De Andy Warhol Ao Sexo Nos Tempos Da Cólera - Select
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I – Introduction
QUEERING PERFORMATIVITY: THROUGH THE WORKS OF ANDY WARHOL AND PERFORMANCE ART by Claudia Martins Submitted to Central European University Department of Gender Studies In partial fulfillment for the degree of Master of Arts in Gender Studies CEU eTD Collection Budapest, Hungary 2008 I never fall apart, because I never fall together. Andy Warhol The Philosophy of Andy Warhol: From A to B and Back again CEU eTD Collection CONTENTS ILLUSTRATIONS..........................................................................................................iv ACKNOWLEDGMENTS.................................................................................................v ABSTRACT...................................................................................................................vi CHAPTER 1 - Introduction .............................................................................................7 CHAPTER 2 - Bringing the body into focus...................................................................13 CHAPTER 3 - XXI century: Era of (dis)embodiment......................................................17 Disembodiment in Virtual Spaces ..........................................................18 Embodiment Through Body Modification................................................19 CHAPTER 4 - Subculture: Resisting Ajustment ............................................................22 CHAPTER 5 - Sexually Deviant Bodies........................................................................24 CHAPTER 6 - Performing gender.................................................................................29 -
Connolly .Indd
Matt Connolly Solidification and Flux on the “Gay White Way”: Gay Porn Theaters in Post-Stonewall New York City Abstract This paper traces the exhibition strategies of two gay porn theaters in New York City from 1969-1973: the 55th Street Playhouse and the Eros I. It draws upon contemporaneous advertising and trade press to reconstruct these histories, and does so in the pursuit of two interconnected goals. First, by analyzing two venues whose exhibition protocols shifted over the course of this time period, this paper seeks a more nuanced understanding of how gay porn theaters established, maintained, and augmented their market identities. Second, it attempts to use these shifts to consider more broadly what role exhibition practices played in the shaping of gay men’s experiences within the porn theater itself – a key site of spectatorial, erotic, and social engagement. The 1970s saw the proliferation of theaters in major my conclusions in some ways, but that will also urban centers specializing in the exhibition of gay provide the opportunity to investigate exhibition pornography.1 Buoyed by both seismic shifts in spaces within a city that is central to histories of both LGBT visibility in the wake of the 1969 Stonewall LGBT culture and pornographic exhibition.3 I will riots and larger trends in industry, law, and culture track two Manhattan theaters across this time period that increasingly brought pornography of all stripes to observe what films they screened and how they into the mainstream, these theaters provided a public advertised their releases: the 55th Street Playhouse venue for audiences of primarily gay men to view gay and the Eros I. -
A Resource Guide to New York City's Many Cultures
D iv e r C it y : A Resource Guide to New York City’s Many Cultures New York City 2012 DiverCity: A Resource Guide to New York City’s Many Cultures Table of Contents I. Museums and Cultural Institutions A. Art Museums Page 1 B. Historical and Cultural Museums Page 7 C. Landmarks and Memorials Page 12 D. Additional Cultural Institutions Page 15 II. Cultural/Community Organizations and Associations Page 18 III. Performing Arts Centers and Organizations Page 22 IV. College/University Cultural Departments and Potential Speakers Page 25 Mu s eu m s a nd Cu l t u r a l In s ti t u ti o n s “We have become not a melting pot but a beautiful mosaic. Different people, different beliefs, different yearnings, different hopes, different dreams." - Jimmy Carter, 39th President of the United States 1 A) ART MUSEUMS Name Address Phone/ Website Admission Information Description American 2 Lincoln (212) 595-9533 FREE at all times The American Folk Art Museum is the Folk Art Square at leading center for the study and Museum 66th St. Folkartmuseum.org Hours: Tues-Sat enjoyment of American folk art, as well 12:00PM-7:30PM; Sun as the work of international self- taught 12:00PM- 6:00PM artists. Diversity in programming has become a growing emphasis for the museum since the 1990s. Major presentations of African- American and Latino artworks have become a regular feature of the museum's exhibition schedule and permanent collection. Asia Society 725 Park Avenue at (212) 288-6400 FREE Fridays 6-9PM The Asia Society is America's leading 70th Street institution dedicated to fostering Asiasociety.org Price: $10 Adults; $7 understanding of Asia and Seniors; $5 Student ID communication between Americans FREE children under 16 and the peoples of Asia and the Pacific. -
Andy Warhol's Factory People
1 Andy Warhol’s Factory People 100 minute Director’s Cut Feature Documentary Version Transcript Opening Montage Sequence Victor Bockris V.O.: “Drella was the perfect name for Warhol in the sixties... the combination of Dracula and Cinderella”. Ultra Violet V.O.: “It’s really Cinema Realité” Taylor Mead V.O.:” We were ‘outré’, avant garde” Brigid Berlin V.O.: “On drugs, on speed, on amphetamine” Mary Woronov V.O.: “He was an enabler” Nico V.O.:” He had the guts to save the Velvet Underground” Lou Reed V.O.: “They hated the music” David Croland V.O.: “People were stealing his work left and right” Viva V.O.: “I think he’s Queen of the pop art.” (laugh). Candy Darling V.O.: “A glittering façade” Ivy Nicholson V.O.: “Silver goes with stars” Andy Warhol: “I don’t have any favorite color because I decided Silver was the only thing around.” Billy Name: This is the factory, and it’s something that you can’t recreate. As when we were making films there with the actual people there, making art there with the actual people there. And that’s my cat, Ruby. Imagine living and working in a place like that! It’s so cool, isn’t it? Ultra Violet: OK. I was born Isabelle Collin Dufresne, and I became Ultra violet in 1963 when I met Andy Warhol. Then I turned totally violet, from my toes to the tip of my hair. And to this day, what’s amazing, I’m aging, but my hair is naturally turning violet. -
Elizabeth A. Schor Collection, 1909-1995, Undated
Archives & Special Collections UA1983.25, UA1995.20 Elizabeth A. Schor Collection Dates: 1909-1995, Undated Creator: Schor, Elizabeth Extent: 15 linear feet Level of description: Folder Processor & date: Matthew Norgard, June 2017 Administration Information Restrictions: None Copyright: Consult archivist for information Citation: Loyola University Chicago. Archives & Special Collections. Elizabeth A. Schor Collection, 1909-1995, Undated. Box #, Folder #. Provenance: The collection was donated by Elizabeth A. Schor in 1983 and 1995. Separations: None See Also: Melville Steinfels, Martin J. Svaglic, PhD, papers, Carrigan Collection, McEnany collection, Autograph Collection, Kunis Collection, Stagebill Collection, Geary Collection, Anderson Collection, Biographical Sketch Elizabeth A. Schor was a staff member at the Cudahy Library at Loyola University Chicago before retiring. Scope and Content The Elizabeth A. Schor Collection consists of 15 linear feet spanning the years 1909- 1995 and includes playbills, catalogues, newspapers, pamphlets, and an advertisement for a ticket office, art shows, and films. Playbills are from theatres from around the world but the majority of the collection comes from Chicago and New York. Other playbills are from Venice, London, Mexico City and Canada. Languages found in the collection include English, Spanish, and Italian. Series are arranged alphabetically by city and venue. The performances are then arranged within the venues chronologically and finally alphabetically if a venue hosted multiple productions within a given year. Series Series 1: Chicago and Illinois 1909-1995, Undated. Boxes 1-13 This series contains playbills and a theatre guide from musicals, plays and symphony performances from Chicago and other cities in Illinois. Cities include Evanston, Peoria, Lake Forest, Arlington Heights, and Lincolnshire. -
Evergreen Review on Film, Mar 16—31
BAMcinématek presents From the Third Eye: Evergreen Review on Film, Mar 16—31 Marking the release of From the Third Eye: The Evergreen Film Reader, a new anthology of works published in the seminal counterculture journal, BAMcinématek pays homage to a bygone era of provocative cinema The series kicks off with a week-long run of famed documentarian Leo Hurwitz’s Strange Victory in a new restoration The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Feb 17, 2016/Brooklyn, NY—From Wednesday, March 16, through Thursday, March 31, BAMcinématek presents From the Third Eye: Evergreen Review on Film. Founded and managed by legendary Grove Press publisher Barney Rosset, Evergreen Review brought the best in radical art, literature, and politics to newsstands across the US from the late 1950s to the early 1970s. Grove launched its film division in the mid-1960s and quickly became one of the most important and innovative film distributors of its time, while Evergreen published incisive essays on cinema by writers like Norman Mailer, Amos Vogel, Nat Hentoff, Parker Tyler, and many others. Marking the publication of From the Third Eye: The Evergreen Review Film Reader, edited by Rosset and critic Ed Halter, this series brings together a provocative selection of the often controversial films that were championed by this seminal publication—including many distributed by Grove itself—vividly illustrating how filmmakers worked to redefine cinema in an era of sexual, social, and political revolution. The series begins with a week-long run of a new restoration of Leo Hurwitz’s Strange Victory (1948/1964), “the most ambitious leftist film made in the US” (J. -
Tion of Don Delillo
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Delirious USA: the representation of capital in the fic- tion of Don DeLillo https://eprints.bbk.ac.uk/id/eprint/40479/ Version: Full Version Citation: Travers, Thomas William Lynn (2020) Delirious USA: the repre- sentation of capital in the fiction of Don DeLillo. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Birkbeck, University of London Delirious USA: The Representation of Capital in the Fiction of Don DeLillo Thomas William Lynn Travers Submitted for the degree of Doctor of Philosophy 2019 1 Declaration I, Thomas William Lynn Travers, declare that this thesis is my own work. Where I have drawn upon the work of other researchers, this has been fully acknowledged. 2 Abstract In this thesis I offer a new reading of Don DeLillo’s fiction through an engagement with contemporary Marxist literary theory and political economy. Beginning in the 1960s, the thesis traces the launch, expansion, and shattering of DeLillo’s narrative apparatus as it recomposes itself across the genres of the short story, the conspiratorial thriller, the historical novel, and the novel of time. Developing on theories of the novel as a capitalist epic, the thesis takes the insistent appearance of surplus populations in DeLillo’s work as an opportunity to reflect on, but also to revise and reconceptualise, Marxist accounts of the novel and its philosophy of history. -
For Additions to This Section Please See the Media Resources Desk. for Availability Check the Library Catalog
UNLV LIBRARY Adams, Ansel: Photographer. MEDIA RESOURCES CATALOG Filmamerica (1981) VISUAL ARTS Captures the spirit and artistry of the Summer 2011 man as he talks about his life and demonstrates the techniques which have Abstract Art. made his work legendary. Films for the Humanities & Sciences Video Cassette (1 hr.) (2004) TR 140 A3 A57 "In this program, artists John Hoyland and Sir Anthony Caro; The Adventure of Photography. Charlotte Mullins, of the Irish Independent Kultur (1998) on Sunday; and others examine the history History of photography. of Abstract Art. After a capsule summary of Disc one: The precursors, Impressionism and Cubism, the program The surrealists, War photography, tracks the full flowering of Abstract Art, Portraitists, The photo reporters, Fashion stretching into Abstract Expressionism and photography. Minimalism. Special attention is given to Disc two : Nudes, Photography and Wassily Kandinsky, Piet Mondrian, Jackson science, Amateur photography, The Pollock, Mark Rothko, Jason Martin, and photographic market. Fiona Rae. Footage of artists at work along 2 videodiscs (260 min.) with a wide selection of paintings and TR15 .A38 1998 sculpture round out this...overview"— Container. African American Art: Past and Present. 1 videodisc (29 min.) Reading & O'Reilly (1992) N6494.A2 A22 2004 Tape 1: African Art/Slavery, Decorative Arts, 18th & 19th Century Fine Achieving the Unachievable. Art Survey CineFête, c2007 Tape 2: 20th Century Fine Art Survey Discusses how the art of M.C. Escher Tape 3: 20th Century Fine Art Survey helped mathematician Hendrik Lenstra (cont.), In the Artists' Words overcome the Infinity Barrier. In 1956, Dutch 3 Video Cassettes (1 hr. -
Network 2019 to Update Your Mailing Address Please Contact
Network 2019 To update your mailing address please contact: Mail Alumni Association Inc. University of Manitoba Unit 200-137 Innovation Drive Winnipeg, MB R3T 5Y3 Email [email protected] Online umanitoba.ca/alumni/ Produced by Faculty of Architecture Text editors Madeleine Dafoe, Lisa Landrum, Brandy O’Reilly Graphic editors Madeleine Dafoe, Erin Rawluk, Brandy O’Reilly + Kim Weise NETWORK 2019 (2018-2019) Facebook and Instagram: @faumanitoba Twitter: @umarchitecture NETWORK is an annual publication of the Faculty of Architecture at the University of Manitoba, Winnipeg, Canada. Environmental Design Program Department of Architecture Department of City Planning Department of Interior Design Department of Landscape Architecture Ph.D. in Design and Planning The Faculty of Architecture aspires to offer widely recognized and highly valued design and planning undergraduate and graduate programs that promote a respectful, collegial, interdisciplinary culture of teaching, scholarship, and service within the University and beyond. NETWORK is circulated to Faculty of Architecture alumni all over the world, and professional and industry firms throughout Western Canada. NETWORK welcomes articles, comments, and information related to issues affecting the design community. 04 Faculty Reports Letter from the Dean • Faculty Research • Environmental Design • Architecture • City Planning • Interior Design • Landscape Architecture • Faculty Announcements 52 74 Connectivity Indigenous Design + Planning C.A.S.T. • Murmurate • Zaagate Garden • Folly -
Warhol Underground
WARHOL UNDERGROUND WARHOL UNDERGROUND SOMMAIRE 1. PRÉSENTATION GÉNÉRALE DE L’EXPOSITION ……………P.3 2. PORTRAIT D’ANDY WARHOL………………………… P.5 3. REPÈRES CHRONOLOGIQUES………………………....P.7 4. PARCOURS DE L’EXPOSITION………………………....P.11 5. BIOGRAPHIES DE PHOTOGRAPHES…………………….P.33 6. CITATIONS……………………………………….P.35 7. INFORMATIONS PRATIQUES………………………… P.37 2 WARHOL UNDERGROUND 1.PRÉSENTATION GÉNÉRALE DE L’EXPOSITION WARHOL UNDERGROUND 01.07 > 23.11.15 GALERIE 1 Commissaire : Emma Lavigne, directrice du Centre Pompidou-Metz Une relecture inédite de l’œuvre du pape du pop art à travers ses liens avec la scène new- yorkaise underground : musique, danse, cinéma... L’exposition met en lumière l’influence de la scène musicale, du cinéma underground et de l’avant-garde chorégraphique new-yorkaise dans l’œuvre d’Andy Warhol (1928-1987). Elle est l’occasion de célébrer les cinquante ans de la rencontre de Warhol avec le groupe de rock new-yorkais The Velvet Underground, dont il devint le producteur. « Je n’ai jamais voulu être peintre, j’ai toujours voulu être danseur de claquettes », déclarait Warhol, alors même que l’œuvre de l’artiste du pop art est souvent réduite à sa dimension picturale. « Je ne peins plus. J’ai abandonné la peinture il y a à peu près un an et maintenant je ne fais plus que des films. La peinture était seulement une phase que j’ai traversée », ajoutait-il. Nombre de déclarations de l’artiste montrent combien son œuvre, extrêmement protéiforme, a dépassé la peinture, ainsi qu’il aimait lui-même à le penser. La musique, présente tout au long du parcours, guide le visiteur dans une redécouverte de l’œuvre de Warhol, à travers plus de 150 photographies de Nat Finkelstein, Hervé Gloaguen, Fred W. -
Interview with Adam Szymczyk
! Szymczyk, Adam, “Portrait of the Marauder: Michel Auder in Conversation with Adam Szymczyk,” 2014 Portrait of the Marauder: Michel Auder in Conversation with Adam Szymczyk Adam Szymczyk: Video and, less so, film are both handy formats in which to record material and then use it later. Yet how did you manage to keep going over the years without having solid backing? Michel Auder: That is probably why I went in the direction that I did. In the seventies it did not seem like I was able to, or was interested in, finding money the traditional way: to have an idea, to write it down, and to present it to someone in the film business. All those steps never came about, except with the last film I made, Cleopatra [1970]. Video is a way to actually make the films and not make it. You just do it and then it is there. At least you are doing something; you are making a work. AS: Keeping busy. MA: Making film is vital for me: explaining what I am seeing or how I feel about what is around me. The material question about having backing, I cannot answer. I am a very lucky and determined person to have managed to make all those films without any funds. It is kind of a miracle. AS: With Cleopatra you were trying to go into something that was more like regular film production, right? Did you pitch it to people who had funds to produce your film? MA: In 1969 I was featured in the New York Times with my first wife, Viva. -
9789814794428 (Pdf)
Shaik Kadir Mahmood and I made captehs using cockerel feathers. ... We would chase a cockerel, corner it somewhere, grab it tightly under our arms and pull a fewFor of its Review only beautiful feathers as it squawked and struggled to A Kite free itself. But we made sure that the cockerel was not harmed or injured. Often we would get claw marks on our arms and scratches on our legs as we chased it in the all over the place, but that never stopped us. A Kite in the A Kite in the Evening Sky is Shaik Kadir’s rsthand account Evening of growing up in a Geylang Serai kampung in the late 1950s and 1960s. It was a time when children spent the hours after school playing capteh and marbles, eating fresh jambu, hauling pails of water home from the public standpipe, Sky attending prayers at the surau, learning to fast, reading the Qur’an, as well as enjoying evenings in the open-air cinema. Evening Sky Despite the poverty, he thrived in the twilight years of Shaik Kadir the kampung and managed to make his dreams soar like a kite, ful lling the aspirations of his single mother for a better life in a modernising city. oughtful, amusing and heartwarming, these stories hark back to simpler days and humbler ways, o ering us a vivid glimpse of the kampung that raised the child. About the Author Shaik Kadir holds a Master in Education degree from the University of She eld, UK. He received training in teaching and journalism both locally and overseas, and has years of experience as an educator and journalist.