…….I am writing to you (and to any other American who wishes to share in this) because I, like many Americans, want to help our country get back on track.  Call it a cry for help or a public plea of a distressed citizen, but I digress.

…….My personal situation is hardly the worst it could be: I’m a graduate student living with my parents and partially self-funding my education with my own personal savings (I’m taking out loans for the rest).  On the other hand, I graduated in May of 2010 and have worked a total of only five months since then at a variety of jobs, always for $12 an hour or less.  Compared to other people my age, I consider myself to be incredibly lucky.  Think about that – lucky to have a supportive, loving family that has the means to keep me afloat while I struggle to get out on my own, barely holding down a poverty-wage job.  It’s heartbreaking and discouraging to know that so many others my age aren’t so fortunate, and I wonder how their futures will unfold.

…….Mr. President, I donated to your campaign, voted for you, and have defended your actions to the people that I encounter who disagree with or disapprove of them.  I, and many others like me, were swept up by your lofty rhetoric and cool demeanor.  I genuinely believed that your election would spell slow but steady improvement in our lives.  You campaigned on hope, but since your election Americans have only grown more hopeless.  Our situations are worse off now than when you took office, and as of now, I will be neither voting for you nor donating to your campaign in the next election because honestly, I and many others in my position – the very same people who put you in the oval office – feel betrayed by you.

…….I am very much aware that you did not create the enormous problems that our country currently faces.  You didn’t enact the policies over the past 30 years that triggered an economic collapse that some Cassandras knew was coming.  You aren’t responsible for the way wages have stagnated for 30 years while corporate profits have skyrocketed.  And of course I cannot blame you for the disgusting gridlock in Congress.  But your failure to make any credible attempt to rectify any of our problems has now made you complicit in them.

…….You are now two and a half years into your term and have been nothing but a disappointment.  The way you refused to fight for a public option in the health care debate.  The way you refused to expend any political capital to punish the people whose recklessness and greed caused the collapse (and how your administration, bafflingly so, is resistant to any attempt at holding those people accountable)! The way you cave to John Boehner and the Tea Party every single time a confrontation arises, be it the debt ceiling or the date of your supposed major address on jobs.  The way you allow blatant falsehoods about the economy and policy to circulate like the bubonic plague while refusing to provide your own narrative of what has happened in America.  The way you try to negotiate with those who have made clear their only goal is to bring you down.

…….You do not lead, you preside.  By the same token, you do not compromise, you capitulate.

…….In fact, your governing style (or lack thereof) is mind-boggling.  Mr. President, you refuse to stand up for your supporters while you try to reason with the unreasonable.  The opposition party has made it clear that they have absolutely no interest in working with you.  Don’t you remember when Mitch McConnell said on the Senate floor that his primary political objective was to deny you a second term and to not solve our country’s problems?  I understand that good politics is about compromise, but when have any of your priorities not been sacrificed on the altar of bi-partisianship with nothing in return?  You just recently gave away the ability to regulate smog and got what in return?  That’s not a negotiated compromise, that is a giveaway – a sign not of strength, but of spinelessness.  You are actively abdicating your responsibility as President to be a leader.

…….Maybe I should have paid attention to the fact that you voted “present” more times than not in the Illinois legislature – a sign that you were afraid to do anything that might present an ounce of risk.  Maybe I should have thought twice when you tossed to the curb the man who married you and your wife, who was your “spiritual mentor” after a smear campaign comparable to John Kerry’s swift-boating.

…….Now, I have noticed how you stubbornly refuse to take positions beyond vague ovations of improving health care and appeals to a supposed American Exceptionalism.  At a time when the American people needed someone who would stand up for them, who would lead them and be unafraid to take a controversial position that he truly believes in, they mistakenly voted for someone who flees at the first sign of confrontation.  Franklin Delano Roosevelt, the man who said of the Wall Street banks (your campaign contributors) “I welcome their hatred” is rolling over in his grave.  Not only have you been an ineffective President, but also a failed Democrat – a party I was forced to abandon after years of active support when I felt that they turned on me.

…….I say with complete, unshakable honestly that I take absolutely no pleasure in doing this.  But with my firsthand experience and things I know about the current state of our economy, the trend is dismal, and reasons to be optimistic are harder and harder to find.  Your inability to successfully govern the country coupled with the undeclared war against the average American people by her own elites are causing America to crumble right beneath your feet.  I don’t even know for sure who’s side you’re really on anymore, the side of the people or the enemies of the people? Please be the president that I voted for in 2008. Otherwise, get out of the way.

………………………………………………………Sincerely in Frustration,

………………………………………………………Dave Imbriaco

______________________________

Photo courtesy of projectcensored.org

(http://www.projectcensored.org/top-stories/articles/22-obamas-trilateral-commission-team/)

NEW BRUNSWICK, NJ – coLAB Arts is pleased to present Waving to Solidarity, a one-month exhibition featuring the work of the emerging artists, Dave Peters and John Leschak, curated by Theresa Francisco. Our Opening and Second-Look Reception will take place on Thursday August 18th and September 15th from 7-10 PM at coLAB Arts (49 Bayard Street, 3rd Floor, New Brunswick, NJ 08901). These free receptions will feature complimentary wine, food, and live music. Custom made, interior design elements added by kliasi style.

Waving to Solidarity offers the viewer a glance at both meditative solitude and painful alienation through the artists’ formal conflicts with and emotional connections to, their environment and community. Dave Peters and John Leschak both work in a similar vein but their individual messages are quite opposite.

Dave Peters focuses on serene, biomorphic forms and quiet landscapes that are cerebral, captivating, and dream-like. Peters opens his subconscious and paints what comes naturally. This method often conjures up the repetition of imagery, creating both common, visual elements and narratives in many of his paintings. Even though Peters is very detail oriented, he wishes to keep his paintings ambiguous and open for personal interpretations. Dave Peters graduated from Rutgers University with a B.A. in Spanish Literature. Though colorblind, Peters is a self-taught painter and is working towards a full-time career in the arts.

John Leschak uses heavy symbolism to make a direct commentary on modern society. He contextualizes human passions, vices, and fears to illustrate their effects on relationships and the community at large. Though often depicting scenes of individual despair and powerlessness, Leschak believes his images can bring about a need for action and empowerment. John Leschak is a practicing labor law attorney at Weissman & Mintz and immigrant rights activist.

________________________________________________

CoLAB Arts is a non-profit organization located in New Brunswick, NJ, dedicated to the development and presentation of emerging local artists. coLAB Arts’ mission is to cultivate a hip, mindful, and inclusive Hub City community of artists, audiences, and critics, empowered to create inspired and inspiring art.

Part I: The Struggle

I have often heard people joke that the only jobs for college graduates these days are barista positions at Starbucks. Though this remark is often made in jest, it rings true to my ears as I have met many of my fellow young people who complain about their crappy low wage jobs. They should complain. They—we—have every right to be upset. The MAY Generation has incurred debts from either college or credit cards, or both, that near the cost of a car or even a small mortgage. Many have taken on this debt for the sake of higher education—an education that supposedly ensures better job opportunities upon its completion. There are several articles available to read on research that states that those who have a college degree will make more money in their lifetime because the work offered at that level pays significantly more than not having a degree would earn.[i] Under more stable economic circumstances, this assertion would be true. With growing debt and few prospects for a reliable income, many among the MAY Generation are questioning whether the college degree was worth it in the first place. Many of us are angry or may feel betrayed because of the lack of employment and the ever-rising cost of college. ‘What am I supposed to do now?’ is a question I often hear. So what are we doing? How is our generation coping with the unfulfilled promise of higher education?

The truth is that instead of competing with other college graduates for entry level jobs, today’s college graduates are competing not only with each other, but with others among our generation who have not completed a college degree, for minimum or middle wage jobs. This competition in turn only adds to the unemployment issue.

However, beyond the competition for barista positions, the MAY Generation is seeking out ways to defer or pay down debt or to gain job experience through unpaid internships or community service oriented opportunities. One such path is Teach for America. In 2009 around 35,000 applications were received for 4,100 possible positions. Last year the number of applicants increased by 11,000 to a total of 46,000 applications for only 4,400 openings. Back in 2006 there were only 19,000 applicants for 2,400 positions. The number of applicants has more than doubled whereas the number of available positions has yet to do so, even though there has been a noticeable increase in Teach For America opportunities.[ii] Others among the MAY Generation are joining the Peace Corps or partaking in other long-term commitment community service programs like Americorps or City Year in order to stave off debt or to wait for the job market to bounce back.

More and more I hear of recent graduates who are leaving the U.S. to teach English in another country (many to East Asian countries like Korea where the demand for native English speakers is high). The ‘Teach English Overseas’ gig is growing very popular from what I’ve gathered. It’s an exciting prospect for many because of the traveling and the ability to renew terms in case one chooses to stay longer. A large number of recent graduates among the MAY Generation are also going back to school almost immediately in order to not only continue to defer debt, but also to wait out the job market and try again to find a job when yet another degree has been earned and even more debt incurred.

Still—many among the MAY Generation are stuck in dead end jobs, continuously exploring the barren wasteland of entry level job opportunities. Discouragement spreads quickly when so many have so little hope. But this is no time for despair. This is a time for self-betterment—a time to get creative. With spare time building up between applying for jobs, or the lingering hours after a day at some in between job, or the time spent traveling—all this left over time breeds uncertainty.

I say, embrace the uncertainty. Harness it. Channel it towards something positive, something creative, something that exemplifies those parts of yourself that lay in wait while you do the things you must. Unleash those parts of yourself that a world built of hopelessness would aim to crush. Our generation has an opportunity to reach out to one another, to forge a connection because of our shared struggles. We have an unprecedented opportunity to come together and make our place in society and in this world—to show everyone what we’re really made of. The MAY Generation is smart, resourceful, creative, spirited, and adventurous. It’s time to harness those traits and put them to use in order to realize our collective social power and cultural influence. It’s time to start the MAY Movement.

Part II: The Movement

When I say ‘movement’ I do not mean marching in the streets with signs chanting “Employment Now! Employment Now!” We are not a labor union. But we cannot sit idly by. Inaction is not an option. Our movement is not a political one, but rather a social and cultural one. Consider what the MAY Generation is already doing to occupy their time: community service projects and teaching stateside and overseas. These pursuits are altruistic in nature and have a positive social and cultural impact. We have already started the movement; what we need now is to make our efforts widespread. One of our greatest assets is the fact that there are so many of us. Power in numbers, right? But like any movement that aims to be successful, we must first have goals and a sense of direction. What are those goals? In what direction are we, or should we aim to head?

The greatest obstacle that we face in pursuing this movement is not imposed upon us like the forces of nature or of the economy. Our greatest obstacle is overcoming the uncertainty within ourselves that has built up as a result of our uncertain place in the world. The first goal of the MAY Movement is to embrace uncertainty. What do I mean by that? How does one embrace uncertainty? The answer is remarkably simple: to embrace uncertainty is to accept it. The only way to accept it is to understand that our uncertain place in this world is actually a tremendous freedom. The author Andre Gide said “to know how to free oneself is nothing; the arduous thing is to know what to do with one’s freedom.” For us this means that to realize our freedom is the easy part; it’s what we should do with it that poses the real challenge.

The second goal of the MAY Movement aims to meet that challenge. As I said previously, this is a time to get creative, to exemplify what you’re good at; this is a time for self-betterment. How do you do that? You find ways to keep up with the things you want to do. Let me say that again, keep up with the things you want to do. So often I hear people our age say, “I work at blah place doing blah, but what I really want to do is this…” “What I really want to do is…” Don’t talk about wanting to do it. Do it. Make it a personal project. Maybe you’re an artist and you’d like to put your work out there: find a blog or an organization or a publication that needs some artistic know-how. Maybe you’ll write for a blog or for a free subjective publication like the Johnsonville Press—who knows! The point is to gain experience doing what you want to do. It may not be paid, but it’s a way to get better at what you want to do, to practice, to help out someone else who needs what you can offer. Let’s say for example that you speak a foreign language, but you can’t afford to travel: you could offer yourself as a private tutor at a local high school or middle school (perhaps even your old high school if you live at home). Many cities also have embassies and cultural centers that offer events, courses and various opportunities to meet and converse with people who also want to maintain their language. Whatever your trade, hobby or area of interest, you should seek out places where you can put them to use. Maybe you can make a little side money from these projects. You can even start something of your own creation and become an entrepreneur.

Just think for a second about the skills that our generation has that don’t even come from the education system. The MAY Generation is on the up when it comes to social media. That is a marketable skill. Just think about how many small businesses lack good social networking, like a Facebook page, or even a maintained website. You can help them with that while at the same time gaining valuable experience and building a network of people you’ve helped. The goal of these suggestions is to show you that there are many ways to keep up with the things you want to do.

By pursuing these personal projects you are opening the door to the third goal of the MAY Movement: networking. Networking is about mingling. It’s about conversing with people, giving them a sense of who you are and what you’re about. It’s about reading people and learning to understand the dynamics of professional and socially professional situations. If you want to be successful at networking you need to be a good observer. Good observations lead to good talking points in a conversation. You should also definitely get business cards that tell people who you are and what you do. Keep it simple; you can even design them yourself if that’s your trade. The exchange of business cards is always a good conversation starter. Networking helps you develop your conversational skills so that you become really good at telling people who you are. This is a particularly valuable asset in a job interview. Some people call it “knowing how to sell yourself,” but I’d say it’s more like “knowing how to confidently talk about yourself”. You are not for sale. Anyone who tells you that you are, you should avoid. If you can show someone that you know who you are, if you can assert yourself like that, then people are going to notice you. Confidence stands out.

Ultimately networking not only helps you develop your conversational skills and build a network of like-minded people, but it also leads to the fourth goal of the MAY Movement: Build a community. When pursuing these personal projects, I implore you to reach out to others in our generation. We can help each other and we can help other people. The most important thing to understand about this fourth goal is it’s meant to bring us together as a group—put us all on the same wave length so that we’re in tune enough to knowingly steer American culture. That is our power.

I say this to you: Don’t expect the world to give you what you’re looking for; a lot of the time you have to make it work for you. Don’t be afraid to put yourself out there. There will always be haters and appreciators. Put that aside. This is our moment. You can choose to commit to it or not. You can choose to do something creative for yourself or not. Embrace your freedom or let it pass? It’s your choice. I choose to embrace it. I will continue to do so here at the Johnsonville Press. And the Johnsonville Press will continue to be a space for the free exchange of ideas, a platform for anyone who chooses to pursue their personal projects in a public setting. We are already a part of the MAY Movement, and I invite you to join us.

More than anything, I implore you, the MAY Generation–my generation–to pursue your passions, to create opportunities for yourself, and to assert yourself in this world. Only then can we take our place in society as the social and cultural powerhouse that we truly are. Finally, you must remember that you are not alone in your pursuits. We all share these struggles. Lean on the people around you. The MAY Movement will be the most successful if we help each other out. For that reason, I am personally available to any of you who need guidance, advice, suggestions, or just someone to bounce ideas off of. Write to me and I will write back.[iii] I want to see this happen and I will do everything in my power to see that our generation finds success in the pursuit of our passions. Good luck my friends. I look forward to hearing from you.

[i] Benefits of College Education: 1.http://www.collegetocareers.com/10-benefits-college-education-2/; 2.http://education.yahoo.net/articles/college_degree_benefits.htm;
[ii] Teach for America:http://www.teachforamerica.org/newsroom/documents/PressKit_Overview.pdf;http://www.teachforamerica.org/admissions/;http://www.cbsnews.com/stories/2009/05/28/national/main5046901.shtml
[iii] Please email me at: johnsonvillepress@gmail.com. I sincerely hope to hear from you.

Photo courtesy of davidmusingsthoughts.blogspot.com
(http://davidsmusingsthoughts.blogspot.com/2011/03/generation-y-characteristics.html)

Exhibition duration: June 3 –24, 2011
Opening Reception: Friday, June 10 @ 6:30-10:30pm
Open Studio: Thursday, June 16 @ 7 pm
Curator: Jewel Lim
Multiciplinary Event: TBA

The Alfa Art Gallery is proud to present “Abstraction and the Creative Unconscious,” the joint exhibition of Peter Arakawa and Rita Herzfeld. The works of Arakawa and Herzfeld create a world of the nonrepresentational, often conceived in moments of instinct and uncertainty. Each piece in this exhibition began as a mystery with the first brushstroke and stresses the artist’s journey to reach a conclusion. The title of this show “Abstraction and the Creative Unconscious” highlights the process in which creativity fosters and is fostered by artists from all walks of life. For Arakawa and Herzfeld, the end results of these processes are phenomenal. Arakawa, who paints from his observations of daily life, successfully combines patterns and shapes that are unlikely together. In her work, Herzfeld’s brushstrokes are dominant players, suspended in a state of movement in a stationary painting. The works in this exhibition present themselves as if conceived in the midst of fresh inspiration, whether from the moving strokes or the busy arrangements within them. What this exhibition states is that there is ultimately no conclusion to the artist’s journey: the paintings, with theiruncontained “moving strokes” and busy environments, exhibit that solutions only create new mysteries so that new works can be given birth to.

About the Artists

Peter Arakawa obtained his MFA from Mason Gross School of the Arts at Rutgers University. He became an artist through the influences of creative family members. Arakawa has been a professional artist for over twenty-five years. His works are held in many institutions and museums, including the Zimmerli Art Museum, Newark Public Library, Jersey City Museum, the State Museum, Hunterdon Art Museum and Johnson & Johnson Corporation.

Rita Herzfeld attended the School of Visual Arts and City College of N.Y. and obtained her BA from Rutgers University. Inspired by her artistic mother, Herzfeld became an artist who grew up believing in the power that comes with creation and its processes from simple tools such as pencil and paper. Her works are held in the Hunterdon Museum of Art, the Zimmerli Art Museum and various private collections.

(click here to learn more about this event)

This program is sponsored in part by:

New Brunswick City Market

NJ State Council on the Arts

*

As she climbed the park bench her body, pale in moonlight, appeared young again. Her leg muscles tense in a concentrated effort of ambition, her loose white dress swaying gentle with a breeze. I stood idly below her, still in black, exhausted from the funeral service. She dismissed her sandals, tossing them to the flagstone pavement from her small pedestal. Was it an invitation to join her up there? Would I take off my socks along with my shoes? “Remember when we were young,” she asked, “you would hide all my shoes so I couldn’t run away any more?” The coy scent of liquor descended upon me. I nodded and gazed into the darkness of the park, into its still unblinking eye.

When I arrived at the bar to pick her up, she was already outside. Sitting on the ground, cigarette loose in her hand, drunk near oblivion. Her smile was deep with memory. Shadowed by a looming streetlight, it was malicious, self-serving. The same smile she had on when we found her after she had run away for the first time. She was only seven and made it two miles into the city. After the bartender told me she wasn’t welcome back anytime soon, she snorted and took my keys. Said she was in the mood for a walk.

“And Mom yelled at you when I started leaving barefoot,” she laughed. We both settled into silence. On the bench, she started balancing on one foot. Dad always said she had the legs of a dancer. It didn’t surprise me that she found her balance. But when I saw her bare Achilles tendon quiver with motion—the single heel ascending off of the bench’s wooden frame, her delicate toes bearing all the drunken weight—I inched closer and prayed that she wouldn’t notice me, waiting for the fall.

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Photo courtesy of wallpapersland.com.

(http://www.wallpapersland.net/wp-content/uploads/2010/04/park-bench-autumn.jpg)

Featuring: Carlos Frias, Dara Alter, Darren McManus, Michael Bransfield and Sam Ralston

The Alfa Art Gallery invites you to join us for an evening with the exhibiting artists of the New Brunswick Art Salon, Spring’11. If you missed the opening receptions on April 22^nd and May 13^th, this is not only the perfect chance to see some amazing works but is also the opportunity to get an inside look on the creative process of each artist. The artists will work on their respective art pieces at the Alfa Art Gallery as well as give informative talks on their inspirations.

About the Artists

Carlos Frias received his BFA in Painting from the Parsons School of Design. His recent works aims to highlight our humanity , creativity, relationships and  urges to grow and self-destruct while, at the same time, strip us of our spirituality and culture, representing humans as organic forms bound to decompose and regenerate. Additionally, his work visually demonstrates the parallel between what art is able to represent of the evolution of humankind and how much we want to preserve and manipulate art to represent the history of our species. He has exhibited in Japan, the Dominican Republic, Spain, and the United States.

Dara Alter obtained her degree in Studio Art from the University of Guelph. Heavily influenced by her cultural ties, she paints her memories of Israel in order to examine the North American Jewish nostalgia for an idealized nation. In the last five years, she travelled to South America, North America, Asia, and the Middle East, which additionally influenced her works. Alter is most interested exploring location and place as it relates to her personal experiences and uses a specific palette that corresponds to the scenery in a particular region. She has exhibited in Minnesota, New York and New Jersey in the United States as well as in Toronto, Ontario in Canada.

Darren McManus obtained his BFA in Drawing and Illustration from the Glasgow School of Art in Scotland, BFA in Experimental Studio and Illustration from the Hartford Art School and his MFA in Painting from the Cranbrook Academy of Art. He has exhibited in many solo and group exhibitions throughout the United States and won many awards, including a fellowship from the New Jersey Council State of the Arts, from the Virginia Center for the Creative Arts and from the Mid Atlantic Arts Foundation.

Michael Bransfield graduated with a B.A. in Humanities from Providence College. He later studied painting from the Massachusetts College of Art as well as at the New York Studio School of Drawing, Painting and Sculpture. He was also awarded a fellowship to the Yale-Norfolk Summer School of Art.  Bransfield has exhibited in many exhibitions in New York and New Jersey.  He has also served as director of the Metuchen Gallery.
Sam Ralston started painting in his early 20’s. He attended classes at the DuCret Art School and later enrolled at Kean College with an intention of becoming an art teacher but changed his major to graphic design. Throughout his career, he displayed his work in different venues and won a number of awards. He currently works as a graphic designer and paints in his spare time. He has participated in several shows in New Jersey, Maryland, New York and Connecticut.

This program is sponsored in part by:

The NJ State Council on the Arts

The New Brunswick City Market

Please note: Alfa will be open on Saturdays only by appointment and will be closed during August for summer vacation.

New Brunswick Art Salon, Fall 2011 – Call for Artists

About the Exhibition

In the 18th and 19th century, Art Salons were the greatest annual or biannual art events in the Western world, celebrating the farthest advances in academia and the arts. The Alfa Art Gallery, in order to bridge talented and highly esteemed artists with the New Brunswick public, holds its own Art Salon exhibition biannually in the spring and fall.

Call for Entries

The Alfa Art Gallery would like to invite artists to submit work for the New Brunswick Art Salon, Fall ’11. There are two artist categories: newly emerging artists and professional artists. All submissions must be in by September 25. Artists will be notified if their work is accepted by September 30. The exhibition opening will be held on Friday, October 21.

Theme

For this exhibition, artists must submit works celebrating diversity or unity in a community.

Submission Requirements

All applicants must be associated with New Brunswick as a resident or as an artist who exhibits in New Jersey. Students and faculty members of Rutgers University and neighboring schools may enter. You must at least be pursuing an undergraduate career to participate. Degree does not need to be related to art.  There is no limit to the number of works entered.

To enter for consideration, please email the following to info@alfaart.org:

RU Photography Club: Still Segues

Gallery Hours Friday 3-10pm Sunday 6-10pm

NEW BRUNSICK, NJ – Collaborative Arts is pleased to present Still Segues, a two-month exhibition that features the emerging artists of the Rutgers Photography Club, which is curated by Skyla Pojednic and Theresa Francisco. Our Opening and Second-Look Reception will take place on Friday April 22^nd and Friday April 29^th from 7-10 PM at coLAB Arts (49 Bayard Street, 3^rd Floor, New Brunswick, NJ 08901). The open receptions will feature wine and food and music by Alex Denman-Brice, Jeff Deppa and Damian Kulikowski. Normal gallery hours are Fridays 3-10pm and Sunday 6-10pm.

Mary Kate Riecks and Ceaphas Stubbs both use illusion in their work to create exaggerated or surreal scenes of movement.  Mary Kate focuses on the concept of kinetic energy by physically spinning, shaking, and dropping the camera to impose a forced movement. In other instances, she reworks her photographs by dragging colors, blurring or layering images. While Riecks focuses on physical movement, Stubbs creates optical illusions using patterned fabric that plays with the eyes’ ability to focus. He employs vibrating boundaries to create a confused space, which makes an otherwise static image appear to move on the gallery wall.

In contrast to Riecks and Stubbs, who both use the human figure as a supporting feature in their photographs, Samantha Kelly assigns people as the main characters in her images to elicit strong, spirited emotions from the viewer.  These moods are caused by her images of humans actively experiencing the world in a way that is very visceral and relatable.

Skyla Pojednic, Pablo Ruiz, and Matt Drews present movement within nature itself. As active members within the world, all three have gathered a great deal of images throughout their travels. Each has captured ethereal, otherworldly, or exclusive pictures documenting their journeys. Pojednic’s photos deal with gravity’s powerful control over the elements. The dynamic composition of her work not only shows literal movement, but also helps the eye travel harmoniously around the image. Ruiz creates epic and unfamiliar nature photographs.  He implements a single, central line to command movement through his pieces like a line across a page. Drews simulates the line through long exposures and slow shutter speeds, which clearly demonstrates his clever and resourceful techniques.  His patience and interest in meteorology are very evident in the rare images of a 9° and 22° lunar ice halo, which can only be captured when the clouds begin to move.

Emily Kohl-Mattingley sums up the show with her affirmation that life would not exist without the existence of energy, which supports all movement.  She captures many movements that the eye is too slow to see. She examines the relationship between a world filled with energy and a world in which the very movement and energy, which makes life possible, can so easily cease to exist.

Collaborative Arts (coLAB Arts) is a non-profit organization located in New Brunswick, NJ, dedicated to the development and presentation of emerging local artists. coLAB Arts’ mission is to cultivate a hip, mindful, and inclusive Hub City community of artists, audiences, and critics, empowered to create inspired and inspiring art.

But before I get ahead of myself, let me boogie on back to the beginning: Boston, the night of October 28th. I left work at my normal time and rode the train home as I usually do. When I got to the station in my town I ran over to my already packed car and drove directly to New Brunswick. Nothing like a four hour race to Jersey after a long day of work with Issac Brock, Jimi Hendrix, and the Eagles of Death Metal for company. I slept soundly that night after splitting a bottle of chianti with my hosts, who always put up with my silliness whenever I come to New Jersey.

The next day, a friend and former writer for the JVP met me at 8am. We visited the bank to exchange a bag of coins for cash, grabbed some pancakes at the Palace Diner, then hit the road by 9:30am. By the time we got to Baltimore, the party music was already bumping. We arrived at Alex G’s apartment around 1pm. The drive was shorter than I had anticipated. Somehow Alex managed to get us a serious hookup for parking. My little Masshole Jetta sat by itself in the half circle in front of his huge apartment building for the entire time we were in D.C. Thank you Alex.

After catching our breathe, resting our feet, and snacking to the tune of Nas for two hours, we set off on what would become a twelve hour drinking marathon. The only word to describe the nature of our situation during that time other than belligerent is excessive. Perhaps youth is cruel after all, or is it whiskey?

Regardless, youth is what got us out of bed the next day, armed with breakfast sandwiches, coffees, waters, cameras, film, and, of course, my press pass. While my driving buddy survived the twelve hour marathon, he did not make it to the Rally in time to meet up with Alex and I, so the two of us embarked on our mission to find a good spot at the Rally.

This endeavor proved to be most difficult. There were, literally, hundreds of thousands of people descending upon the National Mall for this Rally. When we realized that planting ourselves with a good view among the enthusiastic crowd was not going to work, we made our way outside the designated areas for the public attendees, and up toward the stage (which was about 5 blocks away). We took turns leading the way through the swarms of excited people; there were tons of young people, many in costume or carrying signs. I could say that young people made up the majority of the crowd, but I’d be lying to you. So in the interest of truth, I’ll tell you what I really saw. I saw babies– yes, infants– and their parents, and their grandparents, and their aunts, uncles, neighbors, their teachers, their preachers, and their future college professors. Every kind of person these babies will meet in their lives was at the Rally– except for Glen Beck, of course. I didn’t see him there, except on the giant TV screens when Jon and Stephen showed us what the platform of fear in the media looks like.

After forty-five minutes of weaving through the largest and most diverse collection of people I have ever seen or been a part of, Alex and I finally made it to the Press entrance. A press pass goes a long way, let me tell you. The security official inspected my pass and waved me to enter. I told him that my camera man (pointing to Alex) was also with me. The guard let us both through to the spacious, guarded press section, which came equipped with its private selection of portable potties! We were not only in great audio range of the stage, but our view was direct and close to it as well. We could actually see Cat Stevens and Ozzy Osborne perform together. We could really see Kareem Abdul Jabar come on stage to prove a point to Colbert on behalf of Jon Stewart: that he cannot make generalized statements about all Muslims hating Americans because it is simply false. We actually got to see Tony Bennett sing “God Bless America”; and we, or at least I, sang along with him.

Alex and I were lucky. We did not have to climb a tree, or climb on top of portable potties (even collapsed ones), or sit on each other’s shoulders to get a good view. We were not those people who tried to jump a guarded fence to find a better place to stand.

When Jon Stewart came out to make his speech, he thanked us all for coming out, and appeared to be humbled by the size of the crowd that had responded to his call. If I had to wager a guess as to how large the crowd was, I’d say there were at least a few hundred thousand in attendance. Still, that feels like a modest guess. After having been in that crowd, and having had a good enough view to see the magnitude of it, I would even go so far as to say that half a million people were there. Look at this shot, which was taken after the Rally had ended and we had walked several blocks away from the National Mall:

Consider this: the crowd you see in this photo is only a fraction of the people who attended. This is just one boulevard going off in one direction away from the Rally.

As soon as Stewart started talking, the crowd quieted down immediately and gave him their utmost attention. The level of respect for the man that I witnessed among the crowd was grand. More than anything, it was uplifting to see, to witness in real life how one person can reach across generations, ethnicities, religious backgrounds, and states, to peaceably unite an enormous group of people. There was an electricity in the air as he talked to us and grew more passionate. He talked about how every day in this country people find a way to take care of their responsibilities while working together; the only place this spirit of ‘working together’ does not occur is in government. He talked about how the outlet for people to express their grievances and their discontents with our government, the media, is the system that is broken. As Stewart talked to us, he moved around a lot on stage, gesturing with his hands as he grew more passionate. And while his passion was obvious, it was not overwhelming. It was just right, in fact.

Not surprisingly, when I got back to Massachusetts, people had hardly heard anything about the Rally, only what they’d heard prior to the event taking place. The question about the Rally that I answered more than any other was some version of this: “Was it really like Woodstock where everyone was… you know… (puts pointer finger and thumb to mouth to mimic smoking a joint)?” My answer: “No. It wasn’t like that at all. Not even in the slightest. People were there for the cause, not for music or for drugs. The spirit and energy of the crowd alone made that obvious.” What can I say really? People were attentive, respectful, eager to listen, and generally speaking, in good spirits. They really were. And as a result I felt connected to the people around me, even though I quite obviously knew none of them (except for Alex of course). For the first time in my short life I experienced that feeling of connectedness on such a large scale. The feeling is non-replicable.

But now reality settles in again. The media will (and did) treat the Rally as they see fit, not as it was. And while I felt inspired and empowered by Stewart and the atmosphere of the Rally, I find that at present, I have never felt more discouraged or powerless. Why the contradictory feelings, you might ask? Because here I am, sitting at my desk, writing this article, and I know that the connectedness is gone. Why is it gone? Because now, a week later, when the Rally has been successfully buried by the mass media, all I can feel is ignored. I feel belittled. And more so now than ever, I feel like change is neither imminent, nor possible.

Perhaps this is the great downfall of all political movements: what to do when the Rally is over. What do we do after we disperse and return home? How do we keep the spirit alive when our platform to do so, the media, refuses to acknowledge it, refuses to cover it, as if it never happened at all? A tree did fall in the forest. I was there to hear it. Hundreds of thousands of people were there to hear that tree fall. And yet, here we are, a week later, and no one knows that tree was there in the first place. It is a sad day for America when thousands of eager voices come together to be heard as one and someone turns the volume off.

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Original Publication Date: 11.08.2010

Last week I watched the children of a family friend. After leaving the house, I e-mailed the mother warning her about her child’s hair, since I had forgotten to shamelessly tell her such to her face. Apparently, my attempt at pretending that the child’s hair was challah in order to make a braid ended up giving the girl flowy waves for school the next day- mind you that her hair is usually pencil straight. It’s times like these when I truly reflect on my identity.

On occasion I fit into the stereotypical construct of a Jew and “tomboy”. Aside from the moments where I find myself picking up the dirtiest penny ever because, well, it’s a penny, I am usually closer to being considered a gay man than a “girly girl.” Many mock me for always announcing one identity over the other, but I find that my prioritization of identities highlights my true self, which partially has been created for me and I have created for myself. Granted my last name gives away that I am most likely of Jewish descent, I still accentuate my identity as a Jewish woman before any other aspect like my sexual orientation or religious and political beliefs.

I find it necessary to couple my gender with my main identity of being Jewish; after being ridiculed many times for looking too androgynous (seriously? me?!) and my entire Jewish education being a bit chauvinistic, gender has come to play almost as big of a role as my ethnic and religious identity. When fellow peers tell me that I’m intimidating, my initial [mental] response is “well, I’m a Jewish woman…and it runs in my family (thank you, Grandpa!).” Sexual orientation is more or less a social construct and while ethnic background may be considered such as well, I find it more relevant to a person’s makeup. Who you’re attracted to doesn’t mean as much as anything else; it’s more so about the relationship between you and someone else, and your identity should reflect more about you.

Focusing on my Jewish identity allows me, like other religious/ethnic identities, to take hold of the past. Denying my Jewish identity would be denying what has happened to my immediate family and how we came about as a generation. Although the argument can be made for sexual orientation as well, I do not find myself attached to all people who share my sexual identity; all straight people cannot feel connected to one another. Sexual orientation is just a minor identity while my being Jewish is more “macro.” Furthermore, sexual orientation does not involve much tradition and being Jewish is all about tradition. Sexuality, whether you are straight, queer, bisexual, or transgendered does not involve an adequate amount of tradition and culture when compared to ethnicity and religion.

LGBTQQIA people do not have certain “traditional” dishes on specified days or celebrations, though they may have alcoholic drinks that are deemed “gay” in bars. There may be rituals within the LGBTQQIA community but they are not shared or known to all within the community because of the constant change and making of history; Judaism has not added new rituals, for the most part, so nearly all rituals are known to most Jews within the community.

Additionally, for example, the flag used for the LGBTQQIA community is usually a rainbow but who said all of the members of that community like rainbows or understand why in the Lord’s name a rainbow is usually used to symbolize the community? Moreover, it must be noted that those in the LGBTQQIA community are quite diverse because they are everyone not considered heterosexual therefore making singular traditions and rituals within the community hard to find and agree upon.

On the other hand, the Jewish symbol and even the Israeli flag has a Jewish star- it’s our sign. It’s what many of our ancestors and families wore in the Holocaust- my family members were forced to wear Jewish yellow felt stars on their sleeves, announcing their identity, and later on we still wear Jewish stars but we took this symbolic representation back for ourselves. The LGBTQQIA community were not forced to wear rainbows while being scapegoated and then took that symbol back as theirs.

Announcing my religious/ethnic identity allows me to expand upon one of my identities: I’m not just Jewish, I’m an Ashkenazi Jew (Eastern European). This then usually stereotypes me as always being on time, but usually early, using everything with potatoes and paprika, and that I’m usually on the paler side (unfortunately, I did not inherit my Grandmother’s olive tone), which isn’t so far from the truth. Identities can sometimes be worn on one’s sleeve but by identities being so general in nature it allows for expansion and room for other identities to compliment each other.

Looking back at my last two years of Rutgers, I can finally grasp how people identify themselves. It’s not about what you’re necessarily born with but what you attach to most. When asked, many students would identify themselves as “gay” before announcing their ethnicity or religious background; this may be due to feeling more comfortable and/or accepted with this one identity or lack of open-mindedness that they possess other identities. Others would emphasize their age before telling me other relevant demographics. A majority of students assume I know aspects of who and what they are, skipping what they considered obvious like gender. Regardless, identity is a social construct and so we should take advantage of the construct we make use of and enable.

When I am asked “what are you?” it’s not a recorded slew of terms that I spew to each person; it’s a concise arrangement of terms that have been organized and prioritized for good reason. The distinction between “who” and “what” is that “who” requires a definition of focus on the demographics and details of who one is. “What,” on the other hand, focuses on personal experiences and history that make up a personal identity while taking into account current identities that a person labels themselves with. Next time someone asks “what are you?” give some thought before answering.

Photo courtesy of forward.com