TOW #28: "Abandoned Love"

"Abandoned Love" is a photography series by Peyton Fulford, featuring melancholy and sometimes straight-up heartbreaking phrases and quotes related to lost love and loneliness. What began as a school project in 2015 grew into an international movement, as Fulford called for viewers to submit their own phrases photographed in abandoned spaces in their area. The submissions were received from over 30 different countries, spanning geographic borders and continents to showcase the unique spectrum of human emotion.

The project is incredibly poignant for its use of abandoned context to create a moody, shifting tone. Many of the photographs are taken outside, shot from behind old buildings or featuring decaying garages. The juxtaposition of sentimental text with a seemingly forgotten area leaves the viewer with a feeling of unease. The colors in each photo are limited, spanning from bleak greys to dreary earth tones, with the only vibrant or standout color being the one displayed by the text.

All of these factors work together to create pieces that are not only visually stunning, but also leave viewers with something to think about. The pictures have the capacity to haunt viewers long after they've seen the image, highlighting the dark sides of humanity in more ways than one. Not only is the setting of bleak abandoned spaces eerie enough, the notion that someone has been there - and immortalized their thoughts through text - is incredibly poignant and chilling.

The text used in each image also adds to the emotional weight of the collection. All of these phrases sound so familiar to those who have dealt with heartbreak or loss before in their lives, and they all carry a personal meaning for the artist as well. Posting them publicly and then photographing it is a symbolic way for the writers and photographers to achieve closure. Feelings are transient, but these photos are not.

TOW #27: "The Girls Who Went Away" (IRB)

Upon reading The Girls Who Went Away, I've found myself come to terms with the fact that I may never understand what it was like to live in the oppressive culture of the 1940s to 1970s, where women were shamed for having sex and men were praised for it. It seems easy to compare that sort of dichotomy to today's world, but this goes beyond social stigma. Girls who were pregnant out of wedlock were sent away, hidden from family and friends, and forced into isolation for reasons they could not control. Most were presented with a single option - to be sent away and surrender their child for adoption - and saw this as a punishment for something they had done wrong.

The use of firsthand, eyewitness testimony from birth mothers attests to these extreme conditions, and is an eye-opening and emotional look at the impact the loss of their child has had on them. Many times when adoption is discussed, it is from the viewpoint of the adopted child, very seldom that of the birth mother. One mother recalls, "I couldn't talk about what had happened to me, about my daughter and giving her up, because every single person I told the story to judged me." (23) The haunting imagery of induced labors with nobody by your bedside, and young girls being sent away as though they were no longer 'useful' to the family is extremely painful to read. It feels as though these atrocities are happening to me personally, which makes for a very compelling argument.

Additionally, the author's own perspective adds a layer of credibility and an appeal to ethos to the argument. Ann Fessler was adopted herself, and in the beginning of the book recounts her experience with reaching out to her mother forty years after she gave Ann up for adoption. It makes these interviews seem more personal, and, as Fessler comments herself, gives a nuanced perspective to issues that are too often seen as black or white, right or wrong. The book is also extremely researched, not solely relying on firsthand accounts to give life to the social climate of the 1940s through the 1970s. Fessler includes citations and other works detailing the lives of young women in America, and how sex education was incredibly limited, if present at all.

Most importantly, The Girls Who Went Away asks readers to think and evaluate the society they live in, and compare it to that which she portrays. Have we really come all that far from the days of birthing homes for unwed mothers and parents sworn to secrecy to protect the 'family honor'? Have we really escaped the toxic culture that puts the blame on the young girls that fall victim to rape and sexual abuse, and not the men who are the active abusers? While we may have made steps towards change, there is still much to be done with the culture surrounding sex and pregnancy in America.

TOW #26: "American Dreamers"

American Dreamers is a new project presented by the New York Times, in response to the Trump administration's threats directed toward immigrants and their families. It features stories from young immigrants who were permitted to stay in the country and work during the Obama administration. The aim of the collection of stories is to call on Trump's administration to preserve Deferred Action for Childhood Arrivals, which is a program that "temporarily shields some immigrants from deportation and allows them to work legally." Through the collection and its many appeals to pathos, the New York Times is shining light on the lives of millions of Americans whose livelihoods will be severely damaged through Trump's bigoted agenda.

The page is set up in column style, with quotations from each subject interviewed in big, bold letters. The centrality of such powerful quotations makes it hard not to notice them. The curators also selected each quotation purposely, not only to demonstrate the humanity in each one of the voices, but also to provide examples of how removing the DACA will affect their lives. For readers just taking a look at the website at a glance, these quotes will leave a lasting impression on their mind. Some powerful examples include "Let us walk along you, shoulder to shoulder, on that same road our hands help to pave", and "There are Dreamers that have become lawyers, doctors, police officers and small business owners thanks to DACA." The addition of such quotes adds an important layer and emphasizes each individual's place in the collection.

Another important aspect of the collection is the addition of portraits of each individual. The intimate, authentic style of these portraits make it feel as though readers already know these individuals, as though they can reach out and touch them through their words. These visuals are incredibly powerful, highlighting not only the diversity of those interviewed but also their resoluteness and strength. Alongside the pictures are their name, and a short description of their location and job. Scrolling through the website feels like you are meeting these people in person. It adds a level of personal intimacy that cannot be achieved through words alone.

Overall, the collection emphasizes two very important ideas that are often left out of discussions of immigration, the first being that immigrants are humans. They are just as real as anyone else in America. They have dreams, hopes, and goals, just like any other person. Too often, politicians leave out this important aspect of humanity. Additionally, it discusses the practicalities of new laws. By balancing the appeals to pathos with a solid footing in logic and the law, the American Dreamers collection is able to prove a strong message about the necessity for immigration aid to politicians and readers alike.

IRB Intro Post #4: "The Girls Who Went Away"

For the fourth and final marking period, I will be reading The Girls Who Went Away by Ann Fessler. This book interested me for many reasons, the main one being adoption is a topic that most authors shy away from, and it is not everyday you get the chance to hear eyewitness accounts of surrendering a child for adoption. I am also interested to hear about the ways Supreme Court decisions have shaped society, especially Roe v. Wade.

TOW #25: "Censorship, Not the Painting, Must Go"

Artist and writer Coco Fusco's opinion piece on the recent controversy regarding a work surrounding the murder of Emmett Till was enlightening and genuinely interesting to read. I found myself questioning a lot about censorship and the things that constitute 'good art', alongside contemplating the boundaries of social commentary on race. The article argues for a multitude of things: less blind censorship in the art world while maintaining critical consumption of work, and more awareness and context placed behind criticisms of artists and their work.

The controversy in question is surrounding a painting by artist Dana Schutz entitled "Open Casket" which is being displayed at the Whitney Biennial. Protests have been staged in response to the work, calling for its removal and censorship due to the artist behind it being a white female. Heated debates have been sparked with sides in favor of, and against, the censorship of the work. Fusco takes a unique stance on the issue, examining it closely from all sides and doing extensive research to support her argument.

Fusco calls for awareness and context behind criticisms through her appeals to ethos, as her own awareness seems to reach deep beyond recent events. The research she does and knowledge she possesses about historical feats for black artists, alongside the various criticisms the community as a whole has held throughout the years, help pave a solid foundation for the audience's understanding of the events. Fusco uses evidence from various sources to prove that educated and rational arguments stem from analytical thought toward the subject.

Additionally, Fusco's perspective on racial issues adds to her credibility and increases the effectiveness of her argument. She cites sources where such strategies to negate any sort of controversial topic have only added to the problems marginalized groups of people (specifically, the black community) have faced. One quote that stood out to me on this issue was "In the absence of informed discussion, we get unadulterated rage." This rage is clearly displayed in the protests surrounding "Open Casket."

The article led me to think of discussions surrounding 'controversy' differently, and to examine an issue as a whole rather than one specific incident. It helped me get a better appreciation and understanding for the need of opposing viewpoints. It made clear that we need argument and dissent, we need political opposition, but we also need to consider the factors that may lead us down the wrong path.

TOW #24: "Life is Better When You Share the Ride"

Ride-sharing apps are becoming increasingly popular in the United States, with that group headed by Uber, known for its on-demand pickups. Lyft is another rising option, with its popularity growing steadily. Recently, controversy surrounding Uber's treatment of female workers (as well as their possible endorsement of Trump) has led many politically-conscious ridesharers to choose Lyft over Uber.

Lyft released a commercial early this year that reiterates the things they take pride in for their company: diversity, inclusion, and connection in an age where we seem all-too unconnected. Lyft's commercial, entitled June, makes use of warm colors, bright visuals, and appeals to pathos in its storyline in order to effectively portray Lyft's goals and encourage ridesharers to use Lyft.

The commercial features a heartwarming storyline of an old woman named June whose car is involved in an accident. Finding herself stranded without transportation, she uses Lyft for the first time, and discovers the abilities it has for meeting new people in her city. The appeals to pathos are evident, with the backstory of a widowed woman who eventually finds she has the power to connect to people through something as simple as a ridesharing app. The music is endearing and chosen selectively for each moment, highlighting the all-too human ordeals that June faces.

The colors of the video are warm and inviting, which works well because this commercial was shown primarily before YouTube videos. The fact that it was so visually appealing means there is a good chance the viewer will not be as tempted to skip ahead to their video. The bright, childlike visuals and illustrations are happy and endearing, and allow for the audience to connect tremendously with the events in the commercial. Each moment is timed perfectly with visuals, music, and storyline syncing up to produce a heartfelt short film and effectively entice audiences to use Lyft.

TOW #23: "What High Schoolers Are Actually Wearing"

What High Schoolers Are Actually Wearing is a film project started on YouTube by Lexie Lombard. The project features a variety of teenagers, each installment focusing on a different set of kids in a different location. They are asked various questions revolving around their personal style and creative expression, and the answers received are sweet and endearing, showcasing the varying trends and styles worn by teenagers across America.

This series speaks to me for so many different reasons, one being the diversity showcased in the episodes touches on the aspects of teenage culture that are often whitewashed and glossed over by the media. It makes a strong argument for representation of actual teenagers - not just fictional ones played by thirty-somethings on TV. Every aspect of the series highlights the uniqueness of the subjects featured, whether it's through lively music or silly text animation. The subjects chosen are diverse in fashion, personality, and looks, and highlight their diversity in the interviews.

Real representation of high school students starts with - wait for it - real high school students. This series is taking to the streets to ask teenagers their opinions on fashion, music, and art, but it's also not afraid to get personal and ask questions about friends and family as well as personal style. The series branched off recently into What High Schoolers Are Actually Thinking, which hosts discussions of the events going on in the lives of teenagers as well as heavy questions about politics and the world around them.

This project has inspired me to reach out and represent the real opinions of teenagers and young adults, something the media does not do very often. The experiences and lives of young people are just as important as those of adults, if not more so. We are the future.