Art for the Blind

416E1326-EA58-4767-A9C3-7287CB7840DC431FB3A3-B822-4EA0-8EBE-709C919FDCF9

In the Uffizi Gallery, in Florence, has a Touch Tour, for the visually impaired. In addition to sculptures that can be touched, there are three-dimensional representations of some of the pieces, including Boticelli’s The Birth of Venus.

Standing in front of the majestic piece, we could simultaneously feel the winds showering her with roses and see them in full color. Her coy attempt to cover herself seemed every more futile under our curious fingers.

Of course, we recognize writing and painting as art; most of us can literally and metaphorically see the similarities. However, touch yields similarities in line and form.

http://www.uffizi.org/artworks/the-birth-of-venus-by-sandro-botticelli/

Consider the following vivid visual descriptions of “The Blind Woman” by Ted Kooser:

Her brown shoes splashed on
into the light. The moment was like
a circus wagon rolling before her
through puddles of light, a cage on wheels,
and she walked fast behind it,
exuberant, curious, pushing her cane
through the bars, poking and prodding,
while the world cowered back in a corner.
  • Read the start of the poem at https://www.poetryfoundation.org/poems-and-poets/poems/detail/42645; you can also listen to the piece at the same site. Describe your favorite color or time of day as if you are delivering it to a person who cannot perceive it with her eyes.

Pisa and the Fallen Angel

4b53b956-ff1a-4348-8d16-099bba0b0befa3368f42-8976-4703-a32b-f925b3758a0dc6e966ab-b7f0-4f21-ae2d-d1279b92f8de

We spent the first afternoon of the new year in Pisa.

The leaning tower with a fallen angel on the lawn near it made us feel as if we’d walked into someplace dangerous.

What could have taken down such a ginormous messenger? And why?

And, had the same force tried to take out the tower, leaving it with its magnetic slant that draws thousands of pilgrims and onlookers as we on this cold winter afternoon? For a geo-technical engineer, as M is, the building is more than messenger, it is a harbinger and admonition for what could go wrong.

The rest of the spectators seemed oblivious to how these monuments were blaring warnings. Perhaps they were in denial or still hung over from new years reveling. It was hard to tell.

This scene seems like something people see and say: “You should write a poem about this…” And, it reminds me of Amanda Earl’s “Ars Poetica 3”:

A poem, not all poems, but some poems, or maybe just this

poem is uncertain, it falters. A poem crawls on its belly out

of shadow, but avoids full-on sunshine. A poem is made

from ashes, nightmare, solitude, erasure, the unknown. It

names itself or it doesn’t. A poem cannot fully articulate or

understand the pattern of synapses made by the brain. A

poem is a long sentence or a line or a group of lines or a

school of images, a fish that swims through uncertain

Read the rest of this poem at the link below.

 

  • Celebrate National Poetry Month this April with Poem in Your Pocket Days: https://www.poets.org/sites/default/files/poeminpocketday_2017b_0.pdf

Ha’penny Bridge

hapenny-bridge

Lore has it that more than 25,000 people cross the Ha’penny Bridge daily. Dublin’s bustling pace does not make me doubt this number. I think about the crowds I crossed with and how little attention I paid to my fellow pedestrians perhaps due to the weather, rush, or crush of the crowd.

But late at night, the bridge was nearly empty, practically glowing, and ready for strolling despite the cold.  Its luminescence made me think about what we miss when we are on our rushing way to the next place.

Shel Silverstein’s “Masks” (below, from Every Thing On It)  makes me think of Frost’s “The Road Not Taken” (https://www.poetryfoundation.org/resources/learning/core-poems/detail/44272) and how we intentionally and unintentionally carve our way through the woods.

She had blue skin.
And so did he.
He kept it hid
And so did she.
They searched for blue
Their whole life through,
Then passed right by—
And never knew.

http://thewhynot100.blogspot.com/2014/05/46-short-and-sweet-shel-silverstein.html

  • What mask is your character wearing? Why? How does it affect her way as she wends through woods?

David?

the-david

I loved several childhood books above the rest: Little Bear, A New Home for Snowball, Mommy’s Little Helper, and the Child’s Garden of Bible Stories. Each of these books was as visually engaging as the narratives within. And, the lessons I learned about helping and kindness and fairness and storytelling shaped my friendships as much as my writing.

So when I first set eyes on Michelangelo’s The David—first the replica in the Palazzo della Signoria and then the original housed in the Galleria dell’Academia (Accademia Gallery) —I recalled the tale of David and Goliath that followed the Garden of Eden and Exodus and the plentiful illustrations to help young readers.

Marveling at David’s towering and pale body, such a stark contrast to, for example, Donatello’s diminutive bronze interpretation, I am perplexed by how much more colossal, how monstrous, how goliath! Michelangelo’s Goliath might be.

In fact, David’s unabashed stance and nudity make me question whether Michelangelo read a different tale than I. According to my Little Garden, David was clothed and about the same age and size as I.

Speaking of Michelangelo, it is February, and I can’t help thinking of TS Eliot’s “The Love Song of J. Alfred Prufrock” and his repeated lines: “in the room the women come and go / Talking of Michelangelo.”

Ai Weiwei: Political Art

6360ef36-7d95-45a9-8b0d-379354112765

According to Bertolt Brecht, “Art is not a mirror held up to reality but a hammer with which to shape it.”

We could not know we were headed into Ai Weiwei’s brain from the lifeboats hanging from the Palazzo Strozzi. We knew, of course, the rubber boats represented the plight of refugees. We knew of Ai Weiwei’s reputation as a dissident, as a prisoner, as a spokesperson for justice and against corruption and censorship.

However, we were overcome with his grief, rage, and  agitation as we were delivered into his hippocampus. We recognized its horseshoe shape and how the monumental installations we encountered there helped him–and us–to process history and emotion.

In the second piece, Snake Bag, he sewed 360 backpacks to represent 360 children killed at a school when an earthquake in China’s Sichuan province killed approximately 90,000 people; as visible in the companion video that shows the recovery of the inadequate rebar, the massive destruction was due to the government cutting corners on construction.

In another series, we see Ai Weiwei’s left middle finger extended to the White House, the Eiffel Tower, Hong Kong, Tiananmen Square, and the Mona Lisa, among others; these pieces are title A Study in Perspective. His perspective is clear. He even has wallpaper that also has patterns of middle fingers.

An ivory porcelain plot of flowers is centered in the middle of one of the rooms. These flowers represent his rebellion against censorship, surveillance, and control. He further addresses restrictions he faced by recreating the surveillance cameras (in marble), handcuffs (in wood), and hangers (from his imprisonment, in wood).

Film, selfies, pamphlets, 32 Qing Dynasty stools assembled into a circle, 3200 porcelain crabs, Lego portraits of Dante Alighieri and Galileo Galilei and three self-portraits (also in Legos) further intensify the multimedia experience.

I am inspired by this tour of Ai Weiwei’s brain and heart. I am reminded that, especially in the face of oppression and restriction, we must use all of the resources we have at hand to fight for what is right. Art can be mirror, hammer, souvenir, warning, flare, lighthouse, tank, lifeboat…

 

The Mask of Evil

by Bertolt Brecht

On my wall hangs a Japanese carving,

The mask of an evil demon, decorated with gold lacquer.
Sympathetically I observe

The swollen veins of the forehead, indicating

What a strain it is to be evil.

  • Ai Weiwei’s installations and representations function as Brecht’s “mask of evil.” What does your character/speaker have or make to remind her of “what a strain it is to be evil?”