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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). -
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European Community No. 26/1984 July 10, 1984 Contact: Ella Krucoff (202) 862-9540 THE EUROPEAN PARLIAMENT: 1984 ELECTION RESULTS :The newly elected European Parliament - the second to be chosen directly by European voters -- began its five-year term last month with an inaugural session in Strasbourg~ France. The Parliament elected Pierre Pflimlin, a French Christian Democrat, as its new president. Pflimlin, a parliamentarian since 1979, is a former Prime Minister of France and ex-mayor of Strasbourg. Be succeeds Pieter Dankert, a Dutch Socialist, who came in second in the presidential vote this time around. The new assembly quickly exercised one of its major powers -- final say over the European Community budget -- by blocking payment of a L983 budget rebate to the United Kingdom. The rebate had been approved by Community leaders as part of an overall plan to resolve the E.C.'s financial problems. The Parliament froze the rebate after the U.K. opposed a plan for covering a 1984 budget shortfall during a July Council of Ministers meeting. The issue will be discussed again in September by E.C. institutions. Garret FitzGerald, Prime Minister of Ireland, outlined for the Parliament the goals of Ireland's six-month presidency of the E.C. Council. Be urged the representatives to continue working for a more unified Europe in which "free movement of people and goods" is a reality, and he called for more "intensified common action" to fight unemployment. Be said European politicians must work to bolster the public's faith in the E.C., noting that budget problems and inter-governmental "wrangles" have overshadolted the Community's benefits. -
Journal De La Corse Doyen De La Presse Européenne L’Hebdomadaire De Défense Des Intérêts De L’Île Depuis 1817 a C I S R O C
Journal de la Corse Doyen de la presse européenne L’hebdomadaire de défense des intérêts de l’île depuis 1817 a c i s r o c . e s r o c a l e d l a n r u o j . w w w | 0 2 0 2 e r b m e c é d 7 1 u a 1 1 u d e n i a m e S e 0 0 0 2 , 2 Création 2 Politique . 2 F - 1 Question corse Pierre Gambini et les 4 0 2 0 1 2 1 2 ° 0 N 7 - l’énigme Giscard arts numériques 7 9 9 9 9 7 7 2 2 8 R 7 3 SOMMAIRE N°11241 | semaine du 11 au 17 décembre 2020 | www.journaldelacorse.corsica Société d’édition : Journal de la Corse Agenda/Brèves 4 2 rue Sebastiani - 20000 Ajaccio L’édito d’Aimé Pietri Rédaction : Politique 6 [email protected] A NOSTRA PREGHERA DI NATALE Question corse : l’énigme Rédaction Ajaccio : Giscard 2 rue Sebastiani - 20000 Ajaccio Eccu chi cala a notte di Natale nant’à i monti e le pianure, i campi e le fureste, i Tél : 04 95 28 79 41 fiumi e i ghjargali , i paesi e le cità di a nostr’isula tant’amata, una notte di pace Fax : 09 70 10 18 63 Invité 8 cume vuriamu ch’ellu ci ne fussi tante e tante ma chi ai tempi d’oghje so’ disgra - Paul Cuttoli élu président du Rédaction Bastia : ziatamente scarse cume i fiori a mezza neve. -
FOR IMMEDIATE RELEASE Barbara T. Smith the 21St Century Odyssey April 13
805 Traction Avenue Los Angeles CA 90013 213.625.1747 www.theboxla.com FOR IMMEDIATE RELEASE Barbara T. Smith The 21st Century Odyssey April 13 – May 25, 2019 Opening Reception: Saturday April 13, 6PM – 8PM Screenings: Saturday, April 20 & Saturday, May 18 Panel with the artist: Saturday, May 11 For The Box’s fifth solo exhibition of Barbara T. Smith’s work, the focus will be on The 21st Century Odyssey, a two year-long durational performance that took place from September 26, 1991 to September 26, 1993. These dates correlate with the opening and the closing of Biosphere 2, located near Tucson, Arizona, where her partner at the time, Dr. Roy Walford, was the interred physician. Smith took on the role of Homer’s Odysseus and traveled the world while Walford, confined inside the Biosphere 2 facility along with 7 other “Biospherians” for 2 years, was Penelope. For Smith, this work was an endeavor to attain a global consciousness while maintaining the connection between Biosphere 1 (the earth) and Biosphere 2. “I was holding Bio 2 in my heart and connecting, of course, with Roy as a vehicle of that connection.” As part of this work, Smith traveled extensively internationally and domestically and considered every aspect of her life in this two year period, from the exotic to the banal, as part of the performance. In Homer’s The Odyssey, Odysseus struggles for ten years to get home to Ithaca after his battles in the Trojan War. Between 1992 and 1993, Smith traveled to India, Nepal, Thailand, Australia, United Kingdom, Germany, and Norway; within the U.S., she went to Northern California, Hawaii and Seattle. -
French on Paper, French at Heart? France Debates Citizenship and Belonging in the Fifth Republic
French on Paper, French at Heart? France Debates Citizenship and Belonging in the Fifth Republic Gabriela Maryse Siegel Advisor: Prof. Alan Brinkley Second Reader: Prof. Lisa Tiersten Siegel 2 Table of Contents Introduction…………………………………………..………………………………….. 3 Chapter 1: Historical Overview………………………..………………….…….……….. 7 Chapter 2: France, Land of Immigration? ………………………..…………….….…… 24 Chapter 3: France’s Unresolved Colonial Past…………………………….…………… 37 Chapter 4: The Denial of a Multicultural France.……………………………….……… 49 Conclusion…………..……………….……….……………..……………….…………. 59 Bibliography…………..……………….…………………..……………..………….…. 63 Siegel 3 Introduction In 1986, the French government initiated a proposal to reform the Code de la Nationalité, the legislation addressing the acquisition of French citizenship. Though a number of different political parties submitted proposals, then-Prime Minister Jacques Chirac’s centre-right coalition led this initiative and pushed for measures that would have the effect of generally restricting eligibility for French citizenship. In particular, the government proposed to modify the process by which children born in France to immigrant parents could gain French citizenship. These reforms had come in the wake of a massive influx of immigrants in the second half of the twentieth century, many of whom came from North Africa but also elsewhere. As a new generation of young French men and women of immigrant heritage was coming of age, many in France began to raise questions about their inherent “Frenchness” and therefore place in French society and entitlement to nationality. According to proponents of the proposed amendments, by replacing the automatic right to citizenship through birth on French soil with an active process of application, these measures would ensure that only those expressing a desire to become French would receive citizenship. -
Oh Chris, My Hero !... L'expérimentation Du Corps Par Chris Burden
Oh Chris, my hero !... L’expérimentation du corps par Chris Burden Jérôme Maigret Chris Burden, You’ll Never See my Face Cécile Perchet in Kansas-City, 1971 « Les religions jadis demandaient le sacrifice du corps humain ; le savoir appelle aujourd’hui à faire des expériences sur nous-mêmes, au sacrifice du sujet de connaissance.»1 1 – Michel Foucault, « Nietzsche, la généalogie, l’histoire », in Hommage à Jean Hyppolyte, Paris, Presses Universitaires partir des années soixante et essentiellement pendant les de France, 1971, p. 170. années soixante-dix, la tendance artistique aux États-Unis À comme en Europe prend des orientations différentes du schéma classique atelier-galerie-musée, en réaction contre le sys- tème du marché de l’art, par une attitude anti-commerciale et anti- institutionnelle. Le body art, art d’expérimentation corporelle, comme l’art conceptuel ou le land art qui apparaissent au même moment, a une activité créatrice de lien social et ne se préoccupe plus de produire un objet abouti et vendable. Pour la première fois dans l’histoire de l’art, l’artiste se risque à la blessure et à la mort. Des prouesses techniques sans précédent (armement nucléaire, industrialisation, conquête de la Lune…) font s’interroger l’homme à la fois sur sa grandeur et sa petitesse et confrontent sa propre iden- tité à une conscience cosmique nouvelle. Ainsi apparaît ce que l’on pourrait définir être une crise liée au sens du corps. Le body art, sous forme de performances ou d’actions ouvertes au public, apporte un renouvellement de l’imagerie du corps. -
Gender and the Collaborative Artist Couple
Georgia State University ScholarWorks @ Georgia State University Art and Design Theses Ernest G. Welch School of Art and Design Summer 8-12-2014 Gender and the Collaborative Artist Couple Candice M. Greathouse Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/art_design_theses Recommended Citation Greathouse, Candice M., "Gender and the Collaborative Artist Couple." Thesis, Georgia State University, 2014. https://scholarworks.gsu.edu/art_design_theses/168 This Thesis is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. GENDER AND THE COLLABORATIVE ARTIST COUPLE by CANDICE GREATHOUSE Under the Direction of Dr. Susan Richmond ABSTRACT Through description and analysis of the balancing and intersection of gender in the col- laborative artist couples of Marina Abramović and Ulay, John Lennon and Yoko Ono, and Chris- to and Jeanne-Claude, I make evident the separation between their public lives and their pri- vate lives, an element that manifests itself in unique and contrasting ways for each couple. I study the link between gendered negotiations in these heterosexual artist couples and this divi- sion, and correlate this relationship to the evidence of problematic gender dynamics in the art- works and collaborations. INDEX WORDS: -
Pause: an Exhibition of Relationships Between the Body, Place and Sculpture
Pause: An Exhibition of Relationships Between the Body, Place and Sculpture Melissa M. Hopson Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Fine Arts in Visual Art and Public Life in the Herron School of Art and Design Indiana University June 2014 Pause By Melissa M. Hopson Master of Fine Arts Herron School of Art and Design IUPUI Indiana University PAUSE: AN EXHIBITION OF RELATIONSHIPS BETWEEN THE BODY, PLACE 3 Introduction Presenting sculpture in public spaces allows for the material world to maintain constant interactions with live audiences. This relationship keeps the body in motion as it moves through space in and around architecture and through landscapes stopping to rest or to engage with the environment. For instance, one of my early peculiar encounters with drawing was leaving my bedroom one morning and discovering a pencil-sketched portrait of my father taped to the closet door in the hallway. This letter sized image kept me Highrise Sunrise, aqua resin, 4.5’x3’x1’, 2012 from moving on to the dining room as I stopped to inspect its content. The fact that it was a drawing and not a sculpture is insignificant, nevertheless the presentation of the portrait conveniently placed at eye level left me feeling stunned and amused. Furthermore, engagement with art, for me, has always been closely tied to investigation and discovery while coming closer to material and the information that lies within and around it. My thesis exhibition titled, Pause, represents various possibilities of form and surface, as well as a general overview of how the outcomes of sculptural practice are not only PAUSE: AN EXHIBITION OF RELATIONSHIPS BETWEEN THE BODY, PLACE 4 favorable to realizing concepts, but more importantly to the pursuit of the freedom of artistic expression and access to the greater public. -
Magdalena Abakanowicz (Polish, 1930–2017) on the Occasion of Magdalena Abakanowicz, 1982 Jeff Koons (American, B
Excerpts from artist interviews produced by the Museum of Contemporary Art Chicago Total running time: 21 minutes, 12 seconds Featuring: Luc Tuymans (Belgian, b. 1958) on the occasion of Luc Tuymans, 2010 Amanda Ross-Ho (American, b. 1975) on the occasion of THE CHARACTER AND SHAPE OF ILLUMINATED THINGS Plaza Project, 2013 Amalia Pica (Argentinean, b. 1978) on the occasion of Amalia Pica, 2013 Richard Hunt (American, b. 1935) on the occasion of MCA DNA: Richard Hunt, 2014 Kerry James Marshall (American, b. 1955) on the occasion of Kerry James Marshall: Mastry, 2016 Public Service Announcements for the Museum of Contemporary Art Chicago, including: “Boogie Woogie,” 1985 “15th Anniversary,” 1982 “Animation,” 1982 Untitled, 1981 U-matic transferred to video (color, sound) Total running time: 3 minutes, 14 seconds Excerpts from artist interviews produced by the Museum of Contemporary Art Chicago Total running time: 33 minutes, 30 seconds Featuring: Vito Acconci (American, 1940–2017) on the occasion of Vito Acconci: A Retrospective 1969–1980, 1980 Ed Paschke (American, 1939–2004) on the occasion of 11 Chicago Artists, 1982 Nam June Paik (American, b. Korea, 1932–2006) and Charlotte Moorman (American, 1933–1991) on the occasion of Nam June Paik, 1982 Magdalena Abakanowicz (Polish, 1930–2017) on the occasion of Magdalena Abakanowicz, 1982 Jeff Koons (American, b. 1955) on the occasion of Jeff Koons: Works 1979–1988, 1988 Lorna Simpson (American, b. 1960) on the occasion of Lorna Simpson: For the Sake of the Viewer, 1992 Fred Wilson (American, b. 1954) on the occasion of OpEd: Fred Wilson, 1994 PB Excerpts from artist interviews produced by the Museum of Contemporary Art Chicago Total running time: 21 minutes, 12 seconds Featuring: Luc Tuymans (Belgian, b. -
PERFORMANCE VIDEO" EXHIBITION at Moma
The Museum of Modern Art Department of Film 11 West 53 Street, New York, N. Y. 10019 Tel. 956-6100 Cable: Modernart for immediate release July 28, 1982 release #27 "PERFORMANCE VIDEO" EXHIBITION AT MoMA The development of a distinct art form over the past decade and a half is the subject of PERFORMANCE VIDEO, tapes by sixteen artists which will be on view in the second-floor Video Gallery of MoMA's West Wing from August 12 through September 21, 1982. Performance Video is truly a hybrid art form. It evolved in the late •60s at a time of revision in traditional art and strong activity in conceptual and performance art. It differs from the simple documen tation of a performance in that artists design their performances specif ically for the architectural space of video, creating an interaction between artist, camera and viewer. Performance video has come to mean an action composed and limited within the shallow focal area directly in front of the video camera. This exhibition brings together several different tendencies in performance video for the first time. The tapes in PERFORMANCE VIDEO are divided into six programs 40 to 60 minutes in length which will be played continuously on given days. For example, Vera Frankel's hour-long Stories From the Front and the Back, which makes up Program II, will run continuously during museum hours on Fridays in August and Tuesdays in September. A complete schedule is attached. Early performance video was made with the relatively simple equipment accessible to artists at the time; a stationary black-and-white camera would record the action directly before it, usually in the artist's studio, and the tape would be unedited save for the turning on and off of the camera. -
Fergus Mccaffrey Presents an Exhibition Surveying the Artistic Networks and Avant- Garde Work by American and Japanese Artists Between 1952 – 1985
Fergus McCaffrey presents an exhibition surveying the artistic networks and avant- garde work by American and Japanese artists between 1952 – 1985 Japan Is America Fergus McCaffrey New York October 30 – December 14, 2019 Fergus McCaffrey is pleased to present Japan Is America, an exhibition exploring the complex artistic networks that informed avant-garde art in Japan and America between 1952 and 1985. Starting with the well-documented emergence of “American-Style Painting” that ran parallel to the Americanization of Japan in the 1950s, Japan Is America endeavors to illustrate the path and conditions from Japanese surrender in 1945 to that country's putative cultural take-over of the United States some forty years later. The exhibition traces the international exchanges that supported and propelled Japanese art forward in unimaginable ways, and shifted the course of American art and culture. The exhibition will be accompanied by an ambitious film program including rarely-seen films by John Cage, Shigeko Kubota, and Fujiko Nakaya, among others. In the aftermath of World War II, both countries sought recognition beyond the cultural periphery, carving out a space for the redefinition of aesthetics in the post-war era. After 1945, Japan focused on rebuilding, countering the devastation of their defeat in World War II. The nation was occupied by American forces between 1945 and 1952. Sentiments of democracy and peace resonated throughout Japan, but art from the region reflected upon and responded to the death and suffering experienced. Japan Is America begins with Tatsuo Ikeda’s kinukosuri portrait of an American soldier’s wife from 1952. -
Marcia Hafif, Joan Jonas, Shigeko Kubota, Jackie Winsor
MERCER STREET: Marcia Hafif, Joan Jonas, Shigeko Kubota, Jackie Winsor Fergus McCaffey New York February 6–April 25, 2020 Fergus McCaffrey is pleased to present MERCER STREET: Marcia Hafif, Joan Jonas, Shigeko Kubota, Jackie Winsor at the New York gallery. The exhibition brings together a selection of work spanning five decades, by four pioneering artists, created in and around a shared space in Lower Manhattan. Residents and neighbors of Mercer Street from the mid-1970s, the women featured here, among a larger group of neighborhood innovative thinkers and initiators, were then and remain now, crucial to capturing the history and creative development of New York’s downtown community. Hafif, Jonas, Kubota, and Winsor offer a critical cross section of painting, sculpture, performance, photography and film, that marks each artist’s singular artistic approach and process; initially linked by common physical space, ultimately realized by a rigorous feminist ethic that stands apart, in its proficiency and innovative resiliency. Marcia Hafif (1929–2018) moved to SoHo from her native California in 1971, eventually settling at 112 Mercer Street. The development of her signature style “color study” paintings and drawings, that produced the remarkable Inventory for which she pursued until her death, unfolded in tandem with writing, film and photography. In Mercer Street (circa 1975) (digitized for public presentation for the first time in this exhibition) Hafif uses Super-8 film to track 28 seconds of subtle movement on the quiet nighttime street directly below her window. Softly lit by a single streetlamp, the film moves in near total darkness, much like her Black Paintings (1979–80) of which two Ultramarine Blue, Burnt Umber works are featured here.