
One of Chris Jordan's more famous works. Each Barbie Doll represents a breast augmentation surgery done in the U.S. every month. Photograph by Chris Jordan.
Four million is a big number. Forty million, the number of paper cups we use every day, is even bigger. I’d never seen four million of anything before—that is, until I heard about the photographer Chris Jordan.
Chris Jordan uses his art to help viewers visualize America’s consumer-addicted culture. In an interview with Bill Moyers he explained, “All of my work is meant to evoke a whole bunch of different layers of discord between the attraction and repulsion that we feel toward our consumer habits and our consumer lives. It’s like there’s this tremendous power in our culture that has a dark side to it that has surfaced lately. And that’s kind of what I’m working with.”
With Plastic Cups, 2008, Jordan enables us to visualize one million plastic cups—six hours’ worth in the American airline industry—as part of his Running the Numbers: An American Self-Portrait project. In this collection, he reconstructs a Charlie Brown comic using pictures of 10,000 collars—the number of unwanted dogs and cats euthanized in the U.S. every day. In Skull With Cigarette, 2007, Jordan uses 200,000 cigarette cartons (the number of people in the U.S. who die from smoking every 6 months) to recreate Van Gogh’s famous painting by the same name. Paper Bags, 2007 depicts the 1.14 million brown paper bags that Americans use every hour. And Ben Franklin, 2007 uses 125,000 one-hundred dollar bills (the amount spent in Iraq every hour of the war) to create an image of our founding father.
The images on this page are from Barbie Dolls, 2008. The full image is that of a woman’s chest. Zoomed in, we see an intricate floral pattern. And looking eve more closely, we see that each ‘flower’ is actually a circle of 24 Barbie dolls. In total, the photo uses 32,000 Barbie dolls, the number of women who undergo elective breast augmentation surgery each month in the United States (for a total of 384,000 women a year). The photo is beautiful; the message is haunting. Chris Jordan explains this intention: “I [use] beauty as a seduction, to draw the viewer in to sit through the piece long enough that the underlying message might seep in.”
And seep in they do, beginning with the moment you read the statistic attached to each of Chris Jordan’s photos. I, for one, will be packing my Nalgene this spring break.
The true potential of music cannot be realized until its beauty has been shared. As a violinist in the Dartmouth Symphony Orchestra, I rediscovered this seemingly obvious statement through the Rachmaninoff Piano Concerto No. 2 on Saturday, February 27th, with Philip Back ’10 performing the virtuosic piano solo.
In a sense, hearing the Rachmaninoff piano concerto is a remarkably personal experience. You realize that the soloist has invited you in to share the profound passion and commitment he himself feels for the music. When you first meet Philip, you get a sense that he’s extremely reserved, as though mysterious barriers have been constructed around him. This may compel you to maintain your distance, not wanting to disturb or impose upon the reputedly impenetrable Philip Back.
But when he plays the piano, you hear the rapturous melodies of the Rachmaninoff Piano Concerto No. 2, and you cannot help but become inextricably drawn into the thrill and intensity of the music, his music.
For any musician, one of the most gratifying elements of a performance is the ability to share it with others. While this satisfaction makes any concert worthwhile, it made Saturday’s concert even more so—because that night, our orchestra not only performed musical masterpieces, but we also saw one of our peers, Philip Back, share his own music and passion with a public audience in Spaulding. And as fellow musicians, we could all relate with and respect the commitment it takes to perform the Rachmaninoff concerto.
After the concert, a piano instructor Phil and I both share told me that he once asked Phil: “Out of everything you could have performed, why did you choose the Rachmaninoff?” Philip answered that he’d heard the piece when he was young, and fell in love with the music. With that early fascination, Philip (a philosophy and music major, soon-to-be 2nd lieutenant in the US Army) committed himself to realizing those dreams at Dartmouth. And for anyone listening, to experience the culmination of that dedicated passion inspires an even greater appreciation for the music itself.
The Rachmaninoff piano concerto ended in a powerful, dizzying climax, immersing the entire orchestra with tangible energy and emotional connection. As I heard the audience explode, surging into a standing ovation, I felt the unexpected and uncharacteristic traces of moisture on my own cheeks, and at that moment, I realized that sharing music is not a one-way street. Because ultimately, the music Philip offered was for the audience, for our orchestra, and for himself. After that concert, no one could doubt that the true potential of music is meant to be shared.




o, it’s 1:06 a.m. on May 7th. The Dartmouth Daily Updates blitz is deleted from my inbox almost as quickly as it pops up. Why so dismissive? Well, if the messages were important, I should have already received a million other blitzes about them. The next day, a friend mentions something that sends me rummaging through my trash for this particular DDU, buried among announcements about the swine flu and President Wright’s farewell party:
ive United States Congressmen stepped behind yellow police tape at the Sudanese embassy in Washington D.C. and waited for police to give them their three warnings while a small crowd chanted “Peace now!” before the politicians were led away in plastic hand-cuffs. The demonstrators were bringing attention to President Omar al-Bashir’s expulsion of 16 aid organizations from Sudan $mdash; a move the U.N. fears will endanger the lives of 1 million people. While this is a serious problem, it is compounded by another big issue facing Sudanese refugees: warehousing.
id you know that evangelical Christians are more likely to buy lottery tickets and less likely to recycle? And that Jehovah’s Witnesses seldom have computers? And the only safe sex is between husband and wife? How do I know these things? I found them on the Internet. Got a problem with that? You shouldn’t. The film Obsession: Radical Islam’s War against the West was shown in part on CNN and Fox, won prizes at three film festivals and was distributed with 70 U.S. newspapers. And believe it or not, one of its sources was the Internet… In fact, the movie even displayed a subtitle saying, “Source: Internet.”

