West Hollywood Muralist Roster
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Philosophy in the Artworld: Some Recent Theories of Contemporary Art
philosophies Article Philosophy in the Artworld: Some Recent Theories of Contemporary Art Terry Smith Department of the History of Art and Architecture, the University of Pittsburgh, Pittsburgh, PA 15213, USA; [email protected] Received: 17 June 2019; Accepted: 8 July 2019; Published: 12 July 2019 Abstract: “The contemporary” is a phrase in frequent use in artworld discourse as a placeholder term for broader, world-picturing concepts such as “the contemporary condition” or “contemporaneity”. Brief references to key texts by philosophers such as Giorgio Agamben, Jacques Rancière, and Peter Osborne often tend to suffice as indicating the outer limits of theoretical discussion. In an attempt to add some depth to the discourse, this paper outlines my approach to these questions, then explores in some detail what these three theorists have had to say in recent years about contemporaneity in general and contemporary art in particular, and about the links between both. It also examines key essays by Jean-Luc Nancy, Néstor García Canclini, as well as the artist-theorist Jean-Phillipe Antoine, each of whom have contributed significantly to these debates. The analysis moves from Agamben’s poetic evocation of “contemporariness” as a Nietzschean experience of “untimeliness” in relation to one’s times, through Nancy’s emphasis on art’s constant recursion to its origins, Rancière’s attribution of dissensus to the current regime of art, Osborne’s insistence on contemporary art’s “post-conceptual” character, to Canclini’s preference for a “post-autonomous” art, which captures the world at the point of its coming into being. I conclude by echoing Antoine’s call for artists and others to think historically, to “knit together a specific variety of times”, a task that is especially pressing when presentist immanence strives to encompasses everything. -
The Conceptual Art Game a Coloring Game Inspired by the Ideas of Postmodern Artist Sol Lewitt
Copyright © 2020 Blick Art Materials All rights reserved 800-447-8192 DickBlick.com The Conceptual Art Game A coloring game inspired by the ideas of postmodern artist Sol LeWitt. Solomon (Sol) LeWitt (1928-2007), one of the key pioneers of conceptual art, noted that, “Each person draws a line differently and each person understands words differently.” When he was working for architect I.M. Pei, LeWitt noted that an architect Materials (required) doesn't build his own design, yet he is still Graph or Grid paper, recommend considered an artist. A composer requires choice of: musicians to make his creation a reality. Koala Sketchbook, Circular Grid, He deduced that art happens before it 8.5" x 8.5", 30 sheets (13848- becomes something viewable, when it is 1085); share two across class conceived in the mind of the artist. Canson Foundation Graph Pad, 8" x 8" grid, 8.5" x 11" pad, 40 He said, “When an artist uses a conceptual sheets, (10636-2885); share two form of art, it means that all of the planning across class and decisions are made beforehand and Choice of color materials, the execution is a perfunctory affair. The recommend: idea becomes a machine that makes the Blick Studio Artists' Colored art.” Pencils, set of 12 (22063-0129); Over the course of his career, LeWitt share one set between two students produced approximately 1,350 designs known as “Wall Drawings” to be completed at specific sites. Faber-Castell DuoTip Washable Markers, set of 12 (22314-0129); The unusual thing is that he rarely painted one share one set between two himself. -
The Influence of Rap in the Arab Spring
Augsburg Honors Review Volume 6 Article 12 2013 The Influence of apr in the Arab Spring Samantha Cantrall Augsburg College Follow this and additional works at: https://idun.augsburg.edu/honors_review Part of the Political Science Commons Recommended Citation Cantrall, Samantha (2013) "The Influence of apr in the Arab Spring," Augsburg Honors Review: Vol. 6 , Article 12. Available at: https://idun.augsburg.edu/honors_review/vol6/iss1/12 This Article is brought to you for free and open access by the Undergraduate at Idun. It has been accepted for inclusion in Augsburg Honors Review by an authorized editor of Idun. For more information, please contact [email protected]. THE IruFLUENCE oF RAP IN THE AnAB SPRING ey SaHaANTHA Carurneu-AuGSBURc CollEGE Enculry Anvrson: Dn. Roeenr Srecrcr BSTRACT: Throughout history, music has been influential in social, reli- gious, and political disputes. In the early 21st century, change in the estab- order can be found in expressing the need for reform halfway around the world in the Middle East's Arab Spring. Rap artists such as El General (Tunisia), GAB (Libya), and Omar Offendum (Syria) used their talents to both spark and en- courage protestors during the early days of the Middle Eastern protests that began in late 2010; these protests have since been coined "The Arab Spring." The energy that could have been used to wield guns and bombs was instead poured into protest music that these and other artists produced during this time period. The relatively Western genre of rap music became integral in peaceful citizens protests happening all over the Middle East. -
KMP LIST E:\New Songs\New Videos\Eminem\ Eminem
_KMP_LIST E:\New Songs\New videos\Eminem\▶ Eminem - Survival (Explicit) - YouTube.mp4▶ Eminem - Survival (Explicit) - YouTube.mp4 E:\New Songs\New videos\Akon\akon\blame it on me.mpgblame it on me.mpg E:\New Songs\New videos\Akon\akon\I Just had.mp4I Just had.mp4 E:\New Songs\New videos\Akon\akon\Shut It Down.flvShut It Down.flv E:\New Songs\New videos\Akon\03. I Just Had Sex (Ft. Akon) (www.SongsLover.com). mp303. I Just Had Sex (Ft. Akon) (www.SongsLover.com).mp3 E:\New Songs\New videos\Akon\akon - mr lonely(2).mpegakon - mr lonely(2).mpeg E:\New Songs\New videos\Akon\Akon - Music Video - Smack That (feat. eminem) (Ram Videos).mpgAkon - Music Video - Smack That (feat. eminem) (Ram Videos).mpg E:\New Songs\New videos\Akon\Akon - Right Now (Na Na Na) - YouTube.flvAkon - Righ t Now (Na Na Na) - YouTube.flv E:\New Songs\New videos\Akon\Akon Ft Eminem- Smack That-videosmusicalesdvix.blog spot.com.mkvAkon Ft Eminem- Smack That-videosmusicalesdvix.blogspot.com.mkv E:\New Songs\New videos\Akon\Akon ft Snoop Doggs - I wanna luv U.aviAkon ft Snoop Doggs - I wanna luv U.avi E:\New Songs\New videos\Akon\Akon ft. Dave Aude & Luciana - Bad Boy Official Vid eo (New Song 2013) HD.MP4Akon ft. Dave Aude & Luciana - Bad Boy Official Video (N ew Song 2013) HD.MP4 E:\New Songs\New videos\Akon\Akon ft.Kardinal Offishall & Colby O'Donis - Beauti ful ---upload by Manoj say thanx at [email protected] ft.Kardinal Offish all & Colby O'Donis - Beautiful ---upload by Manoj say thanx at [email protected] om.mkv E:\New Songs\New videos\Akon\akon-i wanna love you.aviakon-i wanna love you.avi E:\New Songs\New videos\Akon\David Guetta feat. -
Rapping the Arab Spring
Rapping the Arab Spring SAM R. KIMBALL UNIS—Along a dusty main avenue, past worn freight cars piled on railroad tracks and Tyoung men smoking at sidewalk cafés beside shuttered shops, lies Kasserine, a town unremarkable in its poverty. Tucked deep in the Tunisian interior, Kasserine is 200 miles from the capital, in a region where decades of neglect by Tunisia’s rulers has led ANE H to a state of perennial despair. But pass a prison on the edge of town, and a jarring mix of neon hues leap from its outer wall. During the 2011 uprising against former President Zine El-Abdine Ben Ali, EM BEN ROMD H prisoners rioted, and much of the wall was destroyed HIC in fighting with security forces. On the wall that re- 79 Downloaded from wpj.sagepub.com at COLUMBIA UNIV on December 16, 2014 REPORTAGE mains, a poem by Tunisian poet Abu al in it for fame. But one thing is certain— Qassem Chebbi stretches across 800 feet the rebellions that shook the Arab world of concrete and barbed wire, scrawled in tore open a space for hip-hop in politics, calligraffiti—a style fusing Arabic callig- destroying the wall of fear around freedom raphy with hip hop graffiti—by Tunisian of expression. And governments across the artist Karim Jabbari. On each section of region are now watching hip-hop’s advance the wall, one elaborate pattern merges into with a blend of contempt and dread. a wildly different one. “Before Karim, you might have come to Kasserine and thought, PRE-ARAB SPRING ‘There’s nothing in this town.’ But we’ve “Before the outbreak of the Arab Spring, got everything—from graffiti, to break- there was less diversity,” says independent dance, to rap. -
Understanding the Value of Arts & Culture | the AHRC Cultural Value
Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska 2 Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska THE AHRC CULTURAL VALUE PROJECT CONTENTS Foreword 3 4. The engaged citizen: civic agency 58 & civic engagement Executive summary 6 Preconditions for political engagement 59 Civic space and civic engagement: three case studies 61 Part 1 Introduction Creative challenge: cultural industries, digging 63 and climate change 1. Rethinking the terms of the cultural 12 Culture, conflict and post-conflict: 66 value debate a double-edged sword? The Cultural Value Project 12 Culture and art: a brief intellectual history 14 5. Communities, Regeneration and Space 71 Cultural policy and the many lives of cultural value 16 Place, identity and public art 71 Beyond dichotomies: the view from 19 Urban regeneration 74 Cultural Value Project awards Creative places, creative quarters 77 Prioritising experience and methodological diversity 21 Community arts 81 Coda: arts, culture and rural communities 83 2. Cross-cutting themes 25 Modes of cultural engagement 25 6. Economy: impact, innovation and ecology 86 Arts and culture in an unequal society 29 The economic benefits of what? 87 Digital transformations 34 Ways of counting 89 Wellbeing and capabilities 37 Agglomeration and attractiveness 91 The innovation economy 92 Part 2 Components of Cultural Value Ecologies of culture 95 3. The reflective individual 42 7. Health, ageing and wellbeing 100 Cultural engagement and the self 43 Therapeutic, clinical and environmental 101 Case study: arts, culture and the criminal 47 interventions justice system Community-based arts and health 104 Cultural engagement and the other 49 Longer-term health benefits and subjective 106 Case study: professional and informal carers 51 wellbeing Culture and international influence 54 Ageing and dementia 108 Two cultures? 110 8. -
A Practical Guide to Creating a Mural
A PRACTICAL GUIDE TO CREATING A MURAL 1 WHY CREATE A MURAL? The benefits of murals are plentiful: not only do they beautify and enhance the urban environment, they deter costly tagging, foster community partnerships and pride, and can even boost the local economy. Above all, they’re fun! This guide assists artists, community organizations, business and property owners and arts and heritage organizations by recommending best practices in mural production. The guide is to be used in conjunction with the City of Nelson Murals Policy, which outlines the approval process for murals. An application form must be completed to propose a mural. The City of Nelson’s Cultural Development Commission is also available to offer advice. DEFINITIONS COMMEMORATION: The act of honouring or perpetuating the memory of a person, persons, event, historical period or idea that has been deemed significant. COMMUNITY ART: Public participation and collaboration with professional artists in visual art, dance, music, theatre, literary and/or media arts within a community context and venue. MURAL: A large-scale artwork completed on a surface with the permission of the owner. Media may include paint, ceramic, wood, tile and photography, etc. SIGN: If the primary intent of the work is to convey commercial information, it is a sign. TAGGING: A common type of graffiti is "tagging", which is the writing, painting or "bombing" of an identifiable symbolic character or "tag" that may or may not contain letters. PUBLIC WALLS: A space that belongs to a public organization, i.e. municipal, provincial or federal government. Approval for the mural should be among the first steps undertaken in the planning process. -
Visual Arts – Specific Rules/Guidelines
Visual Arts – Specific Rules/Guidelines VISUAL ARTS include many art forms that are visual in nature. The artist (student submitting entry) is a person who captures their own thoughts and ideas to create a visual piece of art. Accepted forms of visual art include: Collages, photographic collages (multiple photos cut/pasted), computer-generated image, design, drawing, painting, and printmaking. Non-accepted forms of visual art include: 3D artwork (artwork that is not flat on the surface). Reproductions or enlargements of another artwork. Reflect on the 2020-2021 Theme: I Matter Because… An explanation of the art form might be a useful addition to the artist statement. Whether an entry displays use of formal technique or a simple approach, it will be judged primarily on how well the student uses his or her artistic vision to portray the theme, originality and creativity. Copyright: Use of copyrighted material, including any copyrighted cartoon characters or likeness thereof, is not acceptable in any visual arts submission, with the following exceptions: • Visual artwork may include public places, well-known products, trademarks or certain other copyrighted material as long as that copyrighted material is incidental to the subject matter of the piece and/or is a smaller element of a whole. The resulting work cannot try to establish an association between the student and the trademark/business/material, or influence the purchase/non-purchase of the trademarked good. • Visual arts collages may include portions of existing copyrighted works, such as photographs, magazine clippings, internet images and type cut out of a newspaper, as long as those portions of copyrighted works are used to create a completely new and different work of art. -
When Art Is the Weapon: Culture and Resistance Confronting Violence in the Post-Uprisings Arab World
Religions 2015, 6, 1277–1313; doi:10.3390/rel6041277 OPEN ACCESS religions ISSN 2077-1444 www.mdpi.com/journal/religions Article When Art Is the Weapon: Culture and Resistance Confronting Violence in the Post-Uprisings Arab World Mark LeVine 1,2 1 Department of History, University of California, Irvine, Krieger Hall 220, Irvine, CA 92697-3275, USA; E-Mail: [email protected] 2 Center for Middle Eastern Studies, Lund University, Finngatan 16, 223 62 Lund, Sweden Academic Editor: John L. Esposito Received: 6 August 2015 / Accepted: 23 September 2015 / Published: 5 November 2015 Abstract: This article examines the explosion of artistic production in the Arab world during the so-called Arab Spring. Focusing on music, poetry, theatre, and graffiti and related visual arts, I explore how these “do-it-yourself” scenes represent, at least potentially, a “return of the aura” to the production of culture at the edge of social and political transformation. At the same time, the struggle to retain a revolutionary grounding in the wake of successful counter-revolutionary moves highlights the essentially “religious” grounding of “committed” art at the intersection of intense creativity and conflict across the Arab world. Keywords: Arab Spring; revolutionary art; Tahrir Square What to do when military thugs have thrown your mother out of the second story window of your home? If you’re Nigerian Afrobeat pioneer Fela Kuta, Africa’s greatest political artist, you march her coffin to the Presidential compound and write a song, “Coffin for Head of State,” about the murder. Just to make sure everyone gets the point, you use the photo of the crowd at the gates of the compound with her coffin as the album cover [1]. -
Mural Installation Guide City of Frankfort, Kentucky
Mural Installation Guide City of Frankfort, Kentucky This guide is intended to provide answers to basic questions anyone must answer about creating a mural, from how to prepare a wall surface, to what kind of approvals you will need, to appropriate materials to use. The information here has been culled from best practices that have been documented by artists and mural organizations throughout the country. While this guide provides a roadmap, every project will have its own unique circumstances. Anyone taking on a mural project should look for guidance from artists, curators, arts organizations or others who are experienced with the details of mural production. At the end of this publication there is a Resource Guide that provides additional information and tips about where to find help. In This Guide… Part One – Evaluating a Wall I Page 2 Part Two – Approvals and Permissions I Page 4 Part Three – Creating a Design I Page 5 Part Four – Prep Work I Page 6 Part Five – Paint and Supplies I Page 9 Part Six – Maintenance, Repair, Conservation I Page 11 Part Seven – Checklist of Commonly Used Items I Page 12 Part Eight – Resource Guide I Page 13 Part One – Evaluating a Wall The best type of surface to receive paint is one that is a raw, unpainted brick, concrete or stone material that is free of the defects described below. However, keep in mind that the unpainted masonry requires special approval from the Architectural Review Board. Painting unpainted masonry in the historic district is generally not permitted. Wood, metal and other materials that are in new or good condition can also be satisfactory if properly prepared and sealed. -
Dolan Middle School Visual Art Course Syllabus 6
DOLAN MIDDLE SCHOOL VISUAL ART COURSE SYLLABUS 6TH through 8th Grade Teacher: Mrs. Marchetti Course title: Visual Arts Course Description: 6th and 7th Grade: Students will spend the semester completing art projects designed to develop the student’s individual ideas and talents as an artist. The students will explore concepts that will increase their knowledge about art materials and use, art equipment, art history, and the application of it. 8th Grade: Students will further explore the many venues of art education. Students will focus on higher order thinking skills while concentrating on specific applications of the given media. Students will use their skills in various relevant and rigorous projects. Scope and Sequence: The Visual Art Curriculum is divided into the 6 major aspects of art creation. These will serve as a solid foundation for High School and beyond. Projects that cover each of the following aspects will be divided equally over the course of the semester. 1. Drawing: Foundation skill that is taught in many different ways throughout the semester. These may include pencil, charcoal, pastels, pen & ink, and colored pencil. 2. Painting: This are will explore two primary media techniques, watercolor and acrylic. 3. Sculpture: This area exposes students to the unique characteristics of creating in 3 dimensions and usually includes wire and plastering. 4. Printmaking: This area examines the creation process through the lens of producing repeated images. This is usually done through block and plate printing. 5. New Media: This area looks at Contemporary Design, illustration, and photography within the context of computer-based and digital media. -
Fine Arts Policies and Procedures 2017
FINE ARTS POLICIES AND PROCEDURES Executive Summary 1. Introduction 1.1. Mission and Vision Statements 1.1.1. Fine Arts Program Mission 1.1.2. Vision 1.2. Adherence to Ethical Standards 1.3. The Fine Arts Program 1.3.1. Fine Arts Program Within GSA 1.3.2. Responsibilities of the Fine Arts Program 1.3.3. Regional Fine Arts Officers 2. The Collection 2.1. Scope of the Fine Arts Collection 2.2. Description of the Fine Arts Collection 2.3 Asserting Title on New Deal Works 2.4. Accessioning Artworks Into the Fine Arts Collection 2.4.1. Collection Criteria 2.4.2. Art in Architecture Program 2.4.3. Donation of Artwork From Non-Government Sources 2.4.4. Artwork Transferred From Other Federal Agencies 2.4.5. Artwork Accepted Through Building Acquisition 2.4.6. Accessioning Procedure 2.5. Deaccessioning Artworks 2.5.1. Deaccessioning Criteria 2.5.2. Deaccessioning Procedure 3. Use of Artworks 3.1. Public Display 3.1.1. Permanent Installation in GSA-Owned Buildings 3.1.2. Temporary Display in GSA-Owned Buildings 3.1.3. Installation in Leased Properties 3.2. Access 3.2.1. Physical Access 3.2.2. Collection Information 3.3. Loans 3.3.1. Outgoing Loans 3.3.2. Incoming Loans 3.3.3. Loan Procedure 3.3.4. Loans to Tenant Agencies 3.3.5. Insurance 3.4. Relocation of Artworks 3.4.1. Relocation Eligibility 3.4.2. Requesting Relocation 3.4.3. New Location 3.4.4. Funding 1 of 87 3.4.5.