by: Jessica Renae Buxbaum on November 19th, 2014 | 2 Comments »
Credit: Creative Commons/lajmi.net
Since the film’s release on October 3, Gone Girl still remains number three at the box office, has garnered $300 million worldwide making it almost the biggest money-making film yet, has a rating of 88 percent on Rotten Tomatoes, and is even in the running for the Oscars. With its critical acclaim, fan buzz, and record-breaking consistency, the movie is a smash hit and already on the IMDb’s user-generated Top 250 movies of all time. But amidst the praise is a lack of consideration for what Gone Girl is really depicting and reinforcing: rape culture.
NOTE TO READERS: My essay “Living Into The Questions,” leads off the Americans for The Arts’ blog salon about “The Beauty in Change: Considering Aesthetics in Creative Social Change Work.” Please read it and let me know what you think!
This is the talk I delivered last night at Bowery Poetry in New York City, on the occasion of the inauguration of the first twenty-two members of the U.S. Department of Arts and Culture‘s National Cabinet.
It is my honor and privilege tonight to welcome and inaugurate the first twenty-two members of the National Cabinet of the U.S. Department of Arts and Culture (USDAC), a citizen-led, policy-oriented leadership group whose members have made themselves experts not just by studying, but also by living the relevant knowledge.
We’re still building the Cabinet. Unlike typical presidential cabinets, we don’t ask one member to represent the entirety of an interest or issue – a secretary of defense, a secretary of state. We recognize that it takes the awareness and wisdom of people from many parts of the nation, many types of work, many cultural backgrounds, to bring the necessary knowledge to a subject as complex and encompassing as the public interest in culture. And it will take even more of us to activate the shift that needs to happen now, from a consumer culture to a creator culture, from a society swamped by fear, isolation, and competition to one based in equity, empathy, and interconnectedness.
Let me start by telling you a little bit about the Cabinet’s work, then introduce you to these remarkable individuals, some of whom are here tonight.
“[Alan Turing] was and is a hero of all time…a man who is a gay icon, who didn’t deny his nature, his being, and for that he suffered. … This is a story that celebrates him, that celebrates outsiders; it celebrates anybody who’s ever felt different and ostracized and ever suffered prejudice.”
Benedict Cumberbatch as Alan Turing on set of The Imitation Game. Credit: Creative Commons/ touchedmuch
Though I usually find TV award shows to project primarily fluff and silliness, and they rarely stir deep emotions in me, listening to Benedict Cumberbatch’s acceptance speech in the Best Actor category for his portrayal of Alan Turing in the film “The Imitation Game” at the American Film Awards ceremonies brought me to tears. This stemmed from a sense of deep pride and an endless abyss of sadness. Cumberbatch’s commitment and passion shinned through on stage as he talked about transforming Turing’s story, his brilliance, and his humanity to the silver screen helping in his way to give him the long-overdue wide-scale recognition he rightly deserves.
Alan Mathison Turing was a pioneering computer scientist, and he served as a mid-20th century English mathematician, logician, and cryptanalyst who, working during World War II at England’s Government Code and Cypher School at Bletchley Park, succeeded with his team of scientists and linguists in cracking the “Enigma code” used by the Nazi command to conduct covert communication operations. Because of Turing and his colleagues’ efforts, Cumberbatch stated that there is now general agreement that they significantly shorted the war by at least two years saving an estimated 17 million lives. Prime Minister Winston Churchill singled out Turning as the person whose work contributed the most to defeating the Germans.
by: Brittany M. Powell on November 10th, 2014 | No Comments »
Credit: Brittany M. Powell
Crossposted from The Bold Italic
In 2012, after struggling with a significant loss of income from my photography business following the 2008 economic decline, my debt skyrocketed, and I made the difficult decision to file for bankruptcy. This inspired my interest in investigating how debt affects our identities and how we relate to the world. Debt is publicly enforced and highly stigmatized but is almost always privately experienced. It is in many ways an abstract form without material weight or structure, yet it has a heavy physicality and is a burden in a person’s everyday life.
The Debt Project is a photographic and multimedia exploration into the role that debt plays in our personal identities and social structures. I began the projectby asking subjects to sit for a formal portrait in their homes, surrounded by their belongings, in a way that’s reminiscent of the early Flemish portrait-painting tradition, and answer a series of questions on camera about their debt. I also asked them to handwrite the amount of debt they are in and tell the story behind it.
To see more of Brittany M. Powell’s photos, visit the Tikkun Daily Art Gallery.
Credit: Creative Commons/MMSC10
I believe one of the litmus tests by which a society can be judged is the ways it treats its young people, for this opens a window projecting how that society operates generally.
Adultism, as defined by John Bell includes “behaviors and attitudes based on the assumption that adults are better than young people, and entitled to act upon young people without their agreement. This mistreatment is reinforced by social institutions, laws, customs, and attitudes.” Within an adultist society, adults construct the rules, with little or no input from youth, which they force young people to follow.
by: Lisa Bigeleisen on October 28th, 2014 | No Comments »
Credit: Carol Rossetti
When Carol Rossetti began posting her illustrations from her “Women” series online earlier this year, she had no clue the images would generate a following of 184.7K Facebook users.
Rossetti, 26, a graphic designer from Belo Horizonte, Brazil, illustrates women using kraft paper and colored pencils. Each drawing features a portrait or figure with a hand-lettered message in response to many kinds of discrimination, addressing issues such as sexism, body image, self esteem, gender identity, and ageism to name a few.
To see more of Carol Rossetti’s illustrations, visit the Tikkun Daily Art Gallery or check out the artists’ Facebook and Tumblr pages.
I forgot to notice that this past May was the tenth anniversary of my blog, which I started in 2004 to coincide with the publication of my novel Clarity. It has a small but devoted following. And if you’re interested, you can buy it used for a song. I still think it would make a good movie…
I started thinking what I might have learned in this decade-plus.The first thing that came to mind was this: people have been calling me an optimist for most of my life, but I didn’t accept it as one of my true names until quite recently. Partly, that was about expanding my definition of the word. An optimist, I now believe, is someone who sees great possibility in the human project (not someone, as I once supposed, who is certain that all is for the best in this best of all possible worlds, pace Voltaire).
Still, I don’t totally get this about myself. I grew up in a world of low expectations and lower hopes, where adults understood themselves as refugees from and survivors of history, and I was regularly counseled not to want too much. I asked my husband to help me think about it: why, with my history, am I an optimist when so many others who have walked similar paths are anything but?
His answer made perfect sense to me: “Because you’re all about changing things. You have to believe it’s possible. A person can’t be as oriented to change as you are and be a pessimist. What would be the point?”
This past weekend, activists streamed into Ferguson, Missouri, for Ferguson October, a “weekend of resistance” comprising actions and events organized by Hands Up United, Organization for Black Struggle, Missourians Organizing for Reform and Empowerment, and other partners “to build momentum for a nationwide movement against police violence.” Protestors marched and staged civil disobedience, shut down commerce, and draped banners from freeway overpasses. Activists posted an open letter that began this way:
Here in Ferguson, our community has come to know terror on American soil. A public slaying so gruesome it harkened images of the lynchings from the most heinous moments in history, for young and old to see.
This is a moment of great beauty and meaning, in which those who desire a nation of justice and love are rising to summon it forth. Some carried a mirrored coffin in a ceremonial procession to the police department, calling to mind the Shinto version of The Golden Rule: “The heart of the person before you is a mirror; see there your own form.”
What will come of this?
by: Howard Cooper on October 9th, 2014 | No Comments »
Inside of a sukkah, a temporary hut constructed during the festival of Sukkot. Credit: Creative Commons/Carly Lesser & Art Drauglis
Just as the lulav that we shake on Sukkot, the festival of rest amidst the desert wanderings, is made up of three different trees — palm, myrtle and willow — I want to share with you another group of three that I’m going to bind together and wave in your direction. And we’ll see if we can add in that exotic etrog element along the way.
Over the last few months I happen to have seen three films, each as different from the other as are the species that make up the lulav. Taken together, they add up to more than the sum of their parts.
by: Roni Finkelstein on October 8th, 2014 | No Comments »
Ruth Golmant believes in the process of creating art as a powerful tool for healing. The art therapist located in Stafford, Virginia lives with one husband, two children, two invisible disabilities, and her ever-evolving Jewish spirituality.
After studying art as an undergraduate at Mills College in Oakland, California, Golmant moved to Virginia to complete a degree in art therapy at George Washington University. Upon graduation she began working with patients in St. Elizabeth’s hospital’s acute trauma unit, where she realized the power of art amidst pain. She recalled: