setting. While one room was water-themed, another was decorated with vibrantly patterned walls, and another was all black and white; these variations were all present on the same floor. Nevertheless, I was not able to connect with the art and even found myself questioning the presence of certain items such as chairs hanging on walls. Overall, this experience was definitely very unique and will be memorable to me, despite my afterward exhaustion.

Initially, my trip to the Banksy Museum was not the most enjoyable. The weather was terrible; it was raining, windy, and cold. The bus to the city took very long with traffic, but nevertheless, I arrived and purchased my ticket. Walking into the museum, I felt surprised, as the setting was very dark and unlike any other museum I have ever been to. As I have previously mentioned, I am not a huge fan of art, however the simplicity and supposed mystery underlying Banksy’s works is a factor I definitely found enticing when walking around the building.

For one, I noticed that a majority of the pieces contained rats as the objects of focus. Accounting for Banksy’s protesting nature, I learned that the purpose behind depicting these figures is to symbolize the rebels of society, which feel neglected by the general public, therefore creating political commentaries on life. According to a comment on the regarded work, Banksy’s art critiques consumerism, political authority, terrorism, and the status of art and its display. From the pieces I viewed, I can confirm that these messages are certainly depicted within the displayed artwork.

“The Rolling Stone May Gather No Moss, But it Can Start an Avalanche” (2005)

It is said that to create the presented piece, Banksy collaborated with Simon Munnery, an English comedian, who provided the titular phrase. This piece can certainly be interpreted through a variety of different perspectives, however to me, it meant that although a goal may often take long to reach, the end result is always worth the struggle and effort. To elaborate, I believe Banksy attempts to communicate that although certain actions may not elicit immediately obvious results, their long-term impacts can still be prevalent, therefore even if a rolling stone does not have the immediate power to gather moss, resembling growth, improvement, and success, it still has the capability to leave lasting implications by initiating an ultimate avalanche, represented by long-term success and accomplishment. This also coincides with the idea of a chain reaction (domino effect), as every action in life leads to an essential ending.

Grannies (2006), Los Angeles

One thing I appreciated within the Banksy Museum is that all of the art was relatable and simple to understand, as opposed to overrated works that often communicate no message and seem soulless. Every framed composition was able to connect with me in some sort of way, for it was easy to detect the context behind each developed scene. In the painting depicting two grandmas knitting in chairs across from each other, the phrases on the clothing items reflect the passing of time, which is a common enemy to all humans alike. The elderly ladies reflect on their rebellious youth and reminisce over their childhoods, sharing a bittersweet moment that I can also relate to at an age where I am experiencing numerous transitional moments in life, leaving my own youth behind as I enter the world of adulthood.

Game Changer (2020), Southampton

Due to the relatively recent essence of this artwork, it can feel substantially touching, as it reflects the relatable COVID pandemic, which internationally impacted humanity to a certain extent. After learning that this piece was donated by Banksy to the Southampton General Hospital, I felt a deeper respect for this artist because this small act reveals the truth and kindness behind Banksy’s motivations, which unlike numerous artists, are not driven by superficial monetary values. Alongside of this contribution, Banksy wrote a note thanking the health professionals and hoping that this gift brightens the medical space. In this piece, the child chooses to play with a nurse rather than the stereotypically chosen superhero dolls, depicting the nurse in a cape, thus conveying the message that “not all superheroes wear capes” and in a critical time like this deadly wave, medical workers are the true heroes, saving the world through their dedicated efforts, which must be acknowledged and appreciated.

Overall, this museum was definitely a very unique encounter and I definitely enjoyed it more than the formerly visited MoMA, although I was left pondering many questions, predominantly remaining skeptical of how Banksy could possibly be identified as an anonymous figure when he/she spent so much time creating art in public areas and was even noted to partner with other individuals. Nonetheless, my favorite aspect of this museum was the integrating experience it provided, immersing the audience within a completely divergent world, specific to Banksy’s universe. Each creation was unique with its own offering of talent, beauty, hidden significance, and occasional humor. Towards the end of my journey, I came across a quote stating, “Copyright is for losers”. This was able to summarize Banksy’s mission within one statement because it portrays his/her desire to spread the accessibility of art to all demographics alike, protesting against capitalism in this exact manner. Therefore, the public is morally and legally free to reproduce and access any works that they wish to.

The Counter is a production that depicts the intricate relationship between two main characters, Paul and Katie. Paul is an old man who is a regular customer at the café in which Katie works. Prior to viewing the play, I felt dreadful because I am not a particular fan of live productions. Although I did not particularly enjoy watching this performance, I would not necessarily say that it was terrible. One of my immediate thoughts was that the actors undeniably performed very well. All three roles were capable of effectively embodying their assigned characters, however this factor was not enough to make the experience enjoyable for me. I personally felt significantly detached from a majority of the audience because I noticed that the popular spectating demographic consisted of elderly individuals, therefore I also found myself not understanding occasional phrases or what were supposed to be humorous remarks.

Nevertheless, I was ultimately able to identify multiple central themes of the piece. Originally, I believed that the message simply consisted of friendship, however throughout the show’s progression, new aspects were gradually introduced, culminating into various interpretations. Regarding the setup, I felt slightly confused by the timeline, as the switching of lighting was very frequent and sometimes I was not able to depict the significance of a seemingly new day. I would also notice that Katie and Paul often left the setting without speaking any words of farewell, which seemed strange, causing further confusion. Initially, Katie and Paul would conduct minimal conversation and I felt substantially disengaged due to the lack of dynamic qualities. What initially seemed like both characters merely sharing their life trauma soon turned into a deeper plot, exploring the importance of patience, second-chances, and taking risks. As the relationship between both individuals unfolds, they share personal flaws, providing the other with remedying advice without realizing the hipocricy within their statements. Katie admits her past failed relationships, revealing that she created a new life within the town she now lives in. Paul critiques her decision, claiming that she acted like a coward, running away from a minimal problem and forming an ironically false reality. Katie denies this personal attack, only to direct one of her own toward Paul when he spontaneously asks her to poison him. This transforms into a historical depth to Paul’s circumstances, as he persuades Katie to “surprise” him and in doing so, provide a shocking factor that has been absent from a majority of his life, causing feelings of depression, despair, and worthlessness. As the play progresses, both characters slowly help each other persevere through their individual struggles, ending with the unexpected return of Katie’s former friend. Not only does this provide Katie with an immediate resolution to face her old life again and start fresh, but it also provides Paul with what he has been looking for his entire life: a surprise.

In the end, both characters seemingly received their “happy endings”, although on an unfinished note, leaving the rest up to the interpretations of the audience. Some important lessons that may be deduced from this play may include the importance of recognizing human intricacy and that communication is vital within the need for mutual support and understanding. All people experience their unique encounters and the ability to confide in others without losing hope or determination is what defines the individual in continuing to live with optimism, strength, and hope, essentially self-same to Paul and Katie.

I do not typically visit museums, but when I do, it is either part of a school trip, or a spontaneous side-activity on vacation. Needless to say, I am not much of an art fanatic, so the idea of spending a Sunday morning at the Museum of Modern Art did not seem too appealing. In the past, I have never been able to seriously approach artwork in the given setting because I view it as a hobby rather than the generally accepted conception of a constant “hidden meaning”. Therefore, stepping into the vast array of displays within the MoMA, I told myself that I would attempt to consider everything through an unbiased perspective, trying to understand the so-called “deeper meaning” and “communication” of art. Unfortunately, my perspective remained unchanged, as almost every floor filled me with laughter. The reason I say “almost” is because despite my inability to accept the fact that every piece of artwork contains an indisputable underlying significance, I still appreciate the effort that certain artists invest into the production of their works. There were definitely certain views that looked pleasant, however the overwhelming majority, at least in my opinion, consisted of work that could either be recreated by children, viewed online, or simply not even viewed at all.

Hanes, Inc. White T-Shirt. 1910s

I began with the second floor. The first piece that shocked me was the White T-Shirt by Hanes, Inc. My immediate instinct was to laugh at the thought of a plain, white t-shirt hanging on display at a museum that international tourists come to visit. Upon further analysis, I noticed that the shirt conveyed noteworthy history. A plain shirt does not randomly appear in a store. It undergoes multiple procedures, from the manufacturing of yarn from cotton, into textiles, imported into warehouses, and so on until they are ultimately packaged and shipped. Labor activist, Kalpona Akter, shares, “When you buy a t-shirt, it just costs you $5 or $10. But no one talks about the workers who made them.” She proceeds to note that the minimum wage in Bangladesh is $95 a month, a fact that is extremely unfortunate and almost unbelievable. Overall, the presence of the shirt indicates the history behind its production, such as the unjust treatment of factory workers regarding their unfair wages and isolation from fundamental rights. Akter urges the audience to not feel sad, but rather feel angry in such a way that allows the use of this emotion toward making a difference for people. “If there is injustice, someone always can stand up and speak out. If there is someone, why not you? You have the power to make that change.” After delving into this context, I definitely found the piece eye-opening, crucial, and considerably empowering, as it caused me to think of the abundance of clothes purchased that have been “Made in Bangladesh”, along with the privileges I may take for granted on a daily basis, yet those of which are not accessible to other populations of the world.  Although there is a proven “message” within the white t-shirt, I believe that placing it in an art museum is unnecessary as well as unfitting, for the information conveyed to me through the display of this cloth could have been communicated through simpler means.

Salvador Dalí. The Persistence of Memory. 1931

Having briefly previewed the exhibitions of the MoMA prior to arrival, I paced around the museum searching for a specific work of art, Salvador Dali’s The Persistence of Memory. The reason I was eager to find this painting was because of two reasons. Firstly, as part of an elective requirement during the sophomore year of high school, I took an art class during which I remember learning about Salvador Dalí and his niche of surrealism, being presented with this exact painting. Secondly, the summer of that same year, I visited St. Petersburg, Florida, and coincidentally came upon The Dalí Museum, which happened to be one of the main tourist attractions within this small city. So, I walked around the same way I did in the MoMA, treating the artwork frivolously and with comedy, however leaving with a sense of dissatisfaction that The Persistence of Memory in this museum was not an original work. Hence, I did feel a sense of fulfillment when I finally found the real painting I had already been familiar with and learned about, at this museum. It was truthfully underwhelming in appearance due to its small size and disrupted visual appearance, caused by glares and dim lighting. Examining the history of this painting, one learns that surrealists were a revolutionary movement with a goal of destabilizing political, societal, and cultural norms. Apparently, Dalí liked the state of becoming and unbecoming, which is expressed through the decay-like essence of the melting watches and the flies that surround them.

Andrew Wyeth. Christina’s World. 1948

Unintentionally, I stumbled upon Andrew Wyeth’s Christina’s World, which was placed within a narrow passageway, leading from one section of the fifth floor to the other. Coincidentally, this also caught my attention among the arrangement of plentiful other bores, for it was also taught within the same sophomore year art class previously mentioned. It felt nice and somewhat rewarding to be familiar with the foundational circumstances of this painting prior to reading further about it. This painting is inspired by Wyeth’s neighbor, Christina Olsen, who was victim to a neurodegenerative disease, losing the ability to walk by the time of her late 20s. Christina resisted the aid of a wheelchair or crutches, choosing to propel herself with the sole support of her arms. I found this background of Christina’s challenging life exceptionally inspirational. A fact I did not know was that the depicted figure is only partially that of Christina’s, for Wyeth’s wife was used as a model for the hair, torso, and some of the arms. This undeniably raises ethical concerns, as viewers question the implication of a disabled individual’s experience being modified by the depiction of someone who is younger and in a non-disabled body.

Overall, there was a lack of personal connection between myself and the exhibited artworks. I found this trip around the MoMA fairly meaningless, as none of the works particularly resonated with me, however an activity that I enjoyed significantly more than viewing the displays was analyzing other visitors, some of which were tourists, students, or regular locals. It is always interesting to detect the substantial distinction between how others approach art in comparison to myself.

For instance, I walked into a room filled with art that looked like nothing more than a bunch of vibrantly colorful drawings, only to be met with a man that was sitting right in front of the piece, dissecting every, arguably nonexistent, detail. It almost seemed as though he was being engulfed by the world of these paintings, which only seemed like insignificant colors to me, and that in itself, was a more captivating sight than any of those I had previously walked many stairs to look at.