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FCJ-170 Challenging Hate Speech with Facebook Flarf: the Role of User Practices in Regulating Hate Speech on Facebook
The Fibreculture Journal issn: 1449-1443 DIGITAL MEDIA + NETWORKS + TRANSDISCIPLINARY CRITIQUE issue 23: General Issue 2014 FCJ-170 Challenging Hate Speech With Facebook Flarf: The Role of User Practices in Regulating Hate Speech on Facebook. Benjamin Abraham University of Western Sydney Abstract: This article makes a case study of ‘flarfing’ (a creative Facebook user practice with roots in found-text poetry) in order to contribute to an understanding of the potentials and limitations facing users of online social networking sites who wish to address the issue of online hate speech. The practice of ‘flarfing’ involves users posting ‘blue text’ hyperlinked Facebook page names into status updates and comment threads. Facebook flarf sends a visible, though often non-literal, message to offenders and onlookers about what kinds of speech the responding activist(s) find (un)acceptable in online discussion, belonging to a category of agonistic online activism that repurposes the tools of internet trolling for activist ends. I argue this practice represents users attempting to ‘take responsibility’ for the culture of online spaces they inhabit, promoting intolerance to hate speech online. Careful consideration of the limits of flarf’s efficacy within Facebook’s specific regulatory environment shows the extent to which this practice and similar responses to online hate speech are constrained by the platforms on which they exist. 47 FCJ-170 fibreculturejournal.org FCJ-170 Challenging Hate Speech With Facebook Flarf Introduction A recent spate of high profile cases of online abuse has raised awareness of the amount, volume and regularity of abuse and hate speech that women and minorities routinely attract online. -
American Renaissance Art January 26 Through March 16, 2013
ANITA SHAPOLSKY GALLERY 152 East 65TH Street New York, NY 10065 212-452-1094 FAX: 212-452-1096 For Immediate Release: The Anita Shapolsky Gallery will present an exhibition, American Renaissance Art January 26 through March 16, 2013. Reception: Saturday, January 26, 3-6 PM. The American Abstract Art movement was the epiphany of the individual. He was the center of the painting-of his universe. The art of the Abstract Expressionists is timeless, as has been proven by the auction world since the 50's. There are other styles and movements, but none that can compare. James Dinerstein. A New York native, Dinerstein graduated from Harvard. He studied with art historian and critic Michael Fried. He worked at St. Martin's Art School in London with sculptors Anthony Caro and William Tucker. Dinerstein aims to restore the resources of plasticity and mass while manifesting the spiritual potency of Greek antiquity and musical polyphony. His recent work is more organic, primal, and overtly sensuous as it emerges from a deeper and freer source. Amaranth Ehrenhalt. After 38 years in France and Italy, Ehrenhalt returned New York in 2008. In N.Y. during the 50's she was friendly with Al Held, Ronald Bladen, and Willem de Kooning. She has exhibited with Sam Francis, Joan Mitchell, Shirley Jaffe and others in Paris. Ehrenhalt's work expands beyond the canvas to include drawings, prints, watercolors, tapestries, mosaics, murals, sculptures, poetry, prose and more. In order to experience the surprises and treasures of Ehrenhalt’s art, it must be seen and digested by the viewer. -
Spam As the Inheritor of High Modernism
forty-five.com / papers /22 W@r aga1nst the F1lters: Spam as the Inheritor of High Modernism Octavian Esanu For some time, I have been captivated by a form of writing Reviewed by David Gissen that has been captivating my email inbox. Dictionaries define spam as intrusive, internet-mediated a d v e r t i s i n g — a d e fi n i t i o n w h o s e i n t e r e s t l i e s i nits s u g g e s t i o n o f h o w m u c h n o n - i n t r u s i v e a d v e r t i s i n g i s a l r e a d y a r o u n d u s . S p a m i s n o t l i k e t h i s a m b i e n t a d v e r t i s i n g , o f c o u r s e . I t i s p u r e i n t e n t i o n a l i t y . It resembles those bloodthirsty rainforest leeches with s u c k e r s a t b o t h e n d s t h a t w i l l g e t t o y o u r b l o o d n o m a t t e r h o w s a f e y o u m i g h t f e e l b e n e a t h l a y e r s o f p a n t s , s o c k s , a n d s n e a k e r s . -
African American Art Holbrook Lauren South Dakota State University
The Journal of Undergraduate Research Volume 6 Journal of Undergraduate Research, Volume Article 3 6: 2008 2008 Documented Struggles and Triumph: African American Art Holbrook Lauren South Dakota State University Follow this and additional works at: http://openprairie.sdstate.edu/jur Part of the African American Studies Commons, Art and Design Commons, and the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Lauren, Holbrook (2008) "Documented Struggles and Triumph: African American Art," The Journal of Undergraduate Research: Vol. 6, Article 3. Available at: http://openprairie.sdstate.edu/jur/vol6/iss1/3 This Article is brought to you for free and open access by Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. It has been accepted for inclusion in The ourJ nal of Undergraduate Research by an authorized administrator of Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. For more information, please contact [email protected]. GS019 JUR08_GS JUR text 11/18/09 8:53 AM Page 7 DOCUMENTED STRUGGLES AND TRIUMPH: AFRICAN AMERICAN ART 7 Documented Struggles and Triumph: African American Art (winner of a 2008 SDSU Schultz-Werth Award) Author: Holbrook Lauren Faculty Sponsor: Dr. Leda Cempellin Department: Visual Arts “I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow jail cells. Some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering. -
Agenda Items Meeting of the Board of Regents
Agenda Items Meeting of the Board of Regents September 1, 2016 REVISED 8/25/2016 AGENDA ITEMS MEETING OF THE BOARD OF REGENTS THE TEXAS A&M UNIVERSITY SYSTEM September 1, 2016 College Station, Texas 1. COMMITTEE ON FINANCE 1.1 Adoption of a Resolution Authorizing the Issuance of the Board of Regents of The Texas A&M University System Permanent University Fund Bonds, A&M System 1.2 Adoption of a Resolution Authorizing the Issuance of the Board of Regents of The Texas A&M University System Revenue Financing System Bonds, Series 20__, A&M System 2. COMMITTEE ON AUDIT 2.1 Approval of System Internal Audit Plan for Fiscal Year 2017, A&M System 3. COMMITTEE ON BUILDINGS AND PHYSICAL PLANT 3.1 Approval of System Capital Plan for FY 2017 – FY 2021, A&M System 3.2 Approval of the Project Scope and Budget, Appropriation for Pre-Construction and Construction Services, and Approval for Pre-Construction and Construction for the RELLIS Campus Infrastructure Project, The Texas A&M University System RELLIS Campus, Bryan, Texas (Project No. 01-3228) 3.3 Approval of the Project Scope and Budget, Appropriation for Construction Services, and Approval for Construction for the Joint Library Facility Module 2 Project, The Texas A&M University System RELLIS Campus, Bryan, Texas (Project No. 02-3193) 3.4 Approval of the Project Scope and Budget, Appropriation for Construction Services, and Approval for Construction for the McAllen Multipurpose Academic Building Project, Texas A&M University Higher Education Center, McAllen, Texas (Project No. 02-3212), Texas A&M 3.5 Approval of the Project Scope and Budget, Appropriation for Construction Services, and Approval for Construction for the Fabrication Center Project, Prairie View A&M University, Prairie View, Texas (Project No. -
Perlow Lyric Ignorance
LYRIC IGNORANCE: TECHNOLOGIES OF AMERICAN POETRY A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Seth Michael Perlow January 2013 © 2013 Seth Michael Perlow LYRIC IGNORANCE: TECHNOLOGIES OF AMERICAN POETRY Seth Michael Perlow, Ph.D. Cornell University 2013 This study argues that the rhetoric of ignorance has helped to define the lyric genre in US poetry and its criticism. It examines how differentiations between poetic thought and knowledge have informed recent responses to Emily Dickinson, Gertrude Stein, and Frank O’Hara—altering both their reputations as lyric poets and the material histories of their texts. Whereas new media scholars often link technology with rationality and information, “Lyric Ignorance” challenges critiques of the lyric by showing how textual equipment enables lyrical claims against knowledge. It thereby explores how the language of ignorance has informed the social and historical values of US lyric poetry in the postwar and contemporary periods. BIOGRAPHICAL SKETCH Seth Michael Perlow was raised in Atlanta, GA and attended college at Brown University, where he concentrated in Comparative Literature, earning an AB (2005) with Highest Honors and departmental honors. His undergraduate thesis, a translation of work by the Argentine poet Karina Macció, won the Rosalie Colie Prize in Comparative Literature. He then enrolled in the Master of Arts Program in the Humanities a the University of Chicago, earning an MA in Humanities (2006). A revision of his master’s thesis on Wallace Stevens’ early poetry, “The Other Harmonium: Toward a Minor Stevens,” appeared in The Wallace Stevens Journal 33.2 (Fall 2009). -
Franklin C. Watkins by Andrew Carnduff Ritchie
Franklin C. Watkins By Andrew Carnduff Ritchie Author Museum of Modern Art (New York, N.Y.) Date 1950 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/3265 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art LIBRARY THE MUSEUM ]OF MODERN ART Received: * > * irpr ii»i fi — — Franklin C. WATKINS Andrew Carnduft Ritchie The Museum of Modern Art New York ACKNOWLEDGMENTS On behalf of the President and Trustees of the Museum of Modern Art the director of the exhibition wishes to thank the collectors and museums whose generosity in lending has made the exhibition possible. Particular thanks are due to Mr. Henry P. Mellhenny for his great kindness in permitting us to borrow his two large paintings, Death and Resurrection , at no small incon venience to himself; to Mr. Frank K. M. Rehn, Mr. Watkins' dealer, for his assistance in connection with all the details of the exhibition; to the Maga zine of Art for permission to reprint excerpts from an article by Franklin C. Watkins; and to the artist himself who has been of inestimable help in the preparation of the catalog. I also wish to thank Miss Alice Bacon and Miss Margaret Miller for their assistance in preparing the exhibition and the catalog. ANDREW CAR N DUFF RITCHIE Director of the Exhibition TRUSTEES OF THE MUSEUM OF MODERN ART John Hay Whitney, Chairman of the Board ; Henry Allen Moe, ist Vice- Chairman; William A. -
Digital Review Copy May Not Be Copied Or Reproduced Without Permission from the Museum of Contemporary Art Chicago
DIGITAL REVIEW COPY MAY NOT BE COPIED OR REPRODUCED WITHOUT PERMISSION FROM THE MUSEUM OF CONTEMPORARY ART CHICAGO. HOWARDENA PINDELL WHAT REMAINS TO BE SEEN Published by the Museum of Contemporary Art Chicago and DelMonico Books•Prestel NAOMI BECKWITH is Marilyn and Larry Fields Curator at the Museum of Contemporary Art Chicago. VALERIE CASSEL OLIVER is Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts. ON THE JACKET Front: Untitled #4D (detail), 2009. Mixed media on paper collage; 7 × 10 in. Back: Timothy Greenfield-Sanders, Howardena Pindell from the series Art World, 1980. Gelatin silver print, edition 2/2; 13 3/4 × 10 3/8 in. The Museum of Fine Arts, Houston, Gift of Mr. and Mrs. Neil E. Kelley, 2006.867. © Timothy Greenfield-Sanders, All Rights Reserved. Courtesy of Hiram Butler Gallery. Printed in China HOWARDENA PINDELL WHAT REMAINS TO BE SEEN Edited by Naomi Beckwith and Valerie Cassel Oliver Museum of Contemporary Art Chicago DelMonico Books • Prestel Munich London New York CONTENTS 15 DIRECTOR’S FOREWORD Madeleine Grynsztejn 17 ACKNOWLEDGMENTS Naomi Beckwith Valerie Cassel Oliver 21 OPENING THOUGHTS Naomi Beckwith Valerie Cassel Oliver 31 CLEARLY SEEN: A CHRONOLOGY Sarah Cowan 53 SYNTHESIS AND INTEGRATION IN THE WORK Lowery Stokes Sims OF HOWARDENA PINDELL, 1972–1992: A (RE) CONSIDERATION 87 BODY OPTICS, OR HOWARDENA PINDELL’S Naomi Beckwith WAYS OF SEEING 109 THE TAO OF ABSTRACTION: Valerie Cassel Oliver PINDELL’S MEDITATIONS ON DRAWING 137 HOWARDENA PINDELL: Charles -
Reconceiving the Actual in Digital Art and Poetry
humanities Article Code and Substrate: Reconceiving the Actual in Digital Art and Poetry Burt Kimmelman Department of Humanities, New Jersey Institute of Technology, Newark, NJ 07102, USA; [email protected] Received: 12 December 2016; Accepted: 5 July 2017; Published: 14 July 2017 Abstract: The quality of digital poetry or art—not merely as contained within our aesthetic reaction to digitally expressive works but as well our intellectual grounding in them—suggests that the digital’s seemingly ephemeral character is an indication of its lack of an apparently material existence. While, aesthetically, the digital’s ephemerality lies in the very fact of the digitally artistic enterprise, the fact is that its material substrate is what makes the aesthetic pleasure we take in it possible. When we realize for ourselves the role played by this substrate, furthermore, a paradox looms up before us. The fact is that we both enjoy, and in some sense separately understand the artwork comprehensively and fully; we also allow ourselves to enter into an ongoing conversation about the nature of the physical world. This conversation is not insignificant for the world of art especially, inasmuch as art depends upon the actual materials of the world—even digital art—and, too, upon our physical engagement with the art. Digital poetry and art, whose dynamic demands the dissolution of the line that would otherwise distinguish one from the other, have brought the notion of embodiment to the fore of our considerations of them, and here is the charm, along with the paradoxical strength, of digital art and poetry: it is our physical participation in them that makes them fully come into being. -
List of Lenders: Collectors C.R. Babe Dr. and Mrs. William Bascom Hans
List of Lenders: Collectors C.R. Babe Dr. and Mrs. William Bascom Hans Bhalla John Biggers Mr. and Mrs. Sidney F. Brody Dr. Selma Burke Calvin Burnett Prof. John Burrison Dr. Margaret T. Burroughs Claude Clark Mrs. Terry Dintenfass Prof. and Mrs. David C. Driskell Aaron Douglas William A. Fagaly Prof. Franklin Fenenga Dr. Norbert Fleisig Mr. and Mrs. H. Alan Frank Mr. and Mrs. Melvin Frank Dr. and Mrs. Richard Frates Lewis Glaser Leonard Granoff Mr. and Mrs. Earl Grant Mrs. Morton Goldsmith Mrs. Palmer Hayden Felrath Hines Mrs. Earl J. Hooks Mrs. Grace Jones George E. Jordan Lawrence H. Koffler Mr. and Mrs. Sol Koffler Dr. and Mrs. Charles H. Mandell Mrs. Delmus R. McGill Archibald J. Motley Jr. Matthew Pemberton Myla Levy Perkins Mr. and Mrs. Joseph L. Pierce Mr. and Mrs. William Pierce Dr. Lois Jones Pierre-Noel Dr. Dorothy B. Porter Mr. and Mrs. John Rhoden Louis K. Rimrodt Donald J. Shein Edward L. Shein Willie Starbuck William Taylor Robert H. Tessier Alma W. Thomas Mr. and Mrs. Peter H. Tillou Mr. and Mrs. R. K. Van Zandt Mr. and Mrs. Sid Wallach Mr. and Mrs. Frederick L. Weingeroff James L. Wells Mrs. Edwina Harleston Whitlock Mrs. Ora G.Williams Ed Wilson John Wilson Mrs. Julia Wilson Robert Wilson Institutions Angus Whyte Gallery, Boston The Art Institute of Chicago Brockman Gallery, Los Angeles Cincinnati Art Museum The Cleveland Museum of Art The Detroit Institute of Arts Terry Dintenfass, Inc., New York Fisk University, Department of Art, Nashville Frank Family Collection Frederick S. Wight Art Gallery, University of California, Los Angeles Golden State Mutual Life Insurance Company, The Afro-American Collection, Los Angeles Heritage Gallery, Los Angeles Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C. -
Oral History Interview with Jack Whitten, 2009 December 1-3
Oral history interview with Jack Whitten, 2009 December 1-3 Funding for this interview was provided by the Terra Foundation for American Art. 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 Jack Whitten on 2013 December 1 and 3. The interview took place in Woodside, N.Y., and was conducted by Judith Olch Richards for the Archives of American Art, Smithsonian Institution. Jack Whitten and Judith Olch Richards have reviewed the transcript. Jack Whitten's corrections and emendations appear below in brackets. 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 JUDITH RICHARDS: This is Judith Richards interviewing Jack Whitten on December 1, 2009, at his studio in Woodside, Queens, New York, for the Archives of American Art, Smithsonian Institution, disc one. Jack, I'd like to start with your family, as far back as you want to go– it could be even your grandparents, if you have information about them, and then going on to your parents and yourself and your siblings. And then we'll focus on you again. JACK WHITTEN: Yes. My mom [as] Annie B. Whitten and my father was Mose Whitten. MS. RICHARDS: Annie – A-N-N-I-E? MR. WHITTEN: A-N-N-I-E. MS. RICHARDS: And B is – MR. WHITTEN: Belle. Annie Belle. -
Textframe: Cosmopolitanism and Non-Exclusively Anglophone Poetries
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2019 TextFrame: Cosmopolitanism and Non-Exclusively Anglophone Poetries Michael N. Scharf The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3447 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] TextFrame: Cosmopolitanism and Non-Exclusively Anglophone Poetries by Michael Scharf A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2019 MICHAEL SCHARF, 2019 Attribution 4.0 International (CC BY-SA 4.0) ii TextFrame: Cosmopolitanism and Non-Exclusively Anglophone Poetries by Michael Scharf This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________________ _________________________________________ Date Ammiel Alcalay Chair of Examining Committee ______________________ _________________________________________ Date Kandice Chuh Executive Officer Supervisory Committee: _________________________________________ Ammiel Alcalay __________________________________________ Matthew K. Gold __________________________________________