Hayao Miyazaki, The Great Japanese Animator April 15, 2011
Posted by leskanturek in Animation, Art History, Movable Illustration, Political and Social Art, Student Blog posts, Student Post, Visual Narrative.Tags: Emily Ho, Hayao Miyazaki, Japanese animation
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Post by Emily Ho
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Anime and manga artists from Japan are known world-wide for producing extraordinary work. One famous and considered legendary Japanese animator is Hayao Miyazaki. He is internationally renowned in the field of animation and his history of projects shows how well the audience receives his work. An example would be his sales for the film Princess Mononoke, in 1997, which was known as the highest-grossing film in Japan. Even though Titanic cast a shadow on Princess Mononoke, Spirited Away brought Miyazaki back to the top spot when it was released in 2001.
(above) Hayao Miyazaki
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Hayao Miyazaki was born in Akebono-cho Japan on January 5, 1941. He is a film director, animator, storyboard artist, character designer, screenwriter, and a manga artist. With his multiple skills, he and Isao Takahata co-founded Studio Ghibli, which still runs to this day.
Miyazaki’s animation films all consider a large variety of things such as the research, storyline, quality and detail of art, compositions, perspectives and the development of characters for the film to be successful. He is also known to mainly create his animations in the traditional way, which is by hand. It is remarkable how immensely detailed and accurate in depicting reality in the fantasy world is like in his films.
(above) Two stills from the film Princess Mononoke
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Princess Mononoke is an animation where Miyazaki produced very vibrant, full of perspective and detailed artwork. Many of his films are “reflective about the human condition” such as Princess Mononoke, where the film questions about how humans destroy and pollute nature. Miyazaki conveyed that idea by showing if nature had a voice and was personified with animals, how would people confront and interact with them. Nausicaä of the Valley of the Wind shows the destruction that bugs can bring when humans pollute their environment. Castle in the Sky is also another animation where it illustrates how greed can bring destruction.
(above) Nausicaä of the Valley of the Wind
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(above) Castle in the Sky
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A couple of Miyazaki’s films are playful and fun, dealing with confidence, finding oneself, independence, and interactions with nature. The examples of movies are Spirited Away, Ponyo, Howl’s Moving Castle, and My Neighbor Totoro.
(above) Two stills from Spirited Away
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(above) Two stills from Howl’s Moving Castle
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(above) A scene from Ponyo
(above) My Neighbor Totoro
Anime Transformation March 4, 2011
Posted by leskanturek in Animation, Art History, Comics, Film, Student Blog posts, Student Post, Visual Narrative.Tags: Anime, Death Note, Sailor Moon, Sarah Ding, Transformation
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Post by Sarah Ding
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Anime is a distinct art style that originated in Japan during the 20th century, in which Japanese filmmakers first became influenced by Western animation techniques. The highly successful Disney 1937 animated film “Snow White and the Seven Dwarfs” became a huge influence on manga artists, who simplified many of the techniques and styles of Walt Disney’s animations due to low budget and labor. Throughout time, the distinct look of anime has transformed significantly, and although there are numerous different styles of anime, they all have common stylistic elements typical to the anime style.
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So what exactly is the anime style? Although the features of the face and proportions of anime characters are exaggerated, they are not necessarily classified as cartoons. The most distinct feature of anime characters is their overly large eyes, in order to express their emotions through to the viewer.
However, recently anime has started to become extraordinarily more realistic in terms of the facial features. Even body proportions are beginning to fit the standard human proportions we would normally recognize. The most familiar form of anime could arguably be Sailor Moon, created by manga artist Naoko Takeuchi.
(above) Sailor Moon, A team of magical cute girls who are in reality magical warriors destined to save the Earth, and later the entire galaxy. Their features and proportions embody the look of anime girls.
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Anime might on the surface appear to all look very similar but is in fact quite varied. The anime style of Sailor Moon is remarkably different than the style the viewer sees in Death Note, a well-known manga created by writer Tsugumi Ohba and illustrated by manga artist Takeshi Obata.
(above) Two of the characters in Deathnote , Light Yagami, and “L” .
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The art and possibly even the story line has taken on a more realistic approach. Here, the manga artist is deviating from the usual large eyes and small mouth characteristics that are typical of anime and drawing features more in proportion.
(above) Death Note illustrated by Takeshi Obata
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Although there will always be different variations of anime (from very generic to semi-realistic), I feel that this style in general is starting to become much more realistic by opening itself up to different influences and styles.
Motion in Art February 7, 2011
Posted by leskanturek in Art History, Student Blog posts, Student Post, Uncategorized.Tags: Leigh Cunningham, Motion in art, Nude descending a staircase
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Post by Leigh Cunningham
The concept of motion has been explored throughout history in the work of artists. Depicting motion in art spans the range of two and three-dimensional pieces, and covers a broad spectrum of cultures and purposes. While traditional art works (drawings, paintings, sculptures and photographs) served only to capture a single moment in time, numerous artists have challenged these restrictions and ventured to convey a sense of movement, or a suggestion of motion over a longer interval of time. One of the early artists to explore motion and a main sources for contemporary artists interested in motion is the work of Eadweard Muybridge (1830-1904). Branching off of genuine intrigue and exploratory research, Muybridge began photographing animals in motion, and by1878 he had done a series of photographs capturing a horse galloping, thus providing accurate reference for illustrators of the time.
(above) stills from Muybridge’s series, “The Horse in Motion”
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Similarly, French artist Marcel Duchamp tackles the concept of motion through cubism, using fractured parts of what would seemingly be a sequence of images to show a figure in motion.
(above left) Marcel Duchamp’s Nude Descending A Staircase 1912 (above right) Umberto Boccioni’s Unique Forms of Continuity 1913
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Motion has also been handled in sculpture, perhaps the most prominent being the works created during the Italian Futurist movement. Italian futurism was about glorifying speed and in some cases, the brutality of war, while also declaring a new way of life during a time saturated in new technologies.
Umberto Boccioni’s futurist bronze sculpture incorporates the idea of motion into a deeper connection between the subject and it’s relation to the space around it. His sculpture serves as a tangible work of art that relates every being to its surroundings.
Contemporary painter, Gerhard Richter appropriated the idea behind Duchamp’s Nude Descending A Staircase and painted Woman Descending the Staircase, as well as Nude on a Staircase. In both paintings, the subject is painted in a naturalistic way, giving a completely opposite feel to the original iconic painting of Duchamp. While the viewer still does not see every step, a feeling of unrest exists in the piece, suggesting that she(the subject) is not a static element, but rather a component of the scene in its entirety.
(above left) Ema/Nude on a Staircase (Ema/Akt auf einer Treppe) (above right) Woman Descending the Staircase (Frau, die Treppe herabgehend) www.gerhard-richter.com/
Shunga May 13, 2010
Posted by leskanturek in Art History, Printmaking, Student Blog posts, Student Post.Tags: Japanese woodblock, Josey Herrington, Shunga
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by Josey Herrington
Shunga are erotic Japanese woodblock prints which can be traced back to the the Heian period (794 to 1185) but reached it’s peak in the Edo period (1603 to 1867). The intention of these prints is not to depict sex in a direct, explicit manner, but rather to express the energy, intensity, and beauty of erotism which exists in the Japanese culture but can not be openly demonstrated.
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(above) An example of how Shunga seek to combine explicit sexuality and aesthetics)
These prints depict not just one idealized portrayal of erotism but explore varying and irregular forms of sexuality. The subjects depicted range from the Courtesans who attended the Shogun’s high court to the ordinary working class, from couples drastically differing in age to homosexuality and even zoophilia.
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(above) Exploring sensuality between nature and animals
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In the eyes of outsiders this could be seen as a form of primitive pornography, but on the contrary Shunga was not seen as a taboo and was widely accepted as a form of art. As western concepts of the erotic revolve around the amount of explicit nudity, the subjects in Shunga are clothed in flowing garments. This is because public baths or onsen were a part of everyday life in Japan and thus nudity was not valued as the erotic. The subjects clothing creates an aesthetically pleasing flow to their bodies but also directs the viewers eye to what is intentionally revealed.
Shunga is translated into “Images of Spring” and stands as a connection between the erotic and the beauty of the changing of seasons. It is an acceptable medium in which a culture embraces and connects within strict social boundaries.
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(above) Cherry Blossoms are iconic in Japan for representing spring
Nothing Is Simple April 10, 2010
Posted by leskanturek in Art History, Drawing, Student Post.Tags: New Yorker covers, Pratima Mani, Sempé
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Post by Pratima Mani
One of the most pleasantly surprising gifts I received from my sister over winter was a collection of cartoons by the 1930’s born French cartoonist Jean-Jaques Sempé. She had informed me that Sempé’s work was highly stylized, and very simple: pure black contour on white background. For someone who has always preferred more realistic/detailed/ rendered illustration (Peter de Seve, James Jean, Frank Miller), this wasn’t what I wanted to hear.
(above) The cover of Sempé’s first published collection, “Rien N’est Simple” (Nothing is Simple) from http://www.pbase.com/csw62/image/38206202
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Sempé is a cartoonist and so I (wrongly) expected work that was clever, and quippy…but not particularly touching. I was completely blown away by how endearing he managed to make his illustrations. Most of them feature visual repetition of some form. Sempé often repeats a single object/person and then adds an odd one out who is doing something totally different. At times he creates a series of very similar illustrations the slowly change and tell a story over time.
The result is that Sempé’s illustrations make you chuckle for their own pictorial quality; they do not overly rely on the text crutch to draw a response from readers. You laugh at the ‘black sheep’ of the image, or at how the characters expressions change from one frame to the next. The illustration speaks for itself, almost like those instances when you see some falling over in a ridiculous manner and it’s somehow funnier than the wittiest joke.
Sempé’s linework itself is one of those shining examples of the warmth of hand-drawn art. It is as clean as something pen-tooled but has a slight slant at times and a wavering line width. Seeing these traces of the hand-at-work, knowing that Sempé put in the effort to make all those repetitions for a single frame of illustration, is very special indeed.
(above) left The cover of Sempé’s 1962 published collection, “Tout Se Complique” (Everything is Complicated) right The cover of Sempé’s translated published collection, “Everything is Complicated”
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(above) Sempé’s illustration on the 5/3/1961 issue of “Punch“.
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On a side note, and something I didn’t know until I looked up Sempé for this post- he has done many New Yorker covers! An example below:
(above) Sempé’s illustration on the cover of “The New Yorker” (5/20/85 ) from http://www.thejumpingfrog.com/si/1270952.html
Inkstuds: The Radio Show about Comics December 31, 2009
Posted by leskanturek in Art History, Artists, Comics, Graphic Novels, Visual Narrative, Visually Cool & Relevant.Tags: comic artist interviews, Inkstuds
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Despite the porn sounding name if you go to the Inkstuds site you will not find pictures of Jack Kirby giving you the full monty. What you will find is a radio show out of Vancouver hosted by Robin McConnell thoughtfully discussing the art, creators, the industry, inspiration, history and influence of comics.
McConnell’s show which has been “on the air” for the past 4 years offers an incredible range of interviewees including ; Ralph Steadman, Seth, Tony Millionaire, Joe Sacco, James Jean, Barron Storey, Rutu Modan, Scott McCloud, Art Spiegleman on Chris Ware, Rick Geary…the list goes on. I highly recommend tuning in to the show and hearing the intelligent discussion that takes place.
Ciao Stephanie September 4, 2009
Posted by leskanturek in Art History, Pinocchio, Student Blog posts, Student Post, Studying abroad.Tags: Pinocchio in Florence, Stephanie Tartick, Studying in Italy
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Stephanie Tartick is studying abroad in Italy this semester. She sent this update from Florence (home of Pinocchio author Carlo Collodi).
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Hi Les,
I am in Florence, Italy now! Didn’t start classes yet. We have intensive Italian all week and I start classes next week with Painting, Figure Drawing, Quattrocento (14th century), Italian and Black and White Photography. The past three days I have been exploring the city of Florence as much as I can since my apartment is right in the city. On the street I have been taking to school the past three days there is a toy store with a bunch of Pinocchio toys in it. Carlo Collodi was from Florence! I took two pictures of the store front and thought I’d share them with you and the Illustration department.
My school is very small but reminds me of the illustration department. Only 48 students and all majoring in different things, not just fine art. Most of the students are from the United States, in fact 5 of all my roommates are from San Antonio. Hope the semester started off well.
Best,
Stephanie T
Hi Les,
Studying abroad is a fantastic opportunity. Just traveling to the Toronto International Airport I saw a Richard Serra sculpture. It reminded me of the amazing world of art and the reason why I chose to leave the country for four months. It’s a pretty big decision and an even bigger change. Any place in the rest of the world will be completely different than the young United States. In Florence there is ancient art in any old street corner. Frescoes are on the ceiling of my apartment building and the outside of the building I see out my window. Famous architecture you read in textbooks is located every two blocks in this city. Three thousand students come to study in Florence every semester and five thousand to Rome. If anyone is looking for a small English speaking school in the heart of the city of Florence, contact me about Santa Reparata International School of Art. http://www.santareparata.org
Pinoke Exhibit September 2, 2009
Posted by leskanturek in 3-D work, Art History, Pinocchio, Political and Social Art, Summer Reading Project.add a comment
Pinocchio
The Illustration Department’s 2009 Summer Reading Project
Each year, a book is selected that all illustration students read over the course of the summer break. When students return in the fall they have a common cultural experience that can be shared and discussed and that assignments are based on in class. This year’s book is Pinocchio by Carlo Collodi.
Collodi, whose real name was Carlo Lorenzini, was a politically active writer of novels, pieces in political newspapers and satire as well as children’s literature in 19th century Italy. At 23 he founded Il Lampione (The Lamp), a satirical magazine that published for a year before being shut down by the government (it resumed publishing in 1860), From this social and political environment Pinocchio’s adventures (or misadventures) were born in 1881 as weekly installments in Il Giornale per i Bambini (an Italian children’s newspaper).
Collodi didn’t think much of his offspring. Originally he had ended the story with Pinocchio’s lynching. He eventually was persuaded to write further chapters.
Despite a ambivalent father, Pinocchio went on to great success (unfortunately after Collodi’s death in 1890). Pinocchio’s adventures are; fantastic, absurd, moralistic, entertaining, allegorical, satiric, in short all the things that make up a good story, and inspire great art.
By 1937 Pinocchio’s adventures were being published in 80 different editions including translations into Swahili, Gaelic and Esperanto. Pinocchio was a popular character before the 1940 premiere of Disney’s full length animated feature. Disney’s use of the story coincides with Collodi’s copyright expiring. As frightening as some of the scenes in the Disney movie can seem, catch Lampwick’s transformation into a donkey, the original story by Collodi is grimmer. Feet are burned off, Pinocchio is hung, chained up, there are funeral processions, huge sharks…a lot to scare a child into good behavior.
Disney’s version of Pinocchio certainly seems to dominate the visual landscape, but not everywhere. Travel to Italy or other continents than America and Pinocchio’s look can be quite unfamiliar…until we see the iconic long nose.
One hundred and twenty six years after his debut Pinocchio is very much a cultural icon. He is a metaphor for lying and bad behavior in politicians as well as a symbol of a character’s quest for humanity. Frankenstein, Astro Boy, David from Stanley Kuberick/Stephen Spielberg’s A.I., Edward Scissorhands, are all cousins of Pinocchio.
A Pinocchio exhibit is up on the 8th floor to peak your interest in the little wooden icon. Below is a key to what’s in the showcase.
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Key
- Hanging Pinocchio 1944 –by Italian illustrator Giovanni Manca.
- Fables, 2002 (comic book) covers by illustrator James Jean. Geppetto and Pinocchio figure prominently in the story line of the characters from well known Fables in exile.
- Pinocchio shadow puppet
- Woodpeckers whittle down Pinocchio’s nose, from Italian children’s book illustrator Attilio Cassinelli’s 1981 Pinocchio book re’entititled “Once I was a piece of wood”.
- Fold out cover of the August 1972, (No. 29) National Lampoon. Nixon as Pinocchio with Henry Kissinger as Jiminy Cricket. Illustration by Robert Grossman.
- The Chicago Tribune offered a fold-up version of Illinois state Senator Roland Burris as Pinocchio. Burris was accused of offering a bribe in exchange for Obama’s Senate seat.
- “Pinocchio is caught by the gendarmes” by Attilio Mussino 1911.
- Pinocchio by Winshluss 2009
- Assorted Disney Pinocchio books , a bank . Pinocchio was Disney’s 2nd feature length animated film debuting in 1940.
- Pop-up Adventures of Pinocchio- J. Pavlin – G. Seda, (Czech, English version 1974)
- Cover of an Egyptian edition of Pinocchio.
- Zombie Pinocchio Tattoo (courtesy of BMEzine.com) and Jiminy cricket tattoo by Mark of High Voltage Tattoos.
- Astro Boy – a Japanese manga character by Osamu Tezuka , centering around a robot boy.
- By Italian illustrator and humorist Benito Jacovitti (1977?/ reissue 2001).
- Pinocchio float for the 1930 Macy’s Thanksgiving day parade.
- Pinocchio by Keith Haring
- A background from Disney’s Pinocchio 1940. Painted by Claude Coats
- Pinocchio by Attilio Mussino English 1911 edition. 18a. Character sketches for the 1940 Disney movie
- Pinocchio red wine by Dievole.
- A Polish poster for Disney’s Pinocchio.
- The Adventures of Pinocchio 1988 by Roberto Innocenti
- George Bush Coin
- The Adventures of Pinocchio (Italy) 1935 illustrated by Peiro Bernardini
- The New Adventures of Pinocchio, Dell Comic book 1963
- Pinocchio, the Boy, illustrated by Lane Smith 2002
- Luigi and Maria Augusta Cavalieri 1924.
- Pinocchio info to come
- Cut out nose from PinocchioPolititics.com (Behind 28) “Pinocchio is visited by the doctors” by Luigi and Maria Augusta Cavalieri 1924
- Pinocchio by Gianbattista Galizzi 1957
Gay Art: It’s More Than Just Men Having Sex! May 6, 2009
Posted by leskanturek in Art History, Political and Social Art, Student Post.Tags: Evan Turk, Gay Art, Gay Rights Movement Art, J.C. Leyendecker, Keith Haring, Raphael Perez
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Post by Evan Turk
In my research for my semester final project of creating posters about the gay rights movement, I searched for inspiration from other artists who had created political and social art related to the gay community. What I found, is that there is not as much to be found as one might expect. Most “gay art” falls into the realm of the erotic and very little else falls outside of that. There is no shortage of famous gay artists (Jasper Johns, Robert Rauschenberg, Andy Warhol, Jean Cocteau, Paul Cadmus, David Hockney, Francis Bacon), though most of them were closeted. For the most part, any gay-themed art they created was focused on eroticism.
A prominent gay artist who was extremely influential in gay history in America is Keith Haring. Haring was a prominent artist in the 80’s and 90’s in New York City who created simple and largely symbolic work in the vein of pop art and graffiti art. As a victim of AIDS himself, Haring created many of the images that are still used today for AIDS prevention groups as well as gay organizations. An interview with Keith Haring by David Sheff for Rolling Stone (Aug. 1989) can be found at Haring.com as well as an art database.
(Top) “Silence = Death” “Ignorance = Fear” (Bottom)“Untitled” (All images copyright the Keith Haring Foundation)
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Another artist that gives an interesting illustration of gay life is J. C. Leyendecker. Leyendecker was an American illustrator in the 20th century known for his fashion advertisements and illustrated covers of the Saturday Evening Post, preceding Norman Rockwell’s reign at the magazine. His work, which is all commercial work, has a rather subtle (or other times not so subtle) gay undertone. In a few paintings, at first glance it seems to be a few sailors looking flirtatiously at a young woman, but upon closer inspection, the men actually appear to be looking at each other with her just kind of standing in the way.
(Above) Arrow Collars and Shirts advertisement (1907)
(Above) The House of Kuppenheimer Advertisement (1918)
(Above) “Kuppenheimer Advertisement – Good Team Work”
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Perez is an artist born in 1965 and raised in Jerusalem. He now lives in Tel-Aviv and creates work that often deals with homosexual themes and relationships. As stated on his website “His paintings put to test the boundaries between eroticism and art, while characterizing gay relationships and love as they are expressed in everyday life.” Although his work contains mostly male nudes, the subject matter is often non-erotic. He depicts family scenes and everyday life for gay couples, instead of just the sexual aspects of a gay relationship.
(Above) Untitled
(Above) Gay Wedding
(Above) Gay Daily Life courtesy of http://www.gaypaintings.com
As homosexuality becomes more accepted in modern culture, there will be less sexual repression and most likely, less of an emphasis on only erotic art. This leaves the door open for a different step in the gay art movement.
MTA Arts in Transit Guest Visit April 29, 2009
Posted by leskanturek in Art History, Guest Visits, Public art.Tags: Amy Hausmann, Guest speaker, MTA Arts In Transit, Subway station proposal
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(Above) Barbara Segal’s “Muhheakantuck (The River that Flows Two Ways), Aluminum reliefs on train overpass (2005) on the Hudson Line /Yonkers
On Monday (April 20th), Amy Hausmann (below-left), the Assistant Director of MTA Arts for Transit, paid a visit to our class to speak abo
ut her department’s mission and role in commissioning artists for site specific, public artwork in the New York transit system.
Statistics on the amount of people using the transit system is staggering, approx. 8 million commuters on a given weekday. That’s per day. Asking for a show of hands of how many students (our class was joined by Wendy Popp’s concepts class.) view art work in the subway during their daily commute, it was an overwhelming majority. This was not always the case. My memory of subway stations while growing up in the 60’s and 70’s is one of decaying, vandalized public spaces. The way we presently experience the subway (and the LIRR and Metro-North) is a testament to the work MTA Arts for transit has done over the last 25 years to change the way we look at the shared public space of the transit system.
Amy started her powerpoint presentation pointing out that from the subway’s inception a mandate was built into it’s mission statement to create and design a visually beautiful public space, “…and enhance the experience of travel.” As Amy stressed , very forward thinking for 1904. MTA Arts for Transit’s budget for projects is derived from a portion of the renovation budget of the station/space to be refurbished. So art works are installed or planned only for a station that is being rehabilitated or improved.
(Above) Art en Route, A pocket guide to art in the MTA Network that was passed out during the visit. You can e-mail a request for a copy at the MTA Art for Transit site.
Amy brought with her pocket guides to some of the art in the MTA system. it’s organized by subway line with called out images of art installations. There is also a book, “Along the Way” by Sandra Bloodworth , Director of MTA Arts for Transit, and William Ayres, curator at the Long Island Museum in Stony Brook. Looking through the guide and book gives you a sense of the varied range of art in the transit system, both in concept and in materials. Donald Lipski’s inverted olive tree
with crystals at Grand Central Terminal, Walter Martin’s and Paloma Munoz’s Canal Street station filled with 174 grackles and blackbirds…the subway is one big art museum.
A number of illustrators have created art for the transit system; Raul Colon, Owen Smith, Milton Glaser, Dave Calver, George Bates (Parsons Illustration Dept. instructor), Peter Sis, Jose Ortega, Edward Del Rosario (Parsons Illustration Dept. instructor) to name a few. In that spirit, finishes for the class assignment of creating proposals for site specific art in individual subway stations were also up on the wall during Amy’s visit. she graciously agreed to critique them and offer her professional opinion .
You can view the entire assignment sheet I handed out in a previous post. In a nut shell, each student created artwork for a subway station of their choice. In the course of creating a proposal students researched the history of the area/station and took into account the 
make up of the community it serves. Each student attempted to integrate their art with the architecture of the station in some way.
Below are some of the assignments.
P(Left) Amy Hausmann criting a student’s proposal
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Paula Searing: Wall Street
Rather than work with Bulls and Bears , I was struck with horses because they can be both graceful and rampant like Wall street’s sides of prosperity and cut throat behavior. The original art is done in acrylic paint, sprayed over stencils.
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Mark Lev: 50th Street
50th Street station ( the 1, 2, 3 line). My subway installation is interactive (a musical component) as well as aesthetic. It consists of several Hang drums (developed in 2000 in Berne Switzerland) of various sizes and tunings, installed into the subway wall. In the above mural they are the blue spheres with darker blue round indentations. The drums can be played without any special tools and create resonant, ghostly tones similar to a steel drum. The effect of several people playing them would be a mass of tones echoing throughout the station creating an eerie but sonorous atmosphere. Colorful, circular tile patterns around each drum seem to ripple across the wall, evoking ideas of sound waves, water droplets, and mimicking the sound qualities of the drums.
Here is a link to a video of the Hang drum being played http://www.youtube.com/watch?v=WEJc2wKkwjM&feature=PlayList&p=D12F8B5F76C1C4E8&index=32 it’s a very distinctive sound .
William Crosby: Smith-9th Street Subway Station Gowanus
The Smith/9th Street Station · Opened in 1933. The station has the distinction of being the highest elevated station in the system. The station was originally built elevated 91 feet to accommodate tall-mast shipping in the Gowanus Creek under the station.
Evan Turk: Greenpoint Ave. Station Brooklyn
Evan’s mural is a narrative based on the Lenape Indian legend of Rainbow Crow. The Rainbow Crow brings fire from the Great Spirit in the sky to the earth. But due to the smoke he no longer is rainbow-colored , but a black crow. This myth was chosen to reference the Lenape Indians indigenous to the Greenpoint area.
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Julian Uribe: ” Cultural Intertwine” Jackson Heights (7, E, F, G, R, V)
Jackson Heights is one of the most culturally diverse neighborhoods and the first garden city in the five boroughs of New York City. I realized in every culture found in Jackson Heights the frog is a common symbol of nature, peace, and power. Ethnic patterns unite with the frog symbol in my design for the station, all of which I hope allow the neighborhood to be more in touch with their diverse ethnic community .
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Julie Pinzur: ” The Bleecker Farm” Bleecker Street (the 6 train)
Ceramic mosaic on walls near the subway exit. Anthony Bleecker, who the street was named after, along with his family owned the land where the station now stands. The scene shows farmland, which is representative of this area in the 1800s. Anthony Bleecker was also one of the founders of the New York Historical Society, and was a trustee of the New York Society Library.
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Naomi Koffman: ” Ghost” 72nd Street/Central Park West
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Jenel Lawson: Lexington Ave. 63rd St. Station
Near this station four embassys are located; France, Italy, Pakastan and India. Different color strands of thread represent each country and stich part of the globe.
Les' Illustration Concepts Class 
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