DOCSLIB.ORG

When Artists Speak Truth…

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

WHEN ARTISTS SPEAK TRUTH ACT UP / SHIMON ATTIE / MAJA BAJEVIC / LUIS BALAGUER / FÉLIX BELTRÁN / ADIGIO BENITEZ / ANDREA BOWERS / TANIA BRUGUERA / MATTHEW BUCKINGHAM / NANCY BURSON / YOAN CAPOTE / MEL CHIN / EMORY DOUGLAS / SAM DURANT / DYKE ACTION MACHINE / SHEPARD FAIREY / CHARLES GAINES / RICO GATSON / GUERILLA GIRLS / EDGAR HEAP OF BIRDS / SISTER CORITA KENT / HEW LOCKE / RAUL MARTÍNEZ / RENÉ MEDEROS / YOKO ONO & JOHN LENNON / ADRIAN PIPER / FAVIANNA RODRIGUEZ / ALFREDO ROSTGAARD / DREAD SCOTT / ANDRES SERRANO / FELIX GONZALEZ-TORRES / JARO VARGA THE 8TH FLOOR NOVEMBER 12, 2015 TO MARCH 18, 2016 6. 1. 2. 3. 4. 5. 9. 10. 7. 8. 12. 13. 11. 1. ACT UP (EST. 1987), SILENCE = DEATH, 1986. 7. RICO GATSON (B. 1966, AUGUSTA, GA), DOUBLE AMIRI, SILENCE = DEATH PROJECT. C-PRINT, 22 X 34”. COURTESY 2014. COLOR PENCIL, MARKER, AND PHOTO OF AVRAM FINKELSTEIN COLLAGE ON PAPER, 24 X 32”. COURTESY OF THE ARTIST AND RONALD FELDMAN FINE ART 2. MATTHEW BUCKINGHAM (B. 1963, NEVADA, IA) THE SIX GRANDFATHERS, PAHA SAPA, IN THE YEAR 8. SAM DURANT (B. 1961, SEATTLE, WA), EMORY DOUGLAS 502,002 C.E., 2002. BLACK-AND-WHITE DIGITAL C-PRINT SUITE (YOU PIG), 2004. GRAPHITE ON PAPER, 50 X 38”. 60 X 43” / 152.4” X 109.22” (12FT 7” X 9FT 1”). © SAM DURANT. COURTESY PAULA COOPER GALLERY, COURTESY OF MURRAY GUY, NEW YORK NEW YORK 3. EMORY DOUGLAS (B. 1943, GRAND RAPIDS, MI) 9. FAVIANNA RODRIGUEZ (B. 1978, FRUITVALE, CA) BLACK PANTHER, SEPTEMBER 21, 1974. OFFSET LITHO- I’M A SLUT, 2012. DIGITAL ART PRINT, 17 X 12”. GRAPH. 17.5 X 11.3” © 2015 EMORY DOUGLAS / COURTESY OF THE ARTIST ARTISTS RIGHTS SOCIETY (ARS), NEW YORK 10. ADRIAN PIPER (B. 1948, NEW YORK, NY), VANILLA 4. FÉLIX BELTRÁN (B. HAVANA,1938), COMITE POR LA NIGHTMARES #14, 1986. CHARCOAL & OIL CRAYON LIBERTAD DE ANGELA DAVIS, CUBA LIBERTAD PARA DRAWING ON NEWSPRINT, 22 X 13 3⁄4”. COURTESY OF ANGELA DAVIS (“FREEDOM FOR ANGELA DAVIS”), 1971. FAULCONER GALLERY, GRINNELL COLLEGE SILKSCREEN, 22 1⁄4 X 14”. COURTESY OF THE CENTER FOR CUBAN STUDIES 11. NANCY BURSON (B. 1948, ST. LOUIS, MO) FOCUS ON PEACE, 2002. OFFSET PRINT, 28” X 20”. 5. SISTER CORITA KENT (B. 1918, FORT DODGE, IA – D. ORIGINAL RUN OF 7000 POSTERS. COURTESY OF THE ARTIST 1986, BOSTON, MA), IF I, 1969. SERIGRAPH, 23 X 12”. TEXT BY MRS. MARTIN LUTHER KING JR., AND ALAN WATTS. 12. GUERILLA GIRLS, DO WOMEN HAVE TO BE NAKED TO GET PHOTOGRAPH BY ARTHUR EVANS. COURTESY OF THE INTO THE MET. MUSEUM? UPDATE, 2012. DIGITAL PRINT, CORITA ART CENTER, IMMACULATE HEART COMMUNITY, 11 X 26”. COPYRIGHT © GUERRILLA GIRLS, COURTESY LOS ANGELES, CA GUERRILLAGIRLS.COM 6. DYKE ACTION MACHINE (EST. 1991), LESBIAN 13. ADIGIO BENITEZ (B. SANTIAGO DE CUBA, 1924 - D. AMERICANS: DON’T SELL OUT, 1998. 4/C OFFSET POSTER HAVANA, 2013) UNTITLED, 1972. SILKSCREEN, 29 ½ X 20”. 24 X 36”. 5,000-PIECE CAMPAIGN WHEATPASTED IN COURTESY OF THE CENTER FOR CUBAN STUDIES LOWER MANHATTAN, NEW YORK CITY JUNE 1998. COURTESY OF DYKE ACTION MACHINE! / CARRIE MOYER AND SUE SCHAFFNER When Artists Speak Truth… reveals how cultural producers, centered on the poetic symbol of the butterfly, which in her Shimon Attie’s Double Blind (Israeli and Palestinian visitors may choose to take a print with them. In an interview artists in particular, are uniquely positioned to voice critical work is a reminder that living beings have the right to move Declarations of Independence), 2012 places the with Gonzalez-Torres, artist Tim Rollins described the stacks messages that cannot otherwise be transmitted. The freely, embodying the determination of immigrants who Declarations of Independence of Israel and Palestine side by of prints as “an accumulation of frames from a film.”1 Given exhibition is presented at The 8th Floor, as a dialogical come to the United States in search of their dreams. side in braille, embossed on black Somerset paper. Double the politics surrounding gun control, the frames of this and discursive space where politically engaged artistic Blind is a reminder that the aspirations for independence symbolic film continue to repeat in a morbid cycle. The stack projects set the stage for reflection and interchange. When As part of the exhibition, two artists have created immersive can be felt, but not seen, as propaganda on both sides of red paper, printed with a black framed edge, a minimalist Artists Speak Truth… is posed as a series of questions: site-specific installations at The 8th Floor. Maja Bajevic and of what became the Palestinian question – bound up in version of the outline of a body at a crime scene, becomes what happens when artists challenge the status quo, and Jaro Varga, using text and archives, respectively, explore the state of Israel’s response to the Jewish question – a stand-in for the loss of lives that the National Rifle advocate for change? Why are artists able to ask and how words can accumulate anti-institutional power. Library, obscures the human rights of two historically intertwined Association permits through its advocacy of gun ownership. respond to these questions? What makes art a space where an ongoing installation series by Varga, first realized in nations. The notion of ‘the Other’ is intrinsic to the Vanilla radical ideas can be supported? 2008, is a participatory work in which gallery visitors are Nightmare series, where Adrian Piper makes the racial encouraged to write book titles directly onto the wall of a fears and fantasies of white figures featured in ads and “Ask a few simple questions Perhaps because their status is constantly shifting, artists room-sized print depicting the stacks of a library. The project articles in the New York Times horrifically visible, by drawing have the social mobility and capital to question the power has a number of implications. It questions the relevance charcoal caricatures of racialized stereotypes onto images to define aesthetics: whose structures that define so much of our society. Considering of physical books and their eventual obsolescence, while of white culture. In Vanilla Nightmare #14, Piper overlays that artists are in a class of their own – one that is both also offering the temporary community surrounding the a ghoulish African American figure onto the political pages aesthetics? at what historical economically precarious and culturally rich – it is not exhibition a chance to define the books entered into this featuring then President Ronald Reagan, representative time? under what circumstances? surprising that they are aligned with activists organizing for conceptual library, giving visibility to under-recognized William H. Gray, Senator Lowell P. Weicker Jr., Senator Ted workers’ rights, immigrants’ rights, and gender and racial literary contributions. Varga’s project ultimately builds Kennedy, and impeached United States District Judge Harry for what purposes? and who equality. awareness of the collective input needed to demonstrate a E. Claiborne. Vanilla Nightmare #17 features an ad for B. representative institutional knowledge, creating a cognitive Altman’s department store, Piper’s intervention depicts an is deciding quality, etc? Then From 1967 until the 1980s, Emory Douglas was the map of the gallery’s visitors. Bajevic’s To be continued was Amazonian female figure holding up the two white men in Minister of Culture for the Black Panther Party and his first staged in 2014 at the National Museum in Oslo. For her fists like an offering. you realize suddenly and very graphic art was featured prominently in issues of the her performance in conjunction with When Artists Speak Black Panther newspaper. Included in the exhibition is his Truth…, Bajevic will fog the southern windows of the gallery, Following on from Piper, news of the week (1969) by quickly that aesthetic choices are illustration for the September 21, 1974 issue, which depicts writing political inscriptions onto the frosted glass. In its Sister Corita Kent, combines the plan of a slave ship with politics.” —Felix Gonzalez-Torres the hand of corporate power–comprised of The Chase previous iteration, phrases like “If you are not with us, you poetry, newspaper, and a Newsweek magazine cover as Manhattan Bank, Pan Am, Gulf, PepsiCo, Chevron, Ford, are against us,” “It is good to have just one child,” and “We commentary on inhumanity. Her interest in pacifism and in conversation with artist and IBM, among others – pulling the strings of President do not go home, the dead won’t let us,” were drawn onto human rights are expressed through a collage of text and 2 Gerald Ford, “the 38th Puppet of the United States.” Sam the windows of the museum, resurrecting historic political image that describe the conditions in which slaves were Tim Rollins Durant’s Emory Douglas Suite (You pig) is part of a larger statements with both universal and particular associations. brought to America with quotes from Walt Whitman’s Leaves series completed in 2004 in which he adapts Douglas’ Visual protest turns vocal in Yoan Capote’s Dialogusfobia of Grass. These disparate elements combine to express depictions of police aggression. Durant’s works engage a (Un Nudo en la Garganta), 2011, the subtitle of which the feeling of powerlessness in the face of suffering on a Building on Gonzalez-Torres’ questions about the political variety of social, political, and cultural issues exploring that translates to “A Lump in the Throat,” and is inspired by massive scale. Whitman wrote, “I do not ask the wounded nature of aesthetics, it’s worth considering what happens which connects culture to politics, and where activism is Edvard Munch’s The Scream (1893). Both Munch and person how he feels – I myself become the wounded when political gestures become aestheticized. Do they situated between the two. Durant’s consideration of the Capote’s artworks capture the tension felt in the throat person; My hurt turns livid upon me as I lean on a cane and lose their meaning? Perhaps it depends on the artist and cultural contributions of Emory Douglas to the Black Panther leading up to – and after – a scream.
Recommended publications
  • Papers of the Forty-Seventh Annual Meeting of the SEMINAR on the ACQUISITION of LATIN AMERICAN LIBRARY MATERIALS

    Papers of the Forty-Seventh Annual Meeting of the SEMINAR on the ACQUISITION of LATIN AMERICAN LIBRARY MATERIALS

    ¡88 L4 546 2002 Trends and Traditions in Latin American and Caribbean History SEMINAR ON THE ACQUISITION OF LATIN AMERICAN LIBRARY MATERIALS XLVII LEE LIBRARY ' AROIDB. UMVERS11T IHAM YOUNG PROVO.UTAH Trends and Traditions in Latin American and Caribbean History SALALM Secretariat Benson Latin American Collection The General Libraries The University of Texas at Austin Trends and Traditions in Latin American and Caribbean History Papers of the Forty-Seventh Annual Meeting of the SEMINAR ON THE ACQUISITION OF LATIN AMERICAN LIBRARY MATERIALS Cornell University June 1-4, 2002 Denise A. Hibay Editor SALALM Secretariat Benson Latin American Collection The General Libraries The University of Texas at Austin ISBN: 0-917617-73-8 Copyright © 2005 by SALALM, Inc. All rights reserved Printed in the United States of America S?nU^<BRARY . Contents Preface vii 1. Dressed Like an Indian: Ethnic Ambiguity in Early Colonial Peru Karen B. Graubart 1 2. Revolutions on the Radio: People and Issues Related to Revolutionary Movements in Latin America, Audio Gleanings from the Peabody Awards Collection Laura D. Shedenhelm 10 3. Atlantic Crossings: The Trade in Latin American Books in Europe in the Nineteenth Century Geoffrey West 29 4. El color, la textura, el peso de la página: el arte del libro en América Latina Lourdes Vázquez 44 5. The Map in the Book: Barbados Alan Moss 52 6. Judging a Book by Its Cover: Cover Art of Editora Política Sharon A. Moynahan Wendy Louise Pedersen 56 7. A Poster is Worth 10,000 Words: Cuban Political Posters at the University of New Mexico Claire-Lise Bénaud Sharon A.
  • Lorne Bair Rare Books, ABAA 661 Millwood Avenue, Ste 206 Winchester, Virginia USA 22601

    Lorne Bair Rare Books, ABAA 661 Millwood Avenue, Ste 206 Winchester, Virginia USA 22601

    LORNE BAIR RARE BOOKS CATALOG 26 Lorne Bair Rare Books, ABAA 661 Millwood Avenue, Ste 206 Winchester, Virginia USA 22601 (540) 665-0855 Email: [email protected] Website: www.lornebair.com TERMS All items are offered subject to prior sale. Unless prior arrangements have been made, payment is expected with or- der and may be made by check, money order, credit card (Visa, MasterCard, Discover, American Express), or direct transfer of funds (wire transfer or Paypal). Institutions may be billed. Returns will be accepted for any reason within ten days of receipt. ALL ITEMS are guaranteed to be as described. Any restorations, sophistications, or alterations have been noted. Autograph and manuscript material is guaranteed without conditions or restrictions, and may be returned at any time if shown not to be authentic. DOMESTIC SHIPPING is by USPS Priority Mail at the rate of $9.50 for the first item and $3 for each additional item. Overseas shipping will vary depending upon destination and weight; quotations can be supplied. Alternative carriers may be arranged. WE ARE MEMBERS of the ABAA (Antiquarian Bookseller’s Association of America) and ILAB (International League of Antiquarian Book- sellers) and adhere to those organizations’ strict standards of professionalism and ethics. CONTENTS OF THIS CATALOG _________________ AFRICAN AMERICANA Items 1-35 RADICAL & PROLETARIAN LITERATURE Items 36-97 SOCIAL & PROLETARIAN LITERATURE Items 98-156 ART & PHOTOGRAPHY Items 157-201 INDEX & REFERENCES PART 1: AFRICAN-AMERICAN HISTORY & LITERATURE 1. ANDREWS, Matthew Page Heyward Shepherd, Victim of Violence. [Harper’s Ferry?]: Heyward Shepherd Memorial Association, [1931]. First Edition. Slim 12mo (18.5cm.); original green printed card wrappers, yapp edges; 32pp.; photograph.
  • Andres Serrano – Natures Mortes Aus Blut, Schweiß Und Sperma

    Andres Serrano – Natures Mortes Aus Blut, Schweiß Und Sperma

    HIV/AIds und Kunst Andres Serrano – Natures mortes aus Blut, Schweiß und Sperma Andres Serrano, geboren 1950 in New York als Sohn einer afro-kubanischen Mutter und eines honduranischen Vaters, wuchs in einem katholisch geprägten Umfeld auf. Bereits als Jugendlicher war er interessiert an Renaissance- Malerei und speziell religiöser Ikonographie. Bereits zu Anfang seiner künstlerischen Laufbahn konzentrierte er sich auf die Fotografie – beeinflusst von Bunuel und anderen Surrealisten, waren Kadaver und insbesondere Blut, Milch und Sperma zentrale Bildelemente seiner Fotografien. D i e pe radikaler Katholiken beschädigt wurde. 1985-90 Serrano selbst wies den Vorwurf der entstan- Blasphemie immer zurück – tatsächlich d e n e n kann man das Werk als moderne Inter- S e r i e n pretation des Kreuzwegs Christi, der „ B o d y Verspottung, sehen. Ob tiefgründig oder Fluids“ plakativ, sei dahingestellt. u n d Serrano scheut dabei auch nicht Ausflüge „Immer- in die Popkultur: Die Arbeiten „Blood sions“ – and Semen III“ und „Piss and Blood“ v o r dienten als Cover-Fotos für zwei Alben allem die der Metal-Band Metallica. Diese und Andres Serrano Fotogra- andere Titel stehen in einem scheinbar fie „Piss Christ“ von 1987 aus der letzte- widersprüchlichen Kontrast zu Serranos ren – wurden einer breiteren Öffentlich- Intention, der diese Fotografien als Andres Serrano: „Ku Klux Klan“, 1998, keit bekannt: Sie zeigt ein Plastik-Kruzi- monochrome Studien zu Licht und Farb- Cibachrome, 98,5 x 79 cm fix, das mit Urin bespritzt wird, und löste einen Skandal aus, der Serrano endgültig werten bezeichnete. So bezog sich z.B. einer breiten Öffentlichkeit bekannt die Arbeit „Milk Blood“ von 1984 explizit machte: Die republikanischen Senatoren auf die geometrischen Abstraktionen Jesse Helms und Alphonse D’Amato grif- Mondrians.
  • Download Current:LA Press Release

    Download Current:LA Press Release

    CURRENT:LA WATER Public Art Biennial 2016 currentLA.org MAYOR ERIC GARCETTI CITY OF LOS ANGELES SOCIAL MEDIA CHANNELS Facebook: facebook.com/garcetti Twitter: https://twitter.com/MayorOfLA Instagram: https://www.instagram.com/lamayorsoffice/ FOR IMMEDIATE RELEASE CONTACT: Communications Office at 213.978.0741 MAYOR GARCETTI ANNOUNCES ROSTER OF ARTISTS FOR CURRENT:LA CITY’S FIRST PUBLIC ART BIENNIAL IN 2016 Outdoor, site-specific temporary installations by international and LA-based artists to be presented by the City during summer 2016 in response to water. LOS ANGELES – Mayor Eric Garcetti and the City of Los Angeles Department of Cultural Affairs unveiled the roster of artists and artist teams selected for the inaugural, citywide public art biennial titled CURRENT:LA Water to open in summer 2016. Water was chosen for the biennial’s first edition and will serve as the topical platform for the exchange of ideas around our relationships to this critical resource. CURRENT:LA Water artists and artist teams include: Refik Anadol + Peggy Weil (team); Edgar Arceneaux; Josh Callaghan + Daveed Kapoor (team); Mel Chin; Chris Kallmyer; Candice Lin; Lucky Dragons (Luke Fischbeck + Sarah Rara); Teresa Margolles; Kori Newkirk; Michael Parker; Gala Porras-Kim; Rirkrit Tiravanija; and Kerry Tribe. In June 2015, the City of Los Angeles was selected as one of four cities to receive up to $1 million as part of the Bloomberg Philanthropies Public Art Challenge, a new program aimed at supporting temporary public art projects that celebrate creativity, enhance urban identity, encourage public-private partnerships, and drive economic development. L.A.’s winning project, CURRENT:LA Water, will establish the first Public Art Biennial for Los Angeles.
  • The Cuban Poster - Pride & Determination

    The Cuban Poster - Pride & Determination

    / BLACKTAIL / Pier A. / NYC / / BLACKTAIL / 04 / THE CUBAN POSTER - PRIDE & DETERMINATION / LINCOLN CUSHING, BORN 1953, HAVANA, CUBA. Lincoln Cushing has at various times been a printer, artist, librarian, archivist, and author. He is involved in numerous efforts to document, catalog and disseminate oppositional political culture of the late 20th century. His books include Revolución! Cuban Poster Art (Chronicle Books, 2003), Visions of Peace & Justice: 30 Years of Political Posters from the Archives of Inkworks Press (2007), Chinese Posters: Art from the Great Proletarian Cultural Revolution (Chronicle Books 2007), Agitate! Educate! Organize! – American Labor Posters (Cornell University Press, 2009) and an illustrated essay in Ten Years That Shook The City – San Francisco 1968- 1978 (City Lights Books, 2011). He was the guest curator at the Oakland Museum of California for the 2012 exhibition All Of Us Or None – Poster Art of the San Francisco Bay Area, and author of a catalog by the same title (Heyday, 2012). His research and publishing projects can be seen at 04. PART FOUR www.docspopuli.org THE CUBAN POSTER PRIDE AND DETERMINATION by Lincoln Cushing LINCOLN CUSHING 64. 65. / BLACKTAIL / Pier A. / NYC / / BLACKTAIL / 04 / THE CUBAN POSTER - PRIDE & DETERMINATION / 01. 01. (ovpposite) “Neither Nations nor Men Respect Anyone Who Fails to Make Himself Respected” 1985, by Rene Mederos Pazos, for EP [DOR]. José Martí (1853-1895) was an author and Cuban patriot who dedicated his life to the overthrow of Spanish rule. He lived in exile in New York City from January 1880 to January 1895, where he founded a newspaper and a children’s magazine.
  • Nan Goldin and Andres Serrano's Post-Mortem Photography

    Nan Goldin and Andres Serrano's Post-Mortem Photography

    Visible Care: Nan Goldin and Andres Serrano’s Post-mortem Photography Lauren Jane Summersgill Humanities and Cultural Studies Birkbeck, University of London Submitted for the Degree of Doctor of Philosophy November 2014 2 Declaration I certify that this thesis is the result of my own investigations and, except for quotations, all of which have been clearly identified, was written entirely by me. Lauren J. Summersgill October 2014 3 Abstract This thesis investigates artistic post-mortem photography in the context of shifting social relationship with death in the 1980s and 1990s. Analyzing Nan Goldin’s Cookie in Her Casket and Andres Serrano’s The Morgue, I argue that artists engaging in post- mortem photography demonstrate care for the deceased. Further, that demonstrable care in photographing the dead responds to a crisis of the late 1980s and early 1990s in America. At the time, death returned to social and political discourse with the visibility of AIDS and cancer and the euthanasia debates, spurring on photographic engagement with the corpse. Nan Goldin’s 1989 post-mortem portrait of her friend, Cookie in Her Casket, was first presented within The Cookie Portfolio. The memorial portfolio traced the friendship between Cookie and Goldin over fourteen years. The work relies on a personal narrative, framing the works within a familial gaze. I argue that Goldin creates the sense of family to encourage empathy in the viewer for Cookie’s loss. Further, Goldin’s generic and beautified post-mortem image of Cookie is a way of offering Cookie respect and dignity in death. Andres Serrano’s 1992 The Morgue is a series of large-scale cropped, and detailed photographs capturing indiscriminate bodies from within an unidentified morgue.
  • 2 3 4 8 5 6 7 Work

    2 3 4 8 5 6 7 Work

    Link artMaking JANUARY 2005 NEWS FOR ALUMNI AND FRIENDS OF THE CLEVELAND INSTITUTE OF ART work MEDAL FOR CORBETT MASTERS ALUMNI OUTREACH ALUMNI NOTES FACULTY NOTES IN MEMORIAM SCHRECKENGOST TEACHING AWARD EXCELLENCE EMERGING ART TRAUSCH PRESENTS HELEN COLE NEW BOARD SMITH FOUNDATION CHALLENGE GRANT 2 3 FORM 4 5 6 7 8 “INSTANT CREATIVITY” ENDOWMENT MEMBERS FIRST WEDNESDAY DISCUSSION SERIES EXTENDED STUDIES FACULTY SHOW 2004 PROGRAM VISITING ARTISTS OFFER INSPIRATION AND ENERGY his fall, the Institute’s galleries, They also explored whether local commentary on the absence of health Tauditoriums and neighborhood “ethnic” arts and cultures can survive care for millions of Americans. Pope.L streets were filled with a high-pitched in a homogenized, global marketplace. uses his crawls to bring art out of the level of energy, inspiration and experi- Featured speaker, George Ritzer gallery and actively involve the com- mentation as a broad spectrum of cautioned participants that the munity in his work, often employing visiting artists presented a host of McDonalds’ model permeates every humor to connect with his audience. thought-provoking concepts. Shimon aspect of our daily lives and in the Pope.L, an African American, has Attie, William Pope.L, Stelarc, Hristina push toward globalization there is a staged nearly 50 crawls as part of Ivanoska, and Mel Chin are but a few great need to protect indigenous his “eRacism” project. He created a of the internationally acclaimed artists culture. Keynote speaker Mel Chin four-part crawl up Broadway, which who brought inspiration. They were captivated students as he discussed he dubbed “The Great White Way,” joined by scholars that included James his site-specific works and how he to coincide with the 2002 Whitney Elkins, author of Why Art Can’t Be injects art into unlikely places, includ- Biennial.
  • Art and Environmental Racism in the United States: Through the Works of Latoya Ruby Frazier, Pope.L, and Mel Chin

    Art and Environmental Racism in the United States: Through the Works of Latoya Ruby Frazier, Pope.L, and Mel Chin

    City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-6-2021 Art and Environmental Racism in the United States: Through the Works of LaToya Ruby Frazier, Pope.L, and Mel Chin Veronika Anna Molnár CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/728 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Art and Environmental Racism in the United States Through the Works of LaToya Ruby Frazier, Pope.L, and Mel Chin by Veronika Anna Molnár Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2021 May 6, 2021 Joachim Pissarro Date Thesis Sponsor May 6, 2021 Serubiri Moses Date Second Reader TABLE OF CONTENTS Acknowledgements iii List of Illustrations vi Introduction I. What is Environmental Racism: Landmark Reports and Literature 1 II. Artists and Environmental Injustice 4 III. Overview 6 IV. The Social vs. the Aesthetic 8 Chapter 1. Close Proximity to Toxicity: LaToya Ruby Frazier’s The Notion of Family (2001-2014) 1.1 A Brief History of Braddock, PA and Industrial Pollution 12 1.2 LaToya Ruby Frazier: A Braddonian Point of View 14 1.3 The Notion of Family (2001-2014) 17 1.4 Self-Portraits: Bodies on the Line 19 1.5 Subverting the History of Social Documentary 24 1.6 Activism and Advocacy in LaToya Ruby Frazier’s work 27 Chapter 2.

  • Mel Chin, David T. Hanson and Jarrad Powell, Dominiq

    Artists' Biographies Mel Chin was born in Houston in 1951; he now lives in New York City. Chin earned a B.A. in 1975 from George Peabody College for Teachers, Nashville, Tennessee. The Walker Art Center, Minneapolis, toured a solo exhibition of Chin's work to The Menil Collection, Houston; The Contemporary Arts Center, Cincinnati; and the Queens Museum of Art, Flushing (1990-1992). Other one-person exhibitions of Chin's work have been presented by the Fabric Workshop, Philadelphia (1992); the Hirshhorn Museum and Sculpture Garden, Washington, D.C. (1989); Frumkin/Adams Gallery, New York (1988); Loughelton Gallery, New York (1987); and Diverse Works, Houston (1985). Chin has participated in numerous group shows including "Fragile Ecologies: Contemporary Artists' Interpretations and Solutions," the Queens Museum of Art, New York (1992); "Diverse Representations," Morris Museum, Morristown, New Jersey (1990); "The Conceptual Impulse," Security Pacific Gallery, Costa Mesa, California (1990); "Mel Chin, Erik Levine, Manuel Neri," BR Kornblatt Gallery, Washington, D.C; "Noah's Art," City Parks Department, Central Park, New York (1989); "Public Art in Chinatown," Asian American Arts Centre, New York (1988); "Texas Art: A Selection from The Menil Collection, The Museum of Fine Arts and the Trustee's Collections of the Contemporary Arts Museum," The Menil Collection, Houston (1988); "The Texas Landscape: 1900-1986," The Museum of Fine Arts, Houston (1986); and "Showdown: Perspective on the Southwest," Alternative Museum, New York (1983). Both Jarrad Powell and David T. Hanson were born in Billings, Montana in 1948. Powell now lives in Seattle, Washington, and Hanson in Providence, Rhode Island. Powell is a composer, performer, and sound artist.
  • The Case for Academic Study of Postage Stamps Lincoln Cushing

    The Case for Academic Study of Postage Stamps Lincoln Cushing

    Vol. 6, No. 3, Spring 2009, 265-271 www.ncsu.edu/project/acontracorriente Review/Reseña Jack Child, Miniature Messages: The Semiotics and Politics of Latin American Postage Stamps. Durham: Duke University Press, 2008. Hiding in Plain Sight: The Case for Academic Study of Postage Stamps Lincoln Cushing Art Historian This book makes the case for the legitimate study of a medium that receives little academic attention—postage stamps. Child explores these precious objects on several levels. At the most abstract, he looks at these documents through the analytic tool of semiotics—the study of signs and the messages they contain. He then offers a broad philatelic and political history of Latin American stamps, and eventually narrows down to detailed Cushing 266 essays on the stamps from the Southern Cone, his region of expertise— Argentina, the Falklands/Malvinas, and territoriality on Antarctica. Child’s expertise in both philately and Latin American history make this book both informative and provocative. Given that stamps are high profile, internationally distributed official visual documents it is pretty obvious that they constitute a form of propaganda. This is a medium for countries to publish their story to the world, and in most cases the message—if there is one—is banal. However, often stamps charge into controversial topics, such as which country owns what piece of land, or whether the United States is an imperialistic presence in Viet Nam. These examples can take many visual forms, sometimes as subtle details such as choice of colors, typographic placement, or which clothing a head of state is shown wearing.
  • Graphic Solidarity: the Internationalist Outlook of the Cuban Revolution

    Graphic Solidarity: the Internationalist Outlook of the Cuban Revolution

    Wofford College Digital Commons @ Wofford Student Scholarship 5-2019 Graphic Solidarity: The nI ternationalist Outlook of the Cuban Revolution Katherine E. McCorkle Wofford College Follow this and additional works at: https://digitalcommons.wofford.edu/studentpubs Part of the History of Art, Architecture, and Archaeology Commons, Latin American Languages and Societies Commons, and the Printmaking Commons Recommended Citation McCorkle, Katherine E., "Graphic Solidarity: The nI ternationalist Outlook of the Cuban Revolution" (2019). Student Scholarship. 26. https://digitalcommons.wofford.edu/studentpubs/26 This Honors Thesis is brought to you for free and open access by Digital Commons @ Wofford. It has been accepted for inclusion in Student Scholarship by an authorized administrator of Digital Commons @ Wofford. For more information, please contact [email protected]. GRAPHIC SOLIDARITY: THE INTERNATIONALST OUTLOOOK OF THE CUBAN REVOLUTION By: Katie McCorkle Art History Honors Thesis 2018-2019 Wofford College 2 TABLE OF CONTENTS Introduction…………………………………………...……………………………………….4 PART I History of Cuban Revolution………………………………………………...……………….6 Components of the Cuban Revolution……………………………..……….………...9 Role of Culture in the Cuban Revolution……………………………………..………10 Broadcasting the Revolution…………………...…………………………….………11 Che Guevara……………………………………………………………...…..13 History of Production of Political Posters…………………………………………..……….15 Poster Production Agencies in Revolutionary Cuba……………………….………...17 OSPAAAL…………………………………………………………………...............18 Tricontinental
  • American Canvas: an Arts Legacy for Our Communities. INSTITUTION National Endowment for the Arts, Washington, DC

    American Canvas: an Arts Legacy for Our Communities. INSTITUTION National Endowment for the Arts, Washington, DC

    DOCUMENT RESUME ED 422 253 SO 029 161 AUTHOR Larson, Gary 0. TITLE American Canvas: An Arts Legacy for Our Communities. INSTITUTION National Endowment for the Arts, Washington, DC. PUB DATE 1997-00-00 NOTE 192p. AVAILABLE FROM National Endowment for the Arts, 1100 Pennsylvania Avenue, NW, Washington, DC, 20506-0001; telephone: 202-682-5400. PUB TYPE Reports Descriptive (141) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Aesthetics; *Art; Art Education; *Community Involvement; *Community Role; *Community Support; Cultural Background; *Cultural Education; *Fine Arts; Humanities ABSTRACT This report results from regional forums across the country to assess the current state of nonprofit arts in the United States. The report describes a cautionary tale about this nation's cultural legacy, the economic and social conditions surrounding the nonprofit arts, compartmentalization of the arts in community life, the place of the arts in education, and the opportunities and risks presented by new technologies. The report also offers challenges for individuals and organizations to take future action to sustain and preserve the nonprofit arts in their own communities. Chapters of the book include: (1) "Improving the Climate for Culture"; (2) "Transmitting Our Cultural Legacy"; (3) "The Evolving Cultural Landscape"; (4) "Americans and the Arts"; (5)"Culture and Community"; (6) "Arts and Education"; (7) "The Arts and Telecommunications"; (8) "Seeking New Solutions"; (9) "The Challenge to Act"; and (10)"Calls to Action." Two appendices conclude the volume: (1) "American Canvas Forums" and (2) "American Canvas National Committee & Steering 'I'ommittee." (EH) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document.