{"id":220,"date":"2015-02-01T11:35:21","date_gmt":"2015-02-01T19:35:21","guid":{"rendered":"http:\/\/hub.wsu.edu\/andersen\/?p=220"},"modified":"2019-05-31T11:21:52","modified_gmt":"2019-05-31T18:21:52","slug":"juxtaposition-of-the-iconic-and-the-everyday","status":"publish","type":"post","link":"https:\/\/hub.wsu.edu\/andersen\/2015\/02\/01\/juxtaposition-of-the-iconic-and-the-everyday\/","title":{"rendered":"Juxtaposition of the Iconic and the Everyday"},"content":{"rendered":"

by Janey Beumeler<\/strong><\/p>\n

\"Black%20and%20white%20photo%20of%20a%20man%20and%20woman%20holding%20hands.\"
%3Cem%3EUntitled%2C%20nd%2C%20by%20Vivian%20Maier%20%3C%2Fem%3E<\/figcaption><\/figure><\/p>\n

Upon a first and cursory inspection, the current exhibit at Washington State University\u2019s Museum of Art (Through the Lens, an American Century: Corbis & Vivian Maier)<\/em> can appear very simple in both concept and execution. However, upon closer review, it is actually a very complex display that can inspire much varied conversation. In brief, the exhibit presents a \u201ctwo sided\u201d show: one side features Corbis copyrighted photos that tend to be fairly iconic, whereas the second part of the exhibit shows the work of small-time photographer Vivian Meier, whose work has been more recently recognized for their brilliance. However, both kinds of photos are seemingly brought together by the overarching posed question: \u201cWhat constitutes a lasting and meaningful image?\u201d<\/p>\n

All images that were compiled by Corbis were taken from the collections of Tony and Leslie Rojas. In this exhibit, Corbis showcases thirty-two images from some of the most \u201ciconic\u201d, publicly recognized moments within the twentieth century. The majority of these images were taken in the United States and reflect purely American material, but there are some images (such as Children Flee From Their Homes <\/em>from 1972, an image that reflects Vietnamese children running from their homes in Trang Bang after the dropping of a napalm bomb) that feature other parts of the world. However, as demonstrated by this specific example, most of those photos are still very interrelated to American history, even if the events themselves did not take place in the United States. Most of the Corbis featured images, excluding a few, are featured in black and white. This is notable because many of said photos could have been in color \u2013 it was the curator\u2019s or photographer\u2019s choice to feature them in black and white. Similarly, a resounding hundred percent of Vivian Maier\u2019s images are featured in (and were taken in) black and white. In contrast to the other side of the exhibit, however, many of Vivian\u2019s images are untitled, because most of the photos shown were discovered and developed after her death.<\/p>\n

All this being said, it is important to recognize that the main idea of the complete exhibit is that of determining what makes an image important and lasting over time. As an exhibit should, it raises questions for the viewer to consider and ponder in terms of their own lives and experiences, both public and private. As is stated within the curator\u2019s statement for Corbis, the iconic images shown tend to encourage thoughtful contemplation on the question \u201cWhere were you when this photo took place?\u201d And although the type of photos on Vivian Maier\u2019s side of the exhibit may seem very polarized from this idea, they actually offer a very complementary type of reflection. Instead of being able to immediately recognize the event that is taking place in the photo, viewers of the photos are reminded of every day events or treasured memories within their own lives while looking at Maier\u2019s renditions of what life was like in major cities like Chicago and New York within the later 1900s. Although the photos do not show astronauts in space and strife during the Great Depression \u2013 things that are very understandable for the general world population \u2013 they do reflect what life itself is like, day to day.<\/p>\n

This being said, this means that both sides of the exhibit are brought together by the fact that they are both very relatable, albeit in different ways. All humans have public and private parts of their lives. As an example of this, one can consider this particular juxtaposition, and in doing so, uncover many similarities. Women in favor of feminism and women\u2019s rights celebrated Amelia Earhart\u2019s success in piloting (a very publicized event), just in the same way that women celebrated love and relationships in their private lives. Both events are important and relatable to the same types of people. Both of these constitute \u201clasting images\u201d that can stand the test of time.<\/p>\n

\"Amelia%20Earhart%20beside%20her%20plane.\"
%3Cem%3ECorbis%2C%20Amelia%20Earhart%20Beside%20Her%20Plane%3C%2Fem%3E%20%281930%29<\/figcaption><\/figure>\n

On the Corbis side of the exhibit, a durable moment is represented within Amelia Earhart Beside Her Plane <\/em>(1930). Earhart is shown in sepia color, smiling happily beside her place. She and her emotion, as the focus of this moment in time, are shown clearly, while the background and onlookers are blurred. The men featured in this public instant are shown sternly, while the one woman onlooker is shown as overjoyed. Earhart\u2019s male attire and sloppy hair clearly separate her from women of the time, as the forefront of important progress. This is something all women (and men), both within the time and now, can clearly relate to. On the Maier side of the exhibition, an important moment is created by much smaller, but no less important, events. Maier reflects every-day life through her works about childhood, love, relationships, living situations, street scenes, and nature. One particular example of important snap shots of the seemingly unimportant can be seen on the far right corner of the exhibit, where four images are featured in a square formation. All of these images are untitled, but all reveal a common theme: love. Two of the images show an older couple holding hands, and another shows a younger couple riding in a carriage of sorts. These are moments that often slip \u201cbetween the cracks\u201d. These are not moments that feature Muhammad Ali Taunting Sonny Liston<\/em> (1965) or Nixon Standing on <\/em>[a] Ca<\/em>r Hood During <\/em>[a] Motorcade, <\/em>but these are moments that all humans experience, or yearn to experience. In a way, these \u201clittle\u201d moments are just as important as world viewed events that are shown on the Corbis side of the exhibit.<\/p>\n

As with art in general, \u201clasting images\u201d are supposed to create conversation. Both sides of the exhibit do just this. Corbis\u2019 images are easily recognizable, but all extremely profound. They have caused conversation in the past, and they are still causing it now. Vivian Maier\u2019s images are just as impacting. Both sides of the exhibit constitute important moments in history. This exhibit fosters deep thinking on what are important moments in one\u2019s own life, and the idea that both personal and public events make up these moments.<\/p>\n

This particular exhibit is only being shown until April 3, so be sure to walk through it at least once!<\/p>\n

\n

By: Janey Beumeler<\/strong>
\nMajor: Microbiology (Pre-Vet)
\nExpected Graduation Date: May 2018
\nHometown: Caldwell, Idaho
\nEven as someone who aspires to be a large animal veterinarian, I have always been intrigued by literature and the arts. This assignment provided a vehicle for a pleasing blend of the two: a written analysis of an art exhibit. I thoroughly enjoyed writing about Corbis and Vivian\u2019s Meier\u2019s images in this exhibit, but I also appreciated viewing these photographs, as they feature important moments that occur in everyday life as well as those that are recorded under scrutiny of the world.<\/p>\n","protected":false},"excerpt":{"rendered":"

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