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The Direct Action Politics of US Punk Collectives
DIY Democracy 23 DIY Democracy: The Direct Action Politics of U.S. Punk Collectives Dawson Barrett Somewhere between the distanced slogans and abstract calls to arms, we . discovered through Gilman a way to give our politics some application in our actual lives. Mike K., 924 Gilman Street One of the ideas behind ABC is breaking down the barriers between bands and people and making everyone equal. There is no Us and Them. Chris Boarts-Larson, ABC No Rio Kurt Cobain once told an interviewer, “punk rock should mean freedom.”1 The Nirvana singer was arguing that punk, as an idea, had the potential to tran- scend the boundaries of any particular sound or style, allowing musicians an enormous degree of artistic autonomy. But while punk music has often served as a platform for creative expression and symbolic protest, its libratory potential stems from a more fundamental source. Punk, at its core, is a form of direct action. Instead of petitioning the powerful for inclusion, the punk movement has built its own elaborate network of counter-institutions, including music venues, media, record labels, and distributors. These structures have operated most notably as cultural and economic alternatives to the corporate entertainment industry, and, as such, they should also be understood as sites of resistance to the privatizing 0026-3079/2013/5202-023$2.50/0 American Studies, 52:2 (2013): 23-42 23 24 Dawson Barrett agenda of neo-liberalism. For although certain elements of punk have occasion- ally proven marketable on a large scale, the movement itself has been an intense thirty-year struggle to maintain autonomous cultural spaces.2 When punk emerged in the mid-1970s, it quickly became a subject of in- terest to activists and scholars who saw in it the potential seeds of a new social movement. -
Notes CHAPTER 1 6
notes CHAPTER 1 6. The concept of the settlement house 1. Mario Maffi, Gateway to the Promised originated in England with the still extant Land: Ethnic Cultures in New York’s Lower East Tonybee Hall (1884) in East London. The Side (New York: New York University Press, movement was tremendously influential in 1995), 50. the United States, and by 1910 there were 2. For an account of the cyclical nature of well over four hundred settlement houses real estate speculation in the Lower East Side in the United States. Most of these were in see Neil Smith, Betsy Duncan, and Laura major cities along the east and west coasts— Reid, “From Disinvestment to Reinvestment: targeting immigrant populations. For an over- Mapping the Urban ‘Frontier’ in the Lower view of the settlement house movement, see East Side,” in From Urban Village to East Vil- Allen F. Davis, Spearheads for Reform: The lage: The Battle for New York’s Lower East Side, Social Settlements and the Progressive Movement, ed. Janet L. Abu-Lughod, (Cambridge, Mass.: 1890–1914 (New York: Oxford University Blackwell Publishers, 1994), 149–167. Press, 1967). 3. James F. Richardson, “Wards,” in The 7. The chapter “Jewtown,” by Riis, Encyclopedia of New York City, ed. Kenneth T. focuses on the dismal living conditions in this Jackson (New Haven, Conn.: Yale University ward. The need to not merely aid the impover- Press, 1995), 1237. The description of wards in ished community but to transform the physi- the Encyclopedia of New York City establishes cal city became a part of the settlement work. -
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. -
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. -
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. -
13 Feminist Art Shows to See in Honor of Women's History Month
Exhibitions 13 Feminist Art Shows to See In Honor of Women’s History Month See these shows in New York and around the country, featuring women artists and feminist icons. Sarbani Ghosh, March 6, 2017 Susan Bee, Pow! (2014). Courtesy of A.I.R. Politics got you down? Grab back! March is Women’s History Month, and what better way to pay homage to all the pioneering women who have advanced the cause for women’s equality than to go see these 12 shows and exhibitions? Currently on view in New York and around the country, these shows feature the work of pioneering feminist artists, old and new: Vadis Turner, Black Nest , 2016. Photo Courtesy Equity Gallery and © Vadis Turner 1. “FemiNest” at Equity Gallery “FemiNest” brings together the works of Natalie Frank, Karen Lee Williams, Michele Oka Doner, Barbara Segal, Page Turner, and Vadis Turner around the idea of a “nest,” in both its literal and metaphorical meanings. The show explores new spaces for women, considering spirituality, materiality, societal behaviors in the domestic and non-domestic spheres, protection, and gender-specific production, via works in sculpture, textiles, painting, and many other media. Location: Equity Gallery, 245 Broome Street, New York Price: Free Date and time: Through March 25. Wednesday to Saturday, 12 p.m.–6 p.m., and by appointment. Yayoi Kusama’s Aftermath of Obliteration of Eternity. 2. “Yayoi Kusama: Infinity Mirrors” at the Hirshhorn Yayoi Kusama has been making headlines recently with her polka dots and pumpkins at the Hirshhorn Museum. Her “Happenings” in New York in the 1960s, where she explored the naked body as a stage for performance, were just the start of her rebellion against patriarchal systems of power. -
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In the 1980S, a Group of Artists, Musicians and Free Thinkers Formed
Words Andy Thomas In 1986, if you walked east along discussions. They overlooked Rivington Street, in New York’s Lower everything that was not strictly for East Side, you would be confronted profit and tried to pretend it didn’t by a hulk of metal that twisted into exist,” says Kantor. “While highbrow the air like a giant spider hauling museum scholars wrote their essays itself from the earth. It was welded on auction winners, bestsellers and together, over many dope-fuelled gallery favourites, we had parties in nights, by a collection of artists, abandoned buildings and empty lots.” musicians and outsiders known Although critics and cultural as the Rivington School, who had historians overlooked the Rivington salvaged the abandoned cars and School, it was an important strand scrap metal that littered their to 1980s New York art. “It might neighbourhood. They christened sound contradictory, but the it the Rivington Sculpture Garden. Rivington School was not part A year later it was bulldozed by the of the downtown art scene,” says city, eager to capitalise on the area’s Kantor. “The downtown art scene property boom – which in turn was mostly meant the East Village driven by the art scene at the end of wannabe galleries and nightclubs, the street, where artists such as Keith seeking recognition and money, Haring and Jean-Michel Basquiat dominated by fashion and cheap were gaining international glamour. The Rivington School recognition. Visit the corner of was a guerrilla-style art community Rivington and Forsyth today and camping in the ruins of a remote you’ll find luxury condos, built in area in the Lower East Side.” 1988, worth millions of dollars. -
Paintings by Susan Bee and Miriam Laufer, AIR Gallery, NY, 2006
SUSAN BEE E-mail: [email protected] Website: http://epc.buffalo.edu/authors/bee/ SELECTED EXHIBITIONS Solo Shows Seeing Double: Paintings by Susan Bee and Miriam Laufer, A.I.R. Gallery, NY, 2006 (catalogue with essay by Johanna Drucker) Sign Under Test: Paintings and Artist’s Books, Pacific Switchboard Art Space, Portland, Oregon, 2004 Miss Dynamite: New Paintings, A.I.R. Gallery, New York, 2003 Miss Dynamite and Other Tales, Olin Art Gallery, Kenyon College, Gambier, Ohio, 2002 Ice Cream Sunday: Paintings and Works on Paper, Ben Shahn Galleries at William Paterson University of New Jersey, 2001 (catalogue with essay by David Shapiro) New Work, Rare Books and Manuscript Library, School of International Affairs, Columbia University, New York, 2000 Beware the Lady: New Paintings and Works on Paper, A.I.R. Gallery, New York, 2000 (catalogue with essay by John Yau) Touchdown, Recent Paintings, Cornershop Gallery, Buffalo, 1999 Post-Americana: New Paintings, A.I.R. Gallery, New York, 1998 Recent Paintings and a New Artist's Book, Granary Books Gallery, New York, 1997 New Paintings, Virginia Lust Gallery, New York, 1992 Altered Photo Images, Jack Morris Gallery, New York, 1979 Solo Show, Office of the Graduate School, Columbia University, New York, 1972 Selected Group Shows One True Thing, A.I.R. Gallery, NY; Putney School, VT, 2007 Pink Kid Gloves, Chashama Gallery, NY, 2006 Complicit! Contemporary American Art and Mass Culture, University of Virginia Art Museum, Charlottesville, VA, 2006 Conceptual Comics, Banff Centre for the Arts, Alberta, Canada, 2006 Generations, A.I.R. Gallery, NY, 1997, 2002, 2004, 2006 Too Much Bliss: Twenty Years of Granary Books, Smith College Museum, MA, 2005-06 I.D.:id; Wish You Were Here IV, A.I.R. -
Big Business, Real Estate Determinism, and Dance Culture in New York, 1980–88
Journal of Popular Music Studies, Volume 23, Issue 3, Pages 288–306 Big Business, Real Estate Determinism, and Dance Culture in New York, 1980–88 Tim Lawrence University of East London Despite the late 1970s national backlash against disco, dance culture flourished in New York during the first years of the 1980s, but entered a period of relative decline across the second half of the decade when a slew of influential parties closed. Critics attribute the slump to the spread of AIDS, and understandably so, for the epidemic devastated the city’s dance scene in a way that began with yet could never be reduced to numbers of lost bodies (Brewster and Broughton, Buckland, Cheren, Easlea, Echols, Shapiro). At the same time, however, the introduction of a slew of neoliberal policies—including welfare cuts, the liberalization of the financial sector, and pro-developer policies—contributed to the rapid rise of the stock market and the real estate market, and in so doing presaged the systematic demise of dance culture in the city. In this article, I aim to explore how landlords who rented their properties to party promoters across the 1970s and early 1980s went on to strike more handsome deals with property developers and boutique merchants during the remainder of the decade, and in so doing forged a form of “real estate determinism” that turned New York City into an inhospitable terrain for parties and clubs.1 While I am sympathetic to David Harvey’s and Sharon Zukin’s critique of the impact of neoliberalism on global cities such as New York, I disagree with their contention that far from offering an oppositional alternative to neoliberalism, cultural workers colluded straightforwardly with the broad terms of that project, as will become clear. -
Tives Motives
TIVES MOTIVES INSTALLATION Nature and NATO Joseph Nechvatal Christy Rupp Albright-Knox Art Gallery February 28 - April 1 1984 EXHIBIT Doug Ashford Jennifer Bolande Eva Buchmuller, SQUAT Theatre Jane Dickson Kathryn High Joseph Nechvatal Christy Rupp HALLWALLS and CEPA March 2 - 29 1984 curated by Claudia Gould essay by Edit deAK with Duncan Smith Funding for this exhibition and catalogue has been provided by the National Endowment for the Arts, the New York State Council on the Arts and the Chason family. INTRODUCTION AND ACKNOWLEDGEMENTS MOTIVES is the eighth in a continuing series technician, for her adeptness concerning the of cooperative projects organized by the multi-media installations and to Chris Hill, Albright-Knox Art Gallery, CEPA and video curator, for her assistance in regard to HALLWALLS. Initiated in 1980 (under the title the video installations. Four By Three), this ongoing project brings At CEPA I would like to thank Gary exciting contemporary work to the audience Nickard, director, Robert Collignon, curator of the museum and the artists' spaces of and Daniel Levine, administrative coordinator, Buffalo. for their support and assistance over the past MOTIVES is an exhibition about political year. and social non-violent activism and how this At the Albright-Knox Art Gallery I am activism translates through contemporary art. personally grateful to Susan Krane, curator, The artists chosen are not political artists per for her enthusiasm and organization con- se, but rather artists who are committed to cerning the installations; -
June 2020 June 2020 June 2020 June 2020
JUNE 2020 JUNE 2020 JUNE 2020 JUNE 2020 field notes art books Normality is Death by Jacob Blumenfeld 6 Greta Rainbow on Joel Sternfeld’s American Prospects 88 Where Is She? by Soledad Álvarez Velasco 7 Kate Silzer on Excerpts from the1971 Journal of Prison in the Virus Time by Keith “Malik” Washington 10 Rosemary Mayer 88 Higher Education and the Remaking of the Working Class Megan N. Liberty on Dayanita Singh’s by Gary Roth 11 Zakir Hussain Maquette 89 The pandemics of interpretation by John W. W. Zeiser 15 Jennie Waldow on The Outwardness of Art: Selected Writings of Adrian Stokes 90 Propaganda and Mutual Aid in the time of COVID-19 by Andreas Petrossiants 17 Class Power on Zero-Hours by Jarrod Shanahan 19 books Weston Cutter on Emily Nemens’s The Cactus League art and Luke Geddes’s Heart of Junk 91 John Domini on Joyelle McSweeney’s Toxicon and Arachne ART IN CONVERSATION and Rachel Eliza Griffiths’s Seeing the Body: Poems 92 LYLE ASHTON HARRIS with McKenzie Wark 22 Yvonne C. Garrett on Camille A. Collins’s ART IN CONVERSATION The Exene Chronicles 93 LAUREN BON with Phong H. Bui 28 Yvonne C. Garrett on Kathy Valentine’s All I Ever Wanted 93 ART IN CONVERSATION JOHN ELDERFIELD with Terry Winters 36 IN CONVERSATION Jason Schneiderman with Tony Leuzzi 94 ART IN CONVERSATION MINJUNG KIM with Helen Lee 46 Joseph Peschel on Lily Tuck’s Heathcliff Redux: A Novella and Stories 96 june 2020 THE MUSEUM DIRECTORS PENNY ARCADE with Nick Bennett 52 IN CONVERSATION Ben Tanzer with Five Debut Authors 97 IN CONVERSATION Nick Flynn with Elizabeth Trundle 100 critics page IN CONVERSATION Clifford Thompson with David Winner 102 TOM MCGLYNN The Mirror Displaced: Artists Writing on Art 58 music David Rhodes: An Artist Writing 60 IN CONVERSATION Keith Rowe with Todd B.