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Press Release
LOOKING AT MUSIC: SIDE 2 EXPLORES THE CREATIVE EXCHANGE BETWEEN MUSICIANS AND ARTISTS IN NEW YORK CITY IN THE 1970s AND 1980s Photography, Music, Video, and Publications on Display, Including the Work of Jean-Michel Basquiat, Blondie, Richard Hell, Sonic Youth, and Patti Smith, Among Others Looking at Music: Side 2 June 10—November 30, 2009 The Yoshiko and Akio Morita Gallery, second floor Looking at Music: Side 2 Film Series September—November 2009 The Roy and Niuta Titus Theaters NEW YORK, June 5, 2009—The Museum of Modern Art presents Looking at Music: Side 2, a survey of over 120 photographs, music videos, drawings, audio recordings, publications, Super 8 films, and ephemera that look at New York City from the early 1970s to the early 1980s when the city became a haven for young renegade artists who often doubled as musicians and poets. Art and music cross-fertilized with a vengeance following a stripped-down, hard-edged, anti- establishment ethos, with some artists plastering city walls with self-designed posters or spray painted monikers, while others commandeered abandoned buildings, turning vacant garages into makeshift theaters for Super 8 film screenings and raucous performances. Many artists found the experimental music scene more vital and conducive to their contrarian ideas than the handful of contemporary art galleries in the city. Artists in turn formed bands, performed in clubs and non- profit art galleries, and self-published their own records and zines while using public access cable channels as a venue for media experiments and cultural debates. Looking at Music: Side 2 is organized by Barbara London, Associate Curator, Department of Media and Performance Art, The Museum of Modern Art, and succeeds Looking at Music (2008), an examination of the interaction between artists and musicians of the 1960s and early 1970s. -
This Is Modern Art 2014/15 Season Lisa Portes Lisa
SAVERIO TRUGLIA PHOTOGRAPHY BY PHOTOGRAPHY BY 2014/15 SEASON STUDY GUIDE THIS IS MODERN ART (BASED ON TRUE EVENTS) WRITTEN BY IDRIS GOODWIN AND KEVIN COVAL DIRECTED BY LISA PORTES FEBRUARY 25 – MARCH 14, 2015 INDEX: 2 WELCOME LETTER 4 PLAY SYNOPSIS 6 COVERAGE OF INCIDENT AT ART INSTITUTE: MODERN ART. MADE YOU LOOK. 7 CHARACTER DESCRIPTIONS 8 PROFILE OF A GRAFFITI WRITER: MIGUEL ‘KANE ONE’ AGUILAR 12 WRITING ON THE WALL: GRAFFITI GIVES A VOICE TO THE VOICELESS with classroom activity 16 BRINGING CHICAGO’S URBAN LANDSCAPE TO THE STEPPENWOLF STAGE: A CONVERSATION WITH PLAYWRIGHT DEAR TEACHERS: IDRIS GOODWIN 18 THE EVOLUTION OF GRAFFITI IN THE UNITED STATES THANK YOU FOR JOINING STEPPENWOLF FOR YOUNG ADULTS FOR OUR SECOND 20 COMMON CORE STATE STANDARDS SHOW OF 2014/15 SEASON: CREATE A MOVEMENT: THE ART OF A REVOLUTION. 21 ADDITIONAL RESOURCES 22 NEXT UP: PROJECT COMPASS In This Is Modern Art, we witness a crew of graffiti writers, Please see page 20 for a detailed outline of the standards Made U Look (MUL), wrestling with the best way to make met in this guide. If you need further information about 23 ACKNOWLEDGEMENTS people take notice of the art they are creating. They choose the way our work aligns with the standards, please let to bomb the outside of the Art Institute to show theirs is us know. a legitimate, worthy and complex art form born from a rich legacy, that their graffiti is modern art. As the character of As always, we look forward to continuing the conversations Seven tells us, ‘This is a chance to show people that there fostered on stage in your classrooms, through this guide are real artists in this city. -
Talking Chalk: Defacing the First Amendment in the Public Forum
TALKING CHALK: DEFACING THE FIRST AMENDMENT IN THE PUBLIC FORUM Marie A. Failinger* I. INTRODUCTION ...................................................................................... 755 II. CHALKING AS A CONTENT DILEMMA ................................................... 759 III. THE PROBLEM OF ANALOGY: IS CHALKING REAL GRAFFITI? .............. 764 IV. CONCLUSION ......................................................................................... 773 I. INTRODUCTION The common law lives on analogy—its power to change depends on whether the creative new things individuals do every day that get them into trouble can be correctly assimilated to conduct that has previously been ruled legal or illegal, determined to be the subject of damages, or protected as part of individual liberty. We might find this dilemma captured in the famous Sesame Street ditty that goes, “One of these things is not like the others, one of these things just doesn’t belong . .”1 Since the Supreme Court’s development of ever-more nuanced versions of the public forum doctrine, starting with cases such as Perry Education Association v. Perry Local Educators’ Association,2 among other refinements of its Speech Clause jurisprudence,3 much free speech jurisprudence has taken on a common law caste, one analogy after another. Because the Supreme Court has provided more robust protection for free speech rights in “public forums,” like streets, parks, and sidewalks, the courts must parse possible analogies to determine whether a sidewalk leading up to a * Professor of Law, Hamline University School of Law. 1 JOE RAPOSO & JON STONE, ONE OF THESE THINGS (IS NOT LIKE THE OTHERS) (Columbia 1970), available at http://members.tripod.com/tiny_dancer/one.html. The Sesame Street analogical process has been cited by more than one legal academic explaining a basic tool of legal analysis. -
Xfr Stn: Public Programs
XFR STN: PUBLIC PROGRAMS 7/25 | 7 PM | FIFTH FLOOR PANEL DISCUSSIONS LIZA BÉAR & MILLY IATROU, 7/18 | 6 PM | NEW MUSEUM THEATER COMMUNICATIONS UPDATE MOVING IMAGE ARTISTS’ The weekly artist public access Communications DISTRIBUTION THEN & NOW Update, later renamed Cast Iron TV, ran continuously on Manhattan Cable’s Channel D from 1979 to 1991. Filmmakers Liza Béar and Milly Iatrou present indi- An assembly of participants from the MWF Video Club vidual segments cablecast in the Communications and Colab TV projects includes opening remarks from Update 1982 series: “The Very Reverend Deacon b. Alan W. Moore, Andrea Callard, Michael Carter, Coleen Peachy,” “A Matter of Facts,” “Crime Tales,” “Lighter Fitzgibbon, Nick Zedd, and members of the New Than Air,” and “Oued Nefifik: A Foreign Movie.” Museum’s “XFR STN” team. Followed by an open dis- cussion with the audience, facilitated by Alexis Bhagat. 8/1 | 7–8 PM | FIFTH FLOOR MITCH CORBER, THE ORIGINAL 9/7 | 1 PM | NEW MUSEUM THEATER WONDER ALWAYS ALREADY OBSOLETE: MEDIA CONVERGENCE, ACCESS, Mitch Corber has dedicated his career to production for NYC public access cable TV, working closely with AND PRESERVATION Colab TV and the MWF Video Club. Corber will present a selection of early work, as well as videos from his Beyond media specificity, what happens after video- long-running program Poetry Thin Air. tape has been absorbed into a new medium—and what are the implications of these continuing shifts in format for how we understand access and preserva- 8/8 | 7 PM | NEW MUSEUM THEATER tion? This panel considers forms of preservation that have emerged across analog, digital, and networked CLAYTON PATTERSON: platforms in conjunction with new forms of circulation FROM THE UNDERGROUND AND and distribution. -
Notes CHAPTER 1 6
notes CHAPTER 1 6. The concept of the settlement house 1. Mario Maffi, Gateway to the Promised originated in England with the still extant Land: Ethnic Cultures in New York’s Lower East Tonybee Hall (1884) in East London. The Side (New York: New York University Press, movement was tremendously influential in 1995), 50. the United States, and by 1910 there were 2. For an account of the cyclical nature of well over four hundred settlement houses real estate speculation in the Lower East Side in the United States. Most of these were in see Neil Smith, Betsy Duncan, and Laura major cities along the east and west coasts— Reid, “From Disinvestment to Reinvestment: targeting immigrant populations. For an over- Mapping the Urban ‘Frontier’ in the Lower view of the settlement house movement, see East Side,” in From Urban Village to East Vil- Allen F. Davis, Spearheads for Reform: The lage: The Battle for New York’s Lower East Side, Social Settlements and the Progressive Movement, ed. Janet L. Abu-Lughod, (Cambridge, Mass.: 1890–1914 (New York: Oxford University Blackwell Publishers, 1994), 149–167. Press, 1967). 3. James F. Richardson, “Wards,” in The 7. The chapter “Jewtown,” by Riis, Encyclopedia of New York City, ed. Kenneth T. focuses on the dismal living conditions in this Jackson (New Haven, Conn.: Yale University ward. The need to not merely aid the impover- Press, 1995), 1237. The description of wards in ished community but to transform the physi- the Encyclopedia of New York City establishes cal city became a part of the settlement work. -
High Performance Magazine Records
http://oac.cdlib.org/findaid/ark:/13030/kt5p30369v Online items available Finding aid for the magazine records, 1953-2005 Finding aid for the magazine 2006.M.8 1 records, 1953-2005 Descriptive Summary Title: High Performance magazine records Date (inclusive): 1953-2005 Number: 2006.M.8 Creator/Collector: High Performance Physical Description: 216.1 Linear Feet(318 boxes, 29 flatfile folders, 1 roll) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: High Performance magazine records document the publication's content, editorial process and administrative history during its quarterly run from 1978-1997. Founded as a magazine covering performance art, the publication gradually shifted editorial focus first to include all new and experimental art, and then to activism and community-based art. Due to its extensive compilation of artist files, the archive provides comprehensive documentation of the progressive art world from the late 1970s to the late 1990s. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Linda Burnham, a public relations officer at University of California, Irvine, borrowed $2,000 from the university credit union in 1977, and in a move she described as "impulsive," started High -
Survival Research Laboratories: a Dystopian Industrial Performance Art
arts Article Survival Research Laboratories: A Dystopian Industrial Performance Art Nicolas Ballet ED441 Histoire de l’art, Université Paris 1 Panthéon-Sorbonne, Galerie Colbert, 2 rue Vivienne, 75002 Paris, France; [email protected] Received: 27 November 2018; Accepted: 8 January 2019; Published: 29 January 2019 Abstract: This paper examines the leading role played by the American mechanical performance group Survival Research Laboratories (SRL) within the field of machine art during the late 1970s and early 1980s, and as organized under the headings of (a) destruction/survival; (b) the cyborg as a symbol of human/machine interpenetration; and (c) biomechanical sexuality. As a manifestation of the era’s “industrial” culture, moreover, the work of SRL artists Mark Pauline and Eric Werner was often conceived in collaboration with industrial musicians like Monte Cazazza and Graeme Revell, and all of whom shared a common interest in the same influences. One such influence was the novel Crash by English author J. G. Ballard, and which in turn revealed the ultimate direction in which all of these artists sensed society to be heading: towards a world in which sex itself has fallen under the mechanical demiurge. Keywords: biomechanical sexuality; contemporary art; destruction art; industrial music; industrial culture; J. G. Ballard; machine art; mechanical performance; Survival Research Laboratories; SRL 1. Introduction If the apparent excesses of Dada have now been recognized as a life-affirming response to the horrors of the First World War, it should never be forgotten that society of the 1960s, 70s, and 80s was laboring under another ominous shadow, and one that was profoundly technological in nature: the threat of nuclear annihilation. -
The Museum of Modern Art: the Mainstream Assimilating New Art
AWAY FROM THE MAINSTREAM: THREE ALTERNATIVE SPACES IN NEW YORK AND THE EXPANSION OF ART IN THE 1970s By IM SUE LEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Im Sue Lee 2 To mom 3 ACKNOWLEDGMENTS I am deeply grateful to my committee, Joyce Tsai, Melissa Hyde, Guolong Lai, and Phillip Wegner, for their constant, generous, and inspiring support. Joyce Tsai encouraged me to keep working on my dissertation project and guided me in the right direction. Mellissa Hyde and Guolong Lai gave me administrative support as well as intellectual guidance throughout the coursework and the research phase. Phillip Wegner inspired me with his deep understanding of critical theories. I also want to thank Alexander Alberro and Shepherd Steiner, who gave their precious advice when this project began. My thanks also go to Maureen Turim for her inspiring advice and intellectual stimuli. Thanks are also due to the librarians and archivists of art resources I consulted for this project: Jennifer Tobias at the Museum Library of MoMA, Michelle Harvey at the Museum Archive of MoMA, Marisa Bourgoin at Smithsonian Institution’s Archives of American Art, Elizabeth Hirsch at Artists Space, John Migliore at The Kitchen, Holly Stanton at Electronic Arts Intermix, and Amie Scally and Sean Keenan at White Columns. They helped me to access the resources and to publish the archival materials in my dissertation. I also wish to thank Lucy Lippard for her response to my questions. -
Survival Research Laboratories Featured in the Art Newspaper
r THE ART NEWSPAPER The Robot wars: Mark Pauline and Survival Research Laboratories The Bay Area artist and his team build massive machines that act in dangerous performances—and they are opening their first gallery show in New York HELEN STOILAS 5th January 2018 17:11 GMT Mark Pauline and the Running Machine (1992) Courtesy of Survival Research Laboratories For four decades, Mark Pauline has turned robotics into a performance art. In 1978, the Bay Area artist started Survival Research Laboratories (SRL), a collaborative project with the stated purpose of “re-directing the techniques, tools, and tenets of industry, science, and the military away from their typical manifestations in practicality, product or warfare”. Since then, Pauline and a team of “creative technicians” have been building an army of massive machines—the giant articulated Spine Robot that gingerly picks up objects with its mechanised arm, the dangerously powerful Pitching Machine that can hurl a 2 x 4 at 200mph, and of course Mr Satan, a blast furnace with a human face that shoots flames from its eyes and mouth. These are used in performances that inspire equal parts awe, excitement and fear. Pauline and the SRL team are in New York this week for their first major gallery show at Marlborough Contemporary, Fantasies of Negative Acceleration Characterized by Sacrifices of a Non-Consensual Nature, opening on Saturday 5 January, with performances starting at 4pm. We spoke to the artist from his studio in Petaluma. The Art Newspaper: These machines are meant to have their own life, they’re independent actors in a way? Mark Pauline: Actually, they’re just meant to replace human performers in the events that we stage. -
XFR Collective Selects: a Medley of Art Compositions Le Petit Versailles Friday August 28, 2015
XFR Collective Selects: A Medley of Art Compositions Le Petit Versailles Friday August 28, 2015 Program Notes All of the videos in this program were transferred by XFR STN or XFR Collective since 2013. Dov Jacobson Human Vectors (1982, 05:04) https://archive.org/details/XFR_2013-07-17_05 Early 1980's vector graphics from Vectrex game system shown at RYO Gallery. Human shapes dance, work, and play. CKY Television Sylvia Kuzyk on the Treble Teens (Outtakes) (1990s, 02:37) https://archive.org/details/XFR_2013-08-14_2A_04 Manitoba news broadcaster Sylvia Kuzyk struggles with introducing a news story about the Treble Teens. From the archives of L'Atelier national du Manitoba. Penny & J. Kathleen White Dr. Jekyll & Ms. Hyde (1980, 05:02) https://archive.org/details/XFR_2013-10-15_1A_15 Written, designed & painted by J. Kathleen White; Photography & editing by David Saunders; with Penny White, Genie Chips & J.K. White. Polaroid Polaroid SHOOT (1990, 02:37) https://archive.org/details/XFR_2013-08-28_2A_02 Polaroid 50th Anniversary video. Made for Polaroid from their archives. Commissioned by Sam Yanes / Marketing at Polaroid Directed by Lynda Kahn + Ellen Kahn Production Company - Crossroads Films Music by Roy Yorkelson / Antland. COLAB April Fools (1980, 03:36) https://archive.org/details/XFR_2013-09-07_1A_05 COLAB ensemble cast including Peter Fend, Ellen Cooper, Mindy Stevenson Olsen, Mitch Corber, Diane Torr, Bobby G, Rockets Red Glare, Rebecca Howland, Verge Piersol, Sally White, Jim Sutcliff, and Kiki Smith. COLAB produced the weekly show Potato Wolf in 30 minute segments for Public Access Cable TV, which is now Manhattan Neighborhood Network. This short excerpt from a full length show was edited by Andrea Callard in 2014. -
10 Stanton St., Apt,* 3 Mercer / OLX 102 Forayti * 307 Mtt St 307 Mott St
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La Mamelle and the Pic
1 Give Them the Picture: An Anthology 2 Give Them The PicTure An Anthology of La Mamelle and ART COM, 1975–1984 Liz Glass, Susannah Magers & Julian Myers, eds. Dedicated to Steven Leiber for instilling in us a passion for the archive. Contents 8 Give Them the Picture: 78 The Avant-Garde and the Open Work Images An Introduction of Art: Traditionalism and Performance Mark Levy 139 From the Pages of 11 The Mediated Performance La Mamelle and ART COM Susannah Magers 82 IMPROVIDEO: Interactive Broadcast Conceived as the New Direction of Subscription Television Interviews Anthology: 1975–1984 Gregory McKenna 188 From the White Space to the Airwaves: 17 La Mamelle: From the Pages: 87 Performing Post-Performancist An Interview with Nancy Frank Lifting Some Words: Some History Performance Part I Michele Fiedler David Highsmith Carl Loeffler 192 Organizational Memory: An Interview 19 Video Art and the Ultimate Cliché 92 Performing Post-Performancist with Darlene Tong Darryl Sapien Performance Part II The Curatorial Practice Class Carl Loeffler 21 Eleanor Antin: An interview by mail Mary Stofflet 96 Performing Post-Performancist 196 Contributor Biographies Performance Part III 25 Tom Marioni, Director of the Carl Loeffler 199 Index of Images Museum of Conceptual Art (MOCA), San Francisco, in Conversation 100 Performing Post-Performancist Carl Loeffler Performance or The Televisionist Performing Televisionism 33 Chronology Carl Loeffler Linda Montano 104 Talking Back to Television 35 An Identity Transfer with Joseph Beuys Anne Milne Clive Robertson