This Is Modern Art 2014/15 Season Lisa Portes Lisa
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Talking Chalk: Defacing the First Amendment in the Public Forum
TALKING CHALK: DEFACING THE FIRST AMENDMENT IN THE PUBLIC FORUM Marie A. Failinger* I. INTRODUCTION ...................................................................................... 755 II. CHALKING AS A CONTENT DILEMMA ................................................... 759 III. THE PROBLEM OF ANALOGY: IS CHALKING REAL GRAFFITI? .............. 764 IV. CONCLUSION ......................................................................................... 773 I. INTRODUCTION The common law lives on analogy—its power to change depends on whether the creative new things individuals do every day that get them into trouble can be correctly assimilated to conduct that has previously been ruled legal or illegal, determined to be the subject of damages, or protected as part of individual liberty. We might find this dilemma captured in the famous Sesame Street ditty that goes, “One of these things is not like the others, one of these things just doesn’t belong . .”1 Since the Supreme Court’s development of ever-more nuanced versions of the public forum doctrine, starting with cases such as Perry Education Association v. Perry Local Educators’ Association,2 among other refinements of its Speech Clause jurisprudence,3 much free speech jurisprudence has taken on a common law caste, one analogy after another. Because the Supreme Court has provided more robust protection for free speech rights in “public forums,” like streets, parks, and sidewalks, the courts must parse possible analogies to determine whether a sidewalk leading up to a * Professor of Law, Hamline University School of Law. 1 JOE RAPOSO & JON STONE, ONE OF THESE THINGS (IS NOT LIKE THE OTHERS) (Columbia 1970), available at http://members.tripod.com/tiny_dancer/one.html. The Sesame Street analogical process has been cited by more than one legal academic explaining a basic tool of legal analysis. -
The Role of Political Art in the 2011 Egyptian Revolution
Resistance Graffiti: The Role of Political Art in the 2011 Egyptian Revolution Hayley Tubbs Submitted to the Department of Political Science Haverford College In partial fulfillment of requirements for the degree of Bachelor of Arts Professor Susanna Wing, Ph.D., Advisor 1 Acknowledgments I would like to extend my heartfelt gratitude to Susanna Wing for being a constant source of encouragement, support, and positivity. Thank you for pushing me to write about a topic that simultaneously scared and excited me. I could not have done this thesis without you. Your advice, patience, and guidance during the past four years have been immeasurable, and I cannot adequately express how much I appreciate that. Thank you, Taieb Belghazi, for first introducing me to the importance of art in the Arab Spring. This project only came about because you encouraged and inspired me to write about political art in Morocco two years ago. Your courses had great influence over what I am most passionate about today. Shukran bzaf. Thank you to my family, especially my mom, for always supporting me and my academic endeavors. I am forever grateful for your laughter, love, and commitment to keeping me humble. 2 Table of Contents Acknowledgements……………………………………………………....…………. 1 Introduction…………………………………………………………………….……..3 The Egyptian Revolution……………………………………………………....6 Limited Spaces for Political Discourse………………………………………...9 Political Art………………………………………………………………..…..10 Political Art in Action……………………………………………………..…..13 Graffiti………………………………………………………………………....14 Conclusion…………………………………………………………………......19 -
9/11 Report”), July 2, 2004, Pp
Final FM.1pp 7/17/04 5:25 PM Page i THE 9/11 COMMISSION REPORT Final FM.1pp 7/17/04 5:25 PM Page v CONTENTS List of Illustrations and Tables ix Member List xi Staff List xiii–xiv Preface xv 1. “WE HAVE SOME PLANES” 1 1.1 Inside the Four Flights 1 1.2 Improvising a Homeland Defense 14 1.3 National Crisis Management 35 2. THE FOUNDATION OF THE NEW TERRORISM 47 2.1 A Declaration of War 47 2.2 Bin Ladin’s Appeal in the Islamic World 48 2.3 The Rise of Bin Ladin and al Qaeda (1988–1992) 55 2.4 Building an Organization, Declaring War on the United States (1992–1996) 59 2.5 Al Qaeda’s Renewal in Afghanistan (1996–1998) 63 3. COUNTERTERRORISM EVOLVES 71 3.1 From the Old Terrorism to the New: The First World Trade Center Bombing 71 3.2 Adaptation—and Nonadaptation— ...in the Law Enforcement Community 73 3.3 . and in the Federal Aviation Administration 82 3.4 . and in the Intelligence Community 86 v Final FM.1pp 7/17/04 5:25 PM Page vi 3.5 . and in the State Department and the Defense Department 93 3.6 . and in the White House 98 3.7 . and in the Congress 102 4. RESPONSES TO AL QAEDA’S INITIAL ASSAULTS 108 4.1 Before the Bombings in Kenya and Tanzania 108 4.2 Crisis:August 1998 115 4.3 Diplomacy 121 4.4 Covert Action 126 4.5 Searching for Fresh Options 134 5. -
Illstyle and Peace Study Guide
STUDY GUIDE Illstyle and Peace Productions Useful Vocabulary and Terms to Share Break beat: The beat of the most danceable section of a song. Popping: A street dance style based upon the Additional Resources technique of quickly contracting and relaxing muscles to cause a jerk in the dancer’s body Johan Kugelberg, Born in the Bronx; a visual record Locking: A dance style relying on perfect timing and of the early days of hip hop NYPL link frequent “locking” of limbs in time with music. 6 step: A basic hip-hop move in which the dancer’s Jeff Chang , Can’t Stop, Won’t Stop NYPL link arms support the body which spins in a circle above the floor. Eric Felisbret, Graffiti New York NYPL link Downrock: All breakdance moves performed with a part of the body (other than the feet) is in Bronx Rhymes interactive map contact with the floor. http://turbulence.org/Works/bronx_rhymes/what.html Smithsonian article on birth of hip-hop: http://invention.smithsonian.org/resources/online_arti Background Information for Students cles_detail.aspx?id=646 There are four essential elements of hip-hop: 5 Pointz, New York Graffiti Mecca: http://5ptz.com/ DJing: The art of spinning records and using two turn- NY Times Articles on 5 Pointz: tables to create your own instrument. http://goo.gl/i1F2I0 Also the art of touching and moving records with your hands. http://goo.gl/kOCFnv Breakdancing: A style of dancing that includes gymnastic moves, head spins, and backspins. Young 5Pointz Buzzfeed article with photos: people who were into dancing to the “breaks” at Bronx http://goo.gl/1ItqX9 parties started calling themselves B-boys and B-girls, and their style of dancing came to be known as NY Times Article on Taki183, one of the first taggers breakdancing. -
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. -
16 IMPROVISATORY PEACE ACTIVISM? Graffiti During and After Egypt’S Most Recent Revolution1
16 IMPROVISATORY PEACE ACTIVISM? Graffiti during and after Egypt’s most recent revolution1 Asif Majid On January 27, 2011, just two days after the start of massive protests against Egyptian President Hosni Mubarak in Cairo’s Tahrir Square, artist Ganzeer released a pamphlet entitled “How to Revolt Intelligently.”2 Circulated by email—and on paper, after the Egyptian government shut down the internet on January 28—the pamphlet highlighted what protesters should wear to protect their bodies (hooded sweatshirts, thick gloves, protective glasses, and running shoes), what to carry to spread their message (spray paint for police visors, pot lids as shields, and a rose for peace), and how to combat police personnel and vehicles (Figure 16.1a, b). Political scientist and blogger As’ad AbuKhalil later described the pamphlet as “the most sophisticated manual by activists that I have seen” complete with “well-done illustration.”3 Indeed, Ganzeer’s pamphlet echoed German studies scholar Edgar Landgraf’s framing of improvisation as “a basic means for the affirmation of agency and even survival in a society that has become utterly unpredictable.”4 Prior to the January 2011 protests, basic survival in Egyptian society had grown increasingly difficult. Economically, prices for staple goods such as bread and fruit had skyrocketed while the minimum wage had remained stagnant since 1984. Additionally, though increasing numbers of youth had access to education, 700,000 annual university graduates pursued only 200,000 new jobs every year.5 Wealth was concentrated in the hands of the few at the expense of the many; six men owned 4.3 percent of the country’s wealth while 25 percent of the country lived below the poverty line.6 Politically, the Mubarak regime had long maintained a state of emergency, contributing to a concentration of power that enabled Mubarak to appoint and remove the prime minister, Council of Ministers, governors, mayors, and deputy mayors at will. -
FIGURE 7.1. Demonstration/Performance by The
07 Chapter 7.qxd 12/8/2006 2:46 PM Page 192 FIGURE 7.1. Demonstration/performance by the Art Workers Coalition at the Guggenheim Museum, New York, 1971, in support of AWC cofounder Hans Haacke, whose exhibition was canceled by the museum’s director over his artwork Shapolsky et al., Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971. Photographer unknown. L 07 Chapter 7.qxd 12/8/2006 2:46 PM Page 193 7. Artists’ Collectives Mostly in New York, 1975–2000 ALAN W. MOORE The question of collectivism in recent art is a broad one. Artists’ groups are an intimate part of postmodern artistic production in the visual arts, and their presence informs a wide spectrum of issues including modes of artistic practice, the exhibition and sales system, publicity and criticism, even the styles and subjects of art making. Groups of all kinds, collectives, collaborations, and organizations cut across the landscape of the art world. These groups are largely autonomous organizations of artistic labor that, along with the markets and institutions of capital expressed through galleries and museums, comprise and direct art. The presence of artistic collectives is not primarily a question of ideology; it is the expression of artistic labor itself. The practical requirements of artistic production and exhibition, as well as the education that usually precedes active careers, continuously involves some or a lot of collective work. The worldwide rise in the number of self- identiWed artist collectives in recent years reXects a change in patterns of artistic labor, both in the general economy (that is, artistic work for com- mercial media) and within the special economy of contemporary art. -
Paper Abstracts
PAPER ABSTRACTS 43rd Annual Conference Thursday, April 7th –– Saturday, April 9th, 2016 DePaul University, Chicago rd The 43 Annual Conference of the Midwest Art History Society is sponsored by: DePaul University The Art Institute of Chicago Columbia College Loyola University Institutional Members of the Midwest Art History Society The Cleveland Museum of Art The Figge Art Museum The Frederik Meijer Gardens & Sculpture Park Illinois State University School of Art The Krasl Art Center Michigan State University Art, Art History & Design The Nelson-Atkins Museum of Art Northern Arizona University Art Museum The Snite Museum of Art, University of Notre Dame University of Illinois at Chicago School of Art & Art History University of Iowa Museum of Art University of Iowa School of Art and Art History The University of Kansas The Kress Foundation Department of Art History Wright State University Art Galleries 2 CONTENTS Conference at a Glance 5 Conference Schedule and Abstracts 7 Undergraduate Session (I) 7 El Arte in the Midwest 8 Asian Art 10 Chicago Design: Histories and Narratives 11 The Social Role of the Portrait 13 Latin American and Pre-Columbian Art 14 History of Photography 16 Black Arts Movement 18 The Personal is Political: Feminist Social Practice 18 International Art Collections of Chicago 20 The Chicago World’s Fair: A Reevaluation 21 Native American Images in Modern and Contemporary Art 22 Art for All Seasons: Art and Sculpture in Parks and Gardens 23 Open Session (I) 25 Architecture 26 Twentieth-Century Art (I) 28 Recent Acquisitions -
Thinking the Flâneur in Late-Modern Societies Francisco Martínez
Beautiful Transgressions: Thinking the Flâneur in Late-modern Societies Francisco Martínez Introduction The present text1 has the objective of accounting for recent reincar- nations of the flâneur. The exercise is, therefore, to track this figure in late-modern societies. Also to re-think the notion of transgres- sion, changing in a world obsessed with changes, whereby limits appear increasingly loss and ‘think out of the box’ is stressed as a mean to innovation. Methodologically, I draw on multiple examples that help to reflect on contemporary transgressions as well as on classic authors that were inspired by the flâneur. Zygmunt Bauman (1994) enhances the rehearsing character of the original flâneur, its contingency of meaning, its playfulness, bringing about its own social order. And nonetheless, Bauman argues that the transforma- tion of this figure into a costumer is practically unavoidable: “at the end of the day, the dividing line has blurred. It is no more clear what (who) is the object of consumption, who (what) is the consumer” 1 Thanks to Marcos, Marika, Max, Patrick, Pille, Simon and Siobhan for their comments and encouragement while writing this text. 403 Hopeless Youth! Remediated Youth? (ibid.: 146). With certain drops of pessimism, Bauman claims that the contemporary flâneur has been reduced to a costumer in a mall or to a travelling player. He then concludes that today anyone with passionate eyes a heroic constitution would refuse being a flâneur (ibid.: 156). I will contest this opinion by giving contemporary exam- ples of flâneur-like acts that engage with the public space in a play- ful, transversal and affective interaction. -
Contemporary Graffiti's Contra-Community" (2015)
Maine State Library Maine State Documents Academic Research and Dissertations Special Collections 2015 Anti-Establishing: Contemporary Graffiti's Contra- Community Homer Charles Arnold IDSVA Follow this and additional works at: http://digitalmaine.com/academic Recommended Citation Arnold, Homer Charles, "Anti-Establishing: Contemporary Graffiti's Contra-Community" (2015). Academic Research and Dissertations. Book 10. http://digitalmaine.com/academic/10 This Text is brought to you for free and open access by the Special Collections at Maine State Documents. It has been accepted for inclusion in Academic Research and Dissertations by an authorized administrator of Maine State Documents. For more information, please contact [email protected]. ANTI-ESTABLISHING: CONTEMPORARY GRAFFITI’S CONTRA-COMMUNITY Homer Charles Arnold Submitted to the faulty of The Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the requirements for the degree Doctor of Philosophy April, 2015 Accepted by the faculty of the Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the degree of Doctor of Philosophy. _______________________________ Sigrid Hackenberg Ph.D. Doctoral Committee _______________________________ George Smith, Ph.D. _______________________________ Simonetta Moro, Ph.D. April 14, 2015 ii © 2015 Homer Charles Arnold ALL RIGHTS RESERVED iii It is the basic condition of life, to be required to violate your own identity. -Philip K. Dick Celine: “Today, I’m Angéle.” Julie: “Yesterday, it was me.” Celine: “But it’s still her.” -Céline et Julie vont en bateau - Phantom Ladies Over Paris Dedicated to my parents: Dr. and Mrs. H.S. Arnold. iv ACKNOWLEDGEMENTS The author owes much thanks and appreciation to his advisor Sigrid Hackenberg, Ph.D. -
The Social Organization of the Hip Hop Graffiti Subculture
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1995 The Social Organization of the Hip Hop Graffiti Subculture Victoria Arriola Wilson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the Social and Cultural Anthropology Commons Recommended Citation Wilson, Victoria Arriola, "The Social Organization of the Hip Hop Graffiti Subculture" (1995). Dissertations, Theses, and Masters Projects. Paper 1539626015. https://dx.doi.org/doi:10.21220/s2-yr21-sx21 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. THE SOCIAL ORGANIZATION OF THE HIP HOP GRAFFITI SUBCULTURE A Thesis Presented to The Faculty of the Department of Sociology The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Victoria Arriola Wilson 1995 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author Approved, August 15 David Aday, ffr. A- Gary Kreps Kathleen Slevin TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iv LIST OF TABLES v LIST OF ILLUSTRATIONS vi ABSTRACT vii CHAPTER I. HIP HOP GRAFFITI: A HISTORICAL PERSPECTIVE 2 CHAPTER II. GRAFFITI: BASIC TERMS 14 CHAPTER III. THE SOCIAL ORGANIZATION OF GRAFFITI 24 CHAPTER IV. CONCLUSIONS: THE IMPLICATIONS OF SOCIAL POLICY 55 APPENDIX A: SUMMARY OF CREW CHARACTERISTICS 67 APPENDIX B: HIP HOP AND GANG SLANG 69 APPENDIX C: FORMAL INTERVIEW SCHEDULE 76 BIBLIOGRAPHY 83 iii ACKNOWLEDGEMENTS The writer wishes to express her appreciation to Professor David Aday, Jr., under whose guidance this investigation was conducted, for his patient guidance and criticism throughout the investigation.