AMOSPOE of the Full Spectrum of Design, from Critical Theory and Studio Practice to Cultural Relevance and Literacy

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AMOSPOE of the Full Spectrum of Design, from Critical Theory and Studio Practice to Cultural Relevance and Literacy

LEAP INTO THE VOID with The Master Class in Comparative Design, a three-quarter investigation AMOSPOE of the full spectrum of design, from critical theory and studio practice to cultural relevance and literacy. The Master Class is taught on SCAD’s Savannah campus and in the highly charged studio that is New York City. in conversation with Film Historian VERA DIKA Soho House | 10 . 22 . 13 Master Class Created by Dakota Jackson AMOS POE is one of the leaders of the No Wave Cinema movement that grew out of New York City’s “There is the downtown music and art scene. In 1975, Poe and Ivan Kral produced, shot, and edited what is considered to be the first punk film, The Blank Generation, which followed strange sense of performances of Television, The Ramones, Blondie, Patti Smith, The Talking Heads, The Heartbreakers, and Wayne Country. Poe continues to write, direct, and produce, and the ‘already seen' completed Empire II in 2007, a homage to Andy Warhol’s Empire. Poe teaches experimental filmmaking and screenwriting at NYU’s Tisch School of the Arts. Poe’s in Unmade Beds as other films include The Foreigner (1978), Subway Riders (1981), Alphabet City (1985), Rocket Gibraltar (1988), and The Guitar (2007). it flutters between eras and places. VERA DIKA holds a Ph.D. in Cinema Studies from NYU and has taught at UCLA, USU, UC Santa Barbara, Rutgers University, and New Jersey City University. Spe- Yet, there is also cializing in American film from 1973 to the present, Dika is the author of two books that discuss Poe’s work in depth, Recycled Culture in Contemporary Art and Film: The Uses the breathtaking of Nostalgia (Cambridge University Press, 2003) and The (Moving) Pictures Generation: The Cinematic Impulse in Downtown New York Film and Art (Palgrave Macmillan, chronicling of a 2012). new generation just coming into being." — Vera Dika, The (Moving) Pictures Generation: The Cinematic Impulse in Downtown New York Film and Art.

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LOOKING AT MUSIC: SIDE 2 EXPLORES THE CREATIVE EXCHANGE BETWEEN MUSICIANS AND ARTISTS IN NEW YORK CITY IN THE 1970s AND 1980s Photography, Music, Video, and Publications on Display, Including the Work of Jean-Michel Basquiat, Blondie, Richard Hell, Sonic Youth, and Patti Smith, Among Others Looking at Music: Side 2 June 10—November 30, 2009 The Yoshiko and Akio Morita Gallery, second floor Looking at Music: Side 2 Film Series September—November 2009 The Roy and Niuta Titus Theaters NEW YORK, June 5, 2009—The Museum of Modern Art presents Looking at Music: Side 2, a survey of over 120 photographs, music videos, drawings, audio recordings, publications, Super 8 films, and ephemera that look at New York City from the early 1970s to the early 1980s when the city became a haven for young renegade artists who often doubled as musicians and poets. Art and music cross-fertilized with a vengeance following a stripped-down, hard-edged, anti- establishment ethos, with some artists plastering city walls with self-designed posters or spray painted monikers, while others commandeered abandoned buildings, turning vacant garages into makeshift theaters for Super 8 film screenings and raucous performances. Many artists found the experimental music scene more vital and conducive to their contrarian ideas than the handful of contemporary art galleries in the city. Artists in turn formed bands, performed in clubs and non- profit art galleries, and self-published their own records and zines while using public access cable channels as a venue for media experiments and cultural debates. Looking at Music: Side 2 is organized by Barbara London, Associate Curator, Department of Media and Performance Art, The Museum of Modern Art, and succeeds Looking at Music (2008), an examination of the interaction between artists and musicians of the 1960s and early 1970s.
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Recycled Culture in Contemporary Art and Film
P1: FCH/ABHI/SPH P2: FCH/SPH QC: FCH/SPH T1: FCH CB529–FMatter CB529-Dika-V1.cls March 26, 2003 18:35 Recycled Culture in Contemporary Art and Film THE USES OF NOSTALGIA VERA DIKA University of California, Los Angeles University of Southern California v P1: FCH/ABHI/SPH P2: FCH/SPH QC: FCH/SPH T1: FCH CB529–FMatter CB529-Dika-V1.cls March 26, 2003 18:35 published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru,UK 40 West 20th Street, New York, ny 10011-4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Vera Dika 2003 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003 Printed in the United Kingdom at the University Press, Cambridge Typeface Sabon 10/13 pt. System LATEX 2ε [tb] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data Dika, Vera, 1951– Recycled culture in contemporary art and ﬁlm : the uses of nostalgia / Vera Dika. p. cm. – (Cambridge studies in ﬁlm) Includes bibliographical references and index. isbn 0-521-81568-1 – isbn 0-521-01631-2 (pbk.) 1. Nostalgia in motion pictures. 2. Nostalgia in art.
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Rock’n’Roll Cinema Adam Trainer Bachelor of Arts With First Class Honours in Media Studies This thesis is submitted for the degree of Doctor of Philosophy School of Media, Communication and Culture Murdoch University 2005 I declare that this thesis is my own account of my research and contains, as its main content, work which has not previously been submitted for a degree at any tertiary educational institution. Adam Trainer Refereed Publications Adam Trainer. ‘“Well I Wouldn’t Buy the Merchandise”: David Bowie as Post -Auteur’ in Senses of Cinema 28. September/October, 2003. http://www.sensesofcinema.com/contents/03/28/bowie_postmodern_auteur.html This journal article was derived from Chapter Five Adam Trainer. ‘The Business of Living: Secrets & Lies’ in Australian Screen Education 36. September, 2004. pp. 127-129. This journal article was written in association with research on cinematic realism, as featured in Chapter Four. Adam Trainer. ‘“They Made Me Do It”: The Mad World of Donnie Darko’ in Australian Screen Education 37. January, 2005. pp. 138-142. This journal article was derived from Chapter Three. Adam Trainer. ‘“It’s Not My Fault You Hate My Band”: Perth Art Rock’ in Liverpool of the South Seas: Perth and Its Popular Music. Tara Brabazon ed. Crawley: University of Western Australia Press, 2005. pp. 127-135. This chapter was written in association with research on experimental music, as presented in Chapter Six. Adam Trainer. ‘A Crooked Crooked Reign’ in Liverpool of the South Seas: Perth and Its Popular Music. Tara Brabazon ed. Crawley: University of Western Australia Press, 2005. pp.
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82648 Ca Object Representation
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University of Southampton Research Repository Eprints Soton
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