BP# 7 & 8 - RUNNING, DILEMMA, CREATIVE, CATHARSIS, CATS

lessons in impossible things

A Dilemma In The Interpretation…

the dilemma being the object that

represents the damage

of cultural reception

a mid-way diary of the pursuit

of crappiness

mirth running through

the creative bee buzzing around

your head

collecting comedic pollen

towards creative

procrastination is essential

it's not surprising

that there should be the Story

You Didn't Expect

creativity is like a stray cat following

You

if you turn around, it'll run

away

to the fence

to talk and come to visit

to show us

it's hard to believe

a dilemma in the interpretation of the running

the cat trying to get

journey and catharsis

playful Catharsis

let me kill

the creative ideal

no triumphs, no moral lessons, no complex dilemmas

one of the most inexplicably horrific creative blunders

of the human race

I've ever seen in my life

the power of creativity and catharsis

channeling

running

as I entered

But, ah

he now regularly runs

a dilemma in the interpretation of the running

nothing short of cathartic

there

creatively successful exceptions

beaming

--------------------------------------------------------

Typoglycemia: The mind's ability to decipher a mis-spelled word if the first and last letters of the word are correct.

leonsess in imlsposibe tinhgs

A Dmleima In The Inpoerretattin…

the dlmemia bneig the obcjet taht

rpersetens the dmgaae

of cltruaul rtcpeioen

a mid-way driay of the pruiust

of cpinraepss

mrtih rninung toruhgh

the cavrteie bee bzuinzg auornd

yuor haed

clectliong cmdeoic plolen

tdwraos cvateire

ptcirasrnoation is esesniatl

i'ts not siuiprsnrg

taht terhe soulhd be the Srtoy

You Ddni't Epecxt

cteativiry is lkie a stary cat fnololiwg

You

if you trun arunod, il'tl run

aawy

to the fncee

to tlak and cmoe to vsiit

to sohw us

it's hrad to bleivee

a diemlma in the iretrpneatiton of the rnuinng

the cat tyrnig to get

jroueny and ctahasris

pyalufl ctahariss

let me klil

the cvateire iaedl

no tpuimrhs, no mroal lsesnos, no cmpleox dlimemas

one of the msot inxeplcaliby hroirifc careivte buldenrs

of the hmuan rcae

I've eevr seen in my lfee

the pwoer of certaiitvy and ctaahsris

cahnenilng

rnunnig

as I etnreed

But, ah

he now rgeulraly rnus

a dlimema in the inetrrpetaiotn of the rnuinng

ntohnig sohrt of ctiahatrc

trhee

cvaitreely scucsuesfl ecxetipnos

bnaeimg

Me

I want to start by saying that I really love myself; I love my womanhood, my blackness, every kink in my hair, being the child of my parents, the way I think, the perspective of the world that I have, where I come from and where I see myself going. Everyone should love themselves in this way, it's only healthy. Knowing yourself, looking at yourself honestly, loving yourself and putting that person first have all become things I view as the utmost important things one can do for themselves. Having said that, even with this "love thyself" belief I have, there is something that I've struggled with since one whom I thought was one of my best friends started teasing me in the second grade. He provided the seed and I planted it. Second grade was the first time I questioned if I really was

Growing up, I was surrounded by images of "proud blackness." We were raised knowing our history, African art and mud clothes on the walls, annual Kwanzaa celebrations and ceremonies, natural hair (before the "movement") and positive role models. So, I've never questioned or have been ashamed of that aspect of myself. What I've struggled with is body image. I feel so foolish for having this problem considering I've always told my sisters, little cousins and students to fully love who you are. And I full heartedly believe this but when it ones to myself, there is this dark, ugly voice that tells me that I and this aspect of myself is an exception. And with this, I get so frustrated and upset with this weakness that I allow myself to have. But when you're in a family of model looking cousins (some of which have literally modeled), and sisters who don't have my problem we can't help but think "one of these things are not like the others." I then have this sense of inferiority that I just can't shake. Then the question arrises: "why don't I just change?" This is a complicated question that has internal and external reasons. I can cite my internal and external, physical reasons but I'd just dismiss them as excuses. Yet, here I am. Battling myself on a daily basis, not being able to look at my reflection with finding about 10 problems per minute.

I say all of this in writing about my personal self view because when we were asked to list those 5 words, one of the first two was "fat." Some use that word with pride and I applaud that but I haven't gotten there. I tell myself to wear it like a scarlet letter that I deserve. I've allowed myself to become this grotesque thing that is obvious when anyone looks at me. Just last night, my little cousin called me beautiful and I brushed it off with a joke. I can't get to that point that I tell her to be in everyday. And yet, in that same night, another cousin of mine grabs my leg and says "you're fat." This hypocrisy and self-hatred is so ingrained in me that I feel I can't stop. I know I revealed quite a bit in this blog posting but I'm okay with that. It is my truth and it is a huge aspect of who I am. Additionally, I know it's a plight that many people, especially women of color, deal with constantly.
                                      

When you gave the assignment, I knew exactly what I was going to create. I know the assignment was to create a piece that reflects how we view ourselves but a major part of that "self-view" has been molded by how I'm viewed by others. I hate myself for this but it is my truth that I live in.
When Shervone Neckles came in to share her work, one comment that stuck with me was her memory of her first doll being white. What came to mind was the doll experiment conducted in the 70s that was later re-created a few years ago. I personally, always chose and had black dolls because, of the options provided, they looked the most like me. Yet, even with those black dolls, I was never fully represented. So, I used the disproportionate and unrealistic model of the Mattel barbie. From my "beloved" kinks to my curves, I wasn't fully represented. The paper I have surrounding the doll is from an article by satoshi kanazawa who sought to explain why Black are physically less attractive than all other races of people. The excerpt I chose specifically discusses our average BMI. Honestly, I wasn't shocked or hurt by this person's ignorance. I of course don't share his ridiculous, insulting, unsounded, racist and sexist views but it is a view shared with many. This made my re-evaluate the way I've chosen to foolishly go on viewing myself. Specific words were chosen to be included from the excerpts. I cut out bantu knots out of a cover of Black Hair magazine. When I was younger, I was always confused as to why this magazine always focused on processed "fried, lyed and dyed" hair about 98% of the time. It has changed slightly to be more reflective of the "neo-natural hair movement" but not enough and not for any other reason than trend. In the background is a rastafarian flag to show the pride I have of my predominantly Jamaican heritage. I colored in the doll with black marker because I thought I was dark skinned when I was younger only to be crushed and told I'm a "nice medium brown", with envy, by a cousin straight from Jamaica with the gorgeous dark skin I thought I had. About the doll are glasses representing spectators. I am fully aware of what most see when they look at me. 

Museum Essay #2 - Calero at El Museo

Dear Ms. Rodriguez Calero,

As soon as I saw "El grito negro", I was stricken. This mixed media collage piece created the perfect segue into your "Urban Martyrs and Latter Day Santos" exhibit as it, as I found out, is reminiscent of your earlier work yet very similar to the more recent pieces. After seeing that piece, I was excited to further explore your other work displayed at El Museo del Barrio. Your approach to abstract art is inspired. Suffice to say, I quickly became a fan of yours after that introduction.

After seeing that initial piece, I fell in love with piece after piece. However, one in particular really interested me because of its historical significance. In the amazing Young Lords exhibit also at El Museo, I saw a clip of Pedro Pietri performing his epic, profound literary work: "Puerto Rico Obituary." I've always known of Pietri as a major NYC icon and one if the founding writers of the Nuyorican movement but I, shamefully, never fully looked into his work. The fact that you chose Pietri as a subject proves he had a great impact on you, that he served as an inspiration and that you view him highly. When were you first affected and touched by his words? Was this an homage to the man or created in response to a specific work of his? Do you view him as a martyr, a saint or both?

The title "El Reverendo Pedro Pietri" elevates him to a man that spreads the "gospel" of his truths. You show how much he was and is respected. Yet, the piece also seems to shine light on his comedic and out going temperament/disposition. Referencing his suitcase of poems upon which he wrote "Coffins for Rent" was clever. In doing so you brought attention to his deep yet humorous ways. He was both a man of powerful reverence and also a man with a sense of humor. You portrayed that quite well. From this work, I get a glimpse into your overall perspective of such an iconic, influential man.

 The acrollage technique you created, named and utilized is very innovative.  Layering glazes of luminous colors with different types of paper gives varying experiences depending on the angle from which you view your work. Why did you decide to become a mixed media, collage artist? Was it the process of re-inagining and re-creating that appealed to you? If you didn't choose collage or "acrollage", what other techniques or mediums would you use? The absence of negative space provides innumerable things to perceive. The texture produced with the pattern of paper applique gives the art work striking elegance. What you have succeeded in creating with the techniques, mediums and materials you've chosen is beautiful and impressive. I definitely look forward to seeing more of your unique artwork in the future.

Thank you for sharing your talent, vision and adoration of the late great Pedro Pietri.

With Admiration,
Khalilah Coombs

BP #5/6 - Value, Meaning and Boots

Art's meaning and value are assigned by appointed (sometimes self-appointed) "experts." Those experts are accepted as authorities on the matter of art based on established societal standards. Some people find no value at all in art, but so many allow the value to be dictated to them whether they understand it or not. Another major aspect is supply and demand. If no one wants a piece, or art at all for that matter, it would have no value at all. Very often, art receives value based on it's rarity. A newly found pair of paduka shoes from Ancient India is much more valuable than a new pair of Balmain heels. That then brings me to the topic of age which goes hand in hand with rarity. The age of a piece holds more significance because it gives you a glimpse into a times we know less about due to the limitations of the documentation of whatever time the "rare" piece was created. As John Cotton Dana stated in "The Gloom of the Museum", " Art museum objects were not chosen for their beauty or for their help they might give in developing good taste... but for their rarity."
 Then again, someone can factor all of this and still not care about art nor even see the value. It's one of those things, like beauty, that in the eye of the beholder.

As for meaning, you must first examine the intention of the artist. People have their own interpretations, of course, but that's often molded by the artist's motive and objective behind the piece. This intention is usually revealed through the choice of title. Meaning can also be found when you assess what the piece is indicative of. What are the cultural influences? What motived the artist? What was the artist experiencing during the time of it's creation?















Title: Boots: Spikes on Black
Artist: Steve Madden designer
Date: c. 2013
Geography: usa
Medium: Leather, silver studs and nylon laces
Dimensions: H 9 in, W 4 in, D 11 in
Source: stevemadden.com

What we choose to wear is a reflection of our personal style. That style is impacted by cultural and societal standards in conjunction with personal selection. I chose these boots because they exemplify my person aesthetic and taste. I tend to like cleanly designed things with a bit of flair and/or edge. They also are a modern design from a popular brand, Steve Madden, whose objective is to stay on the every changing trends. I don't usually buy from trendy labels but I felt these weren't too dated and could be worn for years to come without me getting tired of them when I saw them on a blog (forget which one). My taste has fluctuated in the past. Plus, they were on sale!

Obviously the shoes are used for protecting my feet but these are also used to represent the wearer's style. Value wise, they're very important to me. Before my ankle fusion surgery, they were one of the only pairs of shoes that I could comfortably wear frequently. Since the surgery, I've had to get rid of numerous shoes but these still actually fit. This gives these shoes functional significance as well. Suffice to say, they are quite purposeful and meaningful.

Museum Essay #1 - Celebration of Death

Throughout history and across the world, the ritualistic practices surrounding death have been and continue to be a huge part of each culture. Often the most fascinating, beautiful aspects to discover and explore of different peoples is the manner in which they commemorate, acknowledge and sometimes celebrate the dead. These rituals speak to the group they belong to. At the Met Museum, two pieces really exemplified a culture being display via their burial practices. Although these both have that utilization in common, there are all numerous ways in which they contrast.

My approach to this assignment was simple: let the "aesthetic emotion" guide then connect two pieces later. Among the pictures I took, there were some interesting pairings but I loved the comparisons that were immediately evident between these two in particular. The first obvious commonality is that both of these pieces are 3-dimensional sculptures that are extraordinary version of ordinary things. If they were to merely be practical, a simple box or even just a wrap would have sufficed in burying the deceased. Being ornate was clearly the goal with both of these pieces. As for the type of sculpture, the sarcophagus is a relief sculpture with carvings that were created on one continual flat surface around the case.  And although both are carved sculptures, the sarcophagus was made of marble and the Malagan work out of wood, paint and shell. Obviously, both would involve differing methods of craftsmanship.

Both pieces with actual texture also have noticeable value. Because the Greek sculpture was crafted from marble there is more contrast and therefore less value than the Northern New Ireland, Papua New Guinea sculpture that has more value due to the use of color in paint and the varying natural colors in the materials used. As for the shape, it can be argued that these both have organic and geometric shape. However, one type of shape is more dominate in each piece; the Malagan carving consist of more geometric shapes and has a lot of symmetry and patterns where as the Greek carving is made up of mainly organic human figures. Death is indeed the subject matter these two pieces share however they show it in distinct ways. The sarcophagus was originally made to house the body however the other was often created some time after the person was dead to commemorate the person’s life and accomplishments. Having said that, they both seem to be designed as celebratory pieces. Dionysus in Greek mythology is the god of grape harvest and wine. Wine being an element associated with celebration. The Malagan carving was used during ceremonies that celebrated the deceased. Perhaps the message of both is that death doesn’t have to exclusively be a sorrowful affair.

Based on the traditions of each of the regions, each are representational. Although the Greek piece also gives form to the unknown physicality of a god, it also depicts other mortal human beings in a representational way. Unfortunately, it wasn’t written whether or not the Malagan piece includes depictions of actual people.  Both too display animals in a representational way with the sarcophagus containing a carving of a panther and the wood and shell piece a carving of the head of a boar and fish. The realistic representations make all references recognizable. Based on other Greek depicts of the human form, it is clear that sculpture contains idealized human figures. Further proof of this is the fact that a god is portrayed. Of course a god would be portrayed not only based on the societal beliefs of said god but would also which the highest of the societal beauty standards. It is unclearly what the figures in the Malagan piece were modeled after but it was common for a rendering of the deceased to be in the piece. I find it reasonable to assume that the person would be depicted favorably using cultural symbolism. Perhaps the boar and fish represent wealth, stature, character or something along those lines. Otherwise, the person wouldn’t be worth commemorating.

Neither of these works have a known artist however both speak on the people from which they came.  To really observe each of these sculptures is to gain insight into these two cultures of vastly different regions and time periods. I believe they were chosen by the Met curator(s) not only due to the obvious masterfulness but also because of the exemplification of the artistry and aesthetics of the cultures each piece came from. One was sculpted in Papua New Guinea in the late 19^th-early 20^th century and the other in Ancient Greece between 220 and 230 A.D yet they share similarities. Overall, they are both stunning pieces created in response to our inevitable mortality.

         

                                                                  

BP #4 - Shut up Eve

Printmaker Andi LaVine Arnovitz chose a powerful subject to dissect: Adam & Eve - the "first" man and woman of our specie. Yes, this subject has been done countless times but what she does in this piece is fascinating. She managed to create stylized, idealized and realistic representational human figures in her piece. Stylized in the absence of color, distinguishing features or much definition; idealized in the very fact that she has depicted Adam and Eve who serve as the mold of men and women and in the way in which she chose to draw their musculature as well as those few features that are present; realistic in that these figures clearly resemble a man and a woman.

Let me start with the obvious focal point - Eve being gagged with an apple. This clearly is representative of the hetero-Euro male centric world we live in that constantly aims to stifle and completely mute the voices of women. In choosing the "first beings"of the gender of the oldest recognition, she is showing how far back this "tradition" of the oppression of women truly is. Looking at Eve's face, her pained expression pronounced and as is the tightness in her neck as she is attempting to either speak and/or remove the apple from her mouth.  Seeing that Eve represents the genesis of women, the use of Adam and Eve is symbolic of the fact that this kind of treatment starts from the genesis of a every woman's existence. John Berger illustrated this point when he said that "to be born a woman has been to be born, within an allotted and confined space, into the keeping of men." Eve/woman is existing as Adam/man allows: "Gagged and bound."

This brings me to my next point. I can't help but notice the sexual connotation and connection in this imagery. If I were to see Eve's figure, as created by Arnovitz, outside of this piece, I'd immediately assume it was a woman wearing a ball gag. Furthermore, Eve's hand are seemingly bounded behind her body, rendering her helpless and controlled. This leaves her as an object of not only Adam's desire for control but also, possibly, sexual desire. He can do with her what he pleases, in any way he chooses. He's puts her in a position where she can't protest or even move. He disregards all empathy in the objectification of Eve. She "appeals to his sexuality. It has nothing to do with her sexuality." Adam even peers directly at Eve but she is looking away. Instead, her eyes seem to be calling for help from the viewer/spectator/audience.

Adam's stance and thrust of his right hand makes him seem threatening. As if he is saying "there is another apple where that came from." The fact that he possess all of the apples shows his control of the situation, he is also exhibiting a readiness to utilize that control and power at will. It's a kind of "holding all the cards." Him possessing all of the apples is also quite significant. Adam is definitely the one "doing to" as opposed to Eve to which things are being done. His overall figure is also larger. Both height wise and due to his outstretched hands. Arnovitz purposely does this to show a "power which he exercises on other." Size displays power. Eve's figure, however, is minimalized by the way she is standing, the bend in her body and by her arms being together and behind her. That bend/tilt in her body and leg shortens her appearance and shows the huge discomfort she is experiencing in making herself smaller. Another interesting choice she made was drawing Adam with pubic hair yet drawing Eve without. A choice that was deliberate. John Beger believed that "hair [was] associated with sexual power, with passion" and that "the woman's sexual passion needs to be minimized so that... [the male] feels that he has the monopoly of such passion." I don't know if Arnovitz deliberately made that choice for that very reason or if it was a subconscious decision. The elimination of Eve's pubic hair also associates her, more so, with young and therefore vulnerability and a certain naiveté, making her more susceptible to being overpowered and manipulated by men and their desires.

Then you go into the significance of the apple. In the story from the bible, the apples they devoured came from the tree of knowledge. Considering that apple symbolize knowledge, it is even more compelling that Arnovitz chose this subject for her piece. The apple Adam has shoved into Eve's mouth not only. "knowledge" is often used in defense of sexist attitudes and actions towards women. As a feminists myself, I've personally had many arguments where the other person or person tried to use "knowledge" from the bible to "shut me up" in a way. They of course never win in that way not only because I don't follow any organized religion but because quoting the opinions and stories from a man written book does magically make what you quote fact. But, religion is consistently used as a defense for many atrocities. I see the apple symbolizing that. this "knowledgeability" people claim to have being used as a weapon and tool for silencing women.

I love that Arnovitz chose such a playful printed background using a pattern of repeated mini apples. I interpret that as the perpetual arsenal men field they have. Not only are the apples in his hands but constantly around them, ready to be plucked and used and abused. The brightness and warmth of the background makes the figures that much more dismal and drained in comparison. That feeling of being drained stands out to me. As if this whole ideal is draining and old in itself. Arnovitz could have also made the decision to color the leaves covering their shame. The use of complementary gives a feeling of robustness which gives me a sense of how passionately she feels for this topic. Or, this color choice was made to make the imagery that much more striking.

Arnovitz, just as John Berger, recognizes that this is what most of society views as the right relation between men and women. This piece puts it on displays and throws it in our face in a striking and beautifully discomforting, disturbing way. In a way that it should be displayed. Through her art, Arnovitz is letting it be known that you can't "Shut her up."

BP#3 - Stripping Aesthetic Mistakes

What one person may see as an eyesore may very well be art to another. People's taste and style varies so tremendously. The picture I took exhibits that very point. 

The most obvious visual element is the overlapping. You can see the order of the layers of paint, clearly due to the spacing. Most recently, there was blue paint but you can look closely and see the multiple layers that were there before. Space is present within those layers. The shaping is organic as a result of also indiscriminate scraping however the wood has been cut into geometric rectangle to outline the door frame. Additionally, those rectangular pieces repeat to accomplish the desired width and framing. Considering the frame, this could be regarded as a relief sculpture and therefore a 3D shape. The color present are all analogous; there are shades of blue, green and yellowish. Texture is also evident. All of the ridges in each coating, the grooves of the wood, the remnants of the scraping of paint on the wood and within the actually layers, the  disturbance of the wood polish from the heating gun and the lines between the wood panels exhibit texture. With value, the contrast of the dark brown and black in the wood with much brighter coats of paint is there. 

Seeing this reminds me of the past. How past occurrences accumulate on top of each other until the choice to remove them is made. But even when said decision is made, it's much more difficult to remove then to create. Much more time is spent reversing those mistake than is making them. Every coat of paint was a mistake, not only because of color choice but because of what lies underneath. There is this gorgeous natural wood, covered for years by these hues. Just as we often cover, layer, hide what is naturally beautiful within ourselves with these poor choices we make. I am imaging how hard the person removing this paint worked using a scraper, and heat gun and paint remover while each layer was applied with simple strokes of a paint roller. 

BP #2 - Matsoso

It took me longer than anticipated to select a piece for this blog post. I went through all of the websites, numerous collections for well over an hour. Then, I saw this piece from Leonard Matsoso.

What I immediately noticed was the organic shape Matsoso created. This is true of the overall silhouette and the shaping within the figure. The angle from which he decided to depict this figure created a great deal of overlapping and space. Certain body parts are placed over others in creating this dancing figure. In doing so, Matsoso also has shown space. You can see which parts of the figure are in the foreground like the right leg and right hand, middle ground like the head, core and left leg and in the background like the leg hand.

When I came upon this artwork, I actually thought it was a sculpture. It could be because of my screen but I choose to site the amount of texture and surface quality for the reason for my assumption. The texture in this varies so and that is because of the line choices.  "African Tribal Dance" by Matsoso is all about the lines. It is what makes the piece. There is a copious amount of lines in the figure and lines that make the outline of the figure. Value wise, there isn't huge contrast. The shades chosen depict depth but not in a drastic way. The colors chosen are the same; they don't have much contrast. Matsoso used  different shades of the same color. It only ranges from a beige/tan to a darker brown.

Looking at this work, I see haunting, profound beauty and pain in the dancer's face. The way in which the face and head are cocked to the side, seemingly dangling and detaching from the rest of the body portrays the dedication it take to keep such an art form (tribal dance) alive. All of the parts of the dancer are contorted not only on the figure but within it's self. For instance, if you looking at one of the legs, you see that it comes from the hip in an an natural way and the leg itself has a knee that buckles in the opposite direction from where it should. This is to display transformation and departure from what we perceive as natural, normal or even beautiful. these organic shapes give off such a sense of hardness. Many parts even resemble actual rocks yet the muted colors give off softness. There is that juxtaposition which gives complexity. For something that appears so poignant and rough, the absence of black appears to redeem that harshness. Matsoso's piece visually striking, beautiful and powerful yet delicate.

P.S. - The screenshot doesn't do this piece justice. I tried to save it but it wasn't an option from the google art project, unfortunately. I

Even though I was raised in Brooklyn, like many people in this melting pot of a city, my family is from another country. Being the Jamerican that I am (Jamaican/american), I LOVE Jamaican food. During my pre-pescatarian days, my favorite dish was curried goat with macaroni pie and steamed cabbage. Major comfort dish. Now, I've learned how to make amazing gourmet mac and cheese many different ways. Most versions including some type of a green veggie and all containing roasted garlic. Cooking is one of the ways in which I keep creative.

Besides cooking, I thoroughly enjoy singing which I've been doing, seemingly, forever, playing cello which I've done since the age of 9 and yoga which is a more recent favorite past time of mine. One thing that I'm quite passionate about is the arts in general. All forms whether that be visual or performing. I valued freedom and expression and the beauty of art about all else.

There is a debate regarding the legitimacy of architecture as art

Growing up in Bed Stuy, there is no question

When the leaves start to transform and descend from the branches

And these Brooklyn streets are covered with them

When you look down Bainbridge or Halsey or Jefferson Ave 

To marvel at the beauty

Once autumn arrives

Around these amazingly, artfully constructed buildings

You know that these structures are truly masterpieces

That is the time of year when I see it the most

And those moments of me stopping in my tracks

On the way to wherever

Hastily or not

To take in scenes, I've enjoyed all my life

That still cease to amaze

Beautiful

Architecture, much like any other art form, capitulates a certain period or moment in history. Just as you can look at a Picasso piece and identify the period he created it, so can you with a building. Especially with buildings as historic as the brownstones in the very neighborhood I grew up in, many of which are actually certified historical landmarks. 

Brownstone was originally used in NYC architecture to front buildings that were built using more inexpensive stone and/or brick. Not many preferred it or considered it "desirable" until the romantic movement/era of the mid 1800's when a darker look was adopted. Both literally and figuratively. The purpose of these Brownstones being built were not to merely serve as reflections of personal taste but, more profoundly, as a reflection of the aesthetics of the time. A time when music, art, literature and even thought/intellect were in alignment in all of the Western world. You can look at the buildings and see the homage to the Middle Ages through the color palette and European inspired design; you can see the focus on the ghostly/mysterious through the faces and human figures (that fascinated me as a kid as I clutched my parents' hand on the way to school) sculpted in some of the oldest brownstones. This too is true with all forms of expression during the period these gorgeous structures were built. 

These brownstones fulfill out need and use of art in numerous ways. In regards to the list provided on the first day of class, these brownstones record and commemorate a specific movement/era. They were constructed and molded to resemble forms of the Middle Age, some even containing specific images and scenes. They are definitely extraordinary versions of homes. I'd argue that these structures gave tangibility to the feeling of the period which was centered around intensity and all things gothic. And lastly, it completely changed the look of many areas of the city and the way in which brownstone was viewed and utilized.