New Experiences Bring the Newfields Campus to Life This Fall Picasso Exhibition, Friday the 13Th, Doug E
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Ahead of Their Time
NUMBER 2 2013 Ahead of Their Time About this Issue In the modern era, it seems preposterous that jazz music was once National Council on the Arts Joan Shigekawa, Acting Chair considered controversial, that stream-of-consciousness was a questionable Miguel Campaneria literary technique, or that photography was initially dismissed as an art Bruce Carter Aaron Dworkin form. As tastes have evolved and cultural norms have broadened, surely JoAnn Falletta Lee Greenwood we’ve learned to recognize art—no matter how novel—when we see it. Deepa Gupta Paul W. Hodes Or have we? When the NEA first awarded grants for the creation of video Joan Israelite Maria Rosario Jackson games about art or as works of art, critical reaction was strong—why was Emil Kang the NEA supporting something that was entertainment, not art? Yet in the Charlotte Kessler María López De León past 50 years, the public has debated the legitimacy of street art, graphic David “Mas” Masumoto Irvin Mayfield, Jr. novels, hip-hop, and punk rock, all of which are now firmly established in Barbara Ernst Prey the cultural canon. For other, older mediums, such as television, it has Frank Price taken us years to recognize their true artistic potential. Ex-officio Sen. Tammy Baldwin (D-WI) In this issue of NEA Arts, we’ll talk to some of the pioneers of art Sen. Sheldon Whitehouse (D-RI) Rep. Betty McCollum (D-MN) forms that have struggled to find acceptance by the mainstream. We’ll Rep. Patrick J. Tiberi (R-OH) hear from Ian MacKaye, the father of Washington, DC’s early punk scene; Appointment by Congressional leadership of the remaining ex-officio Lady Pink, one of the first female graffiti artists to rise to prominence in members to the council is pending. -
Press Release Martha Cooper: Taking Pictures
URBAN NATION ALT-MOABIT 101 A NANCY HENZE MOBIL: +49 173 1416030 MUSEUM FOR URBAN D – 10559 BERLIN PRESSE/ TELEFON: +49 30 47081536 CONTEMPORARY ART WWW.URBAN-NATION.COM PUBLIC RELATIONS [email protected] Press Release Icon of street art photography Martha Cooper: Taking Pictures will run at the URBAN NATION museum until 1 August 2021 A first: the opening was also streamed live Martha Cooper photographed by Nika Kramer. After being closed for a month, the URBAN NATION museum reopened last Friday with the exhibition Martha Cooper: Taking Pictures. Over the opening weekend alone, more than 1,300 visitors came to see the US photographer's first comprehensive retrospec- tive. In addition to the museum visitors, more than 700 people interested in the exhibition opening followed it digitally. On the opening evening, the music journalist Falk Schacht and the Dutch graffiti artist Mick La Rock guided the audience through the exhibition via a live stream that also featured exclusive interviews with Martha Cooper, the curators Steven P. Harrington and Jaime Rojo, who are currently in New York, as well as other artists and contemporaries. With the two-part opening concept of a reduced number of visitors at the museum plus a live stream, the URBAN NATION made it possible for Berlin-based as well as worldwide street art and graffiti fans to attend the opening des- pite the social distancing rules. Exhibition shows Martha Cooper's oeuvre The extensive retrospective covers Martha Cooper's artistic output over ten decades and features not only her well-known photographs but also unpublished pictures and personal items. -
Revue De Recherche En Civilisation Américaine , 2014 from the Street to Art Galleries : How Graffiti Became a Legitimate Art Form 2
Revue de recherche en civilisation américaine 2014 From the Street to Art Galleries : How Graffiti Became a Legitimate Art Form David Diallo Electronic version URL: http://journals.openedition.org/rrca/601 ISSN: 2101-048X Publisher David Diallo Electronic reference David Diallo, « From the Street to Art Galleries : How Graffiti Became a Legitimate Art Form », Revue de recherche en civilisation américaine [Online], 2014, Online since 23 December 2014, connection on 10 December 2020. URL : http://journals.openedition.org/rrca/601 This text was automatically generated on 10 December 2020. © Tous droits réservés From the Street to Art Galleries : How Graffiti Became a Legitimate Art Form 1 From the Street to Art Galleries : How Graffiti Became a Legitimate Art Form David Diallo 1 From June 30th to September 3rd 2006, the prestigious Brooklyn Museum organized Graffiti , an exhibition that presented the canvasses of renowned graffiti artists who had contributed to the blossoming of this expressive form. Through the works of Michael Tracy (Tracy 168), Melvin Samuels, Jr. (NOC 167), Sandra Fabara (Lady Pink), Chris Ellis (Daze), and John Matos (Crash), the exhibition examined the artistic legitimacy of a mode of expression frequently presented as a mere defacement of public space. The city of Paris similarly paid homage to these pioneers in T.A.G.: Tag and Graffiti (from March 27th to April 26th 2009) and Graffiti: Born in the streets (from July 7 th to November 29 th), two major exhibitions which took place, respectively in The Grand Palais and in the Cartier Foundation for Contemporary Art. Such presence of paintings performed illegally on the streets or on subways in foremost institutions of the international art scene results from a legitimating process that started in the 70s, with the first exhibitions of graffiti in New York galleries of contemporary art. -
The Levi's® Brand Teams up with Legendary Street Artists to Unveil
FOR IMMEDIATE RELEASE CONTACT: Erica Archambault Kelsey Comstock Levi‟s® Public Relations Turner PR (415) 501-7678 (office) (212) 889-1700 (office) [email protected] [email protected] THE LEVI’S® BRAND TEAMS UP WITH LEGENDARY STREET ARTISTS TO UNVEIL LIMITED-EDITION COLLECTION OF TRUCKER JACKETS All Proceeds to Benefit The Museum of Contemporary Art, Los Angeles (MOCA) SAN FRANCISCO (April 25, 2011) – Since it was first introduced in 1967, the Levi‟s® Trucker Jacket has served as an iconic canvas for artists around the world, from the boogie-down Bronx to the favelas of Brazil. Beginning this week, the Levi‟s® Trucker Jacket will serve as the canvas for a special collaboration celebrating the brand‟s partnership with the Art in the Streets exhibition at The Museum of Contemporary Art, Los Angeles (MOCA). All proceeds from the sale of the jackets will benefit MOCA and the community programs it supports. From now through August 6, 11 special, limited-edition Levi’s® x MOCA Trucker Jackets designed by the most dynamic and influential artists from the graffiti and street art community will be released every two weeks in limited-edition quantities. The Levi’s® x MOCA Trucker Jackets feature artwork on the back panel created by artists including Keith Haring, Shepard Fairey, Chaz Bojorquez, Kenny Scharf, Lady Pink and KR. Each jacket is packaged in a commemorative box bearing a stamp reminiscent of the artist‟s “tag” and will be available for purchase at The Geffen Contemporary at MOCA (152 North Central Ave). The Levi’s® x MOCA Trucker Jackets retail for $250 and go on sale on the designated day of its release at 11:00 a.m. -
The Power of Public Art: the Political Significance of Murals in New York City
The Power of Public Art: The Political Significance of Murals in New York City Diane Wong Western Political Science Association Meeting 2014* Cornell University Abstract From East Harlem in New York City to the Mission District in San Francisco to Pilsen in Chicago, public mural have changed the character of hundreds of American cities. Beginning with the social activism in the 1960s and 1970s, African American and Chicano/a grassroots organizers used mural paintings to challenge the social, cultural and political establishments in their local neighborhoods. Today the contemporary mural movement in the United States continues to inspire communities to articulate strategies of change outside of traditional institutions. While previous research concerning the influence of murals has focused on self expression and empowerment of ethnic identities, few studies extend their analyses to the political significance of public art in the context of urban space and culture. How does public art and politics interact for artists and local residents? How does the mural process shape civic participation for ordinary citizens? From an interdisciplinary lens, I draw from the qualitative methods of observation, personal interviews, and secondary sources to explore the ways in which public murals can operate as sites of insurgent politics in New York City. *Draft copy only, please do not cite without permission. Wong 1 I. Introduction “No one asked for the Wall of Respect. It just had to be painted. It made a direct statement to the Black community and the statement came directly out of the community through its artists.” -Harold Haydon, Chicago Sun-Times December 13, 1970 From East Harlem in New York City, to the Mission District in San Francisco, to Pilsen in Chicago, public murals have changed the character of hundreds of neighborhoods in America. -
City As Canvas Pre and Post Bibliography
BIBLIOGRAPHY Introduction This guide is intended to be used as a resource for teachers either preparing to visit the Museum of the City of New York’s City as Canvas: Graffiti Art from the Martin Wong Collection or to use in the classroom following a class visit. During the gallery tour of the City As Canvas exhibition, students will view highlights from the Museum's rich collection of 1970s and '80s graffiti art in New York. By analyzing the drawings, paintings, photographs and blackbooks collected by Martin Wong, students will learn about New York City artists known as “writers”, like Keith Haring, Lady Pink, Lee Quiñones, and Daze, and the historical context in which their work was created. Students will be able to elaborate on the multiple perspectives surrounding street art, discuss the various styles represented, and will respond creatively to the pieces by drafting their own sketches. The information and activities in this guide correlate to the guided tour, but may also be taught as stand-alone lessons utilizing the text, images, and suggested activities. Teachers are encouraged to adapt the information to the grade level and ability of their students. For further information or to schedule a visit to the Museum of the City of New York, please email the Frederick A.O. Schwarz Children’s Center at [email protected]. Included in this guide: • Curriculum Connections • Key Terms • Background Information on the Exhibition • Artist Spotlights: Keith Haring, Wicked Gary, Daze, Futura and Lady Pink • Suggested Activity: o Gallery Review o In the Voice of the Artists o Debate it! Finding Space for Street Art o Write Your Own Exhibition Text For classroom use only. -
My Community-To Not Woodhaven Queens 11421 Bandshell Restaurants Music Venues Y Not Sure Y Feel Like I Have to Go Elsewhere
Represent for Your Community Activity 1. Where do you Live 2. What are your favorite Arts and Culture Spots 3. Does your Neighborhood Have... 5. Anything else? Express yourself. a) How are you most likely to find out about arts and culture Do you go to those places/enjoy events? b) How many arts and/or culture events do you attend a month? c) What would malke you those activities? Why or Why not? more likely to attend more arts and culture events than you normally do? d) Are you an artist or 6. If you were in charge of the budget for Places to Hang Places to be Borough Zipcode Neighborhood Neighborhood Borough All of NYC Activities (Y/N) What programs, places or activities from arts organization? If so, please let us know your discipline or your organization) e) Do you arts and culture in NYC, what's the one (Y/N) creative (Y/N) would you most like to add or bring want to join the Northern Manhattan Arts and Culture email list? (You do not need to be an artist or thing you would fund? back? 4. What is in your neighborhood that you arts organization in order to be updatedon the progress of this organization! We would love to can't find anywhere else? keep everyone informed.) If yes, what is your email address. Manhattan La Mama, all of 4th The Kraine, Under Central Park Y Y Y Yes, because I want to live full life and Diversity in Manhattan on LES, though it is Civil service, non profit, artist job program + more equity in funding. -
Guerrilla Artists of New York City
IVOR MILLER Guerrilla artists of New York City In the early 1970s, the New York City subways burgeoned with a new art form. While Norman Mailer and a handful of writers and photographers celebrated the phenomenon, others saw it as an attack on society. By the mid-1980s, NY City’s young guerrilla artists had developed their craft to produce full car murals that became a tourist attraction for visitors from around the world. To regain control over the subways, New York mayors Lindsay and, later, Koch initiated and sustained a multi-million dollar campaign to erase the paintings and arrest the painters. While the passionate and bold murals have vanished for ever from New York’s subways, the art form has become a worldwide phenomenon with adherents in Europe, Australia, New Zealand and all major US cities. In New York, the original painters still call themselves ’painters’, ’aerosol artists’, graffiti artists’ or ’writers’, and the most dedicated of them continue to create their work in public spaces and for art galleries. Since the beginning of their movement in 1971, New York City subway painters have used diverse cultural ideas in their creative processes. Most of the great painters were young (between 12 and 15) when they began. At that age, they were especially conscious of and open to cultural motifs from the world around them: their families taught them movement and language from their particular heritage; TV taught them advertising techniques; currents running within their communities taught them something about politics and the history of Ivor Miller is in the Department of Performance Studies, Northwestern University, and is currently researching the existence of Afro-Cuban religion in contemporary Cuban society. -
Female Graffiti Artists in a Gendered City
GIRLS' NIGHT OUT: FEMALE GRAFFITI ARTISTS IN A GENDERED CITY Erin Gentry A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2008 Committee: Amy Bingaman, Advisor Maisha Wester ii ABSTRACT Amy Bingaman, Advisor Graffiti art is often thought of as a boys' subculture because it is seen as too dangerous and aggressive for girls to be involved. Despite this assumption, girls have been invested in graffiti art since its beginnings in the early 1970's, and continue to contribute to the subculture's development today. This thesis explores the often ignored position of female graffiti artists by looking both at the physical and the social spaces in which female graffiti artists work. The city is explored as a masculine space that is hostile to female graffiti artists. The subculture of graffiti is inhospitable as well, because female graffiti artists are often fetishized and objectified, and their talents are under constant scrutiny within the subculture. This thesis employs personal interviews with several female graffiti artists and then uses a cultural studies approach to develop an understanding of the position of females in graffiti. Finally, it explores the ways in which the hyper-masculine natures of both the city and the subculture have affected the subjectivities of female graffiti artists through a visual analysis of self-portraits of the artists. iii To all the girls in boys' clubs. iv ACKNOWLEDGEMENTS First, I would like to thank CLAW, MISS 17, and SWOON for their valuable input, openness and willingness to help, without which this thesis would not exist. -
Graffiti Art from the Martin Wong Collection 1 City As Canvas
CITY AS CANVAS GRAFFITI ART FROM THE MARTIN WONG COLLECTION 1 CITY AS CANVAS A powerful form of artistic and counter-cultural self-expression, graffiti in New York City has had a polarizing history and rapid rise into the mainstream. Beginning in the 1970s as illicit “writing” on subway cars and station walls, by the 1980s it had evolved to include colorful paintings embraced as valuable works of art by downtown collectors and patrons. City as Canvas: Graffiti Art from the Martin Wong Collection features vibrant and provocative works on paper and canvas, as well as artist black books and photographs of graffiti writing long erased from city walls. This important exhibition highlights the early work of such seminal artists as Keith Haring, FUTURA 2000, Lee Quiñones, DAZE, and LADY PINK, giving voice to their perspective as young, outsider creatives who would go on to become well-known artists and ambassadors of the genre. I. I. RAMMELLZEE. Untitled, 1980. 94.114.197. II. LADY PINK. The Death of Graffiti, 1982. 94.114.96. 2 II. 3 EXHIBITION HIGHLIGHTS This transformational exhibition marks the first time many of the works from the expansive collection of Martin Wong, an East Village artist and collector of graffiti art, have been publicly exhibited. Wong saw the importance of graffiti long before it became part of our vernacular, and amassed a treasure trove of hundreds of works. Specific highlights in the exhibition include DAZE’s Transition (1982), Martha Cooper’s photograph of DONDI (1980), LADY PINK’s The Death of Graffiti (1982), and LEE’s Howard the Duck (1988). -
Henry Chalfant: Art Vs
Henry Chalfant: Art vs. Transit, 1977-1987 The definitive exhibition of photographs documenting subway paintings to receive a long awaited homecoming at the Bronx Museum. Henry Chalfant. Dust Sin, 1980. Courtesy of Eric Firestone Gallery. On View: September 25, 2019—March 8, 2020 (Bronx, NY — June 19, 2019) — The Bronx Museum of the Arts is pleased to announce Henry Chalfant: Art vs. Transit, 1977-1987, the first U.S. retrospective of the pioneering photographer, on view from September 25, 2019 to March 8, 2020. Recognized as one of the most significant documentarians of subway art, Chalfant’s photographs and films immortalized this ephemeral art form from its Bronx-born beginnings, helping to launch graffiti art into the international phenomenon it is today. The historic exhibition looks back at a rebellious art form launched in the midst of a tumultuous time in New York City history. Chalfant’s graffiti archives are a work of visual anthropology and one of the seminal documents of American popular culture in the late twentieth century. Left: Henry Chalfant. Mattress Acrobats Ready to Go, South Bronx, NY, 1985. Right: Henry Chalfant. Shoot the Pump, South Bronx, NY, 1985. Courtesy of Eric Firestone Gallery. Starting in the early 1970s, graffiti became a cultural movement, along with hip-hop and breakdancing, created by teenagers and young people who used the infrastructure of the city, its streets and subway cars, to circulate their tags, murals, and radical visual expressions. Through the lens of Henry Chalfant, the public will be able to see the now largely disappeared works of legendary subway writers, including Dondi, Futura, Lady Pink, Lee Quiñones, and Zephyr, and Bronx legends including Blade, Crash, DAZE, Dez, Kel, Mare, SEEN, Skeme, and T-Kid. -
Suggested Activities for Middle and High School
SUGGESTED ACTIVITIES FOR MIDDLE AND HIGH SCHOOL STUDENTS Introduction This guide is intended to be used as a resource for teachers either preparing to visit the Museum of the City of New York’s City as Canvas: Graffiti Art from the Martin Wong Collection or to use in the classroom following a class visit. During the gallery tour of the City As Canvas exhibition, students will view highlights from the Museum's rich collection of 1970s and '80s graffiti art in New York. By analyzing the drawings, paintings, photographs and blackbooks collected by Martin Wong, students will learn about New York City artists known as “writers”, like Keith Haring, Lady Pink, Lee Quiñones, and Daze, and the historical context in which their work was created. Students will be able to elaborate on the multiple perspectives surrounding street art, discuss the various styles represented, and will respond creatively to the pieces by drafting their own sketches. The information and activities in this guide correlate to the guided tour, but may also be taught as stand-alone lessons utilizing the text, images, and suggested activities. Teachers are encouraged to adapt the information to the grade level and ability of their students. For further information or to schedule a visit to the Museum of the City of New York, please email the Frederick A.O. Schwarz Children’s Center at [email protected]. Included in this guide: • Curriculum Connections • Key Terms • Background Information on the Exhibition • Suggested Activity – Middle and High School: o Gallery Review o In the Voice of the Artists o Debate it! Finding Space for Street Art o Write Your Own Exhibition Text • Artist Spotlights: Keith Haring, Wicked Gary, Daze, Futura and Lady Pink • Bibliography For classroom use only.