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The Kids Are Always Right Helen Molesworth on the Reinstallation of Moma’S Permanent Collection
TABLE OF CONTENTS PRINT JANUARY 2020 THE KIDS ARE ALWAYS RIGHT HELEN MOLESWORTH ON THE REINSTALLATION OF MOMA’S PERMANENT COLLECTION View of “Hardware/Software,” 2019–, Museum of Modern Art, New York. Foreground, from left: Joan Semmel, Night Light, 1978; Maren Hassinger, Leaning, 1980; Senga Nengudi, R.S.V.P. I, 1977/2003. Background: Cady Noland, Tanya as Bandit, 1989. Photo: John Wronn. THE VIBE started to trickle out via Instagram. For a few days, my feed was inundated with pictures of all the cool new shit on view at the Museum of Modern Art, New York. You could smell victory in the air: The artists were happy. Then the New York Times weighed in and touched the wide shoulders of the new, bigger-is-better MoMA with their magic wand. Could it be? Had MoMA, the perennial whipping boy of art historians, radical artists, and cranky art critics, gotten it right? And by right, at this moment, we mean that the collection has been installed with an eye toward inclusivity—of medium, of gender, of nationality, of ethnicity—and that modernism is no longer portrayed as a single, triumphant narrative, but rather as a network of contemporaneous and uneven developments. Right means that the curatorial efforts to dig deep into MoMA’s astounding holdings looked past the iconic and familiar (read: largely white and male). Right means that the culture wars, somehow, paid off. Right means that MoMA has finally absorbed the critiques of the past three decades—from the critical tear-down of former chief curator of painting and sculpture Kirk Varnedoe’s 1990 show “High and Low: Modern Art and Popular Culture” to the revisionist aspirations of former chief curator of drawings Connie Butler’s “Modern Women” project (2005–). -
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). -
New Original Works Festival 2009 Program Two
NEW ORIGINAL WORKS FESTIVAL 2009 PROGRAM TWO July 30 – August 1, 2009 8:30pm presented by REDCAT Roy and Edna Disney/CalArts Theater California Institute of the Arts NOW FESTIVAL 2009: PROGRAM TWO NEW ORIGINAL WORKS FESTIVAL 2009 UPCOMING PERFORMANCES August 6 – August 8 : Program Three 1 CAROLE KIM W/ OGURI, ALEX CLINE AND DAN CLUCAS: N Zackary Drucker / Mariana Marroquin / Wu Ingrid Tsang: PIG direction and video installation: Carole Kim Meg Wolfe: Watch Her (Not Know It Now) dance: Oguri Lauren Weedman: Off percussion: Alex Cline winds: Dan Clucas live-feed video: Adam Levine and Moses Hacmon lighting design: Chris Kuhl I. Reflect --he vanishes Into the skin of water... ...And leaves me with my arms full of nothing But water and the memory of an image? ...The one I loved should be let live. He should live on after me, blameless.’ [Tales from Ovid, Hughes] II. Hall of Mirrors The black mirror is a surface, but this surface is also a depth. This specular catastrophe, prefigured by the myth of Narcissus, is inseparable from a process that renders the gaze opaque. [The Claude Glass: Use and Meaning of the Black Mirror in Western Art, Arnaud Maillet] III. Syphon IV. Shade This mirror creates, as it were, a hole in the wall, a door into the realm of the dead. But it also constitutes an epiphany, since the divinity is seen in all its glory and clarity. [Maillet] Improvising … hinges on one’s ability to synchronize intention and action and to maintain a keen awareness of, sensitivity to, and connection with the evolving group dynamics and experiences. -
Penelope Umbrico's Suns Sunsets from Flickr
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2014 Image Commodification and Image Recycling: Penelope Umbrico's Suns Sunsets from Flickr Minjung “Minny” Lee CUNY City College of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/506 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The City College of New York Image Commodification and Image Recycling: Penelope Umbrico’s Suns from Sunsets from Flickr Submitted to the Faculty of the Division of the Arts in Candidacy for the Degree of Master of Arts Department of Humanities and Liberal Arts by Minjung “Minny” Lee New York, New York May 2014 Copyright © 2014 by Minjung “Minny” Lee All rights reserved CONTENTS Acknowledgements v List of Illustrations vi Introduction 1 Chapter 1. Umbrico’s Transformation of Vernacular Visions Found on Flickr 14 Suns from Sunsets from Flickr and the Flickr Website 14 Working Methods for Suns from Sunsets from Flickr 21 Changing Titles 24 Exhibition Installation 25 Dissemination of Work 28 The Temporality and Mortality of Umbrico’s Work 29 Universality vs. Individuality and The Expanded Role of Photographers 31 The New Way of Image-making: Being an Editor or a Curator of Found Photos 33 Chapter 2. The Ephemerality of Digital Photography 36 The Meaning and the Role of JPEG 37 Digital Photographs as Data 40 The Aura of Digital Photography 44 Photography as a Tool for Experiencing 49 Image Production vs. -
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. -
American Society
AMERICAN SOCIETY Prepared By Ner Le’Elef AMERICAN SOCIETY Prepared by Ner LeElef Publication date 04 November 2007 Permission is granted to reproduce in part or in whole. Profits may not be gained from any such reproductions. This book is updated with each edition and is produced several times a year. Other Ner LeElef Booklets currently available: BOOK OF QUOTATIONS EVOLUTION HILCHOS MASHPIAH HOLOCAUST JEWISH MEDICAL ETHICS JEWISH RESOURCES LEADERSHIP AND MANAGEMENT ORAL LAW PROOFS QUESTION & ANSWERS SCIENCE AND JUDAISM SOURCES SUFFERING THE CHOSEN PEOPLE THIS WORLD & THE NEXT WOMEN’S ISSUES (Book One) WOMEN’S ISSUES (Book Two) For information on how to order additional booklets, please contact: Ner Le’Elef P.O. Box 14503 Jewish quarter, Old City, Jerusalem, 91145 E-mail: [email protected] Fax #: 972-02-653-6229 Tel #: 972-02-651-0825 Page 2 TABLE OF CONTENTS CHAPTER ONE: PRINCIPLES AND CORE VALUES 5 i- Introduction 6 ii- Underlying ethical principles 10 iii- Do not do what is hateful – The Harm Principle 12 iv- Basic human rights; democracy 14 v- Equality 16 vi- Absolute equality is discriminatory 18 vii- Rights and duties 20 viii- Tolerance – relative morality 22 ix- Freedom and immaturity 32 x- Capitalism – The Great American Dream 38 a- Globalization 40 b- The Great American Dream 40 xi- Protection, litigation and victimization 42 xii- Secular Humanism/reason/Western intellectuals 44 CHAPTER TWO: SOCIETY AND LIFESTYLE 54 i- Materialism 55 ii- Religion 63 a- How religious is America? 63 b- Separation of church and state: government -
An Exhibition of Conceptual Art
THE MUSEUM OF ME (MoMe) An Exhibition of Conceptual Art by Heidi Ellis Overhill A thesis exhibition presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Fine Arts in Studio Art East Campus Hall Gallery of the University of Waterloo April 13 to April 24, 2009 Waterloo, Ontario, Canada, 2009. ©Heidi Overhill 2009 i Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-54870-7 Our file Notre référence ISBN: 978-0-494-54870-7 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Pop and Rock Listings
Pop and Rock Listings The New York By Times July 13, 2007 POP Full reviews of recent concerts: nytimes.com/music. BESNARD LAKES, JEALOUS GIRLFRIENDS (Tonight and Sunday) The Besnard Lakes, from Montreal, build childlike, Brian Wilsonesque melodies into fuzz-drenched epics fraught with violence. The Jealous Girlfriends, one of the best new bands in New York, float through soft and erotic clouds of guitar and keyboards that can turn grungy and turbulent; the soft and erotic stuff is whatʼs gotten their music on “Greyʼs Anatomy.” Tonight at 8:30, with Dappled Cities and the Muggabears, at the Mercury Lounge, 217 East Houston Street, at Ludlow Street, Lower East Side, (212) 260-4700, mercuryloungenyc.com; $12. Sunday at 8:30 p.m., with Dirty on Purpose, at Maxwellʼs, 1039 Washington Street, Hoboken, N.J., (201) 653-1703, maxwellsnj.com; $10 in advance, $12 at the door. (Ben Sisario) BLACK LIPS (Thursday) Sounding like a nightmarish variant of the 13th Floor Elevators or the Troggs, this Atlanta band plays a grisly version of 1960s garage rock, and its onstage antics have been known to descend into the scatological. With Turbo Fruits and the Coathangers. At 9 p.m., Maxwellʼs, 1039 Washington Street, Hoboken, N.J., (201) 653-1703, maxwellsnj.com; $12. (Sisario) BOOK OF KNOTS (Tonight) A supergroup the way only a New York avant- garde band can be, the Book of Knots is an occasional project, with members from Skeleton Key, Sleepytime Gorilla Museum, Tin Hat and Pere Ubu. Its second album, “Traineater” (Anti-), is an appropriately clangy elegy for rust- belt Americana; here the band plays what it says is its first and possibly only live performance, with friends Jon Langford of the Mekons and Carla Bozulich of the Geraldine Fibbers. -
James Welling
JAMES WELLING Born 1951 in Hartford, Connecticut Lives and works in New York City, New York SOLO EXHIBITIONS (selection, institutions only) 2018 Materials and Objects: James Welling and Zoe Leonard, Tate Modern, London, United Kingdom 2017 Metamorphosis, S.M.A.K., Ghent, Belgium; Kunstforum Wien, Vienna, Austria 2015 Things Beyond Resemblance: James Welling Photographs, Brandywine River Museum of Art, Chadds Ford, Pennsylvania 2014 Diary of Elizabeth and James Dixon, 1840-41/Connecticut Landscapes, 1977-86, Art Institute of Chicago, Chicago, Illinois 2013 Autograph, Fotomuseum Winterthur, Winterthur, Switzerland Monograph, Cincinnati Art Museum, Cincinnati, Ohio; Hammer Museum, Los Angeles, California Open Space, University Museum of Contemporary Art UMASS Amherst, Amherst, Massachusetts 2012 Wyeth, The Wardsworth Atheneum Museum of Art, Hartford, Connecticut; Brandywine River Museum, Chadds Ford, Pennsylvania James Welling: The Mind on Fire/Works 1970-1985, MK Gallery, Milton Keynes, Great Britain (travels to Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain (2013); Contemporary Art Gallery, Vancouver (2013) 2010 New Pictures 3: James Welling, Glass House, The Minneapolis Institute of Arts, Minneapolis, Minnesota 2008 The Suburban, Oak Park, Iillinois (with Walead Beshty) 2006 Agricultural Works, Hudson River Museum, Yonkers, New York 2002 James Welling, Abstract, Palais des Beaux-Arts, Brussels, Belgium; Art Gallery of York University Toronto, Canada, catalogue 2000 James Welling, Photographs 1974 – 1999, Wexner Center -
Nothing Sacred (United Artists Pressbook, 1937)
SEE THE BIG FIGHT! DAVID O. SELZNICK’S Sensational Technicolor Comedy NOTHING SACRED WITH CAROLE LOMBARD FREDRIC MARCH CHARLES WINNINCER WALTER CONNOLLY by the producer and director of "A Star is Born■ Directed by WILLIAM A. WELLMAN * Screen play by BEN HECHT * Released thru United Artists Coyrighted MCMXXXVII by United Artists Corporation, New York, N. Y. KNOCKOUT'- * IT'S & A KNOCKOUT TO^E^ ^&re With two great stars 1 about cAROLE {or you to talk, smg greatest comedy LOMBARD, at her top the crest ol pop- role. EREDWC MARC ^ ^ ^feer great ularity horn A s‘* ‘ cWSD.» The power oi triumph in -NOTHING SA oi yfillxanr Selznick production, h glowing beauty oi Wellman direction, combination ^ranced Technicolor {tn star ls . tS made a oi a ^ ““new 11t>en “^ ”«»•>- with selling angles- I KNOCKOUT TO SEE; » It pulls no P“che%afanXioustocount.Beveald laughs that come too to ot Carole Lomb^ mg the gorgeous, gold® the suave chmm ior the fast “JXighest powered rolejhrs oi Fredric March m the g ^ glamorous Jat star has ever had. It 9 J the scieen has great star st unusual story toeS production to th will come m on “IsOVEB:' FASHION PROMOTION ON “NOTHING SACHEH” 1AUNCHING a new type of style promotion on “The centrated in the leading style magazines and papers. And J Prisoner of Zenda,” Selznick International again local distributors of these garments will be well-equipped offers you this superior promotional effort on to go to town with you in a bang-up cooperative campaign “Nothing Sacred.” Through the agency of Lisbeth, on “Nothing Sacred.” In addition, cosmetic tie-ups are nationally famous stylist, the pick of the glamorous being made with one of the country’s leading beauticians. -
Season 8 Screening Guide-09.09.16
8 ART IN THE TWENTY-FIRST CENTURY SCREENING GUIDE TO THE EIGHTH SEASON © ART21 2016. All Rights Reserved. art21.org | pbs.org/art21 GETTING STARTED ABOUT THIS SCREENING GUIDE Through in-depth profiles and interviews, the four- This Screening Guide is designed to help you plan an part series reveals the inspiration, vision, and event using Season Eight of Art in the Twenty-First techniques behind the creative works of some of Century. For each of the four episodes in Season today’s most accomplished contemporary artists. Eight, this guide includes: ART21 travels across the country and abroad to film contemporary artists, from painters and ■ Episode Synopsis photographers to installation and video artists, in ■ Artist Biographies their own spaces and in their own words. The result ■ Screening Resources is a unique opportunity to experience first-hand the Ideas for Screening-Based Events complex artistic process—from inception to finished Screening-Based Activities product—behind today’s most thought-provoking art. Discussion Questions Links to Resources Online Season Eight marks a shift in the award-winning series. For the first time in the show’s history, the Educators’ Guide episodes are not organized around an artistic theme The 62-page color manual ABOUT ART21 SCREENING EVENTS includes infomation on artists, such as Fantasy or Fiction. Instead the 16 featured before-viewing, while-viewing, Public screenings of the Art in the Twenty-First artists are grouped according to the cities where and after-viewing discussion Century series illuminate the creative process of questions, as well as classroom they live and work, revealing unique and powerful activities and curriculum today’s visual artists in order to deepen audience’s relationships—artistic and otherwise—to place. -
Bailly 1 Invisible Culture Issue 11, Fall 2007 Artist-Curators and Art Historian-Curators at the Edge
Bailly 1 Artist-Curators and Art Historian-Curators at the Edge: How the “Modern West” Revealed Boundaries of Curatorial Practice Austen Barron Bailly This paper takes as it starting point two related projects: The Modern West: American Landscapes, 1890-1950 (October 2006-June 2007) and “Two Edges” (April 12, 2007). The Modern West was a major exhibition curated for Museum of Fine Arts, Houston (MFAH) by Emily Ballew Neff, Curator, American Painting and Sculpture, and it traveled to the Los Angeles County Museum of Art (LACMA).1 “Two Edges” was a virtual exhibition (never mounted) curated by artist Diana Thater for her participation, with LACMA Director Michael Govan, in the museum’s “Conversations with the Director” series, part of the suite of free public programming associated with the presentation of The Modern West at LACMA. Thater’s alternative “modern west” exhibition, created using “Virtual Gallerie” software and PowerPoint and presented digitally in a verbal “walk through,” was fully realized conceptually and functioned as a critique of Neff’s The Modern West, which she believed perpetuated and celebrated the mythology of the American West. Austen Barron Bailly, author of this paper, coordinated and installed The Modern West in Los Angeles and attended Thater’s presentation. As coordinating curator, I was responsible not only for deciding how to install the exhibition for LACMA but also for working with the museum’s Education Department to help develop all public programming for the exhibition—with one notable exception: Thater and Govan’s presentation. I was not involved, nor was I expected to be, in preparations for the I would like to thank Rita Gonzalez, Assistant Curator, LACMA, for encouraging me to write this paper.