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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). -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
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. -
NO BINGO for FELONS Arcadia University Art Gallery Exhibition Checklist August 28 – November 3, 2013 Height Precedes Width Precedes Depth
NO BINGO FOR FELONS Arcadia University Art Gallery Exhibition Checklist August 28 – November 3, 2013 Height precedes width precedes depth. Frank Bender Anna Duval 1977 fiberglass, clay, paint, wig 12” x 8" x 10” Courtesy of Frank Bender Forensics, LLC World-renowned forensic artist Frank Bender began his career without any formal training in forensics. As a graduate of the Pennsylvania Academy and an artist interested in anatomy, he had the opportunity to see the remains of an unidentified crime victim presented to him by a medical examiner. Studying the victim, he believed he could render a reliable sculptural likeness solely from the remains. His attempt, included in this exhibition—Bender’s first reconstruction— eventually led to the successful identification of murder victim Anna Duval by a New Jersey State Police detective. It is one of dozens of busts by Bender that proved instrumental in solving crimes, demonstrating his uncanny instincts both with rendering the body as well as the psychology of the subjects with which he worked. Jennifer Bolande The Porn Series 1982/83 black and white photography 16” x 20" framed Courtesy of the artist Bloande's Porn Series is described by the artist as "cropped stills from 50s retro porn films by Irving Klaw. Watching them really fast, I noticed these moments of calm at the beginning or the end, with all of this ‘activity’ in between. It was this kind of aporia, with just an empty set, before that particular kind of narrative ride takes place." In these noir-ish images we see the spaces between transgression. -
SUZANNE LACY, FEMINISM and QUILTING by JACQUELINE
EVER PRESENT, NEVER PRESENTED: SUZANNE LACY, FEMINISM AND QUILTING by JACQUELINE WITKOWSKI B.A. (Hons), DePaul University, 2010 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Art History) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) September 2014 © Jacqueline Witkowski, 2014 Abstract Seated at tables of four, over four hundred women aged 55-95 years old unfold tablecloths of yellow, red, and black. With their choreographed and synchronized gesturing hands, they mimic traditional Euro-American quilt patterns. This performance, titled The Crystal Quilt, was produced by Los Angeles-based artist Suzanne Lacy in 1987 as the culminating work to the two- year long, statewide initiative Whisper Minnesota (1985-1987). There is a continued resonance of the quilt in Lacy’s oeuvre, as The Crystal Quilt was the third project to reference quilts and quilt making. The first project, Evalina and I: Crimes, Quilts, Art (1975-78), and a smaller commemorative project (1980), employed tactile quilting projects instead of the conceptual quilt arrangement that Lacy would incorporate in 1987. The formal and historical attributes of this textile practice have been largely ignored in contemporary scholarship on the artist, thus raising the question of how this very specific medium encouraged her artistic and activist agenda. The primary focus of this thesis is an exploration of how Lacy mediates these two approaches, one of feminism and the other inspired by conceptual artist Allan Kaprow, through the medium of the quilt. Neither Lacy’s quilt works nor the use of craft during the second wave feminist movement has been sufficiently analyzed within craft scholarship. -
February 11, 1999
Digital Kenyon: Research, Scholarship, and Creative Exchange The Kenyon Collegian College Archives 2-4-1999 Kenyon Collegian - February 11, 1999 Follow this and additional works at: https://digital.kenyon.edu/collegian Recommended Citation "Kenyon Collegian - February 11, 1999" (1999). The Kenyon Collegian. 559. https://digital.kenyon.edu/collegian/559 This News Article is brought to you for free and open access by the College Archives at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in The Kenyon Collegian by an authorized administrator of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. Sports News OPED Features A&E Friday's Battle of the Hoops end losing hittier assumes new Queerest of the queer, Yoga craze hits 8 Ranrk. nno-p- . 10 streaks, page 15 duties, page 2 page 7 Kenyon, page IK-E-N-Y-O-- N c E -- G -- I 'A -- N Thursday, February 1199 Sm"e CXXYI, Number 14 ESTABLISHED 1856 De La Soul to headline Summer Send Off trio will appear for year-en-d bash Breaking the silence, Social Board announces with '98 percent' certainty that rap stipulations with Soul sometime within the next few Goldman via telephone that the Soul sent the Social Board a con- tract and the BY JEFF REED Grunenwald, the direc- days. group has agreed to perform at tract and a list of stipulations that Claudine StaffWriter activities, and Eli Until this point, Goldman and Kenyon on May 1, though De La Soul hoped Kenyon could tor of student '99, last year's Social the Social Board have kept the the has not yet received provide. -
The Legacy of 1970S Feminist Artistic Practices on Contemporary Activist Art Reviewing 1970S and 1980S Feminist Art Practices In
n.paradoxa online, issue 14 February 2001 Editor: Katy Deepwell n.paradoxa online issue no.14 Feb 2001 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issue 14, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue14.pdf February 2001, republished in this form: January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk n.paradoxa online issue no.14 Feb 2001 ISSN: 1462-0426 2 List of Contents Meena Alexander Post-Colonial Theatre of Sense: The Art of Chila Kumari Burman 4 Katrin Kivimaa Introducing Sexual Difference into Estonian Art Feminist Tendencies during the 1990s 14 Reviewing 1970s and 1980s Feminist Art Practices in the 1990s: Three Major Exhibitions on Judy Chicago, Eleanor Antin and Martha Rosler College Art Association Conference panel papers, February 2001 (14, Feb 2001) Lisa Bloom (chair) Opening Remarks and CV's of contributors (14, Feb 2001) 30 Alison Rowley Exhibiting Martha Rosler? A Feminist Response to martha rosler: positions in the life world (14, Feb 2001) 35 Catherine Caesar Martha Rosler's Critical Position within Feminist Conceptual Practices (14, Feb 2001) 43 Ruth Wallen The Legacy of 1970s Feminist Artistic Practices on Contemporary Activist Art (14, Feb 2001) 52 Lucy Soutter Community vs. -
Oral History Interview with Suzanne Lacy, 1990 Mar. 16-Sept. 27
Oral history interview with Suzanne Lacy, 1990 Mar. 16-Sept. 27 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 Suzanne Lacy on March 16, 1990. The interview took place in Berkeley, California, and was conducted by Moira Roth for the Archives of American Art, Smithsonian Institution. This interview has been extensively edited for clarification by the artist, resulting in a document that departs significantly from the tape recording, but that results in a far more usable document than the original transcript. —Ed. Interview [ Tape 1, side A (30-minute tape sides)] MOIRA ROTH: March 16, 1990, Suzanne Lacy, interviewed by Moira Roth, Berkeley, California, for the Archives of American Art. Could we begin with your birth in Fresno? SUZANNE LACY: We could, except I wasn’t born in Fresno. [laughs] I was born in Wasco, California. Wasco is a farming community near Bakersfield in the San Joaquin Valley. There were about six thousand people in town. I was born in 1945 at the close of the war. My father [Larry Lacy—SL], who was in the military, came home about nine months after I was born. My brother was born two years after, and then fifteen years later I had a sister— one of those “accidental” midlife births. -
Modern Painters, March, 2015
VARIOUS SMALL FIRES 812 N HIGHLAND AVE LOS ANGELES 90038 VSF [email protected] / 310.426.8040 Slenske, Michael, “Sonic Highways,” Modern Painters, March, 2015. Page 1 of 6. 46 MODERN PAINTERS MARCH 2015 BLOUINARTINFO.COM VARIOUS SMALL FIRES 812 N HIGHLAND AVE LOS ANGELES 90038 VSF [email protected] / 310.426.8040 Slenske, Michael, “Sonic Highways,” Modern Painters, March, 2015. Page 2 of 6. sonic highways scott benzel’s mythical, musical journey into the heart of the american west by michael slenske portrait by mason poole DO NOT ENTER Though the sign is sun-bleached and splintered, its message— painted in bold black letters—couldn’t be any clearer. The warning stands before a small village of graffiti-tagged outbuildings, including a shuttered gas station and a boarded- up school. The latter brims with a flotsam of shattered mirrors, disarticulated furniture, crumbling ceiling tiles, and an old Laffargue upright piano that still carries a note or two despite being stripped down to a skeletal, dry-rotted carcass. Outside, a maelstrom of mutilated palm trees form circular, triangular, and ovoid configurations—some aligned like plump Cohibas in cigar-box formation, others splayed in meandering herring- bone patterns that evoke slaughtered sentries—serve as elegiac effigies to this modernist manifest-destiny fantasia. Welcome to Desert Center, California (population around 200). Incorporated in 1921 by teetotaling preacher and cotton farmer Stephen Ragsdale, who bought the land from a local prospector after he rescued Ragsdale during a mid-desert breakdown, the now nearly ghosted township was created as a centrally located traveler’s oasis virtually equidistant from Phoenix and Los Angeles. -
Elke Krasny Archive, Care, and Conversation: Suzanne Lacy's
Elke Krasny Archive, Care, and Conversation: Suzanne Lacy’s International Dinner Party in Feminist Curatorial Thought Elke Krasny Archive, Care, and Conversation: Suzanne Lacy’s International Dinner Party in Feminist Curatorial Thought Acknowledgment First and foremost, I am deeply grateful to my supervisor Dorothee Richter for her endless support. I appreciate the ongoing conversations around feminist curating. I am especially thankful to Susanne Clausen and Alun Rowlands for their support throughout. This book is lovingly dedicated to my wonderful family. Elke Krasny Archive, Care, and Conversation: Suzanne Lacy’s International Dinner Party in Feminist Curatorial Thought The present study was accepted as a dissertation at the Department of Fine Arts of the University of Reading. Prof Dr Dorothee Richter advised the dissertation. This publication is based on the dissertation as part of the PhD in Practice in Curating Program, a joint doctoral program of the Zurich University of the Arts and the University of Reading, supported by “swissuniversities.” Published by ONCURATING.org Proofreading: Stephanie Carwin Set and design: Biotop 3000 © 2020 ONCURATING.org, and the author. The rights of this publication remain by the author. The publication is openly accessible on the website www.on-curating.org and can be downloaded and shared under the restriction of crediting the author and/or OnCurating.org. The Publisher is granted a non-exclusive right of use in respect of the online publication of the work without the obligation to make use of this right. The Author is entitled to make a PDF version of the work publicly accessible online via his/ her personal website, an institutional server or a suitable subject-based repository once it has appeared in book form. -
SCOTT BENZEL Born in Scottsdale, AZ Lives and Works in Los Angeles, CA
VARIOUS SMALL FIRES 812 N HIGHLAND AVE LOS ANGELES 90038 VSF [email protected] / 310.426.8040 SCOTT BENZEL Born in Scottsdale, AZ Lives and works in Los Angeles, CA EDUCATION 2001 MFA, California Institute of the Arts, Valencia, CA 1995 BA, University of Arizona, Tucson 1988 California Institute of the Arts, Valencia, CA SOLO and TWO-PERSON EXHIBITIONS 2014 Inverted Capitol Spire, Programmatic Architecture Displacement 5-7 & Inversion V, Various Small Fires, Los Angeles, CA Scott Benzel, Maccarone, New York 2013 LAAIR / The Traveller’s Companion Addenda, Shanaynay, Paris, France Scott Benzel and What does Possession Mean to You?, Human Resources, Los Angeles, CA 2012 Scott Benzel and Mark Hagen, curated by Ali Subotnick, Venice Beach Biennial, Venice, CA The Academy / The Chthonic at Eleusis, Public Fiction, Los Angeles, CA 2011 Scott Benzel, Contemporary Art Museum St. Louis, St. Louis, MO Maldistribution, Human Resources at Cottage Home, Los Angeles, CA 2010 Inversions I-IV, Apartment 2, Los Angeles, CA 2009 Scott Benzel, The Mandrake, Los Angeles, CA VARIOUS SMALL FIRES 812 N HIGHLAND AVE LOS ANGELES 90038 VSF [email protected] / 310.426.8040 SELECTED GROUP EXHIBITIONS 2014 Golden State, curated by Drew Heitzler, Museum of Contemporary Art, Tucson, AZ And yes, I even remember you, curated by Eric Kim, Aran Cravey, Los Angeles, CA 2013 Would you ever Write a Tract?, curated by Marcel Dickhage and Daniel Horn, Autocenter, Berlin, Germany The Stand In, curated by Alexandra Gaty and Lauren Mackler, Public Fiction, Los Angeles, CA In the Good Name -
History All-Time Coaching Records All-Time Coaching Records
HISTORY ALL-TIME COACHING RECORDS ALL-TIME COACHING RECORDS REGULAR SEASON PLAYOFFS REGULAR SEASON PLAYOFFS CHARLES ECKMAN HERB BROWN SEASON W-L PCT W-L PCT SEASON W-L PCT W-L PCT LEADERSHIP 1957-58 9-16 .360 1975-76 19-21 .475 4-5 .444 TOTALS 9-16 .360 1976-77 44-38 .537 1-2 .333 1977-78 9-15 .375 RED ROCHA TOTALS 72-74 .493 5-7 .417 SEASON W-L PCT W-L PCT 1957-58 24-23 .511 3-4 .429 BOB KAUFFMAN 1958-59 28-44 .389 1-2 .333 SEASON W-L PCT W-L PCT 1959-60 13-21 .382 1977-78 29-29 .500 TOTALS 65-88 .425 4-6 .400 TOTALS 29-29 .500 DICK MCGUIRE DICK VITALE SEASON W-L PCT W-L PCT SEASON W-L PCT W-L PCT PLAYERS 1959-60 17-24 .414 0-2 .000 1978-79 30-52 .366 1960-61 34-45 .430 2-3 .400 1979-80 4-8 .333 1961-62 37-43 .463 5-5 .500 TOTALS 34-60 .362 1962-63 34-46 .425 1-3 .250 RICHIE ADUBATO TOTALS 122-158 .436 8-13 .381 SEASON W-L PCT W-L PCT CHARLES WOLF 1979-80 12-58 .171 SEASON W-L PCT W-L PCT TOTALS 12-58 .171 1963-64 23-57 .288 1964-65 2-9 .182 SCOTTY ROBERTSON REVIEW 18-19 TOTALS 25-66 .274 SEASON W-L PCT W-L PCT 1980-81 21-61 .256 DAVE DEBUSSCHERE 1981-82 39-43 .476 SEASON W-L PCT W-L PCT 1982-83 37-45 .451 1964-65 29-40 .420 TOTALS 97-149 .394 1965-66 22-58 .275 1966-67 28-45 .384 CHUCK DALY TOTALS 79-143 .356 SEASON W-L PCT W-L PCT 1983-84 49-33 .598 2-3 .400 DONNIE BUTCHER 1984-85 46-36 .561 5-4 .556 SEASON W-L PCT W-L PCT 1985-86 46-36 .561 1-3 .250 RE 1966-67 2-6 .250 1986-87 52-30 .634 10-5 .667 1967-68 40-42 .488 2-4 .333 1987-88 54-28 .659 14-9 .609 CORDS 1968-69 10-12 .455 1988-89 63-19 .768 15-2 .882 TOTALS 52-60 .464 2-4 .333