DOCSLIB.ORG

KINSEY Skins\Screens\Circuits Edited Version

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
KINSEY Skins\Screens\Circuits Edited Version SKINS \ SCREENS \ CIRCUITS: HOW TECHNOLOGY REMADE THE BODY CADENCE KINSEY UNIVERSITY COLLEGE LONDON PHD HISTORY OF ART 1 I, Cadence Kinsey, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 ABSTRACT This thesis is an analysis of the social, political and historical inter-relationships between moving image technologies, constructions of gender and sexuality, and theories of science and technology. Presented as a series of case-studies on film, video, medical imaging and computer technology in the work of five women artists, this thesis looks at the way in which artistic practice overturns traditional theories of technology as purely ‘instrumental’, theories of the subject in which identity is tied to the body, and the assumption that women do not access technology in a sophisticated way. It considers the various ways in which women artists have engaged with, and subverted, the explicit body in representation through deploying new moving image technologies at the historical moment of their widespread distribution across domestic, artistic, pornographic and medical spheres. It ends by asking what is the political potential in challenging the anthropomorphic and destabilizing the figurative through abstraction? Beginning with an investigation into the way in which Carolee Schneemann uses the material properties of film to establish a haptic encounter, in which female and feline bodies are caught up in a sexual economy of touch (pet/petting), this thesis then looks at the work of Kate Craig and the mutual expansion of pornography and home- video technology, questioning the emergence of the ‘amateur’ in relation to theories of power and gender; offers a technological and philosophical modeling of medical imaging technology (taking endoscopy in the work of Mona Hatoum as a case study); and re-evaluates the use of binary in information systems beyond a limiting analogy with ‘Western binaries’ through the work of Nell Tenhaaf. Using the languages of art history together with science & technology studies, medical discourse and feminism, this research theorises gender, technology and medicine as systems of representation that are all deeply inter-connected. 3 CONTENTS Acknowledgements 5 List of Illustrations 6 Introduction: Technologies of Vision 10 Chapter One ‘Petting and Personhood: Re-Framing Contacts in Carolee 34 Schneemann’s Fuses’ Pet(ting) Tales and tails Touching others Frame breaks Unclean bodies Chapter Two ‘The Recursive Screen: Electronic Vision and the Body Image’ 80 Now? Reflection/reflexivity Feedback Video is vengeance of the vagina Chapter Three ‘Pathologising the Body: Mona Hatoum’s Corps Étranger’ 128 The part-body and body parts Penetrating gazes The endoscope Strange bodies Textual bodies Chapter Four ‘The Somatic Matrix: Embodiment Versus “The Body”’ 179 Coded bodies Scaleless scale Biotech to info-tech Inter/face States of superimposition Conclusion: Lo-fidelity Embodiment 219 Bibliography 232 Images 253 4 ACKNOWLEDGEMENTS I would like to thank the many individuals and organizations who have contributed to this thesis. In the first instance, I am grateful to the UCL Graduate School for generously providing the funds to complete this research, and to the following archives and art institutions for making their materials available: Electronic Arts Intermix; LUX; The Western Front; The National Gallery of Canada; Anthology Film Archives, especially Robert Haller; The White Cube; and the Centre Georges Pompidou. For responding so thoughtfully to various draft chapters and articles I am deeply indebted to Carolee Schneemann; Vanalyne Green; Dr Peg Rawes at the Bartlett; Dr Richard Lyus MBBS BSc., at BPAS; Dr Lucetta Johnson at the Courtauld Institute; and Dr Thomas Morgan Evans at UCL. For all sorts of miscellaneous support along the way I must thank my PhD colleagues at UCL Art History and the staff, most especially Professor Briony Fer, Professor Fred Schwartz, Dr Rose Marie San Juan, Dr Alison Wright, and Dr Diana Dethloff. My final thanks are reserved for my supervisors, Dr Frances Stracey, Dr Maria Loh, and Professor Tamar Garb, who have so generously contributed acres of time, intellectual support and encouragement over the years. 5 LIST OF ILLUSTRATIONS 1.1 Carolee Schneemann, Fuses, 1964-67, 29:51 min, colour, self-shot 16mm film. Collection of Electronic Arts Intermix, New York. 1.2 Carolee Schneemann, Plumb Line, 1968-71, 14:58 min, color, sound, Super 8mm film. Collection of Electronic Arts Intermix, New York. 1.3 Carolee Schneemann, Kitch’s Last Meal, 1973-76, Super 8mm film, colour, double projection-vertical. Sound on cassette. Collection of Electronic Arts Intermix, New York. 1.4 Carolee Schneemann, Infinity Kisses, 1981-1987. Xerox ink on linen, 213.36 x 182.88 cm. San Francisco Museum of Modern Art Accessions Committee Fund: gift of Collectors Forum, Christine and Pierre Lamond, Modern Art Council, and Norah and Norman Stone. 1.5 Carolee Schneemann, Vesper's Stampede To My Holy Mouth, 1992, video, 15 min, colour, sound. Collection of Electronic Arts Intermix, New York. 1.6 Carolee Schneemann, note to the Anthology Film Archives on the occasion of restoring Fuses, 2007. In the collection of the Anthology Film Archives, New York. 1.7 Carolee Schneemann, ‘Expanded cinema (free from recollections of New York)’, typed and illustrated essay, written in London, 9 September 1970. In the collection of the Anthology Film Archives, New York. 1.8 Carolee Schneemann, ‘Parts of a body house book’ flyer for reading at St Mark’s Church, New York, 19 December, 1973. In the collection of the Anthology Film Archives, New York. 1.9 Carolee Schneemann, ‘Subtle Gardening or Cooking With Apes’ flyer for performance at Fylkingen, Stockholm, 2 September 1973. In the collection of the Anthology Film Archives, New York. 1.10 Carolee Schneemann, Personae (J.T. & 3 Kitch’s), 1958, Oil on canvas, 48x31”, private collection. 1.11 Carolee Schneemann, Fur Wheel, 1962. Motorized construction: lamp shade base, fur, tins cans, mirrors, glass, oil paint, mounted on turning wheel, 35 x 35 x 65 cm. 1.12 Carolee Schneemann, Fuses, still from film. 1.13 Fuses, still from film. 1.14 Fuses, still from film. 1.15 Fuses, still from film. 2.1 Lynda Benglis, Enclosure, 1973, 7:28min, B&W video, sound. MoMA, gift of Barbara Forshay-Miller. 2.2 Lynda Benglis, Enclosure. 2.3 Diagram showing two waves (magenta and green) with points of crossover (‘beats’) generating the moiré pattern. 2.4 Example of moiré as seen on a screen. 6 2.5 Richard Serra and Nancy Holt, Boomerang, 1974, 10:24min, colour video, sound. Collection of Video Data Bank, Chicago. 2.6 Richard Serra and Nancy Holt, Boomerang. Still showing public access TV logo. 2.7 Lynda Benglis, Now, 1973, 12 min, colour video, sound. Collection of Electronic Arts Intermix, New York. 2.8 Vito Acconci, Centers, 1971, 22:43min, B&W video. Collection of Electronic Arts Intermix, New York. 2.9 Frank Gillette and Ira Schneider, Wipe Cycle, 1969-84, 12:08min, B&W video, sound. 2.10 Hans Haacke, MoMA Poll, photograph of installation- performance,1970. 2.11 Kate Craig, Delicate Issue, 1979, 12mins, betacam colour video, sound. Collection of the Vancouver Art Gallery. 2.12 Kate Craig, Delicate Issue, still from video. 2.13 Kate Craig, Delicate Issue, still from video. 2.14 Catherine Elwes, There is a Myth, 1984, 18mins, colour video, sound. Collection of LUX, London. 2.15 Jayne Parker, Almost Out, 1985, 90mins B&W video, sound. Collection of LUX, London. 2.16 Michelle Citron, Daughter Rite, 1978, 53 minutes, Color. Collection of Women Make Movies, New York. 2.17 Martha Rosler, Vital Statistics of a Citizen, Simply Obtained, 1977, 39:20 min, colour video, sound. Collection of Electronic Arts Intermix, New York. 2.18 Lisa Steele, Birthday Suit: Scars and Defects, 1974, 13:20mins, B&W video, sound. Collection of Video Data Bank, Chicago. 2.19 Marianne Heske, Phrenological Self-Portrait, 1976, 8mins, colour video, sound. Collection of LUX, London. 3.1 Webbed 1, 2002, 128.5x195.5x93.5cm, steel, rubber and wood. White Cube Gallery, London. 3.2 Daybed, 2008, 31.5x219x198cm, black finished steel. White Cube Gallery, London. 3.3 Incommunicado, 1993, 126.4x57.5x93.5cm, metal cot and wire. Courtesy of Gytha Trust, Tate Gallery, London. 3.4 Corps Étranger, 1994, 350x300x300cm, video installation with cylindrical wooden structure, video projector, video player, amplifier and four speakers. Centre Georges Pompidou, Paris. 3.5 Corps Étranger, detail. 3.6 Corps Étranger, detail. 3.7 Homebound, 2000, dimensions variable, kitchen utensils, furniture, electric wire, light bulbs, computerized dimmer device, amplifier, speakers. White Cube Gallery, London. 3.8 Electrified II, 2010, dimensions variable, metal, electrical wire, lightbulb, transformer. Galerie Chantal Crousel, Paris. 3.9 Testimony, 1995-2002, 2:37min, colour video projection. Galerie Chantal Crousel. 7 3.10 Deep Throat, 1996, 89x85x130cm, table, chair, tablecloths, plate, fork, knife, water glass, monitor and DVD player. White Cube Gallery, London. 3.11 Don’t Smile, You’re on Camera!, 1980, 40min, live action with video monitor, two live cameras, a video mixer and various props. Photograph of performance. 3.12 Look No Body!, 1981, 40min, live action with video monitor, sound tape, water hose and a stack of plastic cups. Photograph of performance. 3.13 Don’t Smile, You’re on Camera!, detail. 3.14 Arthur Lidov, Down a Long Canal, 3 November 1962, LIFE Magazine. 3.15 Visible Human Project, 1989 to present. 3.16 Tee Corinne, Cunt Coloring Book, 1975, published by Last Gasp, San Francisco. 3.17 Our Bodies, Ourselves, 1969, published by The Boston Women’s Health Collective. Photograph showing 1971 edition. 3.18 Ida Applebroog, Monalisa, 1969, dimensions variable (approx. 30.5x22.9cm), series of ink on paper drawings. Hauser and Wirth, New York.
Load more

Recommended publications
  • The RAVE Vertex Reconstruction Toolkit: Status and New Applications
    The RAVE Vertex Reconstruction Toolkit: status and new applications Wolfgang Waltenberger, Fabian Moser and Winfried Mitaroff with contributions by Bernhard Pflugfelder and Herbert V. Riedel Austrian Academy of Sciences, Institute of High Energy Physics Nikolsdorfer Gasse 18, A-1050 Vienna, Austria, Europe Outline: • The RAVE toolkit and VERTIGO framework in short; • Improved track reconstruction by RAVE’s smoother; • Progress on the implementation of kinematics fitting; • Summary: present status and outlook to the future. W. Waltenberger, F.Moser, W. Mitaroff ALCPG ’07, Fermilab: 22–26 Oct. 2007 Reminder of the main goals 1. Creation of an extensible, detector-independent toolkit (RAVE) for vertex reconstruction, to be embedded into various environments: • RAVE = “Reconstruction (of vertices) in abstract versatile environments”; • The toolkit includes both vertex finding (a pattern recognition task a.k.a. track bundling) and vertex fitting (estimation of the vertex parameters and errors); • Synergy used: starting point was the old CMS software (ORCA) which has recently been refactored and ported to the new CMS framework (CMSSW); • Principal algorithmic assets are robustified reconstruction methods with estimators based on adaptive filters, thus downweighting the influence of outlier tracks; • RAVE is foreseen to stay source-code compatible with CMSSW, but thanks to its generic API may easily be embedded into other software environments. 2. Creation of a simple stand-alone framework (VERTIGO) for fast implemen- tation, debugging and analyzing of the core algorithms: • VERTIGO = “Vertex reconstruction tools and interfaces to generic objets”; • Framework tools available: Visialization, Histogramming, a Vertex Gun for generating artificial test events, an LCIO input event generator, and a Data Harvester & Seeder for flexible I/O.
    [Show full text]
  • Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
    Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis.
    [Show full text]
  • Lynda Benglis
    ROBERT RAUSCHENBERG ORAL HISTORY PROJECT The Reminiscences of Lynda Benglis Columbia Center for Oral History Research Columbia University 2016 PREFACE The following oral history is the result of a recorded interview with Lynda Benglis conducted by Cameron Vanderscoff on November 13, 2015. This interview is part of the Robert Rauschenberg Oral History Project. The reader is asked to bear in mind that s/he is reading a transcript of the spoken word, rather than written prose. Transcription: Audio Transcription Center Session #1 Interviewee: Lynda Benglis Location: New York, New York Interviewer: Cameron Vanderscoff Date: November 13, 2015 Q: Okay, just a brief tag. We’re at 222 on the Bowery [in New York City] to finish with Lynda Benglis. Cameron Vanderscoff here for the Robert Rauschenberg Oral History Project and it’s noon. [INTERRUPTION] [Note: Recording resumes as Benglis overviews the events that led her to meeting Rauschenberg. Topics discussed before recording include 222 Bowery, where her neighbors have included William S. Burroughs and John Giorno; her initial move to New York in 1964 to pursue art; her subsequent studies at the Brooklyn Museum Art School; and, via this point of entry to the New York art scene, meeting the individuals discussed next in the transcript.] Benglis: —the Lower East Side, [my then husband] Gordon Hart being a Scotsman. Some Canadians were there and they knew Barnett [“Barney”] Newman. That’s what happened— Robert [“Bob”] Murray and Terry Stevenson. So Stevenson and Murray and there was one other Canadian. But Robert Murray is still around teaching at [School of] Visual Arts [New York] and flies his own plane and lives out in Pennsylvania.
    [Show full text]
  • Female Desire in the UK Teen Drama Skins
    Female desire in the UK teen drama Skins An analysis of the mise-en-scene in ‘Sketch’ Marthe Kruijt S4231007 Bachelor thesis Dr. T.J.V. Vermeulen J.A. Naeff, MA 15-08-16 1 Table of contents Introduction………………………………..………………………………………………………...…...……….3 Chapter 1: Private space..............................................…….………………………………....….......…....7 1.1 Contextualisation of 'Sketch'...........................................................................................7 1.2 Gendered space.....................................................................................................................8 1.3 Voyeurism...............................................................................................................................9 1.4 Properties.............................................................................................................................11 1.5 Conclusions..........................................................................................................................12 Chapter 2: Public space....................……….…………………...……….….……………...…...…....……13 2.1 Desire......................................................................................................................................13 2.2 Confrontation and humiliation.....................................................................................14 2.3 Conclusions...........................................................................................................................16 Chapter 3: The in-between
    [Show full text]
  • Heretics Proposal.Pdf
    A New Feature Film Directed by Joan Braderman Produced by Crescent Diamond OVERVIEW ry in the first person because, in 1975, when we started meeting, I was one of 21 women who THE HERETICS is a feature-length experimental founded it. We did worldwide outreach through documentary film about the Women’s Art Move- the developing channels of the Women’s Move- ment of the 70’s in the USA, specifically, at the ment, commissioning new art and writing by center of the art world at that time, New York women from Chile to Australia. City. We began production in August of 2006 and expect to finish shooting by the end of June One of the three youngest women in the earliest 2007. The finish date is projected for June incarnation of the HERESIES collective, I remem- 2008. ber the tremendous admiration I had for these accomplished women who gathered every week The Women’s Movement is one of the largest in each others’ lofts and apartments. While the political movement in US history. Why then, founding collective oversaw the journal’s mis- are there still so few strong independent films sion and sustained it financially, a series of rela- about the many specific ways it worked? Why tively autonomous collectives of women created are there so few movies of what the world felt every aspect of each individual themed issue. As like to feminists when the Movement was going a result, hundreds of women were part of the strong? In order to represent both that history HERESIES project. We all learned how to do lay- and that charged emotional experience, we out, paste-ups and mechanicals, assembling the are making a film that will focus on one group magazines on the floors and walls of members’ in one segment of the larger living spaces.
    [Show full text]
  • Body As Matter and Process Press Release
    Garth Greenan Gallery 529 West 20th Street 10th floor New York NY 10011 212 929 1351 www.garthgreenan.com FOR IMMEDIATE RELEASE Contact: Garth Greenan (212) 929-1351 [email protected] www.garthgreenan.com Skins: Body as Matter and Process Garth Greenan Gallery is pleased to announce Skins: Body as Matter and Process, a group exhibition curated by Alison Dillulio at 529 West 20th Street. Opening on Thursday, June 23, 2016, the exhibition features a selection of works, mostly from the 1970s, that evoke the human body–both literally and metaphorically. The artists included are: Lynda Benglis, Mary Beth Edelson, Harmony Hammond, Ralph Humphrey, Kiki Kogelnik, Howardena Pindell, Zilia Sánchez, Joan Semmel, Richard Van Buren, and Hannah Wilke. During the 1970s, second-wave feminism fostered a climate of unparalleled artistic innovation. As Lucy Lippard wrote, “the goal of feminism is to change the character of art.” The artists included in this exhibition furthered this mission by abandoning traditional art-making practices in favor of new modes of representation. They resisted preexisting patriarchal constructs by challenging the definition of painting and sculpture and reintegrating a palpable sense of self into their work. Howardena Pindell, Autobiography: Japan (Shisen-dö, Kyoto), 1982 (more) According to art historian Lynda Nead, art of this period “broke open the boundaries of representation….to reveal the body as matter and process, as opposed to form and stasis.” The featured artists cut, tear, stretch, throw, break apart, and reconstruct materials in their deeply personal and physically charged works. They reference the body in their exploration of processes, materials, and subject matter—an endeavor that offers viewers new perspectives on all forms, human and otherwise.
    [Show full text]
  • Lynda Benglis Defining Post-Minimalism, 1968–1990 Frieze Masters, Regent’S Park, London
    PRESS RELEASE Lynda Benglis Defining Post-Minimalism, 1968–1990 Frieze Masters, Regent’s Park, London October 5–8, 2017 Cheim & Read and Thomas Dane Gallery are pleased to announce a survey of important works by Lynda Benglis to be presented at Frieze Masters, Regent’s Park, London, October 5–8, 2017. In the late 1960s, Benglis rejected the formalist precepts of Clement Greenberg and Donald Judd to produce a form of Post-minimalism paralleling Eva Hesse’s investigations into the emotional resonances of materials, but with an explicit sense of sexuality and Feminist revolt coupled with a freewheeling manipulation of media, from painting and sculpture to photography, film, and video. Her works in polyurethane foam, lead, aluminum, plaster, enamel, and glitter congealed in lumps on the floor or curled off the wall, while her sometimes tender, sometimes savage videos pushed the boundaries of what was acceptable as art. As Catherine J. Morris, the Curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, writes in Feminist Avant-Garde of the 1970s (Prestel, Flounce 1978 chicken wire, cotton, plaster, gesso 2016), Benglis created these works “to undermine — or and gold leaf 48 x 16 x 8 in 121.9 x 40.6 x 20.3 cm at least thumb her nose at — what she saw as the reigning orthodoxies ruling both the artworld and the emergent second-wave feminist movement.” By breaking the boundaries of Minimalist “good taste,” Benglis opened up the floodgates of color, sex, politics, and humor, influencing a wide field of aesthetic endeavors, from the cool analysis of identity politics and appropriation art to the uninhibited exuberance of performance, Pattern and Decoration, and Neo- Expressionism.
    [Show full text]
  • Skins Uk Download Season 1 Episode 1: Frankie
    skins uk download season 1 Episode 1: Frankie. Howard Jones - New Song Scene: Frankie in her room animating Strange Boys - You Can't Only Love When You Want Scene: Frankie turns up at college with a new look Aeroplane - We Cant Fly Scene: Frankie decides to go to the party anyway. Fergie - Glamorous Scene: Music playing from inside the club. Blondie - Heart of Glass Scene: Frankie tries to appeal to Grace and Liv but Mini chucks her out, then she gets kidnapped by Alo & Rich. British Sea Power - Waving Flags Scene: At the swimming pool. Skins Series 1 Complete Skins Series 2 Complete Skins Series 3 Complete Skins Series 4 Complete Skins Series 5 Complete Skins Series 6 Complete Skins - Effy's Favourite Moments Skins: The Novel. Watch Skins. Skins in an award-winning British teen drama that originally aired in January of 2007 and continues to run new seasons today. This show follows the lives of teenage friends that are living in Bristol, South West England. There are many controversial story lines that set this television show apart from others of it's kind. The cast is replaced every two seasons to bring viewers brand new story lines with entertaining and unique characters. The first generation of Skins follows teens Tony, Sid, Michelle, Chris, Cassie, Jal, Maxxie and Anwar. Tony is one of the most popular boys in sixth form and can be quite manipulative and sarcastic. Michelle is Tony's girlfriend, who works hard at her studies, is very mature, but always puts up with Tony's behavior.
    [Show full text]
  • Stream Name Category Name Coronavirus (COVID-19) |EU| FRANCE TNTSAT ---TNT-SAT ---|EU| FRANCE TNTSAT TF1 SD |EU|
    stream_name category_name Coronavirus (COVID-19) |EU| FRANCE TNTSAT ---------- TNT-SAT ---------- |EU| FRANCE TNTSAT TF1 SD |EU| FRANCE TNTSAT TF1 HD |EU| FRANCE TNTSAT TF1 FULL HD |EU| FRANCE TNTSAT TF1 FULL HD 1 |EU| FRANCE TNTSAT FRANCE 2 SD |EU| FRANCE TNTSAT FRANCE 2 HD |EU| FRANCE TNTSAT FRANCE 2 FULL HD |EU| FRANCE TNTSAT FRANCE 3 SD |EU| FRANCE TNTSAT FRANCE 3 HD |EU| FRANCE TNTSAT FRANCE 3 FULL HD |EU| FRANCE TNTSAT FRANCE 4 SD |EU| FRANCE TNTSAT FRANCE 4 HD |EU| FRANCE TNTSAT FRANCE 4 FULL HD |EU| FRANCE TNTSAT FRANCE 5 SD |EU| FRANCE TNTSAT FRANCE 5 HD |EU| FRANCE TNTSAT FRANCE 5 FULL HD |EU| FRANCE TNTSAT FRANCE O SD |EU| FRANCE TNTSAT FRANCE O HD |EU| FRANCE TNTSAT FRANCE O FULL HD |EU| FRANCE TNTSAT M6 SD |EU| FRANCE TNTSAT M6 HD |EU| FRANCE TNTSAT M6 FHD |EU| FRANCE TNTSAT PARIS PREMIERE |EU| FRANCE TNTSAT PARIS PREMIERE FULL HD |EU| FRANCE TNTSAT TMC SD |EU| FRANCE TNTSAT TMC HD |EU| FRANCE TNTSAT TMC FULL HD |EU| FRANCE TNTSAT TMC 1 FULL HD |EU| FRANCE TNTSAT 6TER SD |EU| FRANCE TNTSAT 6TER HD |EU| FRANCE TNTSAT 6TER FULL HD |EU| FRANCE TNTSAT CHERIE 25 SD |EU| FRANCE TNTSAT CHERIE 25 |EU| FRANCE TNTSAT CHERIE 25 FULL HD |EU| FRANCE TNTSAT ARTE SD |EU| FRANCE TNTSAT ARTE FR |EU| FRANCE TNTSAT RMC STORY |EU| FRANCE TNTSAT RMC STORY SD |EU| FRANCE TNTSAT ---------- Information ---------- |EU| FRANCE TNTSAT TV5 |EU| FRANCE TNTSAT TV5 MONDE FBS HD |EU| FRANCE TNTSAT CNEWS SD |EU| FRANCE TNTSAT CNEWS |EU| FRANCE TNTSAT CNEWS HD |EU| FRANCE TNTSAT France 24 |EU| FRANCE TNTSAT FRANCE INFO SD |EU| FRANCE TNTSAT FRANCE INFO HD
    [Show full text]
  • Ana Mendieta and Carolee Schneemann Selected Works 1966 – 1983
    Irrigation Veins: Ana Mendieta and Carolee Schneemann Selected Works 1966 – 1983 On view April 30 – May 30, 2020 Ana Mendieta. Volcán, 1979, color photograph Carolee Schneemann, Study for Up to and Including Her Limits, 1973, color © The Estate of Ana Mendieta Collection, LLC photograph, photo credit: Antony McCall Courtesy Galerie Lelong & Co., New York Courtesy of the Estate of Carolee Schneemann, Galerie Lelong & Co., and Licensed by Artists Rights Society (ARS), New York P·P·O·W, New York “These obsessive acts of re-asserting my ties with the earth are really a manifestation of my thirst for being.” Ana Mendieta Galerie Lelong & Co. and P·P·O·W present Irrigation Veins: Ana Mendieta and Carolee Schneemann, Selected Works 1966 – 1983, an online exhibition exploring the artists’ parallel histories, iconographies, and shared affinities for ancient forms and the natural world. Galerie Lelong and P·P·O·W have a history of collaboration and have co-represented Carolee Schneemann since 2017. This will be the first time the two artists are shown together in direct dialogue, an exhibition Schneemann proposed during the last year of her life. In works such as Mendieta’s Volcán (1979) and Schneemann’s Study for Up To and Including Her Limits (1973), both artists harnessed physical action to root themselves into the earth, establishing their ties to the earth and asserting bodily agency in the face of societal restraints and repression. Both artists identified as painters prior to activating their bodies as material; Mendieta received a MA in painting from the University of Iowa in 1972, and Schneemann received an MFA from the University of Illinois in 1961.
    [Show full text]
  • Henry Jenkins Convergence Culture Where Old and New Media
    Henry Jenkins Convergence Culture Where Old and New Media Collide n New York University Press • NewYork and London Skenovano pro studijni ucely NEW YORK UNIVERSITY PRESS New York and London www.nyupress. org © 2006 by New York University All rights reserved Library of Congress Cataloging-in-Publication Data Jenkins, Henry, 1958- Convergence culture : where old and new media collide / Henry Jenkins, p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8147-4281-5 (cloth : alk. paper) ISBN-10: 0-8147-4281-5 (cloth : alk. paper) 1. Mass media and culture—United States. 2. Popular culture—United States. I. Title. P94.65.U6J46 2006 302.230973—dc22 2006007358 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. Manufactured in the United States of America c 15 14 13 12 11 p 10 987654321 Skenovano pro studijni ucely Contents Acknowledgments vii Introduction: "Worship at the Altar of Convergence": A New Paradigm for Understanding Media Change 1 1 Spoiling Survivor: The Anatomy of a Knowledge Community 25 2 Buying into American Idol: How We are Being Sold on Reality TV 59 3 Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling 93 4 Quentin Tarantino's Star Wars? Grassroots Creativity Meets the Media Industry 131 5 Why Heather Can Write: Media Literacy and the Harry Potter Wars 169 6 Photoshop for Democracy: The New Relationship between Politics and Popular Culture 206 Conclusion: Democratizing Television? The Politics of Participation 240 Notes 261 Glossary 279 Index 295 About the Author 308 V Skenovano pro studijni ucely Acknowledgments Writing this book has been an epic journey, helped along by many hands.
    [Show full text]
  • Online, Issue 15 and 16 July/Sept 2001 and July 2002
    n.paradoxa online, issue 15 and 16 July/Sept 2001 and July 2002 Editor: Katy Deepwell n.paradoxa online issue no.15 and 16 July/Sept 2001 and July 2002 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issues 15 and 16, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue15and16.pdf July 2001 and July/Sept 2002, republished in this form: January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk n.paradoxa online issue no.15 and 16 July/Sept 2001 and July 2002 ISSN: 1462-0426 2 List of Contents Issue 15, July 2001 Katy Deepwell Interview with Lyndal Jones about Deep Water / Aqua Profunda exhibited in the Australian Pavilion in Venice 4 Two senses of representation: Analysing the Venice Biennale in 2001 10 Anette Kubitza Fluxus, Flirt, Feminist? Carolee 15 Schneemann, Sexual liberation and the Avant-garde of the 1960s Diary
    [Show full text]