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Sabbatical Leave Report 2019 – 2020
Sabbatical Leave Report 2019 – 2020 James MacDevitt, M.A. Associate Professor of Art History and Visual & Cultural Studies Director, Cerritos College Art Gallery Department of Art and Design Fine Arts and Communications Division Cerritos College January 2021 Table of Contents Title Page i Table of Contents ii Sabbatical Leave Application iii Statement of Purpose 35 Objectives and Outcomes 36 OER Textbook: Disciplinary Entanglements 36 Getty PST Art x Science x LA Research Grant Application 37 Conference Presentation: Just Futures 38 Academic Publication: Algorithmic Culture 38 Service and Practical Application 39 Concluding Statement 40 Appendix List (A-E) 41 A. Disciplinary Entanglements | Table of Contents 42 B. Disciplinary Entanglements | Screenshots 70 C. Getty PST Art x Science x LA | Research Grant Application 78 D. Algorithmic Culture | Book and Chapter Details 101 E. Just Futures | Conference and Presentation Details 103 2 SABBATICAL LEAVE APPLICATION TO: Dr. Rick Miranda, Jr., Vice President of Academic Affairs FROM: James MacDevitt, Associate Professor of Visual & Cultural Studies DATE: October 30, 2018 SUBJECT: Request for Sabbatical Leave for the 2019-20 School Year I. REQUEST FOR SABBATICAL LEAVE. I am requesting a 100% sabbatical leave for the 2019-2020 academic year. Employed as a fulltime faculty member at Cerritos College since August 2005, I have never requested sabbatical leave during the past thirteen years of service. II. PURPOSE OF LEAVE Scientific advancements and technological capabilities, most notably within the last few decades, have evolved at ever-accelerating rates. Artists, like everyone else, now live in a contemporary world completely restructured by recent phenomena such as satellite imagery, augmented reality, digital surveillance, mass extinctions, artificial intelligence, prosthetic limbs, climate change, big data, genetic modification, drone warfare, biometrics, computer viruses, and social media (and that’s by no means meant to be an all-inclusive list). -
For Immediate Release Scott Benzel June 25 – August 8, 2014 Maccarone 630 Greenwich Street NY 212 431 4977
For Immediate Release Scott Benzel June 25 – August 8, 2014 Maccarone 630 Greenwich Street NY 212 431 4977 Maccarone proudly announces our first exhibition of Scott Benzel, opening June 25th through August 8th, 2014, featuring a selection of the artist’s works from 2009 to the present. On the occasion of the opening Benzel will perform, Folk Action and Non-Genre III for Belt Sanders and Female Black Metal Guitarist featuring Alex Niemetz. Benzel’s practice can be understood as an exploration of cultural histories and their subsequent mythologies. Collecting fragments, remnants, and ephemera in an indexical manner, Benzel combines these often forgotten objects into aggregates of contradiction and altered meaning. With sculptural installations, photographic works, and sound he inhabits the role of artist as researcher. Unhinging each object’s original use-value through accumulation, misuse and convergence, obscure narratives form. Objects include: metallic c-print of ‘Slash’ image of Spock; metallic c-print of ‘Fakir’ image of Lady Diana; counterfeit Nike SB Dunk ‘Heaven’s Gate’ shoes; The Trip original movie posters with original censorship stickers; Bison Dele,last game-worn jersey; The Beach Boys, ‘Never Learn Not to Love’ 45 RPM single; Quotations from Chairman Mao Tse-Tung; Esquire Magazine December 1967 editorial featuring Sharon Tate, ‘A Beginners Guide to Mao Tse- Tung’; Life Magazine December 1969 editorial featuring ‘The Wreck of a Monstrous Family’; Polish film poster for Weekend U Berniego; Polish film poster for Miłošč Szmaragd I Krokodyl; archival pigment prints of unused alien prototypes from the film 2001: A Space Odyssey; archival pigment prints of storyboards from the unrealized film The Story; ‘Love Roses’ disguised pipes; ‘Lipstick’ disguised pipe; U.S. -
Modern Painters, March, 2015
VARIOUS SMALL FIRES 812 N HIGHLAND AVE LOS ANGELES 90038 VSF [email protected] / 310.426.8040 Slenske, Michael, “Sonic Highways,” Modern Painters, March, 2015. Page 1 of 6. 46 MODERN PAINTERS MARCH 2015 BLOUINARTINFO.COM VARIOUS SMALL FIRES 812 N HIGHLAND AVE LOS ANGELES 90038 VSF [email protected] / 310.426.8040 Slenske, Michael, “Sonic Highways,” Modern Painters, March, 2015. Page 2 of 6. sonic highways scott benzel’s mythical, musical journey into the heart of the american west by michael slenske portrait by mason poole DO NOT ENTER Though the sign is sun-bleached and splintered, its message— painted in bold black letters—couldn’t be any clearer. The warning stands before a small village of graffiti-tagged outbuildings, including a shuttered gas station and a boarded- up school. The latter brims with a flotsam of shattered mirrors, disarticulated furniture, crumbling ceiling tiles, and an old Laffargue upright piano that still carries a note or two despite being stripped down to a skeletal, dry-rotted carcass. Outside, a maelstrom of mutilated palm trees form circular, triangular, and ovoid configurations—some aligned like plump Cohibas in cigar-box formation, others splayed in meandering herring- bone patterns that evoke slaughtered sentries—serve as elegiac effigies to this modernist manifest-destiny fantasia. Welcome to Desert Center, California (population around 200). Incorporated in 1921 by teetotaling preacher and cotton farmer Stephen Ragsdale, who bought the land from a local prospector after he rescued Ragsdale during a mid-desert breakdown, the now nearly ghosted township was created as a centrally located traveler’s oasis virtually equidistant from Phoenix and Los Angeles. -
SCOTT BENZEL Born in Scottsdale, AZ Lives and Works in Los Angeles, CA
VARIOUS SMALL FIRES 812 N HIGHLAND AVE LOS ANGELES 90038 VSF [email protected] / 310.426.8040 SCOTT BENZEL Born in Scottsdale, AZ Lives and works in Los Angeles, CA EDUCATION 2001 MFA, California Institute of the Arts, Valencia, CA 1995 BA, University of Arizona, Tucson 1988 California Institute of the Arts, Valencia, CA SOLO and TWO-PERSON EXHIBITIONS 2014 Inverted Capitol Spire, Programmatic Architecture Displacement 5-7 & Inversion V, Various Small Fires, Los Angeles, CA Scott Benzel, Maccarone, New York 2013 LAAIR / The Traveller’s Companion Addenda, Shanaynay, Paris, France Scott Benzel and What does Possession Mean to You?, Human Resources, Los Angeles, CA 2012 Scott Benzel and Mark Hagen, curated by Ali Subotnick, Venice Beach Biennial, Venice, CA The Academy / The Chthonic at Eleusis, Public Fiction, Los Angeles, CA 2011 Scott Benzel, Contemporary Art Museum St. Louis, St. Louis, MO Maldistribution, Human Resources at Cottage Home, Los Angeles, CA 2010 Inversions I-IV, Apartment 2, Los Angeles, CA 2009 Scott Benzel, The Mandrake, Los Angeles, CA VARIOUS SMALL FIRES 812 N HIGHLAND AVE LOS ANGELES 90038 VSF [email protected] / 310.426.8040 SELECTED GROUP EXHIBITIONS 2014 Golden State, curated by Drew Heitzler, Museum of Contemporary Art, Tucson, AZ And yes, I even remember you, curated by Eric Kim, Aran Cravey, Los Angeles, CA 2013 Would you ever Write a Tract?, curated by Marcel Dickhage and Daniel Horn, Autocenter, Berlin, Germany The Stand In, curated by Alexandra Gaty and Lauren Mackler, Public Fiction, Los Angeles, CA In the Good Name -
Cheers, Big Brother Forces with US-Based FLAG Capital South Korea, Asia’S Government-Driven Venture Capital Success Story Page 6 Page 10
AVCJ Private Equity & Venture Forum 2012 Hong Kong 13 - 16 November 2012 ASIAN VENTURE CAPITAL JOURNAL www.avcjforum.com Asia’s Private Equity News Source avcj.com October 30 2012 Volume 25 Number 41 Ed itor’s VieWPoint Global buyout firms are seeking to raise ever PRIVATE EQUITY ASIA larger Asia funds. But how much is too much? Page 3 neWs Blackstone, CapitaLand, Carlyle, Cathay Fortune, CHAMP PE, CRCI, M&A ASIA CPPIB, CVC, DCM, KKR, Lightspeed, Matrix, MBK, Mumbai Angels, Nomura, RMB Capital, SingTel Innov8, Triton Page 4 Deal of the Week Asian fund-of-funds Squadron Capital joins Cheers, big brother forces with US-based FLAG Capital South Korea, Asia’s government-driven venture capital success story Page 6 Page 10 Deal of the Week Profile Friday night lights Funder of founders CHAMP PE in Gerard Lighting take-private Page 10 Bruce Gibney on PayPal, Facebook, et al Page 11 Private Equity & Venture Forum India 2012 6-7 December • Taj Lands End, Mumbai 13th Annual GLOBAL PERSPECTIVE, LOCAL OPPORTUNITY avcjindia.com Will India’s PE market rebound? Register now and find out! 45+ leading speakers include: Ashishkumar Chauhan KEYNOTE Navin M Baby Interim Chief Executive Officer Vice President, Investments BOMBAY STOCK EXCHANGE KHALID ALI ALTURKI & SONS CO Mintoo Bhandari NEW Nainesh Jaisingh Managing Partner Managing Director and AION CAPITAL PARTNERS, Global Co-Head APOLLO MANAGEMENT STANDARD CHARTERED PRIVAE EQUITY Brijesh Jeevarathnam NEW Gulpreet Kohli Managing Director Managing Director COMMONFUND CAPITAL CHRYSCAPITAL INVESTMENT ADVISORS PVT LTD 13-14 September Sanjay Nayar 2012 Vikram Raju Managing Director and Chief Regional Lead, Private Equity and Executive Officer Investment Funds, INTERNATIONAL KKR INDIA FINANCE CORPORATION (IFC) Plus Amol Jain, Managing Director, TPG CAPITAL INDIA Lynn Nguyen, Managing Director, Funds Portfolio / IFD, OVERSEAS PRIVATE INVESTMENT CORPORATION (OPIC) Visit avcjindia.com for the full programme and speaker faculty. -
Stanford Law Review
Stanford Law Review Volume 70 April 2018 NOTE Beyond Covenants Not to Compete: Equilibrium in High-Tech Startup Labor Markets Yifat Aran* Abstract. The literature analyzing the relationship between enforceability of covenants not to compete and the success of Silicon Valley is incomplete. The microstructure of the employee stock options market, combined with California’s strong public policy against noncompete enforcement, creates an equilibrium in which employees at less succesful firms can move to competitors at little or no cost, but valuable employees of successful private firms are, practically, handcuffed just as if they were subject to a powerful noncompete. This limitation on employee mobility is removed once the company holds a liquidity event—such as an initial public offering or acquisition—allowing its entrepreneurial talent to transition to other companies or start new ones. This Note argues that this narrowly tailored retention function provides a more compelling explanation for Silicon Valley’s success than does an explanation that has become popular among policymakers in recent years: the unenforceability of noncompetes as the sole factor. This Note further suggests that companies’ current tendency to delay liquidity events, a tendency facilitated by recent changes in the private capital market and the securities regulatory environment, might overly restrict employee mobility and impair the efficient allocation of talent that characterized Silicon Valley for many years. * J.S.D. Candidate, Stanford Law School; LL.M., LL.B., The Hebrew University of Jerusalem; J.S.M., Stanford Law School. I would like to express my deep gratitude to my advisor, Joseph Grundfest, for invaluable guidance and full support. -
Scott Benzel October 11-November 6, 2011
Scott Benzel October 11-November 6, 2011 For his Front Room exhibition, artist and composer Scott Benzel presents two new sound installations that utilize the distinctive dynamics of CAM’s signature mesh and concrete architecture within its exterior spaces. String Quartet No. 2 (2011) greets visitors at the museum’s entrance with drones, wails, hums, and hammerings that mimic the sounds of a city street. Together, the bass, cello, viola, and violin conjure a car alarm, a halting train, and a helicopter overhead. Drawing loosely from both String Quartet No. 2 (1983) by Morton Feldman (American, 1926-1987) and the use of everyday sounds in the works of experimental composer John Cage (American, 1912-1992), Benzel offers a composition that simultaneously describes waste—those sounds we consider irksome or superfluous in our daily lives—as well as the blurred distinction between representation and abstraction in music. Enveloping CAM’s Courtyard, Sines (for Michael Asher) (2011) is a four-channel installation in which silence interposes extended individual sounds, each with a singular, unerring pitch. Each monotone sound, here a “sine wave,” is ascribed a specific color, as Benzel offers the experiential possibility of synesthesia, or the marriage of two senses. The work nods to the early interventions of conceptual artist Michael Asher (American, born 1943), which featured subtle (even invisible) visual or architectural shifts within the space of a gallery. For his presentation at CAM, Benzel creates a quartet of extremely minimal sounds and their invisible color counterparts as a test of the viewer’s changeable perception of the space. Deriving each individual sound from a different tone scheme and synesthetic color, the work suggests that the monotone in music is what the white monochrome is to painting. -
Programs Include the Sound
sound. at the Kings Road Park Pavilion Saturday, July 24, 2010 Scott Benzel Inversions I-IV for String Quartet Inversion I after Dennis Wilson Inversion II after John Williams and Steven Spielberg Inversion III after Charles Mingus, William Stevenson, and Marvin Gaye Inversion IV after John Phillips, Michelle Phillips, and George Antheil Music from the Trip (1967) in the style of a Schoenberg-Gershwin tennis match observed in passing by Dr. Oscar Janiger Flash Bam Pow M23 FIne Jung Thing Fewg A Little Head Peter's Trip Blak Bloc for String Quartet and Guitar Feedback Movement I Movement II Written and Arranged by Scott Benzel Co-Orchestrated by Jessica Catron Inversions I-IV Additional Orchestration by Devin McNulty Played by: Natalie Fender Brejcha: viola; Jessica Catron: cello; Jeremy Drake: guitar, bass; Laura Geier: violin; Orin Hildestad: violin; Matt Mayhall: drums, percussion; Clif Taylor: guitar Notes on Music from the Trip (1967) in the style of a Schoenberg-Gershwin tennis match observed in passing by Dr. Oscar Janiger In the 1967 film The Trip , Peter Fonda's protagonist, on his first acid trip, runs aimlessly beneath the signs of the Sunset Strip rock clubs in a series of seconds-long flash cuts. The musical score by the Electric Flag reflects the film's theme of square early-60's Hollywood (Fonda plays a commercial director) interrupted and forever altered by the ascendent acid scene. The mostly straightforward rock songs are intermittently overtaken by dissonance, tape manipulation, and other effects pioneered by the musical avant-garde in Europe and America which came to signify the altered sensory experiences occasioned by hallucinogens within psychedelic culture. -
Download-Bibliography.Pdf
MIKE KELLEY FOUNDATION FOR THE ARTS This bibliography was compiled by Eva Mayer Hermann for Mike Kelley (New York: Delmonico Books/Prestel 2013) and has been revised and updated by the Mike Kelley Foundation for the Arts. MONOGRAPHS, ARTIST’S BOOKS, AND OTHER PUBLICATIONS 1986 Kelley, Mike. Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile. Venice, California: New City Editions; New York, New York: Artists Space, 1986. Artist’s book published on the occasion of the 1985 group exhibition Art in the Anchorage. 1988 Kelley, Mike, John Miller, and Howard Singerman, eds. Mike Kelley: Three Projects: Half a Man, From My Institution to Yours, Pay For Your Pleasure. Chicago, Illinois: The Renaissance Society at the University of Chicago, 1988. Exh. cat. 1989 Knight, Christopher. Mike Kelley. Cologne, Germany: Jablonka Galerie, 1989. Exh. cat. 1990 Kelley, Mike. Reconstructed History. Cologne, Germany: Galerie Gisela Capitain; New York, New York: Thea Westreich, 1990. Artist’s book. 1991 Cruz, Amada. Mike Kelley: Half a Man. Washington, D.C.: Hirschhorn Museum and Sculpture Garden, Smithsonian Institution, 1991. Exh. cat. 1992 Bartman, William S., and Miyoshi Barosh, eds. Mike Kelley. New York, New York: Art Resources Transfer, 1992. Mike Kelley. Basel, Switzerland: Kunsthalle Basel; Frankfurt, Germany: Portikus; London, England: Institute of Contemporary Arts; Ostfildern, Germany: Edition Cantz. 1992. Exh. cat. Paul McCarthy / Mike Kelley:Heidi: Midlife Crisis Trauma Center and Negative Media-Engram Abreaction Release Zone. Vienna, Austria: Galerie Kinzinger, 1992. Exh. cat. 1993 Kelley, Mike. The Uncanny. Arnhem, The Netherlands: Gemeentemuseum, 1993. Published concurrently with the 1993 group exhibition Sonsbeek ’93. Exh. cat. Sussman, Elisabeth. -
HBR's List Of
HBRR.ORG.ORG HBR’S LIST OF AUDACIOUS IDEASFOR SOLVING THE WORld’S ProbLEMS The new year begins precariously. The global economy vacillates between signs of recovery and omens of collapse. Businesses seem paralyzed. Even though they’re sitting on $2 trillion in cash, they’re risk-averse, strategically incremental, and notably lacking in fresh ideas. We think this stinks. The world needs invention and daring now more than ever. Now is the time for audacity, not austerity. To that end we’ve asked experts and leaders from many disciplines to propose audacious ideas that attack big, difficult problems while improving the economy and society as a whole. Though these ideas are bold, they’re not quixotic. They represent real business opportunities. They aren’t lectures; they’re conversation starters that ask the one question TEVEN J. MOORE S that sparks every revolution: Why not? ON: I ILLUSTRAT January–February 2012 Harvard Business Review 2 HBR’S LIST OF AUDACIOUS IDEAS TIME FRAME BEFORE THE ECONOMY TANKs DEGREE OF DIFFICUltY EASIER THAN INVENTING MORTGAge-BACKED SECURITIES BARRIER POLITICAL WILL growth versus 2.5% annual S&P 500 growth over the past half century), Trills might very Give People Shares of GDP well sell for a multiple higher than 50, too. The advantage of keeping shares equal We can solve the debt crisis by replacing to a perfect trillionth of the economy is that people will know exactly what they are get- T-bills with “Trills.” by Robert J. Shiller ting: One-trillionth of a country is real and easy to understand. -
Ivory Neige, L'origine Du Monde, Magic Eraser
Ivory Neige, L’Origine du monde, Magic Eraser Scott Benzel is an avid collector of objects, ephemera, and stories. Using these materials, he is able to draw out narratives that link seemingly disparate elements. He is interested in the blurred distinctions between truth and fiction, particularly in the way mass audiences construct their mythologies. By drawing attention to a societal compulsion to produce tales of intrigue and heroic, yet tragic, figures, Benzel grasps at the origins of popular culture. Several years ago, Benzel produced a “fake” proposal for the Musée d’Orsay Correspondences series. Never intending to submit the proposal for consideration, Benzel hypothetically used the conceptual structure of the series to engage in a dialogue with Gustave Courbet’s 1866 painting,L’Origine du Monde (The Origin of the World), a work from the museum’s collection of canonical, early modern art. Indeed, Benzel includes his own copy of L’Origine in Ivory Neige, L’Origine du monde, Magic Eraser, 2012, a photographic triptych of an assemblage of personal effects set into the space underneath his kitchen sink. His “fake” proposal for the d’Orsay enabled Benzel to construct his own relationship to L’Origine du Monde by pulling out threads imbedded in the painting’s provenance, punctuating them with pop cultural and personal reference points. Prior to the Musée d’Orsay’s 1995 acquisition, the exact location of L’Origine was unknown. Shrouded in misleads, rumors, and hearsay, “it epitomized the paradox of a famous painting that is seldom actually seen.”[1] In 1986, Linda Nochlin wrote that L’Origine “is known to us only as a series of repeated descriptions or reproductions – an Origin, then, without an original.”[2] After seeing hundreds of reproductions during her unsuccessful search for the painting, Nochlin argues that L’Origine is identical to mass-produced pornography.[3] Nowadays, postcards of L’Origineare one of the d’Orsay’s most popular gift shop items.[4] For his hypothetical proposal, Benzel proposed hanging a green door in front of L’Origine. -
KATHRYN ANDREWS Education Solo Exhibitions Selected Group
KATHRYN ANDREWS Born 1973, Mobile, Alabama Lives and works in Los Angeles, California Education 1995 Duke University (BFA), Durham, North Carolina 2003 Art Center College of Design (MFA), Pasadena, California Solo Exhibitions 2015 “Kathryn Andrews: Run for President,” Museum of Contemporary Art, Chicago, Illinois “Trinity and Powers: In Search of Breadfruit,” Gladstone Gallery, Brussels 2014 “TC: Temporary Contemporary,” Bass Museum of Art, Miami “Kathryn Andrews | Alex Israel,” Gagosian Gallery, Rome 2013 “Special Meat Occasional Drink,” Museum Ludwig, Cologne, Germany 2012 “Kathryn Andrews,” David Kordansky Gallery, Los Angeles 2011 “Art 42 Basel: Statements,” David Kordansky Gallery, Basel, Switzerland 2009 “Frankie Goes to Bollywood,” Galerie Christian Nagel, Berlin “Cats and Dogs: Catalog,” Los Angeles Central Library, Los Angeles “Your Husband, Your Face Hole - Stephanie Taylor and Kathryn Andrews,” Galerie Christian Nagel, Cologne, Germany Selected Group Exhibitions 2015 “The Extreme Present,” Metropolitan Art Society, Beirut, Lebanon “NO MAN’S LAND: Women Artists from the Rubell Family Collection,” Rubell Family Collection, Miami “Collecting Lines: Drawings from the Ringier Collection,” Villa Flora Winterthur, Winterthur, Switzerland “Palm Capsule,” Mackey Garage Top, Los Angeles “Selections from the de la Cruz Collection,” de la Cruz Collection Contemporary Art Space, Miami [traveled to: The Adolfo & Marisela Cotilla Gallery, Nova Southeastern University, Fort Lauderdale, Florida] “Works on Paper,” Galerie Eva Presenhuber, Zurich,