Ted Herzberg is the photographer of The Quarterback and St. Slim. He has had a long history with City College. In the late ’70’s Ted took life drawing classes at Fort Mason and in the mid-90’s an acrylic painting class there. He has taken ti chi classes at the main college and on 18th St. at various times. He took senior computer classes at the Oakdale campus about ten years ago. Ted also appeared as Trotsky in the musical Frida and Diego in the Diego Rivera Theatre. The last classes Ted took at the main campus was a semester of Cantonese about seven years ago.
Livia Versini-Campinchi is a Political Science student from France at CCSF, graduating in Spring 2017. Taking pictures is a hobby she got from her dad, who takes the most beautiful pictures. She took Chance in Paris, her hometown, in 2013.
It’s another week, that means it’s another Forum lab! Today’s topics include cover choices, finalizing choices and table of contents (look for acceptance emails once that’s done), copy-editing and getting pestered by me for blog material.
While you’re waiting, take a moment to write something fun based on the below prompt.
Today’s prompt is:
A Secret Someone Else Doesn’t Know
Whenever you write a poem, story, take a picture, or create a piece of artwork based on these prompts, you can post it in the comments or submit it to email@example.com for consideration on the Forum Magazine Blog.
Make sure to follow all submission guidelines and in the subject line include “Writing Prompt Wednesday”. In the body of the email, please include the writing prompt you used for your piece.
Modern and Contemporary Works on Paper and Animations
By Katie Dalla
Forum Poetry Editor
It’s not often that an art exhibit representing a country goes to the extent of actually showcasing remains of its own citizens.
No, nobody’s limbs were severed and put on a podium, but Teresa Margolles’ vibrant yet grotesque 2003 piece, Papeles, brings you bodily fluids in a surprisingly beautiful arrangement.
The piece takes up a whole wall and displays large rectangular sheets containing streaked patterns of brown and yellow hues that, juxtaposed together, bring to mind the splendor of a moth’s wings. But the beauty is met with an equal amount of repulsion: Margolles used the post- autopsy water from the victims of narcoviolencia—or those individuals that experienced the fatal repercussions of drug trafficking. The water came right from the Mexico City morgue.
Each paper represents an individual portrait of a person and their remaining traces of life. You can’t help but feel a bit tricked — your first feeling is sheer warmth from the luminosity and size of the work, but as you step in closer to read the details, you immediately get a lump in your throat and feel the need to back away slowly, frantically searching for mutual glances of horror from the other onlookers. Margolles’ bold statement effectively demands a reaction to an ongoing issue that has caused so many deaths and so much strife in Mexico. She also gives an odd vibrance to each portrait as she has, in fact, captured their final essence, and in the most direct way possible, Margolles brings a part of Mexico to you.