PAINting Torture

Sometimes the painting starts to relate very directly to either sights seen or experiences felt, other times it just goes off on a tangent that you really can’t articulate.

-Susan Rothenberg

I’d be lying if I said Fernando Botero’s interpretations of Abu Ghraib didn’t disturb me. How could I forget the pile of naked human bodies, stacked and left as a spectacle? Or even the pink blood and the urine being sprayed all over an exposed man's stomach and genitals? I’m actually in awe that he was able to create something so realistic and accurate without having looked at the actual torture images. Yet, at the same time my reaction to his images is less intense than the photographs. I think it’s easy to convince myself that these people aren’t “real” because of the different art form, but they are brought to life in a completely different way.

One also has to keep in mind how and where they are viewing the painting. Going to an art gallery or art museum is extremely different for me than seeing a painting off my computer screen. It’s a whole new experience when you have the painting, sculpture, drawing, and other art physically and literally in front of you in their organic form.

The men being tortured are portrayed as puffy, muscular, and stout. According to the text parallel to Botero’s images, the simplified style of the tortured subjects is supposed to allow more reliability for people. Their bodies always seem to be curved and in movement, more than likely because of pain. They are not only vulnerable because they are bonded up and stripped naked, but they are also blindfolded. This does make the subjects more relatable because the “windows of the soul” are being covered up, this could be anyone. The various skin colors also show that these men are from no specific or known culture. There are few characteristics about the men that make them unique in their appearance, which I think ties into the reliability aspect as well as the loss of identity and individuality. This makes sense because to most of the American soldiers who were torturing them didn’t give them an identity other than perhaps “terrorist” or “animals.”

I find the random blue-gloved hand in the image of the dogs attacking the victim interesting. It serves as a reminder of who is behind this occurring hell. This person is also holding onto a leash for one dog, as if it really matters because it’s about to bite the man’s neck off anyway. I think this is a good representation of who is in power in this situation and who literally holds the reigns of control. The blue sticks out on my mind, like it’s am image I will not forget. It’s actually disturbing. The hand looks like it’s covered in a medical glove, protecting the torturer from the hell they are dispelling. Here’s one last ending remark: the anatomy of the most vicious dog and the victim look alike. The ribs are bulging out of the sides of their puffed chests, their mouths are both opened a tad, their skin looks lumpy, and their bodies mirror one another in posture and pose. One major difference is the man’s hands are behind his back and he cannot fend of the dogs, which epitomize torture. Analyzing this image makes me wonder what the man said. Did he scream? Did he call for anyone? Wow, these paintings are getting to me more than I expected.

One last aspect I want to touch upon is the lingerie wearing and how this is used as a form of humiliation. I feel that this puts into perspective the conservative gender roles of the torturers. To them, this it’s funny to see a man in women’s attire and women’s bras. Putting a man in a bra would not be “humorous” in all environments, but in this one it “is.” This is all speculation of Middle Eastern traditions, but it might be offensive and taboo for a man to wear designated women’s clothing. I think one can really gain the dark sense of humor of the torturers by the lingerie.

I’m surprised there are so few artistic interpretations from Abu Ghraib. Have major events such as this, 9/11, and Katrina been captured through different mediums than photography? I have seen various artistic remakes of the Holocaust and times in history like the Great Depression, but not 21^st century events. Anyone who has seen otherwise please let me know because I would love to know about more recent interpretations! Do artists feel less need to capture our century because of the up rise of photography? I really hope not because I think we still need paintings and other creations besides photography. I think that we need these images that can help us escape from the subject being presented, or simply understand the subject in a different way.

Falling Man

I’ve been thinking a lot about the concept of framing as I’ve been reading Falling Man. One scene that stands out the most in my mind is when Lianne confronts Elena about her music. This is not only a verbal confrontation, but also a physical one. Lianne’s anger and prejudices build up throughout the book, but can be especially seen through her reactions to Elena’s music. Even though she does not know the exact origins of the music she concludes that they are of an “Islamic tradition” (DeLillo 67). I questioned Lianne’s knowledge of Middle Eastern cultures because it sounded like she was merely putting Elena and her music into a box. Not to mention, she talks about those who follow the Islamic tradition as “them” and says that “they” are all alike in their prayers (DeLillo 68). One of the most crucial parts of framing is diminishing individuality, which Lianne does here. She not only stereotypes the “different” music but she then makes assumptions about Elena and her (perhaps) “people.” Lianne has an air of superiority around her assumptions and “knowledge” of people of different racial and ethnic backgrounds. Though we don’t know Lianne’s entire life story, one can speculate that 9/11 further provoked Lianne’s need to frame specific people.

Lianne’s thoughts become more superior when she brings privilege and class into the picture. On page 68 she reflects that Elena and whomever she lives with doesn’t own, but they rent their apartment like “people in the Middle ages” (DeLillo 68). What if Elena is barely making rent? What is Elena and her family can’t get sufficient jobs based on their appearances, beliefs, or race? There is little we find out about Elena in this section of the book and we certainly know that Lianne knows nothing about her, other than what she has framed her as. By making this comment, Lianne’s lack of empathy turns into harsh criticism. She is saying that “they” don’t own their place like she does because she is privileged and is in an efficient financial position.

Framing can take also take a physical form. When Lianne goes to Elena’s apartment she describes her appearance. Elena is literally framed by her doorway in her “tailored jeans and sequined T-shirt” (DeLillo 119). Even her dog is framed at a certain point in the archway. Marko, Elena’s dog, is said quickly described my Lianne as “a hundred and thirty pounds, black, with deep fur and webbed feet” (DeLillo 119). I really like how Elena and Lianne are standing in two different dimensions: one in the hallway and the other in between their abode and hallway. I think it shows the separation between American and “other” cultures, white and people of color, Lianne and Elena. Lianne even uses “we” as if she and the other residents have agreed the music was too loud. I saw this as self-affirmation that she was right and it makes Lianne’s argument sound more legitimate.

Lastly, I want to focus on acceptable or appropriate post-9/11 behavior. Did any of you think it was offensive that Elena was playing her music after 9/11? Do you think she was purposefully trying to aggravate people? Elena says the music gives her “peace” and the neighbors haven’t approached her about its loudness (DeLillo 119). Do you think Elena is entitled to listen to something that calms her after 9/11? What does this show about Lianne? Lianne’s repetition of the word “circumstances” is something that Elena does not agree with. I think this can be read a number of different ways but I think Elena isn’t “ultrasensitive” in the way Lianne is about 9/11 (DeLillo 120). I think that there is a possibility that Elena can be framed in this scene as apathetic or separated from the entire event, as if she’s an enemy or doing wrong. It is not just the music that drives Lianne’s anger; it’s merely a catalyst.

The Boondocks

The Boondocks is a hilarious and satirical cartoon. The episode we watched in class lightened the heavy weight I have feel when thinking about Hurricane Katrina’s destruction. One aspect that struck me the most was how accurate the shows interpretation of the news was. In this episode, a white woman from News 5 is quickly and unexpectedly interviewing Robert Freeman about his recent sheltering of Katrina refugees. She asks Robert, “What do you hope to get out of this?” Robert responds, “Not a damn thing.” The reporter mistakes this as selflessness instead of heated selfishness. She is so caught up in her own unaware, ignorant world that she cannot detect the true story happening in Robert’s house. The news and media often does that.

News 5 seems to linger outside of Robert’s house. They return when Robert is about to kick the refugees out of the house and the same news reporter frames him as a jerk. This was funny to watch because here we have the juxtaposition of the news, which portrays inaccurate information and is not helping with Katrina, and a man who is sheltering refugees even though he doesn’t entirely want to. This reflects the injustices that occurred after Katrina hit, and perhaps even now still.

The second example of News 5’s stalking behavior is when they report the “drug related crime” which obviously means, “the crime rate is rising.” It’s not a coincidence the camera was filming Robert, Uncle Ruckus, and another man of color. Again, this mirrors the present day news and the obsession with crime, what groups of people are focused on, and the faultiness of the news. Uncle Ruckus is also a good parallel to the news because he is outwardly racist, while the news can be subtler. He truly believes that he is white and he is the physical form of racism.

Despite the humor in The Boondocks, I thought that they did a great job at portraying the fears of the refugees. Robert panics the refugees when he says they have to evacuate. In conclusion, the refugees scream and run and end up sitting on the roof. Robert now has to fix a hole in his roof that they made, their escape route. This put the anxieties of refugees into perspective for me. It’s a different experience to read a memoir or book, like Chris Rose, about Katrina refugees being depressed, drinking excessively, and having Post Traumatic Stress Disorder. Even though this was a cartoon, which can make emotions and moments less emotional, it really hit me. It’s so different for me to see even cartoon characters fleeing to the roof and breaking a hole in the roof. The stress and fears that some refugees now have can be hard to grasp for me.

The question we discussed during class, about when it’s okay to make something serious funny, has been resonating in my head. Even more so after I read The Falling Man by Tom Junod. Junod talks in his article about an artist named Eric Fischl who scultpted a large bronze state entitled Tumbling Woman. He wanted to redeem all the jumpers on 9/11 and this is what the statue reflects: a woman who appears to be falling through space. When this was exhibited people had very negative reactions and it has to be taken out of the exhibition. Fischl even received bomb threats, which I thought was just ridiculously dark. I can understand people being offended and not ready to face something that emotionally triggering, and may even get the wrong idea, but a bomb threat after 9/11? Seriously? That’s just sinking to a new level of extreme and viciousness, especially after the loss of the Twin Towers. I personally think that The Boondocks was enjoyable to watch and it feels that there’s been “enough time” to be able to joke about the horrid event.

Alternate Routes Please

One small story. Many small stories make a big story (Rose 179).

Richard Misrach’s photographs of the Katrina aftermath are disturbing. By this I mean that they provoke deeper emotions and thoughts about Katrina. In 1 Dead In Attic we have read examples of these signs, but having the visuals change how I personally read the story. This sign. Wasn’t that and isn’t that still the question for refugees and survivors of Hurricane Katrina? What now?

Chris Rose can only capture an extent of experiences that arose from Hurricane Katrina. It is evident in this book that Rose resides in a nice part of town but he remains empathetic to Louisiana the entire time. He is not ignorant to the segregation, racism, injustice, and abandonment that Katrina has highlighted. Despite most of the stories being from his perspective, Rose uses metaphors and symbolism to show that his anxieties are not isolated, they have spread like a disease to refugees around him.

The two columns that I felt spoke to one another were Songs in the Key of Strife and The Cat Lady. In Songs in the Key of Strife Chris Rose, still depressed from the sights and emotions in Louisiana, finds himself losing interest in his old hobbies. He continuously works around the clock producing articles about Katrina. He finds life in playing piano and is determined to purchase one on his day off, which his boss makes him take. Rose goes to a piano shop he finds in the phone book, only to discover that Bitsie Werlein’s pianos have “marinated for weeks in Katrina Stew” (197). Not giving up, Rose enters another musical store and instead of enjoying the piano shopping experience he finds a “sad song” (198). He sits at a piano listening to a broken customer telling his story about post-Katrina. The second article is quite different from the first and focuses on Ellen Montgomery, a loner cat lady. She remains in her house throughout the storm and survives with all 34 cats. Unlike Rose, Ellen remains in her sheltered world of reality and sustains a tolerable peace of mind. Rose reflects that she has not necessarily perceived the entirety of the Katrina wreckage and is out of touch with the world around her. The differences and similarities between these two articles critique the universal needs of escapism and resiliency.

Rose’s article about the piano experience shows that he is unable to escape his post-Katrina reality. Some through alcohol and medication and even suicide has achieved escapism, but Rose seeks a piano. The piano becomes the symbol of the broken house/family and a memory of the liveliness of Louisiana through music. Though he does not get his “groove back” he discovers that he cannot “escape the storm” because someone is always telling their Katrina story about loses and pain (Rose 198). This is what Rose believes everyone needs: a listener because grief is everywhere. His experience in the second piano store shows the rapidity and surge of stories that come his way, which he incorporates into his articles. Rose is so submerged in the world around him that he is easily consumed by intense emotions and writes other’s stories. Anyone that is need of living though a disaster needs to be resilient, but he cannot find a solid ground to stand upon. Even when he is trying to play his piano later he reveals that he is unable to think of anything but Katrina and cannot play a single tune. This story shows the affects of the entrapped soul without an escape route and how crucial this is to survive.

Ellen, unlike Rose, is able to escape the storm and society in general. She paints her own reality, figuratively and literally, to the point that she “vaguely” notices Katrina approaching (Rose 112). The two extremes of escapism made me question which one was more numbing. Ellen does not have to hear people’s depressing stories on a daily basis, or even go outside; whereas, that becomes Rose’s occupation and reality. Would Ellen be able to handle the new Louisiana if she was exposed to it like Chris? Would she too feel the need to reach out and connect and share her story? Ellen’s ability to spend time alone makes her “resistant” and resilient in dire situations (Rose 110). Yet, this isolation has given the opportunity to strengthen herself and her peacefulness. Despite her seemingly lack of awareness of current Louisiana, she is able to create beauty out of the wreck. Ellen takes roofing tiles made of slate from ruined houses to paint on. Of course, she may not realize the symbolism behind this, but she redefines loss through recreation. I think Ellen’s story provides a message of hope for those who are lost and seeking an alternate mental residence.

New Chapter

Hey all,

So this blog was once used to record my travels abroad this past summer and is now focused on my English 745 class. I will be posting blogs now and then with literary ideas and concepts that I collect with particular readings. I hope that you will enjoy reading this or will be inspired to write yourself or simply read one of the pieces that will be covered.

It's way too hot out for classes this week. I'm really looking forward to the rain coming this weekend so it's not 90 degrees.

Stay cool everyone!