Writing About Ekphrasis 6

  Why is collaboration important, and how does it foster more compelling arguments?

Discrimination

In Y The Art Critic, a giant Y with the word “discriminate” written on it was placed outside in view of the main character's window. The main character thought the hot pink metal structure was an eyesore, and they were annoyed by its presence whenever they looked out the window. They even went as far as putting gum on the art piece. But, by the end of the story, they did not even notice the giant Y structure, and they even asked to meet a friend there; they did not discriminate against it.

What if?

This story demonstrates the importance of viewing a variety of art pieces. As demonstrated in the story, completely foreign art can become normalized rather quickly. I believe this can also apply to ekphrastic writing. In The Ekphrastic Writer, it says, “ekphrasis can help to bridge communities.”(Baugher). The author then suggests several collaborative strategies an ekphrastic writer can use with an artist. This had me wondering, what if the main character from Y The Art Critic was a writer? Perhaps they would feel more comfortable writing about similar structures, or they would try writing about the art they don’t like and test to see if they could grow fond of it as they did with the giant Y. 

Arguments

Perhaps writing about the artwork that you like after initially hating it would make for a more compelling argument. Everything's an Argument says, “Anticipating objections broadens your horizons, makes you more open to alternative viewpoints, and helps you understand what you need to do to support your claim.” (Lunsford and Ruszkiewicz). By having experience on both sides of an argument perhaps you can write a more compelling piece. In the example of the character in Y The Art Critic, they could provide a great argument about why obscure art pieces are beneficial to communities. After all, she can better appeal to those who disagree because she was once that person. 

More on collaboration and writing

Works Cited

Baugher, Jenée. The Ekphrastic Writer: Creating Art-Influenced Poetry, Fiction and Nonfiction, ebook, McFarland & Company, Inc., 2020.

Belle, Jennifer. Y The Art Critic

Lunsford, Andre, and John Ruszkiewicz. Everything’s an Argument. Eight Edition, ebook, Bedford/St. Martin’s, 2019.

 

 

 

Writing About Ekphrasis 5

Active Observation vs. Social Media

Is it more difficult to be an active observer than it has ever been? In The Ekphrastic Writer, Baugher states that in addition to being active readers, we should also be active observers (Baugher). But on social media, is this active observation even possible? In an endless scroll of social media, it is difficult to examine one piece of art for a long time, especially when the image or video is not particularly eye-catching. Even if it is eye-catching, it is hard to reflect on or even remember the work due to the countless images that follow. In this way, social media might be a harmful weapon against ekphrastic writing. 

Pros of Social Media in Ekphrastic Writing

Although the endless scroll can be a drawback of social media, when it comes to active observation, it also might aid the Ekphrastic writing process. Social media can connect you to things you like (most of the time) which can make it easier to discover digital works that you like. This can guide the act of observing, analyzing, and connecting to the artwork. Of course, social media’s algorithm does have its downsides. If you are only receiving art that you like and are comfortable with, how can you grow as a writer? Sometimes, it is the uncomfortable images that foster growth. But, when social media only feeds art that you are comfortable with, how can you grow? Occasionally social media delivers something unfamiliar or uncomfortable, but if there is a lack of interaction with that subject it can disappear instantly. Although social media is a good tool for discovering art used in ekphrastic writing, I think it is important to be cognizant of the system's algorithm and to interact with images that are uncomfortable or foreign to you. 

Takeaways

Everything's an Argument makes an interesting point about new media in general. It says, “When it comes to making arguments, perhaps the most innovative aspect of new media is its ability to summon audiences” (Lunsford and Ruszkiewicz). I think this perfectly summarizes the benefits of social media in ekphrastic writing. Social media can introduce you to an artist and a community of people who enjoy that artist. But, as I mentioned previously, for ekphrastic writing, it is necessary to acknowledge the influence of social media in terms of it catering to your likes and to acknowledge the importance of discovering new artists outside of your comfort zone. 

Want More?

Interesting info about Ekphrasis in the Digital Era

Works Cited

Baugher, Jenée. The Ekphrastic Writer: Creating Art-Influenced Poetry, Fiction and Nonfiction, ebook, McFarland & Company, Inc., 2020.

Lunsford, Andre, and John Ruszkiewicz. Everything’s an Argument.Eight Edition, ebook, Bedford/St. Martin’s, 2019.

 

 

 

Art Entry 2

Denzel Curry and Kenny Beats. Unlocked, Loma Vista Recordings, 2020. Apple Music, https://music.apple.com/us/album/unlocked/1496298197.

 Album covers are like movie previews, they give you a glimpse of what to expect and they either persuade you or fail to persuade you to go any further. Some albums are so beautiful that I can not resist pressing play even if I have never heard of the artist. I am not sure how I was introduced to Denzel Curry. But when I searched his name, I immediately fell in love with his album covers. 

My favorite album art is on the album titled Unlocked by Denzel Curry and Kenny Beats. The album art reminds me of a superhero comic book cover. In the foreground of the image is what can be assumed to be Curry himself squatting on top of a piece of broken bright green concrete in a villain-esque pose with one hand positioned down on the concrete and the other hand in a fist with green and yellow flame-like design radiating from it. His costume is a dark gray jumpsuit with shading techniques seen in comics that give his outfit volume and texture. The top of his head is covered by the jumpsuit’s hood and his face is concealed by a mask with green illuminated eye and nose holes that reminds me of a Friday the 13th mask without the multitude of small holes. There is a man with a cigarette in his mouth behind and to the right of Curry’s character which can be assumed to be Kenny Beats. He is sitting down, leaning in front of a computer. Interestingly, the hoodie he is wearing is hooked up to several wires that seemingly lead to nowhere. 

The background of the image is a city that appears apocalyptic with an orange sky with yellow streaks, burning, smoking, and boarded-up buildings with a purple ground that resembles a bubbling stew. The “stew” contains many small details, but a few that I would like to point out is the parental advisory image, pictured on explicit albums, that is bent and surrounded by red and blue bricks. Another fun detail is a bent sign pole with a sign reading “danger” with a crack resembling a windshield crack and a spider web formed on the pole of the sign. 

Just from the album cover alone, you can clue yourself in on what you think the album might be about. Where Curry is positioned, on a broken piece of concrete, suggests that his album is breaking ground. And looking at the about section of the artist on Apple music this is also something he believes in it says, “Once married to a particular type of rap, Curry has since emerged as the genre’s hardest-working chameleon, telling Apple Music: ‘I always have to feel like what I am working on is the best thing I’ve ever made’” (Apple Music). The bright color scheme with the fire, smoke, and destruction (ie. broken danger sign and bent parental advisory sign) in the background clues you in that the album is going to be a dynamic, noisy, chaotic, and rebellious type of album and from listening to the album this is the truth with lines like, “After dark, the riot starts, way uglier / than Bubba Sparxxx'' and “Shoebox came with the doowop / One billion and two cops can’t find 2Pac” (Curry and Beats). If you are already a Denzel fan there’s a detail that can get you even more excited about the album. On Denzel's character's hood, it says “ULT” which is a nod to the name of a previous song from the artist. 

Baugher, the writer of The Ekphrastic Writer, brings up an interesting writing invitation that fits nicely with this album art. It says, “Writing Invitation: Settle on an artwork that depicts one or more characters and imagine panning out beyond the edges of the piece. What do you see? Perhaps you see more of the character’s life? Is that character the villain, the hero, the victim? Latch onto one character and see that character’s full story beyond the frame” (Baugher). At first glance, it looks like Curry’s character is the villain of the image, and Kenny’s character is some sort of sidekick. But, if we were to zoom out what would we see? Are there undamaged buildings that haven’t yet faced the character’s destruction? Is there another character preparing to attack? Is there a crowd of people cowering in fear or are they cheering Curry’s character on? There are so many possibilities, it is hard to latch onto a single one. His seemingly evil character can be perceived completely differently based on what the rest of the scene reveals. The artwork's impression of endless possibility is what makes the piece so interesting. 

This album cover does an excellent job of grabbing people's attention. Its attractive color scheme and rich details have the world-building qualities of a comic book. The album sets the tone for the music in the album as well as creates questions. I listened to this album because of the cover alone. This idea shows how visual and audio art can work together and create a fun and insightful experience. 

Works Cited

“Denzel Curry on Apple Music.” Apple Music, https://music.apple.com/us/artist/denzel-curry/631440154. 

Denzel Curry and Kenny Beats. “DIET_.” Unlocked, Loma Vista Recordings, 2020. Apple Music, https://music.apple.com/us/album/unlocked/1496298197.

Denzel Curry and Kenny Beats. “Take_it_Back_v2” Unlocked, Loma Vista Recordings, 2020. Apple Music, https://music.apple.com/us/album/unlocked/1496298197.

Denzel Curry and Kenny Beats. Unlocked, Loma Vista Recordings, 2020. Apple Music, https://music.apple.com/us/album/unlocked/1496298197.

Baugher, Jenée. The Ekphrastic Writer: Creating Art-Influenced Poetry, Fiction and Nonfiction, ebook, McFarland & Company, Inc., 2020.

 
 
 

Writing About Ekphrasis 4

 In a section of Everything's an Argument discussing the use of visuals to create pathos it says, “When you compose a visual, you have to be certain to generate impressions that support your arguments, not weigh against them” (Lunsford and Ruskiewicz). This statement had me question whether it is possible to have everyone support your argument with just a picture. The ability to have the majority of people agree with what you are arguing via an art piece is increasingly difficult given the worldwide spread of images via the internet, which makes me question whether it is more important to persuade an audience or to just get their attention. 

In terms of artwork that is shared digitally, the variety of perspectives can create a point different from the way you perceive it due to factors such as race, religion, income, sex, location, etc. For example, images from the January 6th United States Capitol attack can be perceived as infuriating for some, and for others, it might be deemed appropriate. When it comes to art, especially art that will be shown to many people, I think it is good to have a purpose/argument in place to direct the focus of the work. But, at the same time, invite people to feel passionate about a differing or congruent viewpoint through irony, medium choices, subjects, etc. in the piece.  

The Ekphrastic Writer, when discussing the logic of paintings, says, “But it doesn’t have to be logical in a customary way; it can invent its logic. It is up to the viewer to respond to it, to see it” (Baugher). I think this perfectly explains my point. An artist generates a unique purpose, but in the end, it is the viewer that creates the narrative. This same rationalization can apply to my Ekphrastic writing. I think it is important to have a purpose for my writing but, at the same time, leave room for discussion with my application of strong wording. When it comes to ekphrastic writing I think it is also important to consider how the artist is trying to persuade and to predict how successful it might be based on its audience. By analyzing the rhetoric of artists, I hope to improve my rhetoric and create more thought-provoking writings that do not rely on mass appeal. 

Works Cited

Baugher, Jenée. The Ekphrastic Writer: Creating Art-Influenced Poetry, Fiction and Nonfiction, ebook, McFarland & Company, Inc., 2020.

Lunsford, Andre, and John Ruszkiewicz. Everything’s an Argument. Eight Edition, ebook, Bedford/St. Martin’s, 2019.

 

 

 

Writing About Ekphrasis 3

Does confirmation bias pose a danger to ekphrastic writing? “Myside” or “confirmation” bias is “the strong tendency to accept information that supports our beliefs and values and to reject information that opposes them, as well as our tendency to think we know a whole lot more than we actually think we do” (Lunsford and Ruszkiewicz). Art inevitably contains many things that are unfamiliar. When describing the significance of artwork, are values revealed and the truth ignored?
            To comprehensively describe a piece of artwork, it might be necessary to consider multiple perspectives. Writing about a personal outlook of an art piece and the facts and/or opposition to that way of thinking could make for more stimulating work. Writing about individual thoughts and feelings and filling in the blanks using other sources (books, interviews, journals, etc. ) can significantly reduce confirmation bias in writing. In The Ekphrastic Writer, it says, “while a majority of museum art has been created by males, it is the female gender that is depicted most often—which makes us wonder, through whose gaze are we seeing art?” (Baugher). I believe that the author's questioning of what lens art is seen through supports the importance of analyzing the various gazes when looking at artwork, such as the gaze of the person creating the art and perhaps the gaze of the art subject. 
            On the flip side, some confirmation bias might be a good thing. Writing with confirmation bias can perhaps create writing equally interesting as one without, notably when describing nature in the artwork. Writing about an interpretation of flowers and forestry, instead of the more literal plant science logistics, can create more personal and exciting imagery. The pros and cons of confirmation bias pose the question of whether confirmation bias should be a part of written ekphrasis. To conclude, I think that there needs to be a balance. For example, when viewing an artifact from an unfamiliar culture, I believe it is crucial to include the initial thoughts when viewing artwork and to pretend to know a “whole lot more than we actually think we do” in addition, include the history and facts in support of piece to avoid being offensive or misinforming people. (Lunsford and Ruszkiewicz). In my future ekphrasis writings, I want to let my confirmation bias run free while simultaneously informing others.  

Works Cited

Baugher, Jenée. The Ekphrastic Writer: Creating Art-Influenced Poetry, Fiction and Nonfiction, ebook, McFarland & Company, Inc., 2020.

Lunsford, Andre, and John Ruszkiewicz. Everything’s an Argument. Eight Edition, ebook, Bedford/St. Martin’s, 2019.

Art Entry

Picture I took 

Writing invitation:

“Writing Invitation: Settle on one piece of art that you have seen firsthand. Now, write about having that same experience with a visually impaired friend. Alternatively, visit a museum that offers the ­3-D replica feature and see what creative writing you can make of that tactile adventure” (Baugher).

My visually impaired friend - As you enter the exhibit, turn left, gaze right, and feast your eyes on this mask. It is a wooden Lipiko Mask created by the Makonde of Mozambique. The mask is tinted with warm, brown hues. On its right ear hangs a silver earring that gleams in the light and contrasts the earthy tones. The earring is placed not on the lobe but in a spot adjacent to the ear canal. The less prominent nose and absence of hair on the eyebrows draw your attention to the lips, facial markings, and hairstyle. The lips are directed upwards in a smile, yet they emote a feeling better than happiness. Something about the one tooth poking from its large mouth and the wide relaxed eyelids portrays a sense of long-winded bliss, peace, and innocence. Onto the markings, there are three penny-sized black organic dots on the center of its forehead, two brown dots on its glabella, and curved black lines starting from under the eye and ending near the ear adorn both eyes. Face markings usually draw more intense emotion, but these feel natural, comparable to birthmarks. The most remarkable feature is the hair. Organic patches of real human hair decorate the head like an incomplete puzzle. This mask radiates pure joy, and I wish you could experience it like I am.  

I encountered this piece at the Sarah Smith Sutker and Solomon Sutker Gallery in the Michael C. Carlos Museum. There were numerous artifacts in this gallery, but this piece, in particular, drew my attention. Although it was beside an intricately designed vase, this mask struck me because of how addictive it was to observe. After viewing other pieces in the gallery and the museum, I returned to this piece at least two additional times. After some reflection, I realized that I love this piece because it encapsulates a peacefulness rarely seen in adults. The mask appears to be an adult, yet the facial expressions evoke the state of mind of an infant. The eyes appearing relaxed and a single tooth exposed mimics a baby falling asleep after a good meal. This sensation of calm is a feeling that many people, including myself, try yet rarely or never experience. So, having this feeling represented on a mask is a special treat.

I am conscious that speaking as a black woman, I might view this mask as a harmless and tranquil face. But, to others who automatically associate a black person's face, in particular, what appears to be a more masculine face, with danger due to the media's portrayal, childhood upbringing, etc., this mask may be interpreted in a completely different way. For example, if this mask was shown to people in the 1970s during President Richard Nixon’s War on Drugs, I am sure many Americans would associate partly closed eyes, a single chipped tooth, and missing hair with drug use. Although looking at art through an optimistic and devoid of racism lens is fun and less stressful, I think it is more intellectually stimulating to recollect how a piece makes you feel and how it might make others feel. 

It is important to remember that this piece of art is not a portrait or a sculpture but a mask. It makes me question, was this mask put on so people wearing it appear happier, or were they wearing the mask to amplify the joy already inside them? There are many questions I have about the artistic choices of this mask and how it might make other people feel. I believe that the more questions you have after looking at art, the better the rhetoric of the piece. Art convinced me to reflect on my emotions, hypothesize the emotions of others, question the intent of the artist, and it initiated an interest in masks and African art. Art itself is the ultimate rhetorical appeal.

Works Cited

Baugher, Jenée. The Ekphrastic Writer: Creating Art-Influenced Poetry, Fiction and Nonfiction, ebook, McFarland & Company, Inc., 2020.

Lipiko Mask.1940, Michael C. Carlos Museum, Atlanta.