Trinity School

139 West 91st Street, New York NY 10024

Editor in Chief: Mia Cuk
Noelle Chung Cleo De Rocco
Nan Dickerson
Advisor: Lauren Eng
Mr. Emery Vivian Fang
Aimee Flanigan
Graphic Design: Cindy Hou
Omar Abdelhamid Emily Jiang
Julia Kostin
Editorial Staff: Noah Lascano
Sabrina Broderick Nicholas Madoff
Christine Chow Maia Posternack
Cleo De Rocco Julia Sexton
Cindy Hou Riya Sinha
Nicholas Madoff Leah Teichholtz
Leah Teichholtz Emma Turner

Artists:
Photoshop:
Justin Betancourt
Vivian Fang
Sophia Ceriello
Noelle Chung
Writers:
Mia Cuk
Faith Anyasi Nan Dickerson
Montana Azzolini Vivian Fang
Justin Betancourt Sarah John
Sabrina Broderick Adam Meller
Sophia Ceriello Sophia Stellabotte
Noelle Chung Emma Turner
Christine Chow

1 Feature: Adam Meller
2 Art: The Connection between the Artist and the Ob-
server
3 The myth of a tortured artist
4 Art Therapy
5 The Science of Color Blindness
6 The Art of Synesthesia
7 Colors and Emotions
8 Art before Physical Safety: the Passion of Artists
9-10 Trinity’s Doodle Showcase
11-12 What do teachers think of doodling in class?
13-14 Strange Mediums: Lattes
15 Plating
16-17 Feature: Vivian Fang
18 Feature: Sophia Ceriello
19-20 Banksy’s Self Destructing Artwork
21-22 Richard Prince-Artist, appropriator, or thief?
23-24 A Historical Review of Salvador Dali
25-26 Amarna: an Ancient Egyptian “Renaissance”
27 Art As Propaganda in World Wars
28 Feature: Sarah John
29 Trinity’s Take on NYC’s Art Museums
30-31 Governors Island Art Fair
32-33 A Sketchbook Showcase
34 Should art classes at Trinity be graded?
35-36 Art School -- according to art students
37 Feature: Justin Betancourt
38 An Ode to Animation
39 Comic books and art
40 Feature: Nan Dickerson
41 How is paint made?
42 Feature: Cleo De Rocco
43 Art and Biomimicry
44 Bio-Art
45-46 Strange Mediums: Makeup
47 Feature: Sophia Stellabotte
48-49 Childhood Art Review
50 How Paint is Made
51-52 The logo behind Trinity
53 The Power of Composition and Negative Space
54-55 2018 Double Exposure Showcase
56-57 Feature: Mia Cuk
 “DRIVE IN”
BY ADAM MELLER

MEDIUMS: Stage Lights, Neon Sign, Photoshop, and a Person

DIMENSIONS: 6” x 10”
ARTISTIC MISSION STATEMENT: I’ve recently been exper-
imenting with multiple-exposure photography. This photo be-
longs to a collection of images in which I used multiple medi-
ums, including photoshop, to merge portraits with photos of
bright signs. Although I also enjoy more traditional photogra-
phy, I believe that creative photography can be equally engaging.

1
 the Art often acts as a medium to express
ideas and emotions. Artists can take fragments
from their lives and transfer them onto canvas
connection or into a photograph. For example, an artist
could choose to paint with thicker strokes or
darker colors to convey anger or sadness. Art
between is a two-way interaction between the artist and
the observer. By analyzing an artist’s choice of
the artist color, shape, or paint brush stroke, we can
make interpretations about the piece. What
we can’t determine, however, is the artist’s in-
and the tention. Just because a singer writes a sad song
doesn’t necessarily mean that the singer was
sad when it was written. For this reason, art
observer is often shaped as much by the viewer as it is
by the artist.
Artwork often evokes powerful emotions
lauren eng from the viewer, but these emotions can vary
from person to person. Put simply, art is per-
sonal.
For example, a person may look at a yel-
low dot and associate it with happiness, while
another person may only see a yellow dot. The
two people interpret the artwork different-
ly because they are different people. Art asks
us to self-reflect. How we react to songs or a
painting is determined by our individual bias-
es, backgrounds, likes, and dislikes.
Similar to how viewers can make different
interpretations, artists develop distinct styles
based on their surroundings. There have been
2
many different Western art movements rang-
ing from impressionism, post-impressionism,
fauvism, cubism, and Dadaism to abstract ex-
pressionism and pop art. These art movements
did not occur in a vacuum. They were a result
of the political, economic, religious and cul-
tural times of the period. Artists and their art
will continue to evolve as civilization changes,
building upon earlier beliefs, practices, and
traditions.
Evidently, art establishes a connection be-
tween the artist and the viewer. Artist Barbara
Kruger exemplifies this concept by asks view-
ers to apply their own meaning to her artwork.
In particular, her Untitled (When was the last
time you laughed?) is comprised of the text
“When was the last time you laughed?” in bold
lettering and colors. The direct question makes
people uncomfortable. Is she asking when you
most recently laughed? Or is she questioning
whether society laughs enough? The openness
of her question challenges viewers to think
about art from different perspectives and make
their own opinions about the piece.
Art allows artists to translate their emo-
tions and ideas into a piece and present them
to their viewers to be examined, critiqued, and
discussed. The relationship that art establishes
is important because it asks us to take a deep-
er look at the subject matter and allows us to
connect with the work.
 The
Myth of the
Mentally
Ill Artist
Nancy Dickerson
In popular culture we are bombarded with the
stock character of the “Tortured Artist.” Movies and
books love to play with the idea of the mad genius,
and it certainly does make for compelling stories. But
to what extent does this person actually exist?
In the late 20th century, there were a few studies that
seemed to demonstrate scientific proof that creative
people were more likely to commit or attempt suicide,
but these studies have since been widely criticized as
relying too heavily on anecdotal evidence, small sam-
ple size, and otherwise suspect methodology. More
recent studies, like one of 1.2 million Swedes from
the Karolinska institute, have found much smaller
correlation between artistic professions and mental
illness. Artists showed no marked increase in depres-
sive disorder, anxiety syndrome, substance abuse and
schizophrenia in most cases, however they did show
a 8% increase in manic depressive (bipolar) disorder.
Another study from Science Direct Journal showed no
major correlation of creativity and schizotypal symp-
toms. Specifically in terms of profession, the NCBI
(National Center for Biotechnology information)
published a study stating that artists/artistic profes-
sions do not rank as depressed professions. According
to this study, out of 104 loosely categorized profes-
sions, only three ranked as having over 10% of work-
ers with major depressive disorder, and none of these
were inherently artistic professions. In fact they were
lawyers, teachers, or counselors. When this evidence
is coupled with recent CDC information about sui-
cide rates per profession, it becomes clear that artists
are not necessarily more at risk for suicide than other
professions.
There has been some significant statistical correla-
tion of major historical artists and manic depressive
disorder. Unfortunately, there is a body of thought
This article mentions
mental illness and sui-
cide.
that being manic depressive can improve the quality
of a person’s art, or that art that is not created out
of pain is not worthwhile. This is simply not true.
While in some cases it can be said that the brief ob-
sessive focus and sleeplessness that some bipolar peo-
ple experience during manic episodes can be forces for
production, the work made is not always coherent or
beautiful. These periods of production are also usually
followed by severe and often life threatening depres-
sion, which is not conducive to making art or living
a healthy life. It is perilous to open the door to the
idea that mental illness is necessary for art, because
not only is that not the case for many working artists,
it also perpetuates a culture of artist not getting men-
tal help because they believe it will interfere with their
art. This mindset kills. Nobody can create art if they
are insane, deeply depressed, or dead.
Finally, it’s very hard to measure mental illness in
a large sample size, and it’s hard to create a metric
for creativity or creative professions. Many of these
studies asked people to rate creativity themselves, or
are based on a narrow range of “creative” jobs. This is
complicated because it’s hard to define what exactly is
a creative job. A person can be a creative venture capi-
talist or office worker. Even if you work in a job that is
very hard to do creatively, such as assembly line work,
that doesn’t necessarily mean you don’t do something
creative in your time off. If anything, trying to con-
clusively tell if most creative people are also mental-
ly ill creates more questions. Who can be considered
creative? How does one measure everyday creativity?
Does all of humanity share an impulse towards cre-
ation, in one form or another? Motion towards art
exists so diversely in humanity that it would be folly
to try and pigeonhole the experience.
3
 ART THERAPY
Cindy HOU
Art therapy is a form of mental therapy that
uses the process of art-making to spur creative
expression. It started around 60 years ago, when
doctors began noting that patients suffering from
mental illnesses enjoyed expressing themselves
through art. Art therapy can take the form of
several different mediums, including drawing,
painting, sculpting and music. It differs from
regular art classes, as it focuses on introspection
and self-expression rather than improving skill
and requires a certified art therapist. Although art
therapy can benefit all age groups, it is especial-
ly applicable to children as they tend to struggle
more with expressing their ideas.
How does art therapy work though? Art can
help people communicate, relieve stress, and ex-
plore subconscious facets of their personalities.
A qualitative 2015 study from researchers Haey-
an, van Hooren, and Hutchemakers consisted of
thorough interviews with patients undergoing art
therapy to understand its effects. They were able
to conclude that art therapy allowed patients to
improve their lives in different areas, including:
Art therapy can also help resolve internal
conflicts, as it allows people to express them-
selves rather than turning to drugs or bottling
up past traumas inside. In addition, it im-
proves self-awareness and self-esteem, allow-
ing patients to have more confidence in social
situations.
Research has additionally shown that art
therapy can also successfully help mitigate
physical pain and reduce depression. It not
only helps distract from pain, but also teaches
people how to control their mood.
Although art therapy is a relatively new form
of psychotherapy that still requires further re-
search, studies thus far show promising results
for the future.

-Self-image: Patients reported a heightened abili-

ty to focus on the present and become more per-
ceptive of their thoughts.

-Expression of emotions: Individuals were able to

better understand their thoughts and emotions.

-Regulation of emotions: Patients were intro-

duced to new ways of controlling their emotional
impulses.

-Shifts in behavior: Patients reported changes in

their behavior. Although it is unspecified as to
how, there appears to be a link with regulation
of impulses.

4
The Science of Color BlINDNESs
Cindy HOU
Color blindness occurs when people are unable to
see colors properly and have trouble distinguishing
between different colors.
In order to understand how color blindness works,
we have to first understand how eyesight works. Af-
ter light enters the front of your eyes through the
cornea, the retina in the back of the eye processes
the light to create an image. The retina contains
light sensitive rod and cone cells. The cone cells me-
diate light color vision and are separated into three
distinct types, which each respond to the different
wavelengths of light: long, medium, and short,
which correlate with the colors red, green, and blue.
Issues with the development of at least one type of
these cones are the most common cause of color
blindness. Color blindness is typically an inherited
genetic disorder that is passed down the X chromo-
some, making males more susceptible to it.
The most common type of color blindness is
called red-green color blindness, and it occurs when
either the red or green cones do not work properly.
This makes it hard for people to distinguish between
red and green, as the name suggests. A less common
type is caused by malfunctioning blue cones, which
can result in weak blue detection or total incapabil-
ity to see blue. Finally, the last kind is complete col-
or blindness—when two or more cone cells do not
work. This makes it hard to see any color at all, and
in extreme cases, people are only able to see gray-
scale.
A common test for red-green color blindness is
the Ishihara test, designed by Dr. Ishihara Shinobu
in 1917. It is composed of colored dots arranged to
form a number, which people with color blindness
are unable to see. Take the test below to see if you
have red-green colorblindness (answers are at the
bottom):
2) 12
1) 74
5
 THe ART OF SYNESTHESIA
Emily JIANG
Are you an artist? You just might be a synesthete.
Synesthesia is, according to Google
the production of a sense impression relating to one sense
or part of the body by stimulation of another sense or part
of the body.
In ordinary terms, synesthesia might be better de-
scribed as an “intermingling of the senses.” According to
research done, around 2-4% of people naturally experi-
ence synesthesia, and it tends to run in families - although
an experience similar to synesthesia can be produced by
drug use, brain damage, sensory deprivation, or even
hypnosis. Many synesthetes go through life without ever
realizing that other people don’t experience what they do.
However, synesthetes are naturally more drawn to artistic
pursuits, whether it be auditory, visual, physical, or other
types of art.
What exactly is synesthesia, anyways? Some synes-
thetes can hear colors, or feel smells, or taste textures.
Others might see facial expressions as having color, or
have sounds elicit a specific scent. In short, perceiving
something from one sense elicits a reaction from another
sense. The most common form of synesthesia is graph-
eme-color synesthesia - basically, graphemes like numbers
and letters “have” their own inherent color. Another com-
mon form, popularized by the media, is chromesthesia,
or sounds having their own inherent color. For example,
a C-major chord might elicit red, yellow, and green, while
a C-minor chord can have maroon, gold, and brown as
its inherent quality. Perhaps you can see how synesthe-
sia is intimately connected with art. A survey of fine-arts
students at three large universities, published by the Cre-
ativity Research Journal in 1989, found that there are over
five times the amount of synesthetes in the group of art
students than in the general population.
6
Synesthetes also scored higher on standardized cre-
ativity measures, such as the Barron Welsh Art Scale. Art
is created by seeing similarities in dissimilar things, ask-
ing questions, and venturing into unknown places. Syn-
esthetes already experience some form of connectedness
between unrelated sensations and it makes sense that this
skill would help in expressing other forms of connect-
edness in art. Lots of famous artists have synesthesia, of
various types. Duke Ellington had chromesthesia as well
as sound-texture synesthesia. In Sweet Man: The Real
Duke Ellington, the author recounts Ellington, who said
“I hear a note by one of the fellows in the band, and it’s
one color … When I hear sustained musical notes, I see
just about the same colors that you do, but I see them
in textures.” Melissa McCracken, a well-known paint-
er, is inspired by what she sees when she hears specific
music. Vladimir Nabokov, an accomplished writer, had
grapheme-color synesthesia, and talks about it in depth
in his memoir Speak, Memory. There are many ways to
find out if you do indeed have synesthesia. If someone
asked you, out of nowhere, “What color is the number
four?”, and you have a reply, then you might have graph-
eme-color synesthesia. If someone asks you to describe the
sound of a trumpet and a shape comes up in your mind,
or if the note G sounds orange to you, you might have
sound-color synesthesia. There are over eighty different
types of synesthesia, including spatial-temporal synesthe-
sia (numbers, dates, etc. have a physical space in a plane),
and odor-texture synesthesia (the smell of bananas feels
like sandpaper). All synesthetic associations more or less
stay the same throughout life, unlike synesthetic experi-
ences produced by drugs or hallucinations. For example,
3 is always yellow, and doesn’t change with associations
you make with it. If you do have synesthesia, that’s cool!
Synesthesia is classed as a neurological condition, not a
disorder, and doesn’t affect life negatively in most cases. In
fact, many synesthetes find that their synesthesia greatly
enhances their quality of life! So tap into that extra sensa-
tion and let it take you where it does.
CoLOR And Emotion
Sabrina Broderick
Have you ever heard the expression “seeing
red” to describe a time when you’re really an-
gry? This phrase comes from the connotations
that the color red represents: heat, violence,
blood, and of course, anger. I personally asso-
ciate anger with red, and to me, the little anger
guy from Inside Out almost perfectly captures
the feeling. Colors are closely linked to emo-
tions, and each person has a slightly different
connection to particular hues.
The five main emotions, as so beautifully
demonstrated in Inside Out (as you can see, I
really liked that movie), are happiness, anger,
sadness, disgust, and fear. There are obviously
more emotions, but this article would turn into
a book if I included them. I personally associ-
ate these emotions with the colors yellow, red,
blue, green, and black/grey, respectfully. Each I got mixed responses. Some of them said
color is attached to a specific memory of an yellow, like I did, and cited anything from
event or feeling in my life. For example, I think a memory to the classic yellow smiley face.
of the color yellow as happiness because of a However, one person said that she asso-
memory I have of my Dad and me when I was ciated blue with happiness. I was a little
a little girl. I remember running through Cen- confused at first, but then she explained
tral Park with him and my dog, finding a patch that blue is what she thinks about when
of yellow buttercups flowers, and sticking my she thinks about her family and the sea,
nose in a bunch of them because my dad told which are two things that she loves. It’s
me my nose would turn yellow. It’s such a small more of a calm kind of happiness, rather
moment, but it’s what comes to mind when I than my active feeling.
think of pure and innocent happiness. The contrast between my answers and
Before writing this article, I had just assumed my friends’ answers to the question of col-
that most people thought of colors and emo- ors leads me to think about what happi-
tions in the same way. To me, it seemed ob- ness is to different people. I’m not sure I
vious that blue would signify sadness or green have the answer to this, since I can’t ask
mean disgust. After all, no one had ever told me everyone. But what I’d like the readers of
anything to the contrary, and I never stopped The Sketch to do is just take a minute and
to think about it. To get a general sense of what think about it is that makes them happy.
people thought about this. I asked my friends And maybe, you can go do that when you
what color they associate with happiness, and finish reading the magazine!

7
 Art Before Physical Safety
Vincent Van Gogh is famous for his paint-
ings, but he is infamous for being the stereo-
type of the tortured artist. Tortured artists suf-
fer because of society, but continue to create
art despite of and often because of their pain
and suffering. Not only is the stereotype of a
tortured artist characterized by a frustration to-
wards their art and other people, but it is also
marked by mental and physical health issues
and dying young. New research suggests that
Van Gogh and other “tortured” artists’ issues
may have been exacerbated by their choice of
medium. Van Gogh often licked his brushes
as he painted, and the lead oil paint contained
with in them can cause a range of physical and
neurological afflictions.
When it comes to most oils, an artist is really
only in danger if she eats or heavily inhales the
oils repeatedly over a long period of time. But
this is more common than it sounds, and in the
past, when there was less knowledge about dan-
gerous effect of oil paints, it was very common.
Artists used to communally smoke and eat
8
Cleo De Rocco
while painting. One example is my class
monitor, who was hospitalized because of
his daily exposure to the dangerous chem-
icals that comprise mineral spirits, a com-
mon organic solvent used in painting. He
is not alone in his experience; many artists
have been hospitalized, been permanently
harmed, or even died because of their art.
Recently, there has been movement away
from lead-white towards titanium-white,
because of the harmful effects, including
developmental delays, abdominal pain,
neurologic changes, irritability, and even
death, that lead can have. Yet, the differ-
ent properties that lead-white has com-
pared to titanium-white can be critical to
an artist’s style and many swear by it. Art-
ists often knowingly expose themselves to
toxic fumes for their art.
Even before it was known that paint
and other materials contained toxic chem-
icals, artists knew of the danger of their
profession. Since the 1700s, the painting
profession has been associated with health
risks, and it is thought by their own ac-
counts, that artists such as Michelangelo,
Caravaggio, Goya, suffered ailments from
toxic exposure to chemicals. These artists,
are among the many, that knew their art
may have health risks, but continued to
create despite this knowledge. Artists’ vi-
sions and passions have been so great that
they have placed their art before not only
the social, personal, and political pressure
they have faced, but before health risks
too. This shows us that throughout histo-
ry, artists have put their art before even
their physical safety, speaking to the ful-
fillment that art provides and the power
inherent in its creation.
Community Art: What was

9
 Trinity Doodling in 2018?

10
 Doodling in class-- the age-old question. Every avid doodler has asked themselves
this question at least once in their lifetime-- what do teachers actually think about
my doodling? Are they secretly mad about it, and just aren’t telling me? Do they like
seeing me draw? Do they only tolerate it for some kids, and not others?
I myself am an avid doodler. Doodling helps me concentrate in class and keeps
me from doing other, more distracting things while listening to the teacher talk. I
contacted a few Trinity teachers and asked about their opinions on their students
doodling in class: do they like it? Tolerate it? Hate it? Or does it vary from student to
student?
Here are their thoughts!

MENT at occu
-
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LANGUAGE DEPARTME
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If they finish a test early, Ms. Sun
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really like students dood sting and creative. However
ling during class becaus , I don’t
e they can’t concentrate
drawing. we ll while

11
 I think th HISTORY
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12
12
12
LATTE ART
Faith ANyasi
Latte art is a design on the surface of a latte,
or other hot beverages such as cappuccinos,
made from pouring microfoam into espres-
so. Latte art was popularized in the United
States in the late 1980s by David Schomer,
after the introduction of microfoam. David
Schomer and Italian Luigi Lupi created the
first latte designs to be produced all over the
world.
Microfoam is the foam poured into the
espresso, created by steaming milk. Micro-
foam is produced in two steps. The first step
is to introduce air by placing a steam tip near
the top of the milk. This adds air to the milk
and results in the audible hissing sound heard
when a barista is making a latte. The second
step is to incorporate the air. The steam tip
is placed slightly deeper into the jug of milk
and the milk is spun in a whirlpool motion.
This allows the milk and air to form a com-
pletely homogeneous mixture.
The microfoam is poured onto the red-
dish-brown layer on the espresso, known
as the crema, and creates a design. The de-
sign can be created using several methods.
The first method is free pouring. When free
pouring, the barista holds the cup of espresso
at an angle and pours the microfoam directly
into the espresso, forming a design as they
pour. The second method of creating the
design is etching. When etching, the barista
pours the microfoam into the espresso, then
uses a pointed object, such as a toothpick, to
draw the design into the espresso.

13
 Many latte artists frown upon etching.
Free pour is viewed as skillful and technically
challenging, since it can only be performed
if all elements of the latte —the microfoam
and the crema— are created perfectly, while
a design can be etched into a latte even if
the elements of the latte are prepared poorly.
A third way to create a design is to create a
stencil out of metal, usually in the shape of a
flower, and pour cocoa powder through the
metal and onto the latte. This is primarily
used in fast food restaurants when creating
cappuccinos.
There are several designs that can be cre-
ated when free pouring, but the most com-
mon are the heart design and the rosetta, or
fern, design. The heart design is created by
pouring the microfoam into the espresso,
creating a circle, then sharply bringing your
hand back, creating a line through the cir-
cle and forming a heart. The rosetta design is
created by tipping the cup and pouring the
microfoam in until a small dot forms. Then
the pitcher is gently rocked back and forth to
create the rosetta design. These are the two
most common designs but several other de-
signs can be created.
There are several latte art competitions.
The most popular latte art competition is
the World Latte Art Championship, where
competitors have three minutes to create a
free pour latte design. Many people consider
themselves to be latte art professionals. They
recreate elaborate designs, such as Van Gogh’s
Starry night. Latte art designs are now con-
sidered a sign of high quality espresso and
are seen on lattes and cappuccinos in most
restaurants around the world.

14
 ARTIST SHOWCASE VIVIAN FANG
MEDIUMS: Digital Photography
DIMENSIONS: 2848 x 4288
ARTISTIC MISSION STATEMENT: This proj-
ect originally started out as a pho-
toshoot of Noelle so that she would
have reference photos of herself for
her self-portrait work in studio art.
I decided to take the most basic
portrait of her just sitting down
and looking at the camera.

MEDIUMS: Digital Photography

DIMENSIONS: 2848 x 4288
ARTISTIC MISSION STATEMENT: I usu-
ally shoot black and white film,
so when I shot digital this time
around, I wanted to stay with
the monochromatic theme, with
an added splash of color and and
some natural skin color. I also fo-
cused on the reflection of her eye,
so that there was the illusion that
she was glaring at the onlooker
rather than simply looking at her-
self in the mirror.

15
 MEDIUMS: Digital Photography
DIMENSIONS: 4288 x 2848
ARTISTIC MISSION STATEMENT: I was really focus-
ing on the outline of her body and how
the dress flowed nicely after her. As an af-
terthought, I had her look at the camera
through the corners of her eyes, giving the
photo a hostile air. This photo was particu-
larly challenging to edit because of the di-
versity of color that I am unused to dealing
with.

MEDIUMS: Digital Photography

DIMENSIONS: 4288 x 2848
ARTISTIC MISSION STATEMENT: I wanted to
do a close-up of the previous pho-
to and had her reveal half her face
to me. The close-up allowed me to
capture more detail in her face and
emphasize some of the facial features
that had been lost in the previous
photo.

MEDIUMS: Digital Photography

DIMENSIONS: 4288 x 2848
ARTISTIC MISSION STATEMENT: This photo was
shot on a window sill during midday, so
there was a lot of light streaming through.
I liked the subtle contrast it created be-
tween the top of her dress and the rest that
draped off the sill. I also included the cur-
tains and some of the wall to create some
additional contrast between the lighter
and darker colors.

16
 ARTIST SHOWCASE SOPHIA CERIELLO
Title: “Light From Above”
MEDIUMS: Digital Photography
ARTISTIC MISSION STATEMENT: I took
this photo immediately after
seeing how the light was inter-
acting with the beautiful curves
of the rocks. I thought that the
layering of the rocks worked
well with this light and I was
happy to be in the right place
at the right time to capture it
before the sun went behind the
clouds. It was interesting for me
to leave the dust filtering down
through the rocks, dust is usu-
ally the first thing to edit out in
a photo. In this case, however, I
think that it’s an important part
of the image, and in editing it
out I would have lost some of
the beauty here.

Title: “Passing By”

MEDIUMS: Digital Photography
ARTISTIC MISSION STATEMENT: I took this pho-
to while driving through the Midwest.
While all the landscapes I saw there were
stunning, I was inspired to capture this
view because it shows of the differences
in size and scope of the natural landscape
and the man made structures there. I
thought that it was particularly interest-
ing to see how, among buildings built
to hide in the landscape, the church is
designed to stand out and be seen from
far away. One aspect of the photo I had
to come to terms with after I had tak-
en it was the blurred foreground which
happened as I was moving in a car while
I took the photo. Though I could have
altered the photo or simply could have
cropped it, I decided that I wanted to
keep the sense of motion in the photo. It
was also difficult to decide how I wanted
to change the color balance while I was
editing the photo. Too red and yellow
and the landscape would seem too much
like a desert, too blue and green and it
would look to fertile.

17

The most delicious non-traditional art form is
food. Cooking on its own can be considered art
due to the vibrant colors of the ingredients and
the performance delivered by the chef. And when
plating is introduced into the process, cooking is
indisputably an art form. Plating as an art form
shares similar concepts to painting and sculpture.
Composition and color are at the forefront of food
presentation. And just as with other types of art,
food plating reflects art styles and conditions of
the time period.
Though plating dishes has become increasingly
popular in recent years, plating can be traced back
as far as the 18th century in Asia and Western
Europe. In Louis XIV’s court, multi-tiered tables
filled with elaborate structures made from food
was a standard of quality. European and Asian gas-
tronomie increased in formality, as the 19th cen-
tury progressed. In contrast, in North and South
America home cooking was favored.
Plating in the 1900s can be traced in tandem
with the major events of the century. For example,
during World War I and II and the Great Depres-
sion there was a dramatic decline in plating due to
prohibition and a lack of resources. The 1950s and
18
Plating: Food ART
emma Turner
60s mark a turn in plating as the U.S. becomes
more economically prosperous. Experiments
with food presentation become much more
commonplace at restaurants. Starches and
vegetables, which were traditionally served on
separate plates, were presented together for the
first time. During the following decades, por-
tion sizes become larger. In the 2010s, a dra-
matic shift in presentation has occured due to
economic disasters: portion sizes have become
smaller and protein is no longer the center fo-
cus of plating. Many chefs now opt for a land-
scape composition. There is generally one focal
ingredient with textual elements and a color
theme as well as a sauce drizzle of some sort.
This past spring, I had a small introduction to
food presentation in my Trinity Art class when
Mr. Williams brought in a chef to teach us how
to plate a dish. We prepared Crudo (a dish with
raw fish); I was immediately intrigued and per-
haps a little cocky. I was quickly hit in the face
with how hard it actually was. I learned many
things in this experiment. First, a drizzle does
not automatically make something look good.
Second, there is a time limit, unlike my usual
medium, which is painting. You can only touch
raw fish for so long before it gets nasty. Third, all
composition and colors aside, it still has to taste
good. Preparing my first plate, I was excited
about contrasting colors that I did not consider
taste on my first plate. For my second plate, I
was slightly more balanced between composi-
tion and taste yet still perplexed on how to get
a clean drizzle. I left the class with new found
respect for chefs and for plating as an art form.
 “It appears we just got Banksy-ed”
Banksy’s Self Destructing Artwork Leah Teichholtz
British street artist Banksy made headlines
on October 5th, 2018 with his latest stunt: the
shredding of his piece “Girl with a Balloon”
(2006). Just after it had been sold for $1.3 mil-
lion at a Sotheby’s auction in London, the can-
vas turned to strips as auction-goers looked on
in surprise and confusion. The entire shredding
incident was documented and posted in a for-
ty-seven second video on Banksy’s Instagram
the next day, attracting millions of views from
artists, collectors, and people simply intrigued
by the stunt. He captioned the video with a Pi-
casso quote reading, “the urge to destroy is also
a creative urge.”
Banksy is famous globally for his anti-con-
sumerism messages which he graffitis all over
the world, in locations as controversial as the
West Bank barrier between Israel and Palestine
to everyday walls and bridges in New York
City. His works are almost always are some
form of social and political critique, and
he often criticizes capitalism and the art
market. Putting a shredder in the frame
of his artwork should have ensured that
the work would fetch little on the mar-
ket and send a message to the art market
and auctioneers. However, the work was
only partially shredded. In a short video
Banksy posted on his website the next day,
he claimed, “In rehearsals, it worked every
time,” with apparent frustration that the
job wasn’t finished. Ironically, the piece
will likely fetch an even higher price, al-
though this was far from Banksy’s inten-
tion.
Some believe Sotheby’s was in on the
shredding, for they too hoped for some
publicity as a result. In response to the
theory, Sotheby’s said that they had “no
prior knowledge of this event and were
not in any way involved.” Sotheby’s said
that when they received the work as a gift
in 2006, a note specified that the frame
was integral to the piece as a whole and
should not be removed, which is not un-
common in the art world. However, for-
mer cop Paul Manning claimed that it was
impossible that Sotheby’s was not aware
of the stunt. Manning took to Twitter
to say that Sotheby’s security is “intense”
and “there’s no chance the frame wasn’t
screened and the device detected, prior
to auction.” Others questioned the casual
removal of the painting by Sotheby’s em-
ployees—one would think they might be
19
 afraid of their fingers being caught in the
shredder, or sharp metal sticking out from the
frame. None of this is enough to prove defini-
tively whether Sotheby’s was in on the secret or
not, yet it raises interesting questions about the
authenticity of the stunt.
Another question is whether Banksy was
present in the room at the time of the auction
and the shredding. Speculators noticed a mid-
dle-aged man filming the shredding, and angles
seemed to loosely align with the video Banksy
posted on social media. Shortly after, people
noticed a man being escorted out. However,
this certainly isn’t sufficient evidence to back
up this claim.
20
Despite the air of mystery surrounding
the shredding, it’s clear that Banksy has
recently and will continue to revolution-
ize the art world with his insane artistic
stunts. Whether Sotheby’s was in on it or
not is less important than the message that
Banksy meant to send, one of anti-con-
sumerism and rebellion from what is the
normal in today’s art world. What’s next
remains to be seen, but after remaining
out of the public eye for a couple months,
Banksy has proven that he hasn’t gone
anywhere.
RICHARD PRINCE
aIMEE FLANIGAN
When the plush businessmen on Madison
Avenue didn’t match up with the rugged male
specimens portrayed in Hollywood movies,
artist Richard Prince decided to make a state-
ment.
Born in 1949, Prince grew up just outside
of Boston. He was a normal, hoax-loving teen-
ager who embraced the counterculture of the
1960s. Prince first found his inspiration at one
of his many odd jobs after college. He worked
at Time Inc, distributing articles within the
company. He would often clip these articles
from magazines, separating the text and the
rich images. Prince began to re-photograph the
images he saw in adds and examine them out
of context.
When Prince first began appropriating im-
ages, it was part of a larger movement known
as the Pictures Generation, which questioned
authority and tradition. Prince’s work concen-
trates on American stereotypes by using decon-
textualized images such as the Marlboro Man
or nurses from the back of pulp fiction novels to
illustrate how easily the consumer accepts
marketing and advertising techniques
and the myths that these ads promote.
In the case of the Marlboro Man, Prince
comments on American masculinity and
rough individualism in society. Prince also
questions the repeated cliches that appear
in advertisements, and the viewer is forced
to consider what is familiar when looking
at an iconic advertisement without its
text. Although Prince originally began as
a photographer, he has dabbled in sculp-
ture, drawing, and painting as well.
Prince’s work is understandably con-
troversial. By scanning, copying, or ma-
nipulating the artwork of others, Prince
is often accused of being a thief. Prince’s
work creates a tension between copyright
rights of the original artist and the right
of artistic freedoms. Prince is known as a
postmodern artist, calling attention to the
meaning behind the art instead of simply
the aesthetic.
21
 In 2014, Prince opened an exhibit of por-
traits titled “New Portraits.” These are not ordi-
nary pictures, however. They were taken from
instagram, without the subject’s permission,
which has raised some eyebrows among the
public and other artists. Some subjects of the
photos were disgusted that Prince was making
a profit off of their images and that they were
not getting compensation. They argue that all
Prince has done is blow up portraits and paste
them on a wall, adding a few random com-
ments. But Prince’s “New Portraits” also ques-
tions what parts of ourselves we present to soci-

ety and how we do so.

No matter your opinion on Richard
Prince’s work, it is undeniable that he
has evolved with the times and managed
to keep his work relevant. Prince’s work
acts as a mirror for society to see itself and
comment on stereotypes and cliches that
are so easily accepted. At the same time,
however, viewers often feel that “they
could have done that.” And so the debate
over the value of Richard Prince’s work
rages on.

22
A HISTORY OF SALVADOR DALI
NICHOLAS MADOFF
Born in Catalonia on May 11, 1904, Salvador
Domingo Felipe Jacinto Dalí i Domènech, pop-
ularly known as Salvador Dali, was a prominent,
Spanish, surrealist painter. Dali created over 1,500
paintings in his career and numerous sculptures,
sets, and literary illustrations. A couple of his most
famous works are “The Persistence of Memory,”
“Sleep,” and “The Face of War.”
“The Persistence of Memory,” painted by Dali at
the age of 27, depicts several melting clocks with
a rocky outcropping and shoreline in the back-
ground. One of the key themes of this piece is the
fluidity of time, which Dali chose to represent us-
ing the melted clocks. According to Dali, he was
inspired to paint the molten timepieces after seeing
a Camembert cheese melting in the sun. Dali also
creates a contrast between the sharp and smooth
images in this painting, as the angular shape of
the coastline is foregrounded with the fluid, soft
outlines of the clocks. This contrast demonstrates
Dali’s goal of portraying the subjects of his paint-
ings with characteristics not usually inerent to
them, as neither the blocky coast nor the smooth
stopwatches resemble their normal selves. Lastly, a
swarm of ants can be seen gathering on an orange
pocket watch on the left hand side of the painting.
This gathering represents the process of decompo-
sition and the carbon cycle, which Dali was deeply
fascinated by.
The next painting on our list is “Sleep,” which
Dali created in 1937. It features a massive, mis-
shapen shaped head, held aloft by a series of sup-
ports. The head covers most of the canvas, and
is bathed in a bright blue light. Unlike the faces
in Dali’s previous paintings, the face featured in
“Sleep” in not a self-portrait, but in fact that of
an unknown person. Dali likely derived the title
of the work from his fascination with the realm
of the unconscious, as well as his interest in psy-
choanalysis and surrealism. In the painting, near-
ly every visible object is supported by a crutch,
a common motif in Dali’s work. However, their
pervasiveness in “Sleep” hints at the both the insta-

23
 bility of the image that Dali has created,
as well as as the volatility inherent to our
personal perceptions of reality. Dali gives
the image overall dreamlike appearance
through his use of subtle colors as well as
through altering the relative sizes of ob-
jects in the painting. For example, a castle
in the background appears to be the same
size as a small dog on the left side of the
painting, while the identical crutches seen
everywhere vary drastically in size.
The last image we’ll look at is “The Face
of War,” painted by Dali in 1940 (shortly
after the end of the Spanish Civil War and
at the beginning of World War II). Dali
believed that his artistic visions could serve
as premonitions of war, and nowhere does
he more reveal the horrors of conflict and
violence that in “The Face of War.” This
famous painting portrays an enormous,
withered face floating in a desolate land-
scape, while both of the face’s eyes as well
as its mouth contain smaller renditions of
the whole image. This repetition implies
the vicious cycle of war and destruction
that Dali foresaw, an impression that is
amplified by the many serpents that emit
from the face’s orifices. In order to em-
phasize the abhorrence of war, Dali used
a dark color palette throughout most of
the painting, which he hoped would both
frighten and disgust the viewer. Finally,
the head itself is withered and shaped like
that of a skull or cadaver, further height-
ening the sense of death and sorrow that
pervades this painting.
Though these paintings are only a few
of Dali’s most notable works, they convey
some of his most important messages and
ideas. With a painting style many would
consider eccentric or insane, Dali filled his
work with both chaos as well as poignant
statements about the human condition,
and the impression he left on the surrealist
movement still lasts to this day.

24
AMARNA Everyone knows the name “King Tut.”
The boy pharaoh has been in the limelight
of Egyptian history since the discovery of
Julia Sexton his tomb in 1922. And, of course, with that
discovery came the legend of the curse. So
many books and films have been centered
around Tutankhamun. He is unavoidable in
almost any mention of ancient history.
But even more influential were his par-
ents. After the death of his father, Amen-
hotep III, Amenhotep IV rose to pow-
er. During his reign, Amenhotep III had
gained some notoriety for supporting a cult
worshiping a single sun god, Aten, as op-
posed to the polytheistic religion that most
of Egypt followed. For the first five years of
his reign, Amenhotep IV merely continued
to promote the solar cult. Then, around
1348 B.C.E., his worship took a sharp
turn. Amenhotep IV changed his name to
Akhenaten, or “beneficial to Aten.” Akhen-
aten moved the capital from Thebes up the
nile and constructed the new capital, named
Akhenaten. Soon, Akhenaten ordained
that Aten must be the only god of Egypt
and eventually banned all other religions,
including the cult of Amun, which wor-
shipped the god of the pharaohs. Through
destruction and violence, Akhenaten and
Nefertiti successfully enforced the world’s
first monotheistic religion. After Akhenat-
en died, the Egyptians attempted to erase
him and Nefertiti from history, destroying
monuments and effacing any mentions of
the cult of Aten. King Tut, who was named
Tutankhaten by birth, restored much of the
damage done by his father. In the following
years, the capital was moved back to Thebes
and the many cults were reestablished; how-
ever, the impact of Akhenaten and Nefertiti
presents itself through art.
In just 17 years, Akhenaten and Nefer-
titi completely changed Egypt. From this
upheaval came a new style of art, known
as the Amarna style. To begin with, rather
than the animal and human figures of the
other gods, Aten was represented as a disk.
The following of Atenism focused on the
physical world. For instance, the location of
Akhenaten (now known as Tell el-Amarna)
is thought to have been chosen for the land-
scapes resemblance to the Egyptian hiero-
glyph for horizon. The stelas (upright stones
with engravings) and statues that have been
recovered from the site show similar patterns
of physicality. The figures in the scenes are
drawn in a naturalistic style. Much like the
Renaissance in Europe, there was a clear
25
 shift from the traditional, simplistic
and single-styled portraiture. The
hips were accentuated more, and
details were added to the hands and
feet as well as wrinkles to the neck.
The most obvious difference is the
look of the face. The statues and de-
pictions feature a long face and thin
eyes. Gone were the perfectly round
faces and the petit noses. Much like
the artistic revolution of Europe in
the 14th and 15th centuries, this
new style fit more realistically to
what they actually looked like.
This portrayal, especially in portrai-
ture of the Akhenaten, is shocking.
Rather than depicting the king as a
strong and powerful leader, he ap-
pears to be weak. The accentuated
hips make him seem effeminate,
and the odd proportions present the
king as sickly. Historians have had
many theories as to why Akhenaten
would choose to create the images
of his family in this style. One the-
ory is that he suffered from a disease
or genetic disorder. Instead of con-
forming to the standards of charac-
terization as many other pharaohs
had, he opted to invent a new style
of art. Another hypothesis is that
Akhenaten desired to be portrayed
as an androgynous figure because
Aten was a neuter god. Regardless,
the change in the technique was
revolutionary.
Although the reign of Akhenaten
was but a blip in the great history of
Egypt, the repercussions were vast.
The dramatic changes enforced in
the pharaoh’s seventeen year rule
can be clearly seen in the art pro-
duced, and even though the Egyp-
tians attempted to erase Akhenaten
and Nefertiti from their history, ar-
chaeologists have been piecing the
story together. Next time you visit
the Met, maybe you will be able to
recognize the statues and stelas of
the infamous 18th dynasty.

26
Art As Propaganda in World Wars
Julia Kostin and Maia Posternack
Art provokes emotion in viewers through subject
matter and symbolism. Vivid and symbolic images can
evoke empathy. Artworks illustrate the artist’s opinion
of the world, and the style in which the subject matter
is depicted can manipulate the audience into agreeing
with the artist. As a result, art is commonly used in
propaganda. In World War I and II, art and poignant
slogans were combined to entice Americans to join the
war effort.
This poster was created by Savile Lumley in 1915
to guilt men with families into aiding the war effort. It
depicts two young children asking their father about
his contribution to the Great War. The poster struck
the pride of fathers by telling them that their children
would judge them for their lack of patriotism. They
were not true men or fathers if they did not join. They
would not be praised for supporting their families at
home and also criticized for not protecting their coun-
try. Aiding the war was the only good decision. Oth-
erwise, they were selfish, unpatriotic people. Fathers
during the wars were emotionally blackmailed. The
posters suggested that the children would judge their
fathers based on their wartime efforts, rather than be
glad that their father stayed home to raise them.
uniform. His innocence will be ruined by the forced
These posters stirred up maternal and paternal feel-
enlistment of the militaristic Nazi State. The child
ings in American citizens. They depict young, help-
is grinning against a war-torn background while he
less children threatened by war. In the first poster, the
struggles to bear the weight of the huge cap. He
darkness of war endangers a carefree childhood. Kids
cannot protect himself from the overbearing force
are holding an American flag and playing, but they are
of Germany. In addition, the skull pin is placed over
under the shadow of the evil Nazis. The children are
his heart, representing how death will be a major
helpless, and there is no way for them to escape, and
part of his life.
the only way to save them is for adults to support the
These posters insinuate that innocent children
wars. The second shows an adorable child in a Nazi
will be harmed unless men protect them by buying
war bonds and fighting in the army. It is implied
that if men did not support the war, their children
would inevitably be harmed. Their childhood inno-
cence will be ruined by the enemy because of their
parents’ stinginess. This imagery of helpless children
made adults feel protective, under the assumption
that when it comes to saving a child, adults are will-
ing to do almost anything. As a result, artists used
these sentiments to manipulate adults into contrib-
uting to World War I and II.

27
ARTIST SHOWCASE SARAH JOHN

Title: “happy-go-lucky”
MEDIUMS: Waterpaint and pencil
ARTISTIC MISSION STATEMENT: As a student, I
am often faced with times of stress and
uncertainty about the present and the fu-
ture. To me, this drawing is a reminder
that, every once in a while, I should em-
brace such childlike joy, unburdened by
temporary worries.

28
 Trinity’s Take
on NYC’s Art
Museums
Sophia Ceriello
Figures presented below were compiled from
a recent survey of Trinity faculty and Upper
School students about art museums in New
York City. 38 responses were recorded.
Trinity is just a walk away from many
of New York City’s most popular art muse-
ums, and with such easy access to them, you
might wonder, “What is Trinity’s favorite
NYC art museum?” After surveying Trini-
ty’s faculty and Upper School students, we
finally have an answer.
The Metropolitan Museum of Art wins
the title of Trinity’s favorite art museum with
43% of the vote. Other favorites include
the MoMA (24.3%) and the Guggenheim
(10.8%). Surprising? Maybe not— these
three also rank the top three most-visited
art museums in New York City, and in the
same order, too. It’s easy to see why these
museums draw so many people, within and
outside of the Trinity community. The Met
itself is home to nearly two million pieces
of art from five millennia of human his-
tory, and is the fourth largest art museum
in the world. The MoMA draws over three
million visitors each year, and though the
Guggenheim is smaller, with only a little
over a million visitors annually, its exterior,
designed by Frank Lloyd Wright, makes it
one of the most distinctive art museums in
the world.
While Trinity’s preferences seem
to line up with the most touristy and
well-known art museums in the city,
only 10% of faculty and students re-
sponded that they thought the city’s
art museums were “too touristy”. An
overwhelming majority of respondents
thought that NYC’s major art muse-
ums were worth visiting, and close to
20% said that they were better than
other cities’ art museums. Even work-
ing at or attending a school in a city
surrounded by such an impressive col-
lection of art museums, 30% of the
faculty and students said that they vis-
ited art museums “rarely ever,” or only
once a year. A majority (60%) replied
that they visited art museums every
few months and 10% claimed that
they went more than once a month.
Now it’s been established that many
Trinity faculty and students do visit art
museums more than once a year, the
logical next question would ask what
their favorite types of art to see are.
Three out of four of those surveyed
said that paintings were one of their
favorite things to see, half responded
that photographs were among their
favorites, and the only art collections
that people liked seeing less than the
gift shop were textiles. Sorry, textiles.
29
 Yes, art classes at Trinity should be graded. Here’s why:
Leah Teichholtz
Art classes at Trinity should be graded. Last
year, Performing Arts were pass/fail and Visual
Arts were graded on a letter scale, just like oth-
er academics and electives. This year, both de-
partments are pass/fail. I believe that arts classes
should be graded, but under a different criteria
from what is typically used for academic classes.
Making classes pass/fail reinforces the idea that
the arts are of lesser importance than academ-
ics, and that they should be taken less seriously.
Trinity’s entire Visual Arts department is already
cloistered into a small hallway adjacent to the
library’s study section. Arts at Trinity are under-
valued in the school’s graduation requirements:
students only need to take three semesters of
any arts courses, while they need four years of
English and three years of math. I don’t mean
to criticize the lack of arts appreciation in this
school, but it’s clear that within our Trinity com-
munity, arts are generally valued at a level miles
below academics and athletics. Not grading arts
classes isn’t going to solve that problem. It only
reinforces the idea that these classes should not
be taken seriously, and that the work done in
them is irrelevant.
If arts classes are ungraded, students who go
above and beyond are recognized no more than
students who do the bare minimum. Classes
at Trinity, which is considered to be a rigorous
school, should require hard work to excel in and
reward those who put in the effort to improve.
This reward could be a good grade, or it could be
the accumulation of new knowledge and skill—
usually, a student gains both. I don’t believe that
it should be excessively hard for a student to pro-
cure a good grade in an arts class: students who
pay attention, are respectful, do their homework,
and complete assignments to the best of their
ability should succeed. However, it concerns me
that students who might exhibit none of these
traits can pass a visual arts class: what is this say-
30
ing about the rigor, or labore, of our school that
we value so greatly?
The criteria for grades in visual arts classes
should be different, but not drastically so, than
those for academics. Tests in math are an evalua-
tion of how well you can implement techniques
taught in class to solve problems. The grade of a
sketch for an art class should take into account
how well you can use techniques from class as
well as the apparent effort put into the piece. It
is unrealistic to expect perfect proportions from
students in an introductory art class, but if their
work indicates a genuine attempt to use appro-
priate methods for accurate perspective, it merits
an A. Furthermore, art is subjective, so a teacher
might not even be able to grade it well, even if
the perspective, to go back to the previous exam-
ple, was perfectly done. In short, effort and im-
provement over the semester should be the most
important factors in determining a student’s
grade. I don’t doubt that this was occurring pri-
or to the decision to make visual arts pass/fail, so
I see no reason not to return to last year’s letter
graded arts classes.
There is no justification for visual arts being
pass/fail classes at Trinity. Such a choice hurts
hardworking students, whether they consider
themselves artists or are just students trying to
fulfill graduation requirements. It is detrimental
to teachers, who could have an more unfocused
class with students who care less about their
work. One could argue that this choice gives
students one less class to be stressed about, but
I don’t believe an arts class would be stressful,
graded or not—stress comes from tests and col-
lege applications, and art is actually often used
for stress therapy. We should focus on reinforc-
ing the tenet of labore in all classes, arts and aca-
demics, and that begins with making arts classes
reward hard work with a grade.
Governors Island Art Fair: September 30, 2018
Chrtistine Chow
On September 30, the Visual Arts
Club took a trip to the Governors Is-
land Art Fair (GIAF), which was held
by 4heads, a nonprofit co-founded by
artists Laemmle, Robinson, and Zito.
GIAF encourages “conversation be-
tween artists and visitors and [challenge]
the established fair paradigm as one ex-
clusively for art connoisseurs” (4heads.
org). The fair was open on weekends,
starting on September 1st and con-
cluding on the day Trinity visited, and
featured work from around a hundred
artists in various rooms and hallways in
houses on Colonels Row, as well as on
the grounds of the island.
The 4heads founders claimed that
the Colonels Row houses were historic,
and it’s easy to see how — the too-nar-
row staircases, peeling white wallpaper,
and unvarnished floors testify to their
well worn age in every room and every
house. However, attention really gets
drawn to what’s in the houses: the art.
Works lined the walls, stood smack-dab
in the middles of rooms, and even hung
from ceilings. The unassuming back-
drop provided a perfect compliment to
the larger-than-life presence of murals,
paintings, or sculptures, creating a sort
of minimalistic yet extravagant aesthetic
which further engaged the audience.
The art itself was bizarre, yet somehow
fascinating. A statue of a hammerhead
shark with skin like a disco ball caught
everyone’s attention. Similarly glitzy
decorations and plastic waste was taped
onto the walls and was strewn across the
floor of the room in what could be an
attempt at raising awareness towards the
trash polluting Earth’s oceans. A work re-
sembling a cave, lined with rolls of pages
from
31
 books which look a bit like intestinal vil-
li, or the satisfying sheets of smooth, air-
dried acrylic paint which were almost
impossible to resist touching were also
eye-catching.
Some of the artists were at their instal-
lation or exhibit, and the Trinity crowd
got to meet the 4heads co-founders, who
had a casual camaraderie and openly
ribbed each other. One of the co-found-
ing artists, who the others claimed
couldn’t be kept away from his paints,
explained the thought process behind a
complex monochromatic mural of his
and how he used a binary pattern of 1s
and 0s to form a sort of dichotomy be-
tween heaven and hell, along with recur-
ring images referencing of addiction to
technology.
One article could not possibly cover
the abundance of content, nor could the
entire gaggle of Trinitarians on the trip.
32
The ground that was covered was cer-
tainly fascinating, making GIAF worth
looking further into. It is exceptionally
accessible and thought-provoking, and I
think that in creating a safe space for art-
ists and audience members without any
of the elitism pervading artistic galleries
or exhibits to touch the island, 4heads
have accomplished their initial goals.
The fair will likely be held at the same
place and approximate time as it has for
the past eleven years, and more infor-
mation will be available on the 4heads
website mentioned at the beginning of
this article, should anyone reading this
article be interested in attending. The
website also has an expedient list of the
artists featured at the fair, as well as links
to their websites if you’d like to check
out some art from the comfort of your
home. I’d certainly recommend it!
 I recently started a new
sketchbook devoted exclu-
sively to pens. Though I
strongly dislike drawing with
them -- the permanence,
the smudging, the blotting
Sketchbook Tour Noelle CHung

-- I decided to face my fears

with practice!

33
34
Art School, According to Art Students
Montana Azzolini
Is art school worthwhile? What do the
interests and ambitions of an art student
look like? What are the pros and cons of
attending an art school?
In an effort to answer these questions, I
surveyed thirteen students either currently
or previously enrolled in art school. To en-
sure the answers I received weren’t specific
to any one institution, the survey reached
out to students from four different art
schools: one in New Jersey, one in Penn-
sylvania, one in California, and one in Al-
berta, Canada. The interests of the partic-
ipants were wide-ranging; areas of artistic
focus included filmmaking, various types
of instrumental music, drawing, writing,
installation work, digital art, several styles
of painting, fiber arts, photography, act-
ing, and culinary arts. Despite the diver-
sity of the participants, several clear trends
emerged.
To begin, one surprising revelation was
that many art students had no interest in
any artistic career path. Only 30.8% of
the participants were sure of their desire to
pursue art professionally; an equal amount
expressed no interest, while the remaining
38.5% were unsure. Similarly, the major-
ity of students either did not plan to study
art in college or were undecided, although
this poll did not account for what amount
of respondents actually planned to attend
college.
For some students with career ambitions
outside of the arts, a lack of focus on other
academics proved frustrating. While the
majority of responses indicated that stu-
dents were satisfied with non-art academ-
ics, two felt definitively that their school’s
academics weren’t strong, while an addi-
tional three expressed mixed feelings. Lack
of academic rigor was especially concerning
for students such as Kiarra D., who did not
plan to pursue art either professionally or in
college. “I don’t feel prepared at all to take
diplomas here in mainly english and social,
due to the lack of preparation given,” she
wrote. “Academic opportunities outside of
school are rarely brought to the attention of
students.” Mara D. felt that while her art
teachers were “fantastic,” some of her other
teachers “don’t know what they’re doing.”
Academics weren’t the only opportunities
that seemed to be subpar in some cases, as
three students also complained about the
lack of athletic offerings at their schools.
Chelsea M. summarized the sentiments of
many participants, writing, “I don’t really
get a ‘real’ high school experience.”
One other recurring issue students
raised was that they felt constrained in the
mediums they were allowed to pursue. Ja-
mie S. wrote, “You are sectioned off into
a specific major and can’t really dabble in
others, I would really enjoy a visual or lit-
erary art class but I can’t take any [because]
that is not my major.” An anonymous stu-
dent agreed that he wished faculty “were
more open to people wanting to try oth-
er art forms,” and Camilla T. wished that
“students were given more of a chance to
help with main stage productions on roles
other than acting, such as set design or
stage tech.”
35
 The last common complaint
raised was favoritism, both towards
certain artistic mediums (particu-
larly theater, according to two re-
spondents) and towards individual
students. Garrett W. explained,
“Not every art program gets the
chance to showcase their work. It
sometimes feels like programs such
as theatre or dance get 80% of the
spotlight while the rest (band, me-
dia, writing, guitar, etc) have to
compete for the other 20%.”
In spite of their complaints,
one near-consensus participants
arrived at was that art school, un-
surprisingly, helps students pursue
art more effectively than tradition-
al school environments. Only one
student thought that a traditional
school they had attended in the
past valued art as highly as other
subjects, with the other responses
ranging in intensity from simply
“no” to an emphatic “not at allllll”
(that’s six “l”s, if you were wonder-
ing). On the other
36
hand, 100% of the participants felt
that art school classes helped them
improve in their medium and all
felt that art school prepared them
well, “somewhat,” “to an extent,”
or “decently” for an artistic career
path. Garrett W. wrote, “Without
those classes I wouldn’t be nearly
as passionate about art as I am.”
Chelsea M. echoed his sentiment,
writing, “I was pretty bad last year.
The cello was more of a hobby for
me, so I didn’t take it too serious-
ly. My school has definitely helped
me get better.”
All in all, the survey results
showed that art school is like any
good, traditional school - flawed,
but effective at helping students
develop and learn. Despite the
challenges they faced, all thirteen
survey participants were able to
pursue their passions and improve
at what they loved as a result of
their educational experience.
 “Captain Falcon”
BY Justin BetanCourt

MEDIUMS: Paper, Pencil, and Colored Digitally

ARTISTIC MISSION STATEMENT: Super smash Bros is one of
my favorite video games and Captain Falcon is one of my favor-
ite characters from there. It was hard to get the proportions of
his helmet correctly. I originally drew this on paper with a pencil
and then took a picture of it with an iPad. I used an app on the
iPad to trace the drawing and color it digitally.

37
 AN ODE TO
ANIMATION
Noah LASCANO
I watch a lot of stuff. I watch action movies, I watch
dramas, comedies, even the occasional rom-com. And
a lot of it is pretty good. But it all pales in comparison
to anything properly animated. It’s incredible to watch
a movie or a TV show and know that the beauty you
are watching is created, not captured. And the anima-
tion (when it’s good) is so incredibly detailed. In The
Incredibles 2 trailer, you can see the lint on Mr. Incred-
ible’s polo. Why was that animated? No one is going to
see the lint on a t-shirt. No one cares that much about
a character’s wardrobe. But they did it anyway. This in-
credible (pun intended) attention to detail makes ani-
mated movies special. In the average movie, something
like a set detail or a cool shot is taken for granted. But
in an animated movie, someone had to dedicate time
to making it. While I do think that modern Pixar and
Disney animated movies look incredible, I appreciate
older, traditional animation much more. Tradition-
al animation draws each and every frame. Watch an
episode of Tom and Jerry. (I loved watching a mouse
outsmart a housecat at every turn. He’d hit him with
frying pans, make him walk into rakes and hit himself
in the face with it, literally blow him up with the larg-
est stick of dynamite ever put to film.) See how many
frames there are in an episode. Someone had to sketch,
ink, and color that. It’s super tedious, super annoying,
and incredibly time consuming. This is why animation
is so incredible. Every second of the film is filled with
passion for the project. No one would willingly sub-
ject themselves to drawing the same character 30 times
just for one second of animation. The people working
on these older films and cartoons must have been sick
in the head.They still came in to the studio, drew for
eight hours a day, clocked out, and came back in the
next day, and started the cycle again. And it shows. The
incredible cartoons and films made in this era still look
incredible today. Putting in so much work made their
product eternally beautiful.
38
 ComiC Books
and Art
JUSTIN BETANCOURT

Comic books are as much about the art as they

are about the writing. Some comic book art-
ists are so distinct that they are associated with
an entire era of the character’s history. Peo-
ple also have arguments about which one has
the best designs. For example, Jim Lee’s Bat-
man is completely different from Frank Mill-
er’s or Greg Capullo’s. The art in a comic is
what separates it from novels. A panel without
text can sometimes say more than what can
be conveyed with words. The pictures make
the whole world of the comic immersive and
make you feel like these characters are real.
They make the events much more interesting
besides reading about them. The art can also
evoke the tone. Just knowing the plot usual-
ly doesn’t necessarily tell you the tone of the
story. Comics can often be really campy, but
some are gritty and serious. The art helps con-
vey this. Some comics are bright and colorful
with a cartoony artstyle. Others are very re-
alistic and dark. Some artists make the art a
different tone to fit a new direction a character
is going in. Superman used to be a lot more
light-hearted, simple and a little cheesy. In re-
cent years, he has become more edgy and less
perfect, so the art has changed as well. Super-
man no longer wears underwear on the out-
side of his pants like he used to. In this way,
the art of a comic can tell you about the time
period the comic was made in.
39
ARTIST SHOWCASE NAN DICKERSON

Title: “Teenage Angst”

MEDIUMS: Red, blue, pink, green and
black pens
ARTISTIC MISSION STATEMENT: I made this
piece when I was grappling with some
hard times in my life, and realized I
hadn’t been creating art as I was wor-
ried it would be too angsty and bad.
So I made a challenge for myself: get
some of that angst out on a page. I’m
satisfied with the result.

40
 HOW IS PAINT MADE?
NICHOLAS MADOFF
Though paint and other similar forms
of decoration have a long, storied past, the
creation of modern, ready-mixed paint oc-
curred much more recently: 1867. Though
paint-making technology has evolved con-
siderably since 1867, the same basic formu-
la for paint is still used by artists and man-
ufacturers today. All paints are composed
of 4 basic kinds of ingredients: pigments,
solvents, resins or binders, and additives.
Pigments are responsible for giving the
paint its color. There are hundreds of dif-
ferent pigments, which are both found in
nature and created synthetically. Common
examples of pigments are titanium oxide
(which creates a white paint) and chrome
oxide (which creates a bright green paint).
Solvents are responsible for making the
paint flow better (hence their alternative
name: thinners), and are frequently low vis-
cosity, volatile liquids. Some common sol-
vents are acetone, turpentine, and naptha.
Resins hold the paint together, and prevent
it from cracking or wearing off due to ex-
posure. Though resins can be easily extract-
ed from plants, the most commonly used
resins are synthetic. Examples of resins are
polyurethane and epoxy.
Lastly, additives can confer a variety of
properties onto paints, changing everything
from their smoothness to their thickness
41
and drying time.
While the actual process of making
paint can differ when it comes to spe-
cifics, most paints are made using the
same basic procedure. First, the pig-
ment is premixed with a resin as well
as some solvents and additives to create
a paste. Next, the paste is placed in a
sand mill, that will pass sand particles
through the paste in order to grind up
the pigment and distribute it through-
out the mixture. The paint is then
thinned in large containers, where the
correct amount of solvent is added
to create the desired paint. Lastly the
paint is then pumped into a storage
area, where it is canned and then even-
tually shipped out.
Hopefully, this was a helpful over-
view of how paint is made. In addition
to the highly specialized, industrial
methods, it is also possible to make
paint at home using simple ingredi-
ents that you can buy at your local
hardware store. Common pigments
for these sorts of paints are often food
coloring or mineral powders. If you do
choose to make your own paint, it can
be difficult, so don’t be discouraged. In
the words of Bob Ross, “we don’t make
mistakes, just happy little accidents.”
ARTIST SHOWCASE CLEO DE ROCCO

Title: “My Journey as a Beginning Painter: Oranges, Man, Eggplants, and Donuts”
MEDIUMS: Oil on Canvas
Dimensions:8X10, 8X10, 8X10, 11X14
ARTISTIC MISSION STATEMENT: Painting is a new medium for me. This year I have been exploring painting and
these are some of my first paintings. Each painting was completed in a two-hour to four-hour sitting.
I begin painting with three paintings (the Fruit Collection) that explore complementary colors: the oranges are
orange on blue, the apples are green on red, and the lemons are yellow on purple (pictured). Through doing
these paintings, I learned how to mix color and how to utilize color theory.
This portrait of a man was one of my first paintings using a paintbrush and I had a lot to learn in terms of using
one. I also learned a lot about how to create shape with shadow. In my painting of two eggplants, I tried to
capture the unique curve of eggplants and the diversity of red and purple tones within an eggplant. My painting
of the donuts is inspired by Wayne Thiebaud’s work. I focused on how shadows help create form, depth, and
and dimension.
For a long time, I didn’t paint because I never felt like I was a good painter, but by never painting, I
never developed my skills. I don’t feel as confident yet in my painting skills as I do with my drawing skills, but I
am working steadily towards loving and believing in my painting. I can’t wait to keep painting and to get better
at it!

42
 Biofluorescent Bacteria As A Medium
Christine CHOW
While a common consensus is that the fields of art
and science mix about as well as oil and water, the col-
lision of the two happens more often than one might
think and often produces stunning results. Consid-
er what Trinity’s very own Dr. Ileana Rios refers to
as “bio-art.” Bio-art has many varieties, but the one
outlined by Dr. Rios, also known as microbial art or
agar art, is what happens when bacteria whose DNA
has been edited to have the green fluorescent protein
(GFP) gene from the crystal jellyfish (Aequorea victo-
ria) are “drawn” on an agar plate. When the agar plate
grows colonies of this bacteria, one can see the living
art by shining a UV light underneath. Using bacteria
as a medium can look like this:
This is a beach scene of San Diego, as reproduced
by Nathan Shaner with fluorescent bacteria. While
the bacteria would originally be green, scientists can
mutate the GFP gene, altering the wavelengths which
energy is given off in to produce other colors like
pink, tangerine, blue, red, or yellow. These colors are
expressed in a sort of living paint. Bacteria is trans-
formed to be fluorescent and resistant to ampicillin (to
allow the bacteria to survive in the ampicillin-treated
agar plates), and cultivated in lysogeny broth, a nutri-
ent-rich medium suited for bacterial growth. Artists
and scientists alike can then take a sterile q-tip or in-
oculation loop and spread the inoculated broth onto
an ampicillin-treated agar plate in a certain design or
pattern, in order for the drawing to manifest in all its
glowy glory.
The trick to microbial art is that the bacteria is
virtually invisible at first, under normal circumstanc-
43
es, so one cannot see the result until an 8 to
12 hour incubation period for the bacteria to
grow has passed. And while living bacteria is a
beautiful medium, it is impermanent as all life
must be, and the colonies eventually overgrow,
the supply of agar unable to maintain the bac-
terial population, eventually effectively starving
the bacteria. Therefore, microbial art must be
preserved through photography, which is how
galleries of agar art can be sustained.
While it was a much more popular medium
a few years ago, bioluminescent and biofluores-
cent bacteria have maintained a presence in the
artistic community. In 2016, Dr. Siouxsie Wil-
liams conceived and curated an exhibit simply
titled Biolumination, produced by local artists
who were invited to work with the medium. An
exhibition of photographs lighted and enhanced
by bioluminescent bacteria (Living Light: Pho-
tographs by Light of Bioluminescent Bacteria)
was held in Chicago mere months ago, in Janu-
ary, by artist and scientist Hunter Cole.
Bio-art is simply remarkable. It not only stuns
the viewer with its beauty, but also with the fact
that life just living is enough to produce a com-
position. If the unassuming and omnipresent
bacteria can have a place in art, perhaps art is
not as elitist and selective as some might like to
think. Art is permeable, and the definition of art
can stretch as far as both the imagination and
innovation allows.
Biomimicry: Five Amazing Masterpieces
Cleo De Rocco
Artists throughout time have drawn, A prototype design project created by
painted, sculpted, and worshipped nature. Jack Mama, Clive van Heerdan, and
But recently, many artists have been ex- Phillips Design, the Bio-light contains
ploring the field of biomimicry: the design bioluminescent bacteria that glow
and production of materials, structures, when fed methane gas. It is part of a se-
and systems modeled on or inspired by ries of biodevices for the home that re-
elements of nature. Artists have marveled cycle wastewater, sewage, and garbage.
at nature’s creations for many centuries so
biomimicry, which imitates nature to solve Interior Design
complex problems, is an extension of this
awe. Biomimicry is based on the concept
that nature is often the best engineer, as liv-
ing organisms have evolved through natu-
ral selection over many years. Biomimicry
design innovations include natural cooling
which was based on termite mounds, vel-
cro which was based on the hooks of burs,
earthquake resistant buildings inspired by
soap bubbles, and bullet trains inspired by
the Kingfisher bird.
Not only are many biomimicry inno-
vations revolutionary in effect, but many
are art in their own way. Here are five fields
using biomimicry innovations that are also
pleasing to the eye:

Sustainable Energy
Have you ever seen a ceiling with a
wave-like pattern? This design trend
is based in biomimicry, specifically in
hydro-mimicry. People often associ-
ate water with healing and calmness,
and many hospitality, education, and
healthcare buildings use hydro-mimic-
ry to inspire a sense of calm.

44
 Product Design
Lilian van Daal uses innovative technolo-
gies and materials to create new structures
based off biological ones in order to cre-
ate more sustainable production methods.
Van Daal’s 3D printed soft seat based off of
plant cells eliminates upholstery, framing,
and adhesives and is recyclable.
Adaptive Architecture
Jenny Sabin and her team used biomimicry
to design Lumen, which adapts to sunlight
and heat. During the day, Lumen’s struc-
ture uses photoluminescent and solar active
yarns that absorb, collect, and deliver light
45
to reduce visitors exposure to heat. The
yarn also has fabric “stalactites” that re-
lease mist when visitors get close. At
night, the yarns release knitted light.
Sustainable Fashion
Morpho butterflies wings are a shim-
mery cobalt despite having no pigmen-
tation, because of iridescence through
structural coloration. This dress, de-
signed by Donna Sgro, uses Morpho-
tex, a nano-technology based fiber that
is modeled after microscopic structure
of the Morpho butterfly’s wings, gain-
ing it color from its structure, not pig-
ment. Thus, it does not require dyeing,
which saves water and energy.
Strange Mediums: Makeup
RIYA SINHA
The perception of makeup as an art me-
dium is a new and often controversial ideolo-
gy. While costume makeup or makeup done
on tv and movie sets has almost always been
praised for its artistry, a new makeup culture
has begun to emerge that defines all makeup
as a form of art - one that has the potential
to be explored by a person of any gender, age
and race. Due to the intersection between
millennials and various forms of media, pre-
dominantly Instagram and YouTube, this
idea has grown rapidly, transforming makeup
into a medium with no restrictions, rules or
limits. Makeup brands have in turn readily
embraced this shift, releasing new products
that range from green lipsticks to rainbow This notion often raises a com-
highlighters to neon eyeshadows (along with parison between makeup artists and “real
their more typical foundations and blushes) artists,” who paint, sketch, photograph,
to fuel their customers’ creativity and expand and the like. These questions lead to the
their ability to make art. Brand founders and important distinction between those who
ambassadors, often makeup artists them- simply wear makeup and those who capi-
selves, further excite creativity by posting talize on makeup’s ability to be art. To do
their own takes on these products, creating their work, makeup artists must similarly
multiple looks and sources of inspiration for understand color theory, light and shad-
their followers. ows, symmetry, and etc.., only differen-
tiating themselves from other artists by
painting on a human canvas.
As such, makeup artistry also utilizes var-
ious artistic elements and tools to create
works. Although the facial canvas poses
its own creative challenges to an artist,
makeup artists develop their crafts using
familiar elements such as lines and color.
The face itself is made up of complicated
lines and symmetries that makeup artists
exploit to create definition, emphasiz-
ing some lines and underplaying others.
Much like drawers and painters, makeup
artists also use darker colors to create the
illusion of lines where there are none.

46
 These lines are often utilized in contour-
ing the face or lining certain features, such
as eyes or lips. By playing with these lines,
the artist can guide an observer’s eyes through
various points along the face. Makeup artists
also play with elements of color, using knowl-
edge of the color wheel to combat dark cir-
cles, blemishes and uneven skin tones. Artists
must also understand colors to ensure their
looks work together, as well as complement
and enhance specific features. With increas-
ingly bold looks, bright and eccentric colors
remains a common feature of all makeup art-
istry.
Finally, makeup artists have their own tool
boxes that allow them to perform their craft.
As makeup brands continue to get more and
more creative, this toolbox has expanded
from brushes to sponges, plastic applicators,
and various other tools.
With these skills, makeup can be used
for anything from special effects to cultur-
al expression to theatrical characters. One
of the most common themes seen with this
medium is transformation. In these works,
the artists uses makeup to create unrealistic
and unusual effects, such turning people into
reality. Another similar and prominent
inhumane material such as a painting, often
theme is illusion, in which artists use
utilizing geometry to do so. These makeup
makeup, specifically light and shading, to
looks encourage the viewer to question what
create misleading impressions that some-
they are looking at, exploring interesting in-
times resembles photoshop. These trends
tersections such as that between 3D and 2D
are also becoming increasingly visible in
influential runway shows such as Chanel
and Alexander McQueen. Makeup looks
also commonly include pictures and draw-
ings worked into the model of the face.
With increasingly bold colors and prod-
ucts, the creativity within makeup and
makeup artists continues to expand both
in the professional world and beginners.
Notable artists include Kevyn Aucoin,
Pat McGrath, Natasha Denona, Peter
Philips, Charlotte Tilbury, and serge
Lutens. Noteable presences on YouTube,
constantly demonstrating their creativity
and artistic ability, include James Charles,
47 Desi Perkins and Nikkietutorials.
A Very Serious Portrait of a Young Artist’s Oeuvre
jUSTIN BETANCOURT

This piece is simply entitled “SpongeBób”. As you can see, this fine painting is a classic ex-
ample of Renaissance thinking. It is a culmination of hard work, talent and skill. The subject
here is a haunted young man, known as SpongeBob, a clever reference to the Greek god
Neptune. While he smiles on the outside, his eyes portray another feeling. His deep, blue
eyes give us a look into what his life was like. He is hiding pain, grief and anger underneath
a facade of happiness. This is a reflection of the dual nature of man, and the harsh reality
of a capitalistic world. He is pathetically trying to catch his one true love, symbolized by
a jellyfish. His reasons for trying to capture this creature is unknown, but historians say it
signifies prosperity and wealth. From the looks of his humble clothing, it appears that he is
a poor man. The jellyfish is noble and beautiful, unlike SpongeBöb. On the right you see
a green figure, likely representing an abusive father. This man is constantly in SpongeBôb’s
thoughts, always holding a burger (symbolizing greed). Some art enthusiasts believe this
painting shows the 7 Deadly Sins. SpongeBõb chasing the jellyfish is lust, the burger rep-
resents gluttony. The green man’s red eye shows wrath. The sly smile on SpongeBōb’s face
shows pride. His failure to get the jellyfish is sloth. He envies the power of his abusive father.
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 This wonderful Serbian modern art piece is entitled “Mario”. Some say this
represents Stalin’s false promises of world peecs. Others say it shows video
game’s corruption of the youths. No one will know. The prominent figure,
Mario, is standing in the center. The scorching sun is behind him. Mario,
with somewhat deformed hands, is holding up a peace sign. A speech bubble
coming out from his closed mouth says the word “peecs”. Now, a simpleton
may think this was an error. However, more sophisticated minds will know
that this shows that the government is a puppet for the larger world order. His
mouth is closed, so the words coming out of his mouth must be coming from
somewhere else. Or perhaps, someone else. The misspelling is on purpose,
representing the fact that the public will accept anything they’re told. There
are several heads of Iron Man and Spiderman, less detailed and uncolored.
This is supposed to show that they’re in the background. Goodbye heroes,
hello to Stalin! No one notices their absence, not even the teenage mutant
Ninja turtle at the bottom, who is cheering on.

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Sabrina Broderick
As Trinitarians, we see and carry our school’s logo ev-
erywhere. However, it didn’t always look the way it
currently does. Why and how has it changed?
Mr. Morehouse has some answers:
Sabrina: Do you remember who designed it?
Mr. Morehouse: You should interview Kevin Ramsey
too, the director of art, since he was in the middle of
this. So interview him, too. I was on the logo com-
mittee, he formed that committee. BUT the answer
to that is our logo— if you compare our logo to the
logos of all the other schools in our little Ivy League,
you’ll see that all the other schools have 19th century
or early 20th century logos. Meaning, it’s a circle, like
many state seals are, and has something representative
inside that. The Trinity logo, in that way, is an actual
18th century logo. It’s older. And that’s why it’s not a
circle with a bunch of stuff inside it, although I’m not
sure how it got be exactly that.
We can get Ms. Siegel to get a piece of stationary from
some chaplain that had been here before. When I got
here in 2001, the logo on the stationary was the logo.
And you’ll see it’s like the logo we have today, but
it’s more ornate, and probably harder to read— just a
little more fussy… “Ye Olde Trinitye”. So then, in the
300th anniversary in 2009, there were a lot of things
that were being done for the 300th anniversary. One
of the committees that was developed was the logo
committee, and the question was: should we have a
logo for the 300th itself, or should there be a logo for
the 300th itself and moving forward? The school hired
a firm that had actually designed the famous FedEx
logo. They call it identity branding. So the group came
in, and Mr. Ramsey organized a committee. There was
a group of students and faculty, the art person—Greg
Emery—was on that, and I was on the committee.
First, the firm does an identity search on the school,
and you and I both know this school has multiple
identities. It’s that upper west side, polyphon-
ic, multidimensional place. In those days it was
even more multidimensional than it is now, in
a way. And so we all got together and they did
a whole thing: What is Trinity? What is Trinity
not? They did a whole thing and came up with
these adjectives and you could list them. Based
on these adjectives they drew up sample logos. I
remember the adjectives being historical, mod-
ern, friendly, nurturing. There were a bunch
of adjectives that made sense, and there were a
bunch of them under “Trinity is Not” that also
made sense. And on the basis of these they drew
a logo of a tree, and something around it, which
was sort of about the historical bit. I remember
they imagined a logo of people standing in a cir-
cle holding hands or something like that.
We’re at this meeting, but I remember the
two students on the committee were, just like,
squirming. Some of the parents were psyched
about what was going on. And these kids were
not psyched about completely altering the logo.
I saw them squirming and I also felt like there
was one thing really missing on the “Trinity Is”
side, and that was the word “difficult.” And the
kids were squirming because they didn’t feel
whatever was happening was really true to the
school. And I saw them and I said, ‘Okay, I just
want to throw this out there, but I see you guys
have something to say. Is part of what’s going
on here that the word “difficult” is not on the
list?’ And they just exploded. Emma, one of the
students, had on a lacrosse jacket, but she wasn’t
a big jock-y student. She was just a student who
also played lacrosse. And I remember her saying,
‘Look. This school is hard.’ She took off her coat
and she said, ‘This is a shield, because some-
times school feels like a battle. And it’s a shield
because when we do this, and it’s difficult, and
we finish, then there’s nothing we can’t do.’
And everyone was like, ‘Woah’. The guy said
some version of that; he was a junior she was a
senior. And everyone just sat around the table
and was like, ‘huh’.
50
 So they went away, and they thought about all
of this, and they came back to the next meeting,
and they grouped and said ‘Well, we talked to
more people, and we really thought about what
everyone said here last time. And we looked at
your logo, and we thought you know, you’re
the only school among all of your peer schools
with an 18th century logo.’
We thought: ‘That’s kind of cool. Why would
you want to throw that away?’
Then the designers said you know a bunch of
other stuff, and that ‘We actually really ended
up liking the original logo, and what we decid-
ed to do instead was do it in a way that makes
it suitable for modern graphic design and we
want to make it so that you can use it small, use
it big, use it anywhere. And we want to make
a very standard set of rules about your brand,
and they colors you use, and the pictures you
use on your website even.’ The teacher and stu-
dent thing also resonated with them, so you’ll
notice there are no pictures on the website
from far away. It’s not an accident. There are
always teacher and student right next to each
other. That teacher and student conversation,
it’s what we are!
So they said, ‘we’re gonna keep the logo and
we’re just gonna make it really great for now so
you can print it anywhere. You can use it.’ And
that was that. It was elegant solution. Some of
51
the parents were like, ‘Okay; that’s that.’
It’s pretty interesting, that these gurus on
logo making, once they saw and heard all
that, that’s what they did.
Sabrina: I think it’s really cool that the
students were the ones influencing this.
Mr. Morehouse: Well, that’s my memory,
and I was feeling exactly as they were. That
whatever this discussion was happening
here wasn’t quite the lived experience of
what it’s like to go to school here.
Sabrina: And for all the exaggerating that
Trinity kids do, I think we enjoy telling it
like it is, and it would be such a disservice
to the school if we had some weird tree
logo. ‘Cause, you know, there are fantastic
experiences here, but there are also times
when it’s like: I am going up a muddy hill
in the rain.
Mr. Morehouse: Hahaha yes!
Sabrina: Anyway, that’s so cool. Thank
you!
**Responses have been edited for length
and clarity
 “Blooming Shadows”
BY SOPHIA STELLEBOTTE

MEDIUMS: Film Photography

DIMENSIONS: 8.5 x 11
ARTISTIC MISSION STATEMENT: I was inspired to make this
photo after I found that shining a light through a glass bottle
created a unique lighting pattern. I then took a sunflower and
positioned it in front of the light pattern. The flower cast a shad-
ow onto the wall, which added depth and contrast to the photo.
One difficulty I had was positioning the flower, because I needed
both hands to take the photo. I ended up having a family mem-
ber help me hold the positioning of the flower. Overall, I took
this photo because it uses light and shadows in a really intriguing
and eye catching way.

52
 The Power of Composition and Negative Space
MIA CUK
Before starting any work of art, there are quite a
few aspects to consider. Numerous elements can be used to
make a piece more fascinating, and some must be consid-
ered before anything is physically done with regards to the
final piece. One such element is composition: how the parts
of an artwork are arranged. When it comes to a work of art
on paper or canvas, the artist might think about where to
draw, paint, or sketch components in order to cater best to
the intended feeling of the piece, as well as using the com-
position to make the artwork interesting to look at. The
way a piece is composed can take the viewer on a journey,
if it is thought out. For any artwork with multiple key el-
ements, such as a landscape, a perspective piece, or even
an abstraction, if the artist considers how the parts of the
whole lead to each other, it can force the way the viewer
looks at the work and each of its components. The artist has
the power to consciously make lines and strokes that follow
the direction and path that they want the viewer’s eye to
subconsciously follow.
Placement is another key aspect of composition, and
harnessing placement is the backbone of how the viewer
will see the image. Placing the main component of the
piece smack in the middle is not always interesting for the
eye to see. Compositional placement applies to most, if
not all, visual art media from photography to drawing to
painting. Symmetry can be pleasing to the eye, but it is not
always riveting to look at; having the main focus slightly
offset usually allows for a more natural feeling to the overall
piece. The work will look less staged and stiff. Additionally,
having too few components on one side, or too many on
the other, can also lead to the work looking staged, and it
can, in turn, create an aesthetically displeasing image. Thus,
it is important for an artist to consider and think about the
composition of the work of art. For drawings or paintings
it can be helpful to create one or two thumbnail sketches:
abbreviated drawings that are quick and usually very small
53
(just two or three inches high). It usually helps to make
these to scale with what you decide to make your final piece
so that you can truly consider how all of components will
work together.
Another visual aspect that goes hand in hand with
composition is negative space: the space that surrounds the
objects, which make up the positive space. Taking negative
space into consideration can be advantageous and powerful.
Negative space can be used to bring balance to the piece,
in a similar way as placement. In design, negative space can
be used to incorporate more into the image without add-
ing anything, but rather removing something. For example,
in the NBC logo the negative space creates the illusion of
the peacock’s body, or in the FedEx logo the negative space
between the ‘E’ and the ‘x’ create an arrow. In addition,
some artists, including myself, use the negative space that
they see in order to better understand the proportions and
placement of objects in real life. For example, I use negative
space in my favorite studies: figure drawings and portraits.
After understanding basic anatomy, which is key and actu-
ally pretty complex even at the simplest level, I found that
negative space helped me carry out the figure with more
precision; negative space helps you see the components of
the positive space with relation to each other. For exam-
ple, if a figure is standing, but one of the figure’s legs is
crossing in front of the other, observing and implementing
the negative space between and around the legs can make
them look natural and correct in the context of human po-
sitioning within a two-dimensional image. When it comes
to portraits, I find myself constantly looking at the space
between and around the features. Though this might not
technically be negative space, I find that sometimes looking
at the face and seeing the simple space and shapes can be
constructive, quite literally. Teeth, for example, can be dif-
ficult; however, focusing on the space that the teeth take up
with relation to the shapes that they form between the lips
can make it much easier to carry out.
DOUBLE EXPOSURE
Every year, the Advanced Photography class collaborates with each
other by forming partnerships to create double exposures, which is
what happens when one photo is superimposed onto another. To
VIVIAN FANG do so, every member of the class prints a few photos on clear paper
and leaves them on the lightbox for everyone to mix and match until a combination is found. Traditionally, each photo
is supposed to be merged with another once. However, this year, one of my photos was double exposed four times: once
with another one of my own photos and thrice with my classmates’ photos. It was interesting to see how a single photo
could be used with others to create unique works of art.

Adam Meller and Vivian Fang 20’

Emma Eisenberg and Vivian Fang 20’

54
 Vivian Fang 20’

Vivian Fang ‘20 and Sophia Ceriello ‘20

55
 ARTIST SHOWCASE MIA CUK
Title: Joy
DIMENSIONS: Graphite Color Pencils
ARTISTIC MISSION STATEMENT: It was the cold beginning
of 2018, and I wanted to experiment with some-
thing bright and colorful. Honestly, the first thing
that came to mind was Joy, a member of the K-Pop
girl group Red Velvet, from the summer before. She
had had bright red hair for their Red Summer al-
bum, which I had been listening to recently. When
I found pictures from their photoshoot, I became
set on drawing her. I started with graphite to get the
overall shapes and proportions of her head, hair, fea-
tures, and hand. I then moved to the colored pencils
to implement the dimension and detail. I found that
the position of her hand in relation to her face and
the fingers in relation to each other were difficult to
carry out. I made quite a few attempts before I was
satisfied.

Title: JJK
DIMENSIONS: Graphite on Paper
ARTISTIC MISSION STATEMENT: No words
necessary.

56
 ARTIST SHOWCASE VIVIAN FANG
Title: Springtime
Mediums: Graphite on Paper
ARTISTIC MISSION STATEMENT: I have always
loved Pierre-Auguste Cot’s Springtime paintings:
his style, the expression, the feeling. His pieces give
off a feeling magic and enchantment. One day,
when I went to The Met, I decided to sit down in
front of one of his paintings and draw it. The fluid-
ity of his original composition made it feel natural
to carry out. The figures seem to led themselves
to each other in such a raw manner that even if
there was a slight change or difference, it would
not change the organic feeling of the overall scene.

Titles: Jungkook
Medium: Pen on Paper
ARTISTIC MISSION STATEMENT: I wanted
to draw a portrait. My goal was to
make it truly look like the subject
and to properly capture the expres-
sion of his face. I started with a
pencil sketch and, once I had got-
ten the proportions correct, I inked
it to capture more of the details of
the face and to get the feeling and
expression.

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