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Early Europe and Colonial Americas (200-1700 C.E.)

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Early Europe and Colonial Americas (200-1700 C.E.)

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The most difficult part about recreating this piece was trying to coordinate a calculus class full of high school students into a still image, hence the reference displayed on the smart board in the background. It took some serious effort, but with some direction from our TA and a little determination it all came together. Here’s our visible confusion captured on film, though.

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The Last Supper (Or The Last Study Session)

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The Last Supper (Or The Last Study Session)

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This was the last piece I recreated and it was only last because I knew it would take some convincing and some coordination. Of course, everyone in the photo knew what it was for and agreed to be in it anyway, which I'm incredibly thankful for. The Last Supper is one of those pieces you've seen so many times throughout your life in casual environment, or in my case Church, where it seems like the intent and the meaning are so forthcoming and obvious because all there is to know is all there is to see. But after having taken the time pick apart this piece from an Art Historian's perspective, to see the cultural relevance of the style and techniques that attribute depth and emotion to this piece as well as characterize it as High Renaissance art, I have to say my understanding of it was enriched. It was all the better that I wanted to save my last recreation for a piece in which I could incorporate my friends. I feel that, while my friends and classmates aren't actors or models by a mile, I think they all did a great job at replicating the distress and confusion they saw and they definitely took their roles to heart as we were organizing the desks and assigning placements.

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Ancient Mediterranean (3,500 B.C.E.-300 C.E.)

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Ancient Mediterranean (3,500 B.C.E.-300 C.E.)

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Ancient Mediterranean (3,500 B.C.E.-300 C.E.)

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Ancient Mediterranean (3,500 B.C.E.-300 C.E.)

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Ancient Mediterranean (3,500 B.C.E.-300 C.E.)

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Ancient Mediterranean (3,500 B.C.E.-300 C.E.)

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Much like the Seated Scribe recreation, I had to do some rooting around in my closet. I don’t have armor like Augustus or a little god to hold on to my ankle, so I had to get creative.

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Given that this was the simplest piece to recreate in content and location of the five I chose, the preparation for taking the photo was pretty minimal. It just took some rooting around in my closet for tan and earth-y clothes (I couldn’t quite be in the same state of dress as the statue) and choosing one large book from a wide array to be my writing surface.

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Augustus of Prima Porta (Or Sarah of Grifton)

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Augustus of Prima Porta (Or Sarah of Grifton)

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I should say that I knew as soon as I read our assignment that I knew I wanted to either recreate Washington's statue or Augustus of Prima Porta. They're both men of power and station, commanding such an awesome presence on their pedestals and speaking strength into their audience without words. But in the end, Augustus was just too fun a recreation to pass up, especially when my idea of how I'd do it was fully fleshed out. I have so much respect for the naturalistic form and for highlighting reality, but in this case, the ideal figure was a fantastic choice. Augustus is strong and young, hearty and fearless, stern and commanding, and all without moving or speaking or wielding a weapon. I wondered if I could somehow capture that in an image of my own, and while I highly doubted I would, it was still incredibly fun to try. I rooted through my closet again, found a golden vest instead of an ornate, story-telling breastplate, and wrapped myself up in a white blanket in an effort to appear regal and important. The last step was attaching my winged monkey to my leg like Augustus' divine relative was attached to his, and despite the hilarity, it felt complete. My dad took my picture and asked me what king or general I was impersonating and I was thrilled to answer and thrilled to have at least made the desired impression on him.

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Asking my cat, Ellie, to focus on anything for more than a moment is never easy. Unfortunately, that’s exactly what I needed to do in order to catch this moment. Some… creative measures were taken to ensure she’d be still. Namely, laying on the floor while she chased my hair.

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One of my favorite movies growing up was Dreamworks' Prince of Egypt, which was an animated adaptation of the biblical story of Moses. I always found the character designs very interesting and I loved the soundtrack, but more than all of that there was a simple wonder at the magnitude of Egyptian structures. The sheer size of impressive structures like Pyramids and Statues was evident even in the animated film and I think this piece, along with it's status as a World Wonder, really revitalized that early appreciation for Egyptian architecture. There was so much skill and calculation that went into creating structures like the Pyramids, as well as the incredible vision and time that went into sculpting figures like the Sphinx. It's no wonder it remains so timeless. Coincidentally, I realized very quickly after choosing this piece that the answer to recreating it would come in the form of my cat, Ellie, and one of her many toys. It's laughable the amount of time it took for me to get her still and angled just so, with her paws out and her head held regally, the surrogate pyramid in view over her shoulder. I know it isn't perfect and that perhaps, without holding the two images next to each other, you may not immediately recognize my intent. But I simply couldn't pass up the opportunity to include her in such a fun and simple way.

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You wouldn’t know it from the picture, but this is me actively waiting out some pretty strong gusts of wind that kept taking over my piece like it was a house of cards and making a valiant effort to ignore the feeling of bugs and dirt all over me.

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Seated Scribe (Or, in my case, Scribbler)

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Seated Scribe (Or, in my case, Scribbler)

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I chose the Seated Scribe because it was one of the rare examples of Egyptian naturalism. Most Egyptian art is highly idealized and very rigid, but this piece is an incredible example of realistic art from an idealistic society. I have a deep appreciation for all of the artworks we've studied that have exemplified, not the ideal beauty standard or the perfect figure, but the reality and the importance of that reality. I've not always felt the most confident in my appearance, even doing the photos for this assignment was sort of frightening, but the fact that artists have been highlighting the natural form and immortalizing it in wonderful art since Egyptian times makes it all the more doable. The recreation of the piece was simple. I raided my closet for tan and earth-toned clothes because the original statue has a tan, almost orange complexion and I obviously can't appear in the same form of undress as the piece's subject. Then I found a large book, set up my camera, and did my best to replicate the rigid and ready pose of the Scribe, awaiting the need for his skills.

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My immediate thought when I started this assignment was that I wanted to recreate Stonehenge specifically in some way. It's such a famous piece and I love the mystery of its creation. Such large pieces of stone obviously transported over a vast distance and then methodically wedged upward in a particular formation, not all of which has been lost to time. Historians are still unsure of its exact purpose. Was it a burial ground? A ritual space? Whatever the case, it's impressive and endlessly interesting. As for what I'd use to recreate the piece, it was a matter of finding a lot of uniform rectangular items around my house. What better to use than my dad's cassette collection? I grabbed some stone slabs from our fire pit for stability and arranged some of my favorite cassettes with a photo for reference. And because Europe has such deep roots in nature with castle ruins and farmland, I decided to uproot a few plants of my own and add them for an overgrown feel.