고양이와 자화사

Built for the Rush: Machines, Identity, and the Meaning of Art explores how personal interests and passions can become meaningful subjects of art. The exhibition focuses on cars, motorcycles, and racing beyond their purpose as simple machines, looking at them as objects connected to identity, freedom, competition, aspiration, and personal experience. The four original student artworks represent different aspects of my interest in motorsports and performance machines: a Chevy and dirtbike, a Kawasaki KX327, a Honda CBR600RR, and a Porsche 911 GT3RS. Although these works depict physical machines, they also explore why people become attached to particular vehicles. A motorcycle or car can represent a hobby, a goal, a lifestyle, a form of freedom, or a community. The exhibition asks a larger question: When does a machine become more than a machine? This connects to Arthur Danto’s idea of the “artworld,” which argues that objects cannot be understood as art based only on their physical appearance. Context, interpretation, and the ideas surrounding an object can affect whether it is understood as an artwork. This idea is important to Built for the Rush because the vehicles depicted in these works are ordinary objects that exist outside of a traditional art gallery. When an artist deliberately selects a machine as a subject and represents it through drawing, the vehicle becomes part of an artistic context. It can communicate ideas about identity, desire, speed, craftsmanship, and culture rather than functioning only as a machine. The exhibition is arranged as a progression from personal connection to broader cultural meaning. Chevy Highboy with Dirtbike begins with the personal relationship people can develop with vehicles and establishes the connection between machines and identity. The Kawasaki KX327 then narrows the focus toward motocross, competition, skill, speed, and the relationship between rider and machine. The Honda CBR600RR expands the idea of performance by i

"From Object to Author: Reclaiming the Native Image"; examines how representations of Indigenous people have been created, controlled, and challenged over time. The exhibition begins with the concept of the colonizer's gaze introduced in the Native Art lecture and considers how images can shape the way Indigenous people are understood. Rather than simply dividing representations into positive or negative images, this exhibition focuses on the lecture's idea of indigeneity as image: representation does not merely reflect reality but can actively shape identity and influence how a culture is perceived. Edward S. Curtis's In Mut Too Yah Lat Lat or Chief Joseph (1903) provides the starting point because it demonstrates the historical problem of Indigenous people being represented through an outside perspective. The formal portrait places Chief Joseph at the center of the composition, surrounded by visual markers of Indigenous identity, while the absence of a recognizable environment isolates him from contemporary life. The photograph therefore establishes the question that drives the exhibition: Who has the power to decide how Indigenous identity is represented? This question connects to Edward Said's observation that "Identity is constructed through representations by others, through images and discourse that define and limit what a people or culture can be." Said's idea provides a framework for understanding how representations can become more than pictures; they can influence cultural identity and reinforce assumptions about particular groups. The exhibition then moves from representation by outsiders toward Indigenous artists reclaiming control over their own images. Jaune Quick-to-See Smith's Trade (Gifts for Trading Land with White People) (1992) confronts colonial history and the commercialization of Indigenous identity by combining newspaper clippings, photographs, objects, and painted imagery. Jeffrey Gibson's Infinite Anomaly #1 (2004) moves further a

how our connection to nature and each other have lived through time. By: Giovanni Meza

For many years, art has been used to celebrate wealth, power, and important historical figures, but many artists have instead chosen to look at the beauty of ordinary people's lives. This exhibition brings together artworks from different time periods and regions that explore the realities of working-class life. Through their scenes of labor, daily survival, and domestic responsibilities, these works highlight the resilience and humanity of individuals whose contributions are often overlooked yet essential to society. Rather than presenting the achievements or luxury that people had, this exhibition asks viewers to consider the value of ordinary labor and the people who perform it. The exhibition is viewed through a Marxist theory, which examines how social class and labor shape human experiences. Philosopher Karl Marx argued that labor is the foundation of society, yet workers are often denied recognition for the value they create. The idea provides a useful framework for our understanding of these artworks in this exhibition. Each piece draws our attention to the people whose lives are shaped by their work and economic conditions, revealing both the hardships they face and the dignity they maintain. The exhibition also reflects Vincent Van Gogh's belief that labor deserves recognition and respect. While we discussed The Potato Eaters, Van Gogh explained that the figures had “ dug the earth with the same hands they are now putting into the dish”. Van Gogh believed that people's labor deserved recognition, and in that quote, he emphasized the connection between labor and survival. In this exhibition, the artworks differ in style, historical context, and cultural background; they all share a common concern for representing ordinary people. The first work introduces viewers to the physical realities of labor and poverty, showing how work is directly connected to their survival. As the exhibition progresses, the focus expands to include domestic life and the social conditions that shape working-class experiences. These scenes reveal that labor extends beyond factories and fields. Together, the artworks challenge traditional ideas about what subjects are worthy of artistic representation. The exhibition is arranged chronologically to demonstrate how artists from different eras approached similar themes. While artistic styles evolve over time, the experiences of labor remain constant. This arrangement allows the viewer to observe the changes in artistic expression and enduring concerns about social class and human dignity across our time, showing how artists have consistently recognized ordinary people and their importance in our society. Overall, The Art of Ordinary Labor encourages viewers to look beyond status and wealth and to appreciate the humanity found in everyday life. The exhibition demonstrates the ordinary moments and the workers who are always worthy of our attention through artistic celebration, revealing the real strength and dignity that sustain our society.