“The High-Energy Film Presents an In-Depth, and Extremely

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“The High-Energy Film Presents an In-Depth, and Extremely

The explosive new film about graffiti art In the vein of the cult classic Style Wars, BOMB IT is a wild ride into the heart of the global graffiti culture where the love of art and ego clashes explosively with law and order. On top of a fresh soundtrack of punk, hip-hop and funk, this high-octane film explores the many manifestations of “bombing,” the act of committing artistic crime with spraypaint. From the pioneers of bombing who painted living museums on trains in New York City to the underground artist who seeks the sublime painting in blue in the depths of Sao Paulo’s sewers, the artists in BOMB IT are fascinating studies in the power of art to disturb, protest, and enlighten. • 2008 theatrical release: April – May 2008 in 20 cities. • From award-winning filmmaker Jon Reiss (Better Living Through Circuitry). • Featuring old-school graffiti legends and current favorites, such as Taki 183, Cornbread, Stay High 149, among many more. • Pulsing soundtrack featuring artists such as Supreeme, DJ Wise, Immortal Technologies, and Dr Onionskin. “The high-energy film presents an in-depth, and extremely entertaining DVD PREORDER APR 29 RELEASE MAY 27 look at the history of graffiti.” special features: Behind the Scenes a Filmmaker Commentary a 5.1 Sound a Deleted Scenes a Outtakes – Boston Globe $26.95 srp U.S. Single catalog no. NNVG111481 $29.95 srp Canada Approx. 93 mins. upc 7-67685-11148-2 + extras, isbn 1-4229-1001-6 Documentary, Color RELATED & RECOMMENDED ALEX GREY & THE CHAPEL OF SACRED MIRRORS This invitation to personal reflection, growth, and harmony, leads docurama.com spiritual adventurers on an enriching journey into the visionary art cosmos of artist Alex Grey. DVD NNVG9841 newvideo.com AIR GUITAR NATION A hilarious look at Distributed in Canada by Distributed in the U.S. by Paradox Entertainment Group, two aspiring rock stars locked in an New Video 902 Broadway epic battle to become “the greatest air 175 Bloor St E, STE 1400 N Tower, PO Box 64, Toronto, ON M4W 3R8 9th fl, New York, NY 10010 guitarist in the world.” DVD NNVG9890 Tel: (800) 267-1216, E-mail: [email protected] Tel: (212) 206-8600, E-mail: [email protected] ©2008 New Video Group. All Rights Reserved..

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Submitted By: Laurence Thrush Comment Of
Submitted by: Laurence Thrush Comment of:! Film Independent, Chicago Filmmakers, Kindling Group, Kirby Dick, Jeffrey Kusama-Hinte, J S Mayank, David Novack, Laurence Thrush IN RE: Docket No. RM 2011-07 RESPONSE TO PROPOSED CLASS 7D We, the undersigned organizations and individuals, write in support of the Comment of International Documentary Association, Kartemquin Educational Films, Inc., National Alliance for Media, Arts, and Culture, and Independent Film Project, petitioning for an exemption to the DMCA’s anti-circumvention measures for DVD, Blu-Ray, and digitally transmitted video for the purpose of documentary and fictional filmmaking (“Proposed Class 7D”).1 The undersigned organizations work to support and defend filmmakers nationwide through educational outreach, financial support, and advocacy. Through seminars, written resources, workshops, festivals, grants, and other means, we support filmmakers at every stage of the filmmaking process. The undersigned individuals are award-winning filmmakers with decades of experience who have spent their careers contributing to American culture and journalism through film and who deeply understand the increasing value of filmmaking to our civic discourse, educational system, and American society as a whole. As filmmakers and filmmaker organizations, we know that the doctrine of fair use is integral to the filmmaking process. Without it we could not tell our stories, comment on society and culture, or illustrate our themes and arguments effectively. We write in support of Proposed Class 7D because we are concerned that the DMCA is prohibiting access to source material we depend on in order to make fair use. The Librarian of Congress must renew the 2010 exemption for DVDs for documentary filmmaking in order to prevent substantial harm to our ability to make fair use.
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SAVERIO TRUGLIA PHOTOGRAPHY BY PHOTOGRAPHY BY 2014/15 SEASON STUDY GUIDE THIS IS MODERN ART (BASED ON TRUE EVENTS) WRITTEN BY IDRIS GOODWIN AND KEVIN COVAL DIRECTED BY LISA PORTES FEBRUARY 25 – MARCH 14, 2015 INDEX: 2 WELCOME LETTER 4 PLAY SYNOPSIS 6 COVERAGE OF INCIDENT AT ART INSTITUTE: MODERN ART. MADE YOU LOOK. 7 CHARACTER DESCRIPTIONS 8 PROFILE OF A GRAFFITI WRITER: MIGUEL ‘KANE ONE’ AGUILAR 12 WRITING ON THE WALL: GRAFFITI GIVES A VOICE TO THE VOICELESS with classroom activity 16 BRINGING CHICAGO’S URBAN LANDSCAPE TO THE STEPPENWOLF STAGE: A CONVERSATION WITH PLAYWRIGHT DEAR TEACHERS: IDRIS GOODWIN 18 THE EVOLUTION OF GRAFFITI IN THE UNITED STATES THANK YOU FOR JOINING STEPPENWOLF FOR YOUNG ADULTS FOR OUR SECOND 20 COMMON CORE STATE STANDARDS SHOW OF 2014/15 SEASON: CREATE A MOVEMENT: THE ART OF A REVOLUTION. 21 ADDITIONAL RESOURCES 22 NEXT UP: PROJECT COMPASS In This Is Modern Art, we witness a crew of graffiti writers, Please see page 20 for a detailed outline of the standards Made U Look (MUL), wrestling with the best way to make met in this guide. If you need further information about 23 ACKNOWLEDGEMENTS people take notice of the art they are creating. They choose the way our work aligns with the standards, please let to bomb the outside of the Art Institute to show theirs is us know. a legitimate, worthy and complex art form born from a rich legacy, that their graffiti is modern art. As the character of As always, we look forward to continuing the conversations Seven tells us, ‘This is a chance to show people that there fostered on stage in your classrooms, through this guide are real artists in this city.
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Street Art Rising Marshall Soules—[email protected]
Vol 1 No 2 (Autumn 2020) Online: jps.library.utoronto.ca/index.php/nexj Visit our WebBlog: newexplorations.net Street Art Rising Marshall Soules—[email protected] This illustrated article discusses the various manifestations of street art—graffiti, posters, stencils, social murals—and the impact of street art on urban environments. Continuing perceptions of street art as vandalism contributing to urban decay neglects to account for street art’s full spectrum of effects. As freedom of expression protected by law, as news from under-privileged classes, as images of social uplift and consciousness-raising, and as beautification of urban milieux, street art has social benefits requiring re-assessment. Street art has become a significant global art movement. Detailed contextual history includes the photographer Brassai's interest in Parisian graffiti between the world wars; Cézanne’s use of passage; Walter Benjamin's assemblage of fragments in The Arcades Project; the practice of dérive (passage through diverse ambiances, drifting) and détournement (rerouting, hijacking) as social and political intervention advocated by Guy Debord and the Situationist International; Dada and Surrealist montage and collage; and the art of Quebec Automatists and French Nouveaux réalistes. Present street art engages dynamically with 20th C. art history. The article explores McLuhan’s ideas about the power of mosaic style to subvert the received order, opening spaces for new discourse to emerge, new patterns to be discovered. The author compares street art to advertising, and raises questions about appropriation, authenticity, and style. How does street art survive when it leaves the streets for galleries, design shops, and museums? Street art continues to challenge communication strategies of the privileged classes and elected officials, and increasingly plays a reconstructive role in modulating the emotional tenor of urban spaces.
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10th International Uranium Film Festival Rio de Janeiro Online Edition May 20 to May 30 2021 1 PROGRAM 10th INTERNATIONAL URANIUM FILM FESTIVAL RIO DE JANEIRO May 20 to 30, 2021 Free Online Screening www.vimeo.com/showcase/uranium2021 (Link available from May 20 to May 30) Festival website www.uraniumfilmfestival.org Supported by 2 INDEX Presentation 4 Selected directors list 5 Selected films list 6 - 9 About filmmakers and films 10 - 65 Connection Rio de Janeiro - Berlin 66 Live online event: From Hiroshima to Fukushima 68 Live online event: Prohibition of Nuclear Weapons 69 About the festival 70 Festival trophy 70 Festival supporter 71 Festival directors 71 Festival volunteers 72 Contact 72 3 PRESENTATION Created in Rio de Janeiro, in 2010, the International Uranium Film Festival has reached its tenth edition. A good reason to celebrate! We would have done this glamorous in the gardens of the Museum of Modern Art in Rio with the presence of many international filmmakers. But the ongoing pandemic made this impossible. For that, from May 20th to 30th, 2021, we're celebrating the 10th Rio de Janeiro International Uranium Film Festival for free online. And everyone is invited! We will remember the still unsolved nuclear accident in Fukushima 10 years ago and the UN treaty on the prohibition of nuclear weapons, which has been in force since January of this year. And we dedicate this tenth edition to the filmmakers and producers who have tackled with courage, creativity and passion these difficult issues that threaten the health and lives of millions of people and future generations.
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Is Graffiti Art?
IS GRAFFITI ART? Russell M. Jones A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2007 Committee: Andrew Hershberger, Advisor Allie Terry ii ABSTRACT Dr. Andrew Hershberger, Advisor Illegal graffiti is disconnected from standard modes of visual production in fine art and design. The primary purpose of illegal graffiti for the graffiti writer is not the visual product, but “getting up.” Getting up involves writing or painting one’s name in as many places as possible for fame. The elements of risk, freedom and ritual unique to illegal graffiti serve to increase camaraderie among graffiti writers even as an individual’s fame in the graffiti subculture increases. When graffiti has moved from illegal locations to the legal arenas of fine art and advertising; risk, ritual and to some extent, camaraderie, has been lost in the translation. Illegal graffiti is often erroneously associated with criminal gangs. Legal modes of production using graffiti-style are problematic in the public eye as a result. I used primary and secondary interviews with graffiti writers in this thesis. My art historical approach differed from previous writers who have used mainly anthropological and popular culture methods to examine graffiti. First, I briefly addressed the extremely limited critical literature on graffiti. In the body of the thesis, I used interviews to examine the importance of getting up to graffiti writers compared to the relative unimportance of style and form in illegal graffiti. This analysis enabled me to demonstrate that illegal graffiti is not art.
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