Consciousness and Contact –The Awakening– 137 137

Total Page:16

File Type:pdf, Size:1020Kb

Consciousness and Contact –The Awakening– 137 137 CONTRIBUTORS: Capucine Bourcart Lisa di Donato Madelaine Farr Mia Feroleto Elaine Forrest Undine Groeger Barbara Groh Karen Gunderson Caught in the Dark Net of Our Own Past Julie Heffernan Breaking Free of What Holds Americans Hostage Monroe Hodder Isolde Kille Karen Kirshner Sueim Koo Salem Krieger Ati Maier Catherine Maziere Stephen Paul Miller Leonard Peltier Leah Poller Lucio Pozzi Barbara Rachko Xavier Rous Mira Schor Charles Seplowin Regina Silvers Allicette Torres James Tunney Farah Marie Velten Virginia Wagner John Willis Brenda Zlamany Consciousness and Contact –The Awakening– 137 137 Copyright 2021, Andrew Boardman Erika Knerr Frederic Tuten Caught in the Dark Net of Our Own Past New Observations Ltd. Mark Bobrow Sabu Kohso David L. Ulin and the authors. All rights Brian Boigon KK Kozik Marina Urbach reserved. Bruce Brand Gene Kraig Terence Van Elslander Breaking Free of What Holds Americans Hostage ISSN #0737-5387. Ginevra Bompiani Kim Larsen Stephen Westfall Cover: Bruce Breland Linda Levit Christopher Williams Karen Gunderson Martin Bresnick Daniel Libeskind Martha Wilson PUBLISHER & EDITOR: Mia Feroleto Sea Turtle Caught in Net Eva Buchmuller Dacia Maraini Elemire Zolla Publisher & Editor Ana Busto Grazia Marchiano Jody Zellen Guest Editor: The New Observations Community and Beyond Mia Feroleto Michele C. Cone Bunita Marcus Lisa Zwerling Copy Editor David Carrier Carol Martin Leah Poller James Cathcart Joseph Masheck Back issues may be Diana Roberts Theresa Chong Harry Mathews purchased at: Graphic Design Nhi Chung Carlo McCormick Printed Matter Inc. Diana Roberts Charlie Citron Justin Melkmann 195 Tenth Avenue New Board of Directors Ronny Cohen Alan Moore York, NY 10011 Andrew R. Christy Collins & Milazzo Robert Morgan To pre-order or support Mia Feroleto ~ Chair Paolo Colombo Joseph Nechvatal please send check or Karen Gunderson David A. Cook Shirin Neshat money order to: Diane R. Karp Regina Cornwell Bob Nickas New Observations Leah Poller Michael Corris Mignon Nixon P.O. Box 335 Lucio Pozzi Lynn Crawford Valery Oisteanu Chester, VT 05143 Editorial Consultants Dorothy Cross Wyatt Osato For additional information Susan Bee Peggy Cyphers Saul Ostrow and to contact the publisher, Martin Bresnick Nina Czegledy Stephen Paul Miller please email: Tricia Collins Mona Da Vinci Pedro A.H. Paixão [email protected] Paolo Colombo Mark Daley Gilberto Perez No part of this publication may Jim Feast Ana de Portela Stephen Perkins be reproduced, stored Jeremy Gilbert-Rolfe Ken Deifik Bruno Pinto in a retrieval system Peter Halley Paul Dickerson Adrian Piper or transmitted in any form George Herms Sarah Drury Leah Poller or by any means, electronic, Diane R. Karp Holger Drees Lucio Pozzi mechanical, photocopying, Erika Knerr Lloyd Dunn Bradley Rubenstein recording or otherwise without Joseph Masheck Phillip Evans-Clark Stephen Prina the prior written permission Carlo McCormick FaGaGaGa: Mark & Lise Prown of the authors and publisher. Richard Milazzo Mel Corroto Sylvia Reed New Observations Joseph Nechvatal Frank Fantauzzi Roger Riggins is a non-profit, contemporary Saul Ostrow Jim Feast Kevin Riordan arts journal written, edited, Joan Pierpoline Mia Feroleto Michael Robbins and published by the arts Lucio Pozzi Elizabeth Ferrer Tim Rollins & K.O.S. community. Mira Schor Jane Fire John Roloff Opinions expressed herein David Shapiro Steve Flanagan Michael Roscher and the validity of the Lynne Tillman Roland Flexner Grace Roselli information presented are the Frederic Tuten Stjepan G. Mestrovic Frank Rubino responsibility of the authors Marina Urbach Serge Gavronsky Babs Reingold and not of the publishers. George Waterman Jeremy Gilbert-Rolfe Steven Schiff For more about us: Legal Advisors Guerrilla Girls Mira Schor newobservations.org Paul Hastings, LLP Jennifer Golub Joshua Selman Past Guest Editors Peter Halley David Shapiro Keith Adams Selma Holo John Shaw Richard Armijo Stuart Horodner Berta Sichel Christine Armstrong Gary Indiana Duncan Smith Stafford Ashani Ciri Johnson Tracy Smith Karen Atkinson John Johnston Alan Sondheim Todd Ayoung Muffet Jones Susan Springfield Stephan Balint Gerald Just Alan Steinfeld Mark Bartlett Shoshana Kalisch Suzy Sureck Susan Bee Susan Kandel Frederieke Taylor Karen Gunderson - Sea Turtle caught in net Tiffany Bell Steven Kane Lynne Tillman 2021 Curt Belshe Diane Karp Mike Topp oil on linen, chalk on black gessoed linen Maurice Berger Alain Kirili Cindy Tower 42” x 54” Elena Berriolo Hilary Kliros Bernard Trevisano 1 1 January 21, 2021 share their visions and talents to create a new and sustainable world. It has been one year since the first covid case in America. Divid- The American Dream no longer holds its allure as higher education Bastille Day, 2006 BASTILLE DAY, 2006 ing my time between Vermont and South Dakota, my reality has been becomes less and less affordable and the middle class disappears. Is quite different from that of most of the country. Vermont has reported it really necessary that everyone has a big house with two cars in the By Mia Feroleto 125 deaths from the virus, with approximately half of those being el- driveway? We have presidential candidate Andrew Yang to thank for derly people in convalescent homes where close conditions and co- coming forward with his ideas for universal basic income and other ex- morbidity factors played a part. In South Dakota, I live in a tiny town amples of how we can create a new structure for our country. I am all called Wasta, which boasts a population of 22 people. Needless to say, for capitalism if it is fair. Too many billionaires made themselves richer 7/14 Bastille Day in France 2006 I have been sheltered from the harsh reality of places such as New by many more billions over the past year, taking advantage of condi- York City, where I lived for 18 years and created ARTWALK NY. tions caused by the virus. This type of opportunism should be illegal. I see a world where people have stopped fighting with each other, The pressure we are experiencing from being confined since March, The world will change for the better one person at a time. As we where no country is at war. the loss of jobs, the inability to socialize with family and friends, to clean up our own psyches and emotional lives, we change the way we I see a world with no nuclear weapons. move freely at will, to simply go to the movies, has all been taken from interact with each other. What I saw on January 6th was a wake-up call I see a world where everyone, man, woman, child, horse, dog, cat, us for the time being. These frustrations, combined with the fact that to demand that the lies stop now. If Joe Biden promised Americans America is currently divided in half as the results of our November $2,000 in stimulus money as soon as he enters office, then it is for him tree, flower, rock, has what they need to live a joyful existence. election illustrated so clearly, laid the explosive energy that manifest- to do just that. People are suffering. I see a world where we help our neighbor, open our eyes to those ed on January 6th, 2021 at the Capitol in Washington, DC. We all know the difference between right and wrong. It is for Presi- around us and live like the brothers and sisters that we are. I will say here and now that, although I did not vote for him, I was dent Biden to follow through from Day One on what he tells the peo- I see a world that is not polluted, where the water and air are clean, willing to give Donald Trump a chance when he took his oath of office ple of this country. He is not my choice for president. I would rather the grass is green, the sky is blue. four years ago. He had walked through a doorway of his life where he see people like Reverend William Barber, Dr. Cornell West, journalist I see a world where animals are not slaughtered for food or euthanized had been given the opportunity to leave behind his past and rise to Chris Hedges and others become our political leaders. There are many greatness, the same chance all leaders in any situation are granted. By things in Biden’s past that history has shown to be bad choices. Let out of existence. the end of his first year in office, it was clear to me that he was unable us hope that he does not become another political disappointment. I see a world where people are not dying of cancer and other disease, or unwilling to check his ego at the door and truly become a leader, We don’t have the time for the same old crap from the same bunch where everyone is healthy and happy. an agent of service to others. His contribution to the mass psychic and of career politicians who speak out of the sides of their mouth. Walk I see a world where we all have open eyes, hearts, and minds. psychological swirl of illusion and lies cannot be overstated. There is the talk Joe! I see a world where people are connected to themselves and to God. no question in my mind that Trump encouraged violence and insurrec- I am about to turn 65. I cannot believe the time has gone so quickly. I see this world coming now, in the near future, in our current times. tion on January 6th and at many other points during his administra- My life has incorporated many gifts in the form of people, creativity, I see a world where every person on this planet has food, clothing, tion. It was a relief to see him go yesterday morning and my hope is he and animals. I have experienced the full range of the financial spec- and his bile will never come back.
Recommended publications
  • Vote for None Or One United States Senator
    Nueces County General Nueces County, Texas Official Results Election Registered Voters Nueces County, General Election 128098 of 212048 = 60.41% November 3, 2020 General Election Precincts Reporting 0 of 127 = 0.00% 11/3/2020 Run Time 2:38 PM Run Date 11/17/2020 Page 1 President and Vice President - Vote for None or One Choice Party Absentee Voting Early Voting Election Day Voting Total Donald J. Trump/Michael R. Pence REP 5,006 31.54% 50,822 53.26% 8,789 54.83% 64,617 50.75% Joseph R. Biden/Kamala D. Harris DEM 10,728 67.59% 43,352 45.43% 6,845 42.70% 60,925 47.85% Jo Jorgensen/Jeremy "Spike" Cohen LIB 114 0.72% 988 1.04% 302 1.88% 1,404 1.10% Howie Hawkins/Angela Walker GRN 17 0.11% 258 0.27% 93 0.58% 368 0.29% Brian Carroll/Amar Patel (W) 6 0.04% 0 0.00% 0 0.00% 6 0.00% Gloria La Riva/Leonard Peltier (W) 1 0.01% 0 0.00% 0 0.00% 1 0.00% Tom Hoefling/Andy Prior (W) 1 0.01% 0 0.00% 0 0.00% 1 0.00% Cast Votes: 15,873 100.00% 95,420 100.00% 16,029 100.00% 127,322 100.00% Undervotes: 133 512 120 765 Overvotes: 11 0 0 11 United States Senator - Vote for None or One Choice Party Absentee Voting Early Voting Election Day Voting Total John Cornyn REP 5,429 34.73% 50,845 54.03% 8,284 53.18% 64,558 51.52% Mary "MJ" Hegar DEM 9,991 63.91% 40,745 43.30% 6,444 41.37% 57,180 45.63% Kerry Douglas McKennon LIB 155 0.99% 1,802 1.91% 607 3.90% 2,564 2.05% David B.
    [Show full text]
  • MEDIA UPDATES3 30.Pdf
    Dean *Anthony Vidler to receive ACSA Centennial Award The Association of Collegiate Schools of Architecture (ACSA) announced today that Anthony Vidler will receive a special Centennial Award at next week’s 100th ACSA Annual Meeting in Boston. Anthony Vidler is Dean and Professor at the Irwin S. Chanin School of Architecture of The Cooper Union, where he has served since 2001. The Centennial Award was created by the ACSA Board of Directors in recognition of Dean Vidler’s wide ranging contributions to architectural education. Says Judith Kinnard, FAIA, ACSA president: “Anthony Vidler’s teaching and scholarship have had a major impact on architectural education. We invited him to receive this special award during our 100th anniversary and give the keynote lecture because of his extraordinary ability to link current issues in architecture and urbanism to a broad historic trajectory. His work forces us to question our assumptions as we engage contemporary conditions as designers.” Anthony Vidler received his professional degree in architecture from Cambridge University in England, and his doctorate in History and Theory from the University of Technology, Delft, the Netherlands. Dean Vidler was a member of the Princeton University School of Architecture faculty from 1965 to 1993, serving as the William R. Kenan Jr. Chair of Architecture, the Chair of the Ph.D. Committee, and Director of the Program in European Cultural Studies. In 1993 he took up a position as professor and Chair of the Department of Art History at the University of California, Los Angeles, with a joint appointment in the School of Architecture from 1997.
    [Show full text]
  • Frameworks for the Downtown Arts Scene
    ACADEMIC REGISTRAR ROOM 261 DIVERSITY OF LONDON 3Ei’ ATE HOUSE v'Al i STREET LONDON WC1E7HU Strategy in Context: The Work and Practice of New York’s Downtown Artists in the Late 1970s and Early 1980s By Sharon Patricia Harper Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of the History of Art at University College London 2003 1 UMI Number: U602573 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U602573 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The rise of neo-conservatism defined the critical context of many appraisals of artistic work produced in downtown New York in the late 1970s and early 1980s. Although initial reviews of the scene were largely enthusiastic, subsequent assessments of artistic work from this period have been largely negative. Artists like Keith Haring, Jean-Michel Basquiat and Kenny Scharf have been assessed primarily in terms of gentrification, commodification, and political commitment relying upon various theoretical assumptions about social processes. The conclusions reached have primarily centred upon the lack of resistance by these artists to post­ industrial capitalism in its various manifestations.
    [Show full text]
  • Immersion Into Noise
    Immersion Into Noise Critical Climate Change Series Editors: Tom Cohen and Claire Colebrook The era of climate change involves the mutation of systems beyond 20th century anthropomorphic models and has stood, until recent- ly, outside representation or address. Understood in a broad and critical sense, climate change concerns material agencies that im- pact on biomass and energy, erased borders and microbial inven- tion, geological and nanographic time, and extinction events. The possibility of extinction has always been a latent figure in textual production and archives; but the current sense of depletion, decay, mutation and exhaustion calls for new modes of address, new styles of publishing and authoring, and new formats and speeds of distri- bution. As the pressures and re-alignments of this re-arrangement occur, so must the critical languages and conceptual templates, po- litical premises and definitions of ‘life.’ There is a particular need to publish in timely fashion experimental monographs that redefine the boundaries of disciplinary fields, rhetorical invasions, the in- terface of conceptual and scientific languages, and geomorphic and geopolitical interventions. Critical Climate Change is oriented, in this general manner, toward the epistemo-political mutations that correspond to the temporalities of terrestrial mutation. Immersion Into Noise Joseph Nechvatal OPEN HUMANITIES PRESS An imprint of MPublishing – University of Michigan Library, Ann Arbor, 2011 First edition published by Open Humanities Press 2011 Freely available online at http://hdl.handle.net/2027/spo.9618970.0001.001 Copyright © 2011 Joseph Nechvatal This is an open access book, licensed under the Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy this book so long as the authors and source are cited and resulting derivative works are licensed under the same or similar license.
    [Show full text]
  • The Cooper Union for the Advancement of Science and Art Atcooper 2 | the Cooper Union for the Advancement of Science and Art
    Winter 2008/09 The Cooper Union for the Advancement of Science and Art atCooper 2 | The Cooper Union for the Advancement of Science and Art Message from President George Campbell Jr. Union The Cooper Union has a history characterized by extraordinary At Cooper Union resilience. For almost 150 years, without ever charging tuition to a Winter 2008/09 single student, the college has successfully weathered the vagaries of political, economic and social upheaval. Once again, the institution Message from the President 2 is facing a major challenge. The severe downturn afflicting the glob- al economy has had a significant impact on every sector of American News Briefs 3 U.S. News & World Report Ranking economic activity, and higher education is no exception. All across Daniel and Joanna Rose Fund Gift the country, colleges and universities are grappling with the prospect Alumni Roof Terrace of diminished resources from two major sources of funds: endow- Urban Visionaries Benefit ment and contributions. Fortunately, The Cooper Union entered the In Memory of Louis Dorfsman (A’39) current economic slump in its best financial state in recent memory. Sue Ferguson Gussow (A’56): As a result of progress on our Master Plan in recent years, Cooper Architects Draw–Freeing the Hand Union ended fiscal year 2008 in June with the first balanced operat- ing budget in two decades and with a considerably strengthened Features 8 endowment. Due to the excellent work of the Investment Committee Azin Valy (AR’90) & Suzan Wines (AR’90): Simple Gestures of our Board of Trustees, our portfolio continues to outperform the Ryan (A’04) and Trevor Oakes (A’04): major indices, although that is of little solace in view of diminishing The Confluence of Art and Science returns.
    [Show full text]
  • Oral History Interview with Wendy Olsoff and Penny Pilkington, 2009 January 21 and May 22
    Oral history interview with Wendy Olsoff and Penny Pilkington, 2009 January 21 and May 22 Funding for this interview was provided by the Widgeon Point Charitable Foundation. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Wendy Olsoff and Penny Pilkington on January 21 and May 22, 2009. The interview took place at in New York, New York, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. Funding for this interview was provided by a grant from the Widgeon Point Charitable Foundation. Wendy Olsoff, Penny Pilkington, and James McElhinney have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview JAMES McELHINNEY: This is James McElhinney speaking with Penny Pilkington and Wendy Olstroff. PENNY PILKINGTON: Olsoff. O-L-S-O-F-F. MR. McELHINNEY: Olsoff? WENDY OLSOFF: Right. MR. McELHINNEY: At 432 Lafayette Street in New York, New York, on January 21, 2009. So for the transcriber, I’m going to ask you to just simply introduce yourselves so that the person who is writing out the interview will be able to identify— [END OF DISC 1, TRACK 1.] MR. McELHINNEY: —who’s who by voice.
    [Show full text]
  • Inventing the I-Beam: Richard Turner, Cooper & Hewitt and Others
    Inventing the I-Beam: Richard Turner, Cooper &Hewitt and Others Author(s): Charles E. Peterson Source: Bulletin of the Association for Preservation Technology, Vol. 12, No. 4 (1980), pp. 3-28 Published by: Association for Preservation Technology International (APT) Stable URL: http://www.jstor.org/stable/1493818 . Accessed: 17/09/2013 16:52 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Association for Preservation Technology International (APT) is collaborating with JSTOR to digitize, preserve and extend access to Bulletin of the Association for Preservation Technology. http://www.jstor.org This content downloaded from 128.59.130.200 on Tue, 17 Sep 2013 16:52:33 PM All use subject to JSTOR Terms and Conditions APTVol. X11N' 4 1980 INVENTINGTHE I-BEAM: RICHARDTURNER, COOPER & HEWITTAND OTHERS' by CharlesE. Peterson,F.A.I.A.* Forwell over a centurythe I-beam,rolled first in wroughtiron -the bulb-tee used from1848 on forsupporting fireproof brick and then in steel, has been one of the most widely used building floorsand ceilings. By 1856 a trueI-beam was rolledat Trenton, elementsever invented. The story of itsdevelopment is stillobscure New Jerseyand it was at once adoptedfor the new Federalbuild- at severalpoints.
    [Show full text]
  • Texas Certificate of Ascertainment 2020
    STATE OF TEXAS OFFICE OF THE GOVERNOR CERTIFICATE OF ASCERTAINMENT WHEREAS, Section 192.035, Texas Election Code, provides that a vote for a presidential candidate and the candidate's running mate shall be counted as a vote for the corresponding presidential elector candidates, and shall be so counted and recorded for such electors as the state shall be empowered to elect; and WHEREAS, Section 192.005, Texas Election Code, provides that the set of elector candidates that is elected is the one that corresponds to the candidates for president and vice-president receiving the most votes; I, GREG ABBOTT, Governor of Texas, in accordance with Section 67.013(d), Texas Election Code, HEREBY CERTIFY, the attached tabulation for President and Vice-President of the United States, which was prepared by the Secretary of State pursuant to Section 67.013(b). IN TESTIMONY WHEREOF, I have hereto signed my name and have officially caused the Seal of State to be affixed at my office in the City of Austin, Texas, this the 24th day of November, 2020. Attest:~ SECRETARY~Hfrn:HS~~ OF STATE CANDIDATES/PARTY VOTES RECEIVED REPUBLICAN PARTY Donald J. Trump / Michael R. Pence 5,890,347 DEMOCRATIC PARTY Joseph R. Biden / Kamala D. Harris 5,259,126 LIBERTARIAN PARTY Jo Jorgensen I Jeremy "Spike" Cohen 126,243 GREEN PARTY Howie Hawkins / Angela Walker 33,396 DECLARED WRITE-IN CANDIDATES President R. Boddie / Eric C. Stoneham 2,012 Brian Carroll / Amar Patel 2,785 Todd Cella / Tim Cella 205 Jesse Cuellar I Jimmy Monreal 49 Tom Hoefling / Andy Prior 337 Gloria La Riva / Leonard Peltier 350 Abram Loeb / Jennifer Jairala 36 Robert Morrow I Anne Beckett 56 Kasey Wells / Rachel Wells 114 ELECTORS FOR REPUBLICAN PARTY 1.
    [Show full text]
  • Schor Moma Moma
    12/12/2016 M/E/A/N/I/N/G: The Final Issue on A Year of Positive Thinking­3 H O M E A B O U T L I N K S Browse: Home / 2016 / December / 09 / M/E/A/N/I/N/G: The Final Issue on A Year of Positive Thinking­ CONNE CT 3 Mira's Facebook Page DE CE MBE R 9 , 2 0 1 6 Subscribe in a Reader Subscribe by email M/E/A/N/I/N/G: The Final Issue on A Year of Positive Thinking­3 miraschor.com The first issue of M/E/A/N/I/N/G: A Journal of Contemporary Art Issues, was published in December 1986. M/E/A/N/I/N/G is a collaboration between two artists, TAGS Susan Bee and Mira Schor, both painters with expanded interests in writing and 2016 election Abstract politics, and an extended community of artists, art critics, historians, theorists, and Expressionism ACT­UAW poets, whom we sought to engage in discourse and to give a voice to. Activism Ana Mendieta Andrea For our 30th anniversary and final issue, we have asked some long­time contributors Geyer Andrea Mantegna Anselm and some new friends to create images and write about where they place meaning Kiefer Barack Obama CalArts craft today. As ever, we have encouraged artists and writers to feel free to speak to the Cubism DAvid Salle documentary concerns that have the most meaning to them right now. film drawing Edwin Denby Facebook feminism Every other day from December 5 until we are done, a grouping of contributions will Feminist art appear on A Year of Positive Thinking.
    [Show full text]
  • Rent Glossary of Terms
    Rent Glossary of Terms 11th Street and Avenue B CBGB’s – More properly CBGB & OMFUG, a club on Bowery Ave between 1st and 2nd streets. The following is taken from the website http://www.cbgb.com. It is a history written by Hilly Kristal, the founder of CBGB and OMFUG. The question most often asked of me is, "What does CBGB stand for?" I reply, "It stands for the kind of music I intended to have, but not the kind that we became famous for: COUNTRY BLUEGRASS BLUES." The next question is always, "but what does OMFUG stand for?" and I say "That's more of what we do, It means OTHER MUSIC FOR UPLIFTING GORMANDIZERS." And what is a gormandizer? It’s a voracious eater of, in this case, MUSIC. […] The obvious follow up question is often "is this your favorite kind of music?" No!!! I've always liked all kinds but half the radio stations all over the U.S. were playing country music, cool juke boxes were playing blues and bluegrass as well as folk and country. Also, a lot of my artist/writer friends were always going off to some fiddlers convention (bluegrass concert) or blues and folk festivals. So I thought it would be a whole lot of fun to have my own club with all this kind of music playing there. Unfortunately—or perhaps FORTUNATELY—things didn't work out quite the way I 'd expected. That first year was an exercise in persistence and a trial in patience. My determination to book only musicians who played their own music instead of copying others, was indomitable.
    [Show full text]
  • Barbara-Zucker-CV-1.Pdf
    Barbara Zucker Born, Philadelphia, PA. Lives and works in Burlington,Vermont, and New York, New York. Studio: 444 S. Union St. Burlington, Vermont 05401 802 863 8513 Fax: 802 864 5841 email: [email protected] Education University of Michigan, BS in Design Hunter College, MA Cranbrook Academy of Art Selected One Person Exhibitions Barbara Zucker: Time Signatures, The Gershman Y, Phila., Pa. 2007 Time Signatures: Tufts University, Mass., 2005 Universal Lines: Homage to Lilian Baker Carlisle and Other Women of Distinction”; Amy Tarrant Gallery, The Flynn Center for the Performing Arts, Burlington, Vt., 2001 Robert Hull Fleming Museum, Burlington, VT, 1998, 1980 One Great Jones Gallery, NYC, 1997 Paley Gallery, Moore College of Art, Phila., PA, 1996 (catalog) “For Beauty’s Sake,” Artists’ Space, NYC, 1994 Haeneh Kent Gallery, NYC, 1990 Webb and Parsons, Burlington, VT, 1989, 1991 Benjamin Mangel Gallery, Phila., PA, 1989 The Sculpture Center, NYC, April, 1989 Pam Adler Gallery, NYC, 1983, 1885 Swarthmore College, PA, 1983 Fine Arts Center, University of Massachusetts, Amherst, 1982 Joselyn Art Museum, Omaha, Nebraska, 1981 Robert Hull Fleming Museum, Burlington, VT, 1981 Robert Miller Gallery, NYC, 1978, 1980 Pennsylvania Academy of Fine Art, 1980 Marion Deson Gallery, Chicago, 1979, 1985 112 Greene Street Gallery, NYC, 1976 A.I.R. Gallery, NYC, 1972, 1974 Rutgers University, Douglass College, New Brunswick, NJ, 1973 Selected Group Exhibitions ‘Radical Lace and Subversive Knitting”, The Museum of Arts and Design, New York, 2007 “From the Inside Out: Feminist Art Then and Now”, New York, 2007 Winter Salon , Lesley Heller Gallery, December, New York, 2006 “Selfish“, curated by Lori Waxman, 128 Rivington, New York, 2004 Reading Between the Lines”, curated by Joyce Kozloff; Wooster Arts Space, New York, 2003 “Drawing Conclusions: Work by Artists Critics”, curated by Judith Collishan, New York Arts, New York, 2003 “The Art of Aging”, Hebrew Union College Museum, New York, 2003-2004; traveling exhibition, through 2006.
    [Show full text]
  • Writing the Future: Basquiat and the Hip-Hop Generation, Museum of Fine Arts, Boston, Panorama: Journal of the Association of Historians of American Art 7, No
    ISSN: 2471-6839 Cite this article: Peter R. Kalb, review of Writing the Future: Basquiat and the Hip-Hop Generation, Museum of Fine Arts, Boston, Panorama: Journal of the Association of Historians of American Art 7, no. 1 (Spring 2021), doi.org/10.24926/24716839.11870. Writing the Future: Basquiat and the Hip-Hop Generation Curated by: Liz Munsell, The Lorraine and Alan Bressler Curator of Contemporary Art, and Greg Tate Exhibition schedule: Museum of Fine Arts, Boston, October 18, 2020–July 25, 2021 Exhibition catalogue: Liz Munsell and Greg Tate, eds., Writing the Future: Basquiat and the Hip-Hop Generation, exh. cat. Boston: Museum of Fine Arts, Boston, 2020. 199 pp.; 134 color illus. Cloth: $50.00 (ISBN: 9780878468713) Reviewed by: Peter R. Kalb, Cynthia L. and Theodore S. Berenson Chair of Contemporary Art, Department of Fine Arts, Brandeis University It may be argued that no artist has carried more weight for the art world’s reckoning with racial politics than Jean-Michel Basquiat (1960–1988). In the 1980s and 1990s, his work was enlisted to reflect on the Black experience and art history; in the 2000 and 2010s his work diversified, often single-handedly, galleries, museums, and art history surveys. Writing the Future: Basquiat and the Hip-Hop Generation attempts to share in these tasks. Basquiat’s artwork first appeared in lower Manhattan in exhibitions that poet and critic Rene Ricard explained, “made us accustomed to looking at art in a group, so much so that an exhibit of an individual’s work seems almost antisocial.”1 The earliest efforts to historicize the East Village art world shared this spirit of sociability.
    [Show full text]