Every Ocean Hughes (F.K.A. Emily Roysdon) [email protected] UPCOMING COMMISSIONS (Rescheduled Due to Covid-19) 2021
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FOR IMMEDIATE RELEASE Transparent Studio: Chitra Ganesh
FOR IMMEDIATE RELEASE Chitra Ganesh, A Magician and Her Muse, 2011, 9.5 x 36 feet, site-specific installation created for Samtidigt Tennis Palace Museum, Helsinki Transparent Studio: Chitra Ganesh Residency dates: 18 June – 16 July 2013 Open Studio & Artist Talk: Thursday, 11th July 6-9pm Brooklyn, NY --- Transparent Studio at Bose Pacia is pleased to announce the current artist-in- residence, Chitra Ganesh. Her drawing, installation, text-based work, and collaborations seek to excavate and rewrite hidden narratives typically excluded from official canons of history, literature, and art. Her work is inspired by mythology, folklore, sci-fi, Bollywood, comic books and graffiti. During the month long residency, Ganesh will use the space to develop her wall drawings by exploring the use of sculptural elements, printmaking technique and collage ephemera. The public is invited to an Open Studio and Artist Talk on 11th July from 6-9pm. Please contact the gallery to arrange for a visit to the studio between June 18th and July 16th. Born in Brooklyn, New York, Chitra Ganesh received her BA in Comparative Literature and Art Semiotics in 1996 and her MFA from Columbia University in 2002. Ganesh’s work has been exhibited widely at venues including PS 1/MOMA, Brooklyn Museum, the Asia Society, and the Andy Warhol Museum, Fondazione Sandretto in Italy, Nature Morte Berlin, ZKM in Germany, and the Gothenburg Kunsthalle. She is the recipient of numerous awards including the Joan Mitchell Awards for Painting and Sculpture, and a John Simon Guggenheim Creative Arts Fellowship. Ganesh will be the 2012-2013 artist-in-residence at New York University’s A/P/A Institute with Mariam Ghani for their work, Index of the Disappeared. -
Roysdon Cv Tranzit
Emily Roysdon Education University of California Los Angeles, MFA, Interdisciplinary Studio, 2006 Whitney Museum Independent Study Program, New York, NY 2001 Hampshire College, BA, Amherst, MA 1999 Solo Projects 2012 not yet titled, Tate Live Performance Room, Tate Modern (London) not yet titled, Tramway (Glasgow) not yet titled, Visual Art Center, University of Texas (Austin) 2011 POSITIONS, New Commissions, Art in General (New York) (catalog forthcoming) A Gay Bar Called Everywhere (with costumes and No Practice), The Kitchen (New York) 2010 If Donʼt Move Can You Hear Me?, Matrix 235, Berkeley Art Museum Sense and Sense, Konsthall C (Stockholm) 2008 Work, Why, Why not, Weld (Stockholm) Select Exhibitions 2012 Abstract Possible; The Stockholm Synergies, Tensta Konsthall (Stockholm) Coming After, The Power Plant (Toronto) Photography Is, Higher Pictures (New York) Nothing is forgotten, some things considered, UKS (Oslo) Social Choreography, Gallery TPW (Toronto) In Numbers: Serial Publications by Artists Since 1955, ICA London Read, Look, We promise itʼs not dangerous, Emily Harvey Foundation (New York) Millennium Magazines, Museum of Modern Art Library (New York) 2011 Abstract Possible, Museo Tamayo (Mexico City) (catalog) Time Again, Sculpture Center (New York) (catalog) Dance/ Draw, ICA Boston (catalog) Untold Stories, Kunsthalle Talinn NY Temporary, Center for Photography and the Moving Image (New York) Always The Young Stranger, Higher Pictures (New York) Through Symbolic Worlds, International Project Space (Birmingham, UK) Symposion, -
The Factory of Visual
ì I PICTURE THE MOST COMPREHENSIVE LINE OF PRODUCTS AND SERVICES "bey FOR THE JEWELRY CRAFTS Carrying IN THE UNITED STATES A Torch For You AND YOU HAVE A GOOD PICTURE OF It's the "Little Torch", featuring the new controllable, méf » SINCE 1923 needle point flame. The Little Torch is a preci- sion engineered, highly versatile instrument capa- devest inc. * ble of doing seemingly impossible tasks with ease. This accurate performer welds an unlimited range of materials (from less than .001" copper to 16 gauge steel, to plastics and ceramics and glass) with incomparable precision. It solders (hard or soft) with amazing versatility, maneuvering easily in the tightest places. The Little Torch brazes even the tiniest components with unsurpassed accuracy, making it ideal for pre- cision bonding of high temp, alloys. It heats any mate- rial to extraordinary temperatures (up to 6300° F.*) and offers an unlimited array of flame settings and sizes. And the Little Torch is safe to use. It's the big answer to any small job. As specialists in the soldering field, Abbey Materials also carries a full line of the most popular hard and soft solders and fluxes. Available to the consumer at manufacturers' low prices. Like we said, Abbey's carrying a torch for you. Little Torch in HANDY KIT - —STARTER SET—$59.95 7 « '.JBv STARTER SET WITH Swest, Inc. (Formerly Southwest Smelting & Refining REGULATORS—$149.95 " | jfc, Co., Inc.) is a major supplier to the jewelry and jewelry PRECISION REGULATORS: crafts fields of tools, supplies and equipment for casting, OXYGEN — $49.50 ^J¡¡r »Br GAS — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and engraving. -
Contents Curating Film
Issue # 03/10 : Curating Film Freely distributed, non - commercial, digital publication an artwork. The sound track (where it exists) often clashes in a disturbing manner with the other works on view in the same room. The typical cinema ar- rangement, consisting of a dark room, a film, a projection, and the audience, is so closely associated with the act of watching a film that is virtually seems like a must, and, unsur- prisingly, large, international art institutions are increas- ingly having their own cinemas built for the purpose of showing these works. The distinguished media theorist Christian Metz associates the space of the imagination, the space of pro- jection, with the present economic order: “It has often rightly been claimed that cinema is a technique of the imagin- ation. On the other hand, this technique is characteristic of a historical epoch (that of capitalism) and the state of a society, the so-called indus- trial society.”1 Scopophilia (pleasure in looking) and voyeurism are deeply inscribed in our society; in a cinema, the audience is placed at a voyeuristic distance and can unashamedly satisfy his cur- iosity. Passiveness, a play with identifications and a CONTENTS CURATING consumption-oriented attitude constitute the movie-watchers’ 01 Introduction position. Laura Mulvey moreover FILM calls attention to the fact that 02 The Cinema Auditorium the visual appetite is as much Interview with Ian White dominated by gender inequality as the system we live in.2 Natu- 04 The Moving Image rally, (experimental) films and Interview with Katerina Gregos INTRODUCTION the various art settings in which they are presented can 07 Unreal Asia and will violate the conventions Interview with Gridthiya Gaweewong and David Teh Siri Peyer of mainstream cinema from case to case. -
Dissertation
DISSERTATION Titel der Dissertation “We’re Punk as Fuck and Fuck like Punks:”* Queer-Feminist Counter-Cultures, Punk Music and the Anti-Social Turn in Queer Theory Verfasserin Mag.a Phil. Maria Katharina Wiedlack angestrebter akademischer Grad Doktorin der Philosophie (Dr. Phil.) Wien, Jänner 2013 Studienkennzahl lt. Studienblatt: A 092 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin / Betreuer: Univ. Prof.in Dr.in Astrid Fellner Earlier versions and parts of chapters One, Two, Three and Six have been published in the peer-reviewed online journal Transposition: the journal 3 (Musique et théorie queer) (2013), as well as in the anthologies Queering Paradigms III ed. by Liz Morrish and Kathleen O’Mara (2013); and Queering Paradigms II ed. by Mathew Ball and Burkard Scherer (2012); * The title “We’re punk as fuck and fuck like punks” is a line from the song Burn your Rainbow by the Canadian queer-feminist punk band the Skinjobs on their 2003 album with the same name (released by Agitprop Records). Content 1. Introduction .......................................................................................................... 1 2. “To Sir With Hate:” A Liminal History of Queer-Feminist Punk Rock ….………………………..…… 21 3. “We’re punk as fuck and fuck like punks:” Punk Rock, Queerness, and the Death Drive ………………………….………….. 69 4. “Challenge the System and Challenge Yourself:” Queer-Feminist Punk Rock’s Intersectional Politics and Anarchism……...……… 119 5. “There’s a Dyke in the Pit:” The Feminist Politics of Queer-Feminist Punk Rock……………..…………….. 157 6. “A Race Riot Did Happen!:” Queer Punks of Color Raising Their Voices ..……………..………… ………….. 207 7. “WE R LA FUCKEN RAZA SO DON’T EVEN FUCKEN DARE:” Anger, and the Politics of Jouissance ……….………………………….…………. -
Newsletter 2009
NEWSLETTER 2009 NEWSLETTER CONTENTS 2 Letter from the Chair and President, Board of Trustees Skowhegan, an intensive 3 Letter from the Chair, Board of Governors nine-week summer 4 Trustee Spotlight: Ann Gund residency program for 7 Governor Spotlight: David Reed 11 Alumni Remember Skowhegan emerging visual artists, 14 Letters from the Executive Directors seeks each year to bring 16 Campus Connection 18 2009 Awards Dinner together a gifted and 20 2010 Faculty diverse group of individuals 26 Skowhegan Council & Alliance 28 Alumni News to create the most stimulating and rigorous environment possible for a concentrated period of artistic creation, interaction, and growth. FROM THE CHAIR & PRESIDENT OF THE BOARD OF TRUSTEES FROM THE CHAIR OF THE BOARD OF GOVERNORS ANN L. GUND Chair / GREGORY K. PALM President BYRON KIM (’86) We write to you following another wonderful Trustees’/ featuring a talk by the artist and in June for a visit leadership. We will miss her, but know she will bring Many years ago, the founders of the Skowhegan great food for thought as we think about the shape a Governors’ Weekend on Skowhegan’s Maine campus, to Skowhegan Trustee George Ahl’s eclectic and her wisdom and experience to bear in the New York School of Painting & Sculpture formed two distinct new media lab should take. where we always welcome the opportunity to see beautiful collection which includes several Skowhegan Arts Program of Ohio Wesleyan University, where governing bodies that have worked strongly together to As with our participants, we are committed to diversity the School’s program in action and to meet the artists. -
Press Release
Press Release September 2014 Brooklyn Museum to Present Chitra Ganesh: Eyes of Time, Featuring a Site-Specific Installation Inspired by the Goddess Kali and Created for the Herstory Gallery of the Elizabeth A. Sackler Center for Feminist Art Chitra Ganesh: Eyes of Time, an exhibition featuring a multimedia, site-specific installation created by Brooklyn artist Chitra Ganesh and an artist-curated selection from the Brooklyn Museum collection, will be on view in the Herstory Gallery of the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art from December 12, 2014, through July 2015. The presentation takes its inspiration in part from the Hindu goddess Kali, one of the figures honored with a place setting in Judy Chicago’s The Dinner Party, on permanent view in the adjacent gallery. Responding to this unique context, Ganesh’s exhibition continues her ongoing exploration of iconic female characters, such as goddesses and female superheroes, and how they connect to contemporary feminist ideas and imagery. For more than a decade, Chitra Ganesh has explored mythic representations of femininity, sexuality, and power through a variety of media, from watercolors and charcoal drawings to digital collages, films, photographs, and text-based works, as well as numerous commissioned large-scale wall murals. Her drawing-based practice often uses historical and literary texts as inspiration and points of departure to develop and pose alternate narratives and representations of the feminine. For her Brooklyn presentation, the artist will draw from historical and mythic tales that reveal the fierce Kali as one of the many avatars of feminine divinity, collectively represented by the Great Goddess Devi. -
1 the Embodied Artefact: a Nomadic Approach to Gendered Sites Of
The Embodied Artefact: A Nomadic Approach to Gendered Sites of Reverence through an Interdisciplinary Art Practice Author Rochester, Emma Christina Lucia Published 2017 Thesis Type Thesis (PhD Doctorate) School Queensland College of Art. DOI https://doi.org/10.25904/1912/166 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367914 Griffith Research Online https://research-repository.griffith.edu.au The Embodied Artefact: A Nomadic Approach to Gendered Sites of Reverence through an Interdisciplinary Art Practice Emma Christina Lucia Rochester BA (Hons) BFA (Hons) Queensland College of Art Arts, Education and Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy February 2017 1 2 Abstract This doctoral project, “The Embodied Artefact: A Nomadic Approach to Gendered Sites of Reverence through an Interdisciplinary Art Practice”, moves beyond normative understandings of pilgrimage, God, and artistic scholarly research. Using a contemporary art lens, I travelled in a long durational performance to a multitude of international pilgrimage sites where God-as-Woman is, or has previously been, revered and respected. By moving towards and experiencing not just one destination but many, I have challenged the traditional paradigm of pilgrimage. In doing so, I have undergone a meta-experience whereby visitations to these psycho-spiritual terrains came together as a composite of embodied experiences. This blurring of boundaries seeks to go beyond the particularities of one newly revised gendered site of reverence to consider a process of pilgrimage that moves into and becomes nomadism, thereby developing significant new understandings across the fields of contemporary art practice and pilgrimage studies. -
NGA | 2017 Annual Report
N A TIO NAL G ALL E R Y O F A R T 2017 ANNUAL REPORT ART & EDUCATION W. Russell G. Byers Jr. Board of Trustees COMMITTEE Buffy Cafritz (as of September 30, 2017) Frederick W. Beinecke Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Louisa Duemling Mitchell P. Rales Aaron Fleischman Sharon P. Rockefeller Juliet C. Folger David M. Rubenstein Marina Kellen French Andrew M. Saul Whitney Ganz Sarah M. Gewirz FINANCE COMMITTEE Lenore Greenberg Mitchell P. Rales Rose Ellen Greene Chairman Andrew S. Gundlach Steven T. Mnuchin Secretary of the Treasury Jane M. Hamilton Richard C. Hedreen Frederick W. Beinecke Sharon P. Rockefeller Frederick W. Beinecke Sharon P. Rockefeller Helen Lee Henderson Chairman President David M. Rubenstein Kasper Andrew M. Saul Mark J. Kington Kyle J. Krause David W. Laughlin AUDIT COMMITTEE Reid V. MacDonald Andrew M. Saul Chairman Jacqueline B. Mars Frederick W. Beinecke Robert B. Menschel Mitchell P. Rales Constance J. Milstein Sharon P. Rockefeller John G. Pappajohn Sally Engelhard Pingree David M. Rubenstein Mitchell P. Rales David M. Rubenstein Tony Podesta William A. Prezant TRUSTEES EMERITI Diana C. Prince Julian Ganz, Jr. Robert M. Rosenthal Alexander M. Laughlin Hilary Geary Ross David O. Maxwell Roger W. Sant Victoria P. Sant B. Francis Saul II John Wilmerding Thomas A. Saunders III Fern M. Schad EXECUTIVE OFFICERS Leonard L. Silverstein Frederick W. Beinecke Albert H. Small President Andrew M. Saul John G. Roberts Jr. Michelle Smith Chief Justice of the Earl A. Powell III United States Director Benjamin F. Stapleton III Franklin Kelly Luther M. -
National Endowment for the Arts Annual Report 1989
National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216 -
REFORMULATING the RIOT GRRRL MOVEMENT: GRRRL RIOT the REFORMULATING : Riot Grrrl, Lyrics, Space, Sisterhood, Kathleen Hanna
REFORMULATING THE RIOT GRRRL MOVEMENT: SPACE AND SISTERHOOD IN KATHLEEN HANNA’S LYRICS Soraya Alonso Alconada Universidad del País Vasco (UPV/EHU) [email protected] Abstract Music has become a crucial domain to discuss issues such as gender, identities and equality. With this study I aim at carrying out a feminist critical discourse analysis of the lyrics by American singer and songwriter Kathleen Hanna (1968-), a pioneer within the underground punk culture and head figure of the Riot Grrrl movement. Covering relevant issues related to women’s conditions, Hanna’s lyrics put gender issues at the forefront and become a sig- nificant means to claim feminism in the underground. In this study I pay attention to the instances in which Hanna’s lyrics in Bikini Kill and Le Tigre exhibit a reading of sisterhood and space and by doing so, I will discuss women’s invisibility in underground music and broaden the social and cultural understanding of this music. Keywords: Riot Grrrl, lyrics, space, sisterhood, Kathleen Hanna. REFORMULANDO EL MOVIMIENTO RIOT GRRRL: ESPACIO Y SORORIDAD EN LAS LETRAS DE KATHLEEN HANNA Resumen 99 La música se ha convertido en un espacio en el que debatir temas como el género, la iden- tidad o la igualdad. Con este trabajo pretendo llevar a cabo un análisis crítico del discurso con perspectiva feminista de las letras de canciones de Kathleen Hanna (1968-), cantante y compositora americana, pionera del movimiento punk y figura principal del movimiento Riot Grrrl. Cubriendo temas relevantes relacionados con la condición de las mujeres, las letras de Hanna sitúan temas relacionados con el género en primera línea y se convierten en un medio significativo para reclamar el feminismo en la música underground. -
Why I Love NYC: Le Tigre
Choose your city Don't miss a thing: sign up to get the latest from Time Out. Subscribe to Time Out New York Magazine Tickets & Offers Things To Do Restaurants Bars Movies Theater Art Music Shopping & Style Blog Nightlife Attractions Events & Festivals Museums Kids Comedy Dance LGBT Sex & Dating Books City Guide Neighborhoods Hotels Promotions What When Where Things to do or see in New York All dates All areas Why I love NYC: Le Tigre The New York rockers and feminist icons share their favorite spots throughout the Hotel Belleclaire city. By Karen Iris Tucker Mon Mar 28 2011 From $197 See now The Watson Hotel From $198 See now Hotel Belleclaire The Watson Hotel From $197 From $198 Paramount Times The Lucerne Hotel Square whyiloveNYC01letigre From $278 From $217 Though its members were bred elsewhere, feminist electropunk trio Le Tigre is firmly rooted in New York City: Frontwoman Kathleen Hanna resides downtown, guitarist Johanna Fateman lives in Harlem, and keyboardist JD Samson represents Brooklyn. The band even featured an ode to the city's subway system, "My My Metrocard," on its 1999 selftitled debut album. The group has been on hiatus since 2006, but fans clamoring for a fix can relive Hanna & Co.'s frenetic live performances with the upcoming release of Who Took the Bomp? Le Tigre on Tour, directed by Kerthy Fix (Strange Powers: Stephin Merritt and the Magnetic Fields). The documentary, which is out on DVD on June 7, follows the band's 2004 tour, Millennium Broadway Hudson New York, New York Times Square and celebrates the trio's ability to lyrically pulverize homophobic bigots, Rudy Giuliani and misogynistic jerks—all while Central Park playing fun, danceable beats.