Seize The Sixth, Again


Eric L. Sweet left us suddenly on April 6, 2015, at age 44. Sweet was a beloved member of the MU Art faculty, having worked at MU since 2012 as an Adjunct Assistant Professor, teaching Printmaking, Drawing and 2-D Design courses. He was an alumnus of the Art program, having earned both his BFA (1997) and MFA (2011) from the University of Missouri. In 2008, he received an MA in Printmaking from the University of Missouri-Kansas City. Sweet was an active member of the Southern Graphics Council International and the College Art Association.

The “Running Devil” icon that was embroidered on one of Eric’s shirts.

To celebrate Eric’s life and positive role as an educator, Sweet’s wife, Catherine Armbrust, established The Eric Sweet Exhibition & Speaker Series to continue passing on his gift. I have created a series of work celebrating Eric almost every Seize the Sixth, and this year is no different. I will be donating 100% of the sales of these pieces to the Fund. This program was created because he strongly believed in the importance of community accessibility to art and encouraged meaningful conversations about the state of contemporary art. Funding this annual exhibition and speaker series for the gallery is the perfect way to make contemporary work accessible to the MU and Columbia communities, and to honor this special man who made an impact on so many lives. In fact, the initial funding goal was met in 2021 and the very first iteration of The Eric Sweet Exhibition & Speaker Series took place on December 6, 2021. See the exhibition poster here.

Look over my limited series of CNC relief cuts, posted below. If you’d like one, contact me. You’ll get an icon of Eric’s life and students and community members will get to see art because of the donation I make from the sale. As Eric (and his 4th grade teacher) might say, “You don’t HAVE to, you GET to.”

The Artwork

I’ve made eight artworks for Seize The Sixth this year. There is one group of five CNC relief cuts that feature the classic “running devil” icon that Eric had embroidered on one of his work shirts. Below the devil is featured part of Eric’s axiom, “YOU GET TO.” It’s a proclamation of hopefulness and gratefulness. Here’s a detail of the Running Devil carving if you want to see a close up view.

There are three of these – just the Running Devil without the text.

How to get one?

I can take PayPal, CashApp, and Venmo (click each for a link to my info). If you’re local you can give me cash. The cost $50 each for these. Ones with text are 5.25×5.75 inches and those without text are 4.5×5.5 inches. Each piece is made on a PVC sheet and painted in gold spray paint. Each is signed and numbered. The ones with text are numbered 1 through 5 and the ones without text are numbered 1 through 3. First come, first serve. Feel free to email me if you have any questions – balloum (at) missouri (dot) edu.

Why no Sweet Audio this year?

Most of the time I’ve been able to put together a compilation of classic Sweet audio clips. Unfortunately, I couldn’t find any more usable clips this year. There’s a chance I still have some in the depths of my files, but I just couldn’t locate anything for this year. In lieu of that, please head over to SoundCloud and check out the previous years’ offerings!

Ballou SweetTalk collections for 2018, 2019, 2020, and 2021.

Now, go Seize the Sixth! Remember… you don’t HAVE to, you GET to!

Come and See

This past week I watched the most significant film I’ve seen in the last few years: Come and See, a 1985 Soviet-era anti-war film. Taking place in what is now Belarus in 1943, the film traces a few epic, devastating days in the life of a teenager who “joins” the local Soviet resistance to German incursions.

I will not spoil the power of this film by giving too much away. I will say that this film, at its core, shows the radical transformation of a smiling, whimsical, 13 or 14 year old boy into a gray, hollow wreck in a matter of hours. His heart and mind are smashed against the brutality around him. He sees not only death up close but also the horrendous inhumanity that war brings forth in our species. Scenes of almost fairy-tale light and mood give way to instances of the most egregious forms of torture, humiliation, and murder. We witness these acts conducted by carousing, laughing, crazed soldiers, while inhabiting the view of our protagonist, Florya.

Aleksey Krachenko as Florya.

Aleksey Kravchenko’s performance as Florya is beyond incredible. To think he was able to inhabit this character at the age of 14 is amazing, and I can’t imagine that he escaped the production without some trauma. Many sources claim live ammo was used, and he was certainly very close to real incendiary devices, raging fires, and extremely gory depictions of dead people. His performance was beyond things such as honors or awards. Simply legendary.

For a significant portion of the film Florya is thrown together with Glasha, a strange, beautiful young woman who sometimes sees and says what Florya can’t. There are several intense scenes between the two characters. One, where they dance in raindrops after narrowly escaping death is contrasted with a later sequence where they struggle neck-deep in a bog, frantic and animalistic.

Olga Mironova as Glasha.

The film is built using historical accounts as its backbone, but there are threads of magic realism here as well. Certain moments strike me as direct references to iconic moments in film classics, such as the sliced eyeball in Un Chien Andalou (1929) or the screaming nurse in Battleship Potemkin (1925). But the piece is a work entirely singular and unique. There are moments unlike any I’ve seen, and from my cursory exploration online I can see that many of the most important cinematographers and directors of photography in film cite it as an influence.

The cow scene from Come and See is brutal.

The thing about watching Come and See right now – and why it’s essential viewing – is that it highlights the Russian war against Ukraine in stark ways. One reason this film got past the Soviet censorship machine was that it demonstrated the pure barbarity of the German invasion. But it is easy to understand that the filmmaker, Elem Klimov, was making a broader point about what war – both in terms of materiel and the political machinations behind it – does to people. There is an cold, bloody irony in the fact that a Russian film from the late Cold War era shows the illegitimacy of Russian warmongering today. There are young men and women, just like Florya and Glasha, lying dead on the streets and countryside of Ukraine right now, and their deaths are every bit as criminal as those depicted in Come and See.

Florya, held up to pose for a picture with German soldiers.

So, yes. Come and see, and then reject evil of war.

Main website for the film at Criterion Collection.

More info about the film on Wikipedia.