|||GET||| This Is Modern Art a Play 1St Edition
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Sabbatical Leave Report 2019 – 2020
Sabbatical Leave Report 2019 – 2020 James MacDevitt, M.A. Associate Professor of Art History and Visual & Cultural Studies Director, Cerritos College Art Gallery Department of Art and Design Fine Arts and Communications Division Cerritos College January 2021 Table of Contents Title Page i Table of Contents ii Sabbatical Leave Application iii Statement of Purpose 35 Objectives and Outcomes 36 OER Textbook: Disciplinary Entanglements 36 Getty PST Art x Science x LA Research Grant Application 37 Conference Presentation: Just Futures 38 Academic Publication: Algorithmic Culture 38 Service and Practical Application 39 Concluding Statement 40 Appendix List (A-E) 41 A. Disciplinary Entanglements | Table of Contents 42 B. Disciplinary Entanglements | Screenshots 70 C. Getty PST Art x Science x LA | Research Grant Application 78 D. Algorithmic Culture | Book and Chapter Details 101 E. Just Futures | Conference and Presentation Details 103 2 SABBATICAL LEAVE APPLICATION TO: Dr. Rick Miranda, Jr., Vice President of Academic Affairs FROM: James MacDevitt, Associate Professor of Visual & Cultural Studies DATE: October 30, 2018 SUBJECT: Request for Sabbatical Leave for the 2019-20 School Year I. REQUEST FOR SABBATICAL LEAVE. I am requesting a 100% sabbatical leave for the 2019-2020 academic year. Employed as a fulltime faculty member at Cerritos College since August 2005, I have never requested sabbatical leave during the past thirteen years of service. II. PURPOSE OF LEAVE Scientific advancements and technological capabilities, most notably within the last few decades, have evolved at ever-accelerating rates. Artists, like everyone else, now live in a contemporary world completely restructured by recent phenomena such as satellite imagery, augmented reality, digital surveillance, mass extinctions, artificial intelligence, prosthetic limbs, climate change, big data, genetic modification, drone warfare, biometrics, computer viruses, and social media (and that’s by no means meant to be an all-inclusive list). -
THE COUPLE in the CAGE: a Guatinaui ODYSSEY RUTH BEHAR and BRUCE MANNHEIM
IN DIALOGUE: THE COUPLE IN THE CAGE: A GuATINAUI ODYSSEY RUTH BEHAR AND BRUCE MANNHEIM The Society for Visual Anthropology sponsored a credulity of the visitors with regard to the "authenticity" screening of the video The Couple in the Cage: A of the two Guatinaui. Guatinaui Odyssey, by Coco Fusco and Paula Heredia, Anthropologists on the staff of the Smithsonian at the 1994 American Anthropological Association Institution and Field Museum concerned with raising (AAA) meetings in Atlanta. The video is based upon the viewer consciousness about issues of representation perfonnance piece Two Undiscovered Amerindians and the colonial legacy of displays in museums of Visit [Washington, Chicago, Syndey, etc.] created by natural history were instrumental in convincing mu the MacArthur award-winning performance artist, seum administrators that it was appropriate to sponsor Guillenno Gomez-Pena and cultural critic and artist the perfonnance-itself a parody of the former mu Coco Fusco. The two artists portray a man and a woman seum practice of putting non-Western peoples on dis from the remote (imaginary) Caribbean island of play as museum exhibits. But some viewers were Guatinaui. Conceived of as part of a larger counter outraged that museums allowed such an event to be cultural event entitled "The Year of the White Bear" performed inside the walls of institutions supposedly perfonned during the Quincentenary yearof Columbus's dedicated to "science" and "truth." "discovery" of the New World, the performance piece Anthropologists and others who came to viewThe was meant to be a critical commentary on the long Couple in the Cage at the AAA meetings had an standing Western practice of objectifying and distanc opportunity to discuss the question of what relationship ing the Other through spectatorship, in particular, cultural critiques such as the performance ofTwo Un through .museums· exhibitions of "primitive" peoples. -
Fresh Meat Rituals: Confronting the Flesh in Performance Art
FRESH MEAT RITUALS: CONFRONTING THE FLESH IN PERFORMANCE ART A THESIS IN Art History Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS By MILICA ACAMOVIC B.A., Saint Louis University, 2012 Kansas City, Missouri 2016 © 2016 MILICA ACAMOVIC ALL RIGHTS RESERVED FRESH MEAT RITUALS: CONFRONTING THE FLESH IN PERFORMANCE ART Milica Acamovic, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2003 ABSTRACT Meat entails a contradictory bundle of associations. In its cooked form, it is inoffensive, a normal everyday staple for most of the population. Yet in its raw, freshly butchered state, meat and its handling provoke feelings of disgust for even the most avid of meat-eaters. Its status as a once-living, now dismembered body is a viscerally disturbing reminder of our own vulnerable bodies. Since Carolee Schneeman's performance Meat Joy (1964), which explored the taboo nature of enjoying flesh as Schneeman and her co- performers enthusiastically danced and wriggled in meat, many other performance artists have followed suit and used raw meat in abject performances that focus on bodily tensions, especially the state of the body in contemporary society. I will examine two contemporary performances in which a ritual involving the use of raw meat, an abject and disgusting material, is undertaken in order to address the violence, dismemberment and guilt that the body undergoes from political and societal forces. In Balkan Baroque (1997), Marina Abramović spent three days cleansing 1,500 beef bones of their blood and gristle amidst an installation that addressed both the Serbo-Croatian civil war and her personal life. -
Introduction to Art Making- Motion and Time Based: a Question of the Body and Its Reflections As Gesture
Introduction to Art Making- Motion and Time Based: A Question of the Body and its Reflections as Gesture. ...material action is painting that has spread beyond the picture surface. The human body, a laid table or a room becomes the picture surface. Time is added to the dimension of the body and space. - "Material Action Manifesto," Otto Muhl, 1964 VIS 2 Winter 2017 When: Thursday: 6:30 p.m. to 8:20p.m. Where: PCYNH 106 Professor: Ricardo Dominguez Email: [email protected] Office Hour: Thursday. 11:00 a.m. to Noon. Room: VAF Studio 551 (2nd Fl. Visual Art Facility) The body-as-gesture has a long history as a site of aesthetic experimentation and reflection. Art-as-gesture has almost always been anchored to the body, the body in time, the body in space and the leftovers of the body This class will focus on the history of these bodies-as-gestures in performance art. An additional objective for the course will focus on the question of documentation in order to understand its relationship to performance as an active frame/framing of reflection. We will look at modernist, contemporary and post-contemporary, contemporary work by Chris Burden, Ulay and Abramovic, Allen Kaprow, Vito Acconci, Coco Fusco, Faith Wilding, Anne Hamilton, William Pope L., Tehching Hsieh, Revered Billy, Nao Bustamante, Ana Mendieta, Cindy Sherman, Adrian Piper, Sophie Calle, Ron Athey, Patty Chang, James Luna, and the work of many other body artists/performance artists. Students will develop 1 performance action a week, for 5 weeks, for a total of 5 gestures/actions (during the first part of the class), individually or in collaboration with other students. -
Exploding-Goat.Pdf
FINE, PROBATION FOR SHOCK ARTIST 2 SHOCK ARTISTS ARRAIGNED IN ROXBURY 3 COLEMAN FACES CHARGES ON EXPLOSIVES 4 WHEN SHOCK ART GOES TOO FAR FEAR AND LOATHING IN THE AUDIENCE 5 OFFICIALS, AUDIENCE, BF/VF REACT AS THE SMOKE CLEARS 7 AUDIENCE FLEES EXPLOSIVE PERFORMANCE 9 FINE, PROBATION FOR SHOCK ARTIST ARTS AND FILM FINE, PROBATION FOR SHOCK ARTIST Jim Sullivan, Globe Staff 266 words 16 February 1990 The Boston Globe THIRD 94 English © 1990 New York Times Company. Provided by ProQuest Information and Learning. All Rights Reserved. Joe Coleman , the controversial New York-based "shock artist" who performed at the Boston Film/Video Foundation Oct. 29, pleaded guilty yesterday in Roxbury District Court to possession of fireworks and cruelty to animals. He paid a total of $662 in fines and was put on probation for one year. The charge of possession of an inferno machine was dismissed by the Commonwealth. A count of burning of a dwelling was dismissed by the judge, according to Asst. District Attorney Robert Benson, because he saw no "willful or malicious intent." Coleman's wife, Nancy, a co-defendent in the case is in the hospital and could not appear, her attorney said. Her case will be heard June 15. Coleman's act, which is captured on the "Mondo New York" videotape, consisted, in part, of detonating explosives attached to his chest and biting the heads off mice. "The judge said he cannot come into Massachusetts and perform anything related to animals," said Benson. "My understanding was he's not going to perform any 'shock art' in Massachusetts anymore." Asked about Coleman's demeanor, Benson said, "He was very subdued and respectable toward the judge, very humble. -
An Feminist Intervention 1
Total Art Journal • Volume 1. No. 1 • Summer 2011 POSTHUMAN PERFORMANCE An Feminist Intervention 1 LUCIAN GOMOLL Narcissister posing for IN*TANDEM, 2010. Image Credit: Gabriel Magdaleno/IN*TANDEM magazine Man will be erased like a face drawn in sand at the edge of the sea. —Michel Foucault, 1966 We have never been human. —Donna Haraway, 2006 1 I would like to dedicate this essay to the participants of my senior seminar “Women Artists, Self-Representations” taught during multiple terms at UC Santa Cruz, particularly my teaching assistant Lulu Meza, as well as students Christina Dinkel, Abby Law- ton and Allison Green. I am grateful to Natalie Loveless and Lissette Olivares for their critical feedback on early drafts of this article. I am also indebted to Donna Haraway and Jennifer González for their mentorship pertaining to the specific issues I explore here. Total Art Journal • Volume 1 No. 1 • Summer 2011 • http://www.totalartjournal.com In spring 2010, New York’s Museum of Modern Art hosted a popular and controversial retrospective of Marina Abramović’s oeuvre entitled The Artist is Present. Abramović herself participated in one seated per- formance at the exhibition and models were hired to play other roles she had become famous for. The retrospective included “Imponderabilia,” in which an unclothed man and woman stand in a doorway. For the first staging in 1977, Abramović and Ulay (Uwe Laysiepen) stood at the show’s entrance, in such close proximity that they forced most visitors to enter sideways and touch them both. Part of the work’s purpose was to see how the audience would respond to the gendered naked bodies.2 Audience squirming and forced decision-making were crucial elements of the piece, and are part of why it became so notorious. -
In Chelsea, a Trio of Galleries Bring Cuba Stateside,” T: the New York Times Style Magazine, January 19, 2016
Herriman, Kat. “In Chelsea, a Trio of Galleries Bring Cuba Stateside,” T: The New York Times Style Magazine, January 19, 2016. This season, several exhibitions in New York feature the work of Cuban artists. Clockwise from left: Luis Martínez Pedro’s painting “Aguas territoriales (Territorial Waters),” 1963, on view at David Zwirner; a detail of Diana Fonseca Quiñones’s “Puente (English version),” 2015, on view at Sean Kelly; a still from Coco Fusco’s film “La confesión,” 2015, on view at Alexander Gray. Credit Clockwise from left: Courtesy of the artist and David Zwirner; photo by Jason Wyche, courtesy of the artist and Sean Kelly; courtesy of the artist and Alexander Gray. When the U.S. loosened travel restrictions to Cuba in 2014, Havana jumped to the top of everyone’s cultural bucket list. And the New York art scene has caught the fever: A rash of exhibitions this winter are devoted to the island’s art community. A timely follow-up to last spring’s contemporary-focused “Cuba Libre!” exhibition at the Bronx Museum of the Arts, David Zwirner’s “Concrete Cuba” offers one of the first looks at the island’s pre-revolutionary art, with a comprehensive show of the sculptures and paintings of Los Diez Pintores Concretos (the Ten Concrete Painters), a group of geometrically inclined artists that operated under that collective moniker for a brief moment between 1959 to 1961. Taking up the second story of the gallery’s 20th Street tower, the historical work has a pleasingly human scale. A celebration of medium and color rather than content, the concretist compositions share more conceptual similarities with the process-based artists of today than with the abstract expressionists who were working in Europe and the U.S. -
The Other History of Intercultural Performance Coco Fusco
The Other History of Intercultural Performance Coco Fusco TDR (1988-), Vol. 38, No. 1. (Spring, 1994), pp. 143-167. Stable URL: http://links.jstor.org/sici?sici=1054-2043%28199421%2938%3A1%3C143%3ATOHOIP%3E2.0.CO%3B2-Q TDR (1988-) is currently published by The MIT Press. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/mitpress.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is an independent not-for-profit organization dedicated to and preserving a digital archive of scholarly journals. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Mon Jan 22 14:21:18 2007 The Other History of Intercultural Performance Coco Fusco In the early rgoos, Franz Kafka wrote a story that began, "Honored members of the Academy! You have done me the honor of inviting me to give your Academy an account of the life I formerly led as an ape" (1979:245). -
Transcultural Performance Art, Political Intention, and the Aesthetic
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 5-3-2018 Transcultural Performance Art, Political Intention, and the Aesthetic Projects of Guillermo Gómez- Peña, Coco Fusco, Violeta Luna, Roberto Sifuentes, and La Pocha Nostra William R. Stark University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Stark, William R., "Transcultural Performance Art, Political Intention, and the Aesthetic Projects of Guillermo Gómez-Peña, Coco Fusco, Violeta Luna, Roberto Sifuentes, and La Pocha Nostra" (2018). Doctoral Dissertations. 1775. https://opencommons.uconn.edu/dissertations/1775 Transcultural Performance Art, Political Intention, and the Aesthetic Projects of Guillermo Gómez-Peña, Coco Fusco, Violeta Luna, Roberto Sifuentes, and La Pocha Nostra William R. Stark University of Connecticut, 2018 This dissertation analyzes socio-cultural and socio-political concerns that characterize performance art in the United States (U.S.) from the late 1980s to 2015. Of particular interest to my research are performance artists who cross cultural borders and challenge normative cultural paradigms, celebrate cultural hybridity, and challenge the epistemological value of national, cultural, ethnic, and racial borders. My research examines the ways that multimedia performance artists Guillermo Gómez-Peña (1955 – Mexico City, D.F.), Coco Fusco (1960 – New York, NY), Roberto Sifuentes (1967 – Los Angeles, CA), Violeta Luna (Mexico City, D.F., Mexico) and the performance troupe La Pocha Nostra (1993-) articulate aesthetic projects with political intention to establish sociocultural and sociopolitical critiques of hegemonic discourses. I examine the central role of the U.S.-Mexico border and border thinking in texts and performances from the 1980s to 2015. -
Artforum Fusco January 30, 2007
http://www.artforum.com/diary/1 01.30.07 Gender Bender New York · Rhonda Lieberman on feminism at MoMA · Andrew Berardini around Los Angeles · William Pym on Philadelphia's biggest-ever art party Left: Coco Fusco and the Guerrilla Girls. (Photo: Brian Sholis) Right: Curator Catherine · David Velasco on de Zegher and artist Martha Rosler. (Photo: David Velasco) Terence Koh at the Whitney On Friday, I attended the first half of a two-day symposium at MoMA · Lillian Davies on on “The Feminist Future: Theory and Practice in the Visual Arts.” The Tim Gardner at the sold-out Roy and Niuta Titus Theater was packed with vintage women National Gallery artists, as well as chroniclers, comrades, and frenemies, whether they · Zach Baron at identified with the “f-word” or not. Thankfully, not much time was concerts by Patti wasted quibbling over that, as is customary in such situations, though Smith and Text of Light one questioner did complain about the “c-word,” which she found as deeply offensive as the “n-word.” The lady next to me wondered, “What’s the N-word?” Oy. I helpfully wrote it on her program. She later January 2007 crossed it out. December 2006 The day started with palpable excitement. It seemed a roomful of November 2006 underacknowledged women artists were about to taste vindication at October 2006 MoMA, the stern, withholding mothership. The venerable Lucy Lippard September 2006 kicked things off with a minihistory of our struggles, contrasting early feminist ideals of community and revolution with the more cynical August 2006 early-twenty-first-century careerism. -
Black Audio Film Collective
YOUNG BRITISH AND BLACK The Work of San kofa and Black Audio Film Collective COCOFusco Hallwalls 1 Contemporary Arts Center Buffalo, N.Y. "A Black Aiant-Caide?* tai& Wbttehop Sector" different form. tt ts reprinted with permi&sion. ISBN: M36739.15-0 f988 kq Hallvfltlls, Inc. and mspecttwe contributor*. All rights reserved. No portion of be reproduced in any form without written permission from the author and Hallwalls, Inc., except for &i HaIlwalts/Contemporary Arts Center 700 Main Street, 4th Floor Buffalo, NY 14202 (716) 854-5928 This publication has been organized by Steve Gallagher (for Hallwalls) in conjunction with Coco Fusco and Ada Gay Griffin (of Third Wrld Newsreef). It is designed to ac- company a touring film exhibition of the same title curated by Coco Fusco and produc- ed by Ada Cay Griffin. This publication is made possible, in part, with funds from the New York State Council on the Arts and the National Endowment for the Arts. Photo (inside front cover): Frame enlargement from Black Audio Film Collec- tive's Handsworth Songs (1986). Photo (inside back cower): Joseph Charles and Ann! Dorningo in a production still from Sankofa's fission of Remembrance (1986). Between me and the other world there is ever an unasked question: unasked by some through feelings of delicacy; by others through the difficulty of rightly framing it. All, nevertheless, flutter around it. They approach me in a half- hesitant sort of way, eye me curiously or compassionately, and then, instead of saying directly, How does it feel to be a problem? they say, I know an excellent colored man in my town; or, 1 fought at Mechanicsville; or, Do not these Southern outrages make your blood boil? At these I smile, or am uninterested, or reduce the boiling to a simmer, as the occasion may require. -
The Screen As a Site of Division and Encounter
This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Thesis Title: The screen as a site of division and encounter Creators: Marchevska, E. Example citation: Marchevska, E. (2012) The screen as a site ofR division and encounter. Doctoral thesis. The University of NorthampAton. Version: Accepted version http://nectarC.northampTton.ac.uk/6130/ NE The screen as a site of division and encounter Submitted for the Degree of Doctor of Philosophy At the University of Northampton Year 2012 Elena Marchevska © Elena Marchevska, 20th of November, 2012. This thesis is copyright material and no quotation from it may be published without proper acknowledgement. 1 Contents ACKNOWLEDGMENTS ............................................................................................. 5 PRELUDE OR HOW TO READ THIS THESIS ........................................................... 7 THE SCREEN, THE PAGE, THE WINDOW ............................................................. 12 Diary entry, Day 4 ........................................................................................................................ 15 1.1 . RESEARCH STRATEGY ....................................................................................................... 15 1.1.1. Practice as research ......................................................................................... 16 1.1.2. Field review (contextual analysis) ..................................................................... 18 1.1.3. Performative reflective