Interconnection As an Ethic of Generosity
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Collaborative “Mail Art” Puts the Post in Postmodernism Letters, Envelopes and Enclosures Take Center Stage in an Intimate New Art Show
Collaborative “Mail Art” Puts the Post in Postmodernism Letters, envelopes and enclosures take center stage in an intimate new art show Envelope decoration was always a staple of the mail art experience. This colorful letter was sent from performance artist Anna Banana (Anna Lee Long) to collagist John Evans in 2010. (John Evans papers, Archives of American Art). By Ryan P. Smith JULY 30, 2018 In the era of instant messaging and FaceTime on the go, it can be easy to forget the pleasure of shuffling out to the mailbox in hope of discovering a thoughtful note from an old friend. Removing a letter from its envelope is a rich tactile experience, and marginalia, cross-outs, distinct penmanship and quirky enclosures combine to give epistolary exchanges a uniquely personal flavor. In the experimental artistic simmer of the late 1950s, the everyday creativity of letter-writing gave rise to a veritable movement: that of “mail art,” an antiestablishment, anything-goes mode of serial imaginative expression whose inclusive nature has kept it alive even into the Digital Age. Now a new show, “Pushing the Envelope,” organized by the Smithsonian's Achives of 2018 American Art and opening August 10 at the Lawrence A. Fleischman Gallery in Washington, D.C., promises to shine a spotlight on the medium. The enigmatic Neo-Dada collagist Ray Johnson, a Detroit native who struggled with fame even as he appropriated images of movie stars for his art, pioneered in the field of mail art, weaving together an immense spider web of collaborators that would survive him following his sudden suicide in 1995. -
Pride and Sexual Friendship: the Battle of the Sexes in Nietzsche's Post-Democratic World
PRIDE AND SEXUAL FRIENDSHIP: THE BATTLE OF THE SEXES IN NIETZSCHE’S POST-DEMOCRATIC WORLD Lisa Fleck Uhlir Yancy, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS August 2008 APPROVED: Steven Forde, Major Professor Ken Godwin, Committee Member Richard Ruderman, Committee Member Milan Reban, Committee Member James Meernik, Chair of the Department of Political Science Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Yancy, Lisa Fleck Uhlir, Pride and sexual friendship: The battle of the sexes in Nietzsche’s post-democratic world. Doctor of Philosophy (Political Science), August 2008, 191 pp., bibliography of 227 titles. This dissertation addresses an ignored [partly for its controversial nature] aspect of Nietzschean philosophy: that of the role of modern woman in the creation of a future horizon. Details of the effects of the Enlightenment, Christianity and democracy upon society are discussed, as well as effects on the individual, particularly woman. After this forward look at the changes anticipated by Nietzsche, the traditional roles of woman as the eternal feminine, wife and mother are debated. An argument for the necessity of a continuation of the battle of the sexes, and the struggle among men and women in a context of sexual love and friendship is given. This mutual affirmation must occur through the motivation of pride and not vanity. In conclusion, I argue that one possible avenue for change is a Nietzschean call for a modern revaluation of values by noble woman in conjugation with her warrior scholar to bring about the elevation of mankind. -
WSRC3290 ASCP 2018 Conference Program FA.Indd
AUSTRALASIAN SOCIETY FOR CONTINENTAL PHILOSOPHY ANNUAL CONFERENCE 2018 AUSTRALASIAN SOCIETY FOR CONTINENTAL PHILOSOPHY ANNUAL CONFERENCE 2018 ACKNOWLEDGMENT OF COUNTRY THANKS TO Western Sydney University would like to acknowledge the ≥ Professor Peter Hutchings, Dean of the School of Humanities Burramattagal people of the Darug tribe, who are the traditional and Communication Arts custodians of the land on which Western Sydney University at Jacinta Sassine and the student volunteers Parramatta stands. We respectfully acknowledge the Burramattagal ≥ people’s Ancestors and Elders, past and present and acknowledge ≥ Hannah Stark, Timothy Laurie and student volunteers their 60,000 year unceded occupation of these lands. who organized the PG event ≥ Panel organisers: Dr Suzi Adams and Dr Jeremy Smith; Professor WELCOME Thomas M. Besch; Professor Francesco Borghesi; Dr Sean Bowden; Associate Professor Diego Bubbio; Dr Millicent Churcher; Dr Richard The Conference Organising Committee for 2018 extends a warm Colledge; Dr Ingo Farin; Associate Professor Chris Fleming; Dr John welcome to all our international and Australian participants, and all Hadley; Professor Vanessa Lemm; Professor Li Zhi; Associate Professor others associated with the conference. The ASCP conference is this year hosted by Western Sydney University, at our new Parramatta David Macarthur; Associate Professor Sally Macarthur; Dr Jennifer City campus. The event has been planned and developed across Mensch; Professor Nick Mansfield; Dr Talia Morag; Associate Professor this year by members of the Philosophy Research Initiative. Eric S. Nelson; Professor Ping He; Dr Rebecca Hill; Associate Professor Janice Richardson and Dr Jon Rubin; Dr Marilyn Stendera; Dr Omid Tofighian; Professor Miguel Vatter and Dr Nicholas Heron; Dr Allison CONFERENCE ORGANIZING COMMITTEE Weir; Dr Magdalena Zolkos. -
Danish Artists in the International Mail Art Network Charlotte Greve
Danish Artists in the International Mail Art Network Charlotte Greve According to one definition of mail art, it is with the simple means of one or more elements of the postal language that artists communicate an idea in a concise form to other members of the mail art network.1 The network constitutes an alternative gallery space outside the official art institution; it claims to be an anti-bureaucratic, anti-hierarchic, anti-historicist, trans-national, global counter-culture. Accordingly, transcendence of boundaries and a destructive relationship to stable forms and structures are important elements of its Fluxus-inspired idealistic self-understanding.2 The mail art artist and art historian Géza Perneczky describes the network as “an imaginary community which has created a second publicity through its international membership and ever expanding dimensions”.3 It is a utopian artistic community with a striving towards decentralized expansion built on sharing, giving and exchanging art through the postal system. A culture of circulation is built up around a notion of what I will call sendable art. According to this notion, distance, delay and anticipation add signification to the work of art. Since the artists rarely meet in flesh and blood and the only means of communication is through posted mail, distance and a temporal gap between sending and receiving are important constitutive conditions for the network communication. In addition, very simple elements of the mail art language gain the status of signs of subjectivity, which, in turn, become constitutive marks of belonging. These are the features which will be the focus of this investigation of the participation of the Danish artists Mogens Otto Nielsen, Niels Lomholt and Carsten Schmidt-Olsen in the network during the period from 1974–1985. -
How Ought We Live?
How Ought We Live? The Ongoing Deconstruction of Our Values Mark Nielsen This thesis is submitted to the School of History and Philosophy at the University of New South Wales in fulfilment of the requirements of the PhD in Philosophy 2010 ii iii Dedication For Theresa and Charlotte. iv Acknowledgements Firstly, I would like to thank my supervisor, Paul Patton, for his generous support in assisting me in the creation of this thesis. I am particularly grateful for his patience and understanding in relation to the research method I have used. I would also like to thank my co-supervisor, Rosalyn Diprose, for her generous support. Finally, I would like to thank my wife, Theresa, for her unwavering support over the years and for reminding me of what is important in life. v Table of Contents Title Page i Thesis/Dissertation Sheet ii Originality Statement, Copyright Statement and Authenticity Statement iii Dedication iv Acknowledgements v Table of Contents vi Introduction: Horizontal Philosophy and the Construction of an Ethical Rhizome 1 Macro-Sociological Plateaus 1. The Salesman as Values Educator: A Lesson From a Primary School Teacher 25 2. Feeling Unhappy and Overweight: Overconsumption and the Escalation of Desire 38 3. The Politics of Greed: Trivial Domestic Democracy 52 Philosophical Plateaus 4. The Democratic Rise of the Problem of ―How Ought We Live?‖ 67 5. Living in the Land of Moriah: The Problem of ―How Ought We Sacrifice?‖ 80 6. Welcome to the Mobile Emergency Room: A Convergence Between Ethics and Triage 101 7. Diagnostic Trans-Evaluation and the Creation of New Priorities 111 8. -
Mail a D News
Mail Ad News Stamp Art Gallery The Stamp Art Gallery has a The Ray Johnson Award, initiated by Edition Janus, checklist of Stamp Art Editions, which they have been for $2000 prize honoring outstanding contributions to publishing over the past three years. Included are correspondence or mail art, was established in 1995. catalogs of the stamp works of Joseph Beuys, Mike Edition Janus now invites anyone to join the ongoing Crane, the Fake Picabia Brothers, S. Gustav Hagglund, correspondence. Submissions of original artwork, Graf Waufer, J.H. Kocman, Henning Mittendorf, Kurt preferably in postcard format, are always welcome for Schwitters, Serge Segay and Endre Tot, among others. kture awards. All mail will be acknowledged. Send to For the list and for purchase ($15.00 for each catalog), Edition Janus, Eberhard Janke, Namslaustr. 85, 13507 write to Stamp Art Gallery, 466 8th St., San Francisco, Berlin, Germany. CA 94103. A special catalog of lives Klein has been published for $19.95 and a Klein box costs $14.95 for a The L World: Artist-Valentines for the 90's. On special rubberstamp. The Robert Watts Catalog costs Valentine's Day, 14 February 1996, forty artists were $23.95. The Ken Friedman Catalog and set of invited to create works based on contemporary notions rubberstamps costs $80.00 (ed. of 50) In March, the of love and romance. Additionally, many of the invited Stamp Art Gallery presented Donald Evans: Catalogue artists were utilizing video, video installations, digitized of the World as well as rubber stamps by Andrej Tisma. photography and mixed media light installations giving In April, Terra Candella (Harley), M.B. -
CATALOG NO. 1 Artists’ Ephemera, Exhibition Documents and Rare and Out-Of-Print Books on Art, Architecture, Counter-Culture and Design 1
CATALOG NO. 1 Artists’ Ephemera, Exhibition Documents and Rare and Out-of-Print Books on Art, Architecture, Counter-Culture and Design 1. IMAGE BANK PENCILS Vancouver Canada Circa 1970. Embossed Pencils, one red and one blue. 7.5 x .25” diameter (19 x 6.4 cm). Fine, unused and unsharpened. $200 Influenced by their correspondence with Ray Johnson, Michael Morris and Vincent Trasov co- founded Image Bank in 1969 in Vancouver, Canada. Paralleling the rise of mail art, Image Bank was a collaborative, postal-based exchange system between artists; activities included requests lists that were published in FILE Magazine, along with publications and documents which directed the exchange of images, information, and ideas. The aim of Image Bank was an inherently anti- capitalistic collective for creative conscious. 2. AUGUSTO DE CAMPOS: CIDADE=CITY=CITÉ Edinburgh Scotland 1963/1964. Concrete Poem, letterpressed. 20 x 8” (50.8 x 20.3 cm) when unfolded. Very Good, folded as issued, some toning at edges, very slight soft creasing at folds and edges. $225. An early concrete poetry work by Augusto de Campos and published by Ian Hamilton Finlay’s Wild Hawthorn Press. Campos is credited as a co-founder (along with his brother Haroldo) of the concrete poetry movement in Brazil. His work with the poem Cidade=City=Cité spanned many years, and included various manifestations: in print (1960s), plurivocal readings and performances (1980s-1990s), and sculpture (1987, São Paulo Biennial). The poem contains only prefixes in the languages of Portuguese, English and French which are each added to the suxes of cidade, city and cité to form trios of words with the same meaning in each language. -
F a St, C H Eap & Ea
Fast, Cheap & Easy 2018 The Copy Art Revolution CEPA GALLERY’S HISTORY Founded in 1974 during an intense period of creativity and artistic exploration in Buffalo, CEPA Gallery is Western New York’s premiere visual arts center. One of the oldest photography galleries in the nation, CEPA remains an artist-run space dedicated to the advancement of contemporary photo-related art. Throughout its history, CEPA has earned international acclaim for its unique array of visual arts programming and dedication to the artistic practice. Recognized as one of the most relevant and important alternative art spaces in the United States by the European Journal of Media Art, CEPA’s Visual Arts program curates world-renowned exhibitions; its organizational structure is celebrated for efforts to maximize resources through collaboration; and its educational programming is recognized among the best in the nation having earned a 2013 National Arts & Humanities Youth Programming Award. Each season, CEPA brings an impressive roster of national and international artists into Erie County for exhibitions, public art initiatives, residencies, educational and community-based programming. The projects CEPA commissions give voice to marginalized communities, promote diverse ideas and perspectives, and help to increase dialogue around issues pertinent to local audiences. Its commitment to serving artists and the artistic practice, to engaging new constituencies with exhibitions and installations of importance is continual- ly recognized and celebrated. CEPA’s unique ability to mutually serve the interests of working artists, WNY’s diverse communities, and international audiences is what separates it from other cultural organizations and is the reason for its continued success and growth. -
A Phenomenological Grounding of Feminist Ethics1 Citation
Penultimate version - A Phenomenological Grounding of Feminist Ethics1 Citation: Please cite the Journal version which has the correct pages etc,. Society of the British Journal for Phenomenology (accepted 11th April 2018, in press) A Phenomenological Grounding for Feminist Ethics, DOI: 10.1080/00071773.2018.1487195 https://doi.org/10.1080/00071773.2018.1487195 Anya Daly Irish Research Council Fellow, School of Philosophy, University College Dublin, Ireland; Honorary Fellow, School of Historical and Philosophical Studies, University of Melbourne, Australia. Abstract: The central hypothesis of this paper is that the phenomenology of Merleau-Ponty offers significant philosophical groundwork for an ethics that honours key feminist commitments – embodiment, situatedness, diversity and the intrinsic sociality of subjectivity. Part 1 evaluates feminist criticisms of Merleau-Ponty. Part 2 defends the claim that Merleau-Ponty’s non-dualist ontology underwrites leading approaches in feminist ethics, notably Care Ethics and the Ethics of Vulnerability. Part 3 examines Merleau-Ponty’s analyses of embodied percipience, arguing that these offer a powerful critique of the view from nowhere, a totalizing God’s-eye-view with pretensions to objectivity. By revealing the normative structure of perceptual gestalts in the intersubjective domain, he establishes the view from everywhere. Normativity is no longer deferred to higher authorities such as duty, utility or the valorised virtue, but through the perceptual gestalt it is returned to the perceiving embodied -
Derridean Deconstruction and Feminism
DERRIDEAN DECONSTRUCTION AND FEMINISM: Exploring Aporias in Feminist Theory and Practice Pam Papadelos Thesis Submitted for the Degree of Doctor of Philosophy in the Discipline of Gender, Work and Social Inquiry Adelaide University December 2006 Contents ABSTRACT..............................................................................................................III DECLARATION .....................................................................................................IV ACKNOWLEDGEMENTS ......................................................................................V INTRODUCTION ..................................................................................................... 1 THESIS STRUCTURE AND OVERVIEW......................................................................... 5 CHAPTER 1: LAYING THE FOUNDATIONS – FEMINISM AND DECONSTRUCTION ............................................................................................... 8 INTRODUCTION ......................................................................................................... 8 FEMINIST CRITIQUES OF PHILOSOPHY..................................................................... 10 Is Philosophy Inherently Masculine? ................................................................ 11 The Discipline of Philosophy Does Not Acknowledge Feminist Theories......... 13 The Concept of a Feminist Philosopher is Contradictory Given the Basic Premises of Philosophy..................................................................................... -
MAIL ART Exhlbltlons O COMPETITIONS
MAIL ART EXHlBlTlONS O COMPETITIONS NEWS deserves better than this, since he is a long -standing persona on the mail-art and correspondence art network for well over FLASH! Mohammed sent a telegram saying that Galdamez 13 years has been imprisoned and tortured in ~1-Salvador.Do sorne- thing immediately! If you wish to know more details, write Six Mail Art Projects (Rubber, vol. 3, nos. 7 - 9) includes Mohammed, Corso Montegrappa 23/13, 16137 Genova, Italy work by Herman Gruber, Ulises Carrion, Pawel Petasz, Leon- and hurry! hard Frank Duch, KO de Jonge and Johan van Geluwe whose work is beautifullv documented in this important volume. In- cluded are a list of people who received a stamp work after Dilzna's Bit?!oi!thly is looking for new visual work for the the exhibition, a bibliography including theoretical works, annual "Almanac" issue. Subm~ss~ons(any !engthf of work catalogs, and magazines that include information about mail- for black and wh~tereproduction on a page size of approx. art and mail-art magazines themselves. A Stempelplaats publi- 6 x 9 is requested. Enclose a self-addressed stamped en- cation. velope for the return of your work. Xeroxes are fine, not necessarily original artwork. Visual Narrative is especially Johan Van Geluwe showed work from his Museum of Mu- requested. No single frame work, but groups of works that seums from 17 January through 1 March at the Internatio- interconnect. Send to Diana's Bimonthly Press, 71 Elmgrove naal Cultureel Centrum in Antwerp. Ave., Providence, RI 029116. Jon Held, Jr. is showing "Letters from Mohammed," an ARTextreme, The Extreme Art Magazine, is looking for exhibition of original color Xerox works from 17 March visual, theoretical or critical work by artists for publication through 27 March at the School of Art, Munson-Williams- in this new magazine. -
Downloaded Or Projected for Classroom Use
FEBUARY 15, 2013–MAY 8, 2013 Solomon R. Guggenheim Museum Teacher Resource Unit A NOTE TO TEACHERS Gutai: Splendid Playground is the first U.S. museum retrospective exhibition ever devoted to Gutai, the most influential artists’ collective and artistic movement in postwar Japan and among the most important international avant-garde movements of the 1950s and 1960s. The exhibition aims to demonstrate Gutai’s extraordinary range of bold and innovative creativity; to examine its aesthetic strategies in the cultural, social, and political context of postwar Japan and the West; and to further establish Gutai in an expanded history of modern art. Organized thematically and chronologically to explore Gutai’s unique approach to materials, process, and performativity, this exhibition explores the group’s radical experimentation across a range of mediums and styles, and demonstrates how individual artists pushed the limits of what art could be and mean in a post-atomic age. The range includes painting (gestural abstraction and post-constructivist abstraction), conceptual art, experimental performance and film, indoor and outdoor installation art, sound art, mail art, interactive or “playful” art, light art, and kinetic art. The Guggenheim show comprises some 120 objects by twenty-five artists on loan from major museum and private collections in Japan, the United States, and Europe, and features both iconic and lesser-known Gutai works to present a rich survey reflecting new scholarship, especially on so-called “second phase” works dating from 1962–72. Gutai: Splendid Playground is organized by Ming Tiampo, Associate Professor of Art History, Carleton University, and Alexandra Munroe, Samsung Senior Curator of Asian Art, Guggenheim Museum.