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Press Release
LOOKING AT MUSIC: SIDE 2 EXPLORES THE CREATIVE EXCHANGE BETWEEN MUSICIANS AND ARTISTS IN NEW YORK CITY IN THE 1970s AND 1980s Photography, Music, Video, and Publications on Display, Including the Work of Jean-Michel Basquiat, Blondie, Richard Hell, Sonic Youth, and Patti Smith, Among Others Looking at Music: Side 2 June 10—November 30, 2009 The Yoshiko and Akio Morita Gallery, second floor Looking at Music: Side 2 Film Series September—November 2009 The Roy and Niuta Titus Theaters NEW YORK, June 5, 2009—The Museum of Modern Art presents Looking at Music: Side 2, a survey of over 120 photographs, music videos, drawings, audio recordings, publications, Super 8 films, and ephemera that look at New York City from the early 1970s to the early 1980s when the city became a haven for young renegade artists who often doubled as musicians and poets. Art and music cross-fertilized with a vengeance following a stripped-down, hard-edged, anti- establishment ethos, with some artists plastering city walls with self-designed posters or spray painted monikers, while others commandeered abandoned buildings, turning vacant garages into makeshift theaters for Super 8 film screenings and raucous performances. Many artists found the experimental music scene more vital and conducive to their contrarian ideas than the handful of contemporary art galleries in the city. Artists in turn formed bands, performed in clubs and non- profit art galleries, and self-published their own records and zines while using public access cable channels as a venue for media experiments and cultural debates. Looking at Music: Side 2 is organized by Barbara London, Associate Curator, Department of Media and Performance Art, The Museum of Modern Art, and succeeds Looking at Music (2008), an examination of the interaction between artists and musicians of the 1960s and early 1970s. -
Whose Art Is It? - the New Yorker 2/8/16, 11:06 AM
Whose Art Is It? - The New Yorker 2/8/16, 11:06 AM Save paper and follow @newyorker on Twitter In the South Bronx DECEMBER 21, 1992 ISSUE Whose Art Is It? BY JANE KRAMER t could be argued that the South Bronx John Ahearn PHOTOGRAPH BY DUANE bronzes fit right into the neighborhood MICHALS —that whatever a couple of people said about bad role models and negative Iimages and political incorrectness, there was something seemly and humane, and even, in a rueful, complicated way, “correct,” about casting Raymond and his pit bull, Daleesha and her roller skates, and Corey and his boom box and basketball in the metal of Ghiberti, Donatello, and Rodin and putting them up on pedestals, like patron saints of Jerome Avenue. John Ahearn, who made the statues, says that he thought of them more as guardians than as saints, because their job was ambiguous, standing, as they did for a couple of days last year, between the http://www.newyorker.com/magazine/1992/12/21/whose-art-is-it Page 1 of 47 Whose Art Is It? - The New Yorker 2/8/16, 11:06 AM drab new station house of the city’s 44th Police Precinct and what is arguably one of its poorest, saddest, shabbiest, most drug-infested, AIDS-infected, violent neighborhoods. John himself is ambiguous about “ambiguous.” He says that when the city asked him to “decorate” the precinct he thought of the Paseo de la Reforma, in Mexico City, with its bronze heroes—a mile of heroes. He thought that maybe it would be interesting—or at least accurate to life on a calamitous South Bronx street, a street of survivors—to commemorate a few of the people he knew who were having trouble surviving the street, even if they were trouble themselves. -
Jane Dickson PR Draft3
JAMES FUENTES 55 Delancey Street New York, NY 10002 (212) 577-1201 [email protected] FOR IMMEDIATE RELEASE JANE DICKSON All That Is Solid Melts Into Air January 16 – February 17, 2019 Reception: Wednesday, January 16, 6-8pm James Fuentes is pleased to present Jane Dickson, All That Is Solid Melts Into Air. The exhibition includes works spanning from the early 1980s to the present, each offering an important document of New York City. Jane Dickson is known for her vivid depictions of Times Square’s nocturnal energy. Born in Chicago, Dickson arrived to New York in 1977, and a year later began a job programming visuals for Times Square’s first digital billboard. She mostly worked the night shift and was responsible for the New Year’s Eve countdown, witness to upturned faces basking in the hallucinatory glow. Two years later she moved to an apartment on 43rd Street and 8th Avenue, where she lived and raised two children with her husband. From this vantage point Dickson observed Times Square after dark, absorbing the seductive haze and structured environment in which figures and shadows moved. Dickson soon began to carry around a small, discrete camera as a way to record fleeting episodes. Many of these impressionistic photographs contain a rich field of dark blackness, punctuated by effervescent neon signs, the glow of a cigarette being lit, the fluorescent insides of a storefront, or the reflection of rain against the streets. As well as her snapshots, Dickson also made rough charcoal sketches describing the posture of figures—rushing, waiting, a young man being frisked, the shape of a cop on a horse—and this very gesture of peering over a ledge, looking in, like the artist. -
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. -
Xfr Stn: Public Programs
XFR STN: PUBLIC PROGRAMS 7/25 | 7 PM | FIFTH FLOOR PANEL DISCUSSIONS LIZA BÉAR & MILLY IATROU, 7/18 | 6 PM | NEW MUSEUM THEATER COMMUNICATIONS UPDATE MOVING IMAGE ARTISTS’ The weekly artist public access Communications DISTRIBUTION THEN & NOW Update, later renamed Cast Iron TV, ran continuously on Manhattan Cable’s Channel D from 1979 to 1991. Filmmakers Liza Béar and Milly Iatrou present indi- An assembly of participants from the MWF Video Club vidual segments cablecast in the Communications and Colab TV projects includes opening remarks from Update 1982 series: “The Very Reverend Deacon b. Alan W. Moore, Andrea Callard, Michael Carter, Coleen Peachy,” “A Matter of Facts,” “Crime Tales,” “Lighter Fitzgibbon, Nick Zedd, and members of the New Than Air,” and “Oued Nefifik: A Foreign Movie.” Museum’s “XFR STN” team. Followed by an open dis- cussion with the audience, facilitated by Alexis Bhagat. 8/1 | 7–8 PM | FIFTH FLOOR MITCH CORBER, THE ORIGINAL 9/7 | 1 PM | NEW MUSEUM THEATER WONDER ALWAYS ALREADY OBSOLETE: MEDIA CONVERGENCE, ACCESS, Mitch Corber has dedicated his career to production for NYC public access cable TV, working closely with AND PRESERVATION Colab TV and the MWF Video Club. Corber will present a selection of early work, as well as videos from his Beyond media specificity, what happens after video- long-running program Poetry Thin Air. tape has been absorbed into a new medium—and what are the implications of these continuing shifts in format for how we understand access and preserva- 8/8 | 7 PM | NEW MUSEUM THEATER tion? This panel considers forms of preservation that have emerged across analog, digital, and networked CLAYTON PATTERSON: platforms in conjunction with new forms of circulation FROM THE UNDERGROUND AND and distribution. -
ZEN-NOH Report 2019 We, the ZEN-NOH Group, Are the Trusted and Reliable Go-Between Linking Producers and Consumers
The Wengfu & Zijin Chemical Industry Co., Ltd. ammonium phosphate plant/Shanghang, China ZEN-NOH Report A farm engaging in contracted cultivation of rice/Saitama Prefecture A yakiniku restaurant operated directly by JA ZEN- A truck delivering gasoline and other NOH Meat Foods Co., Ltd. products to JA-SS service stations Yakiniku Honpo Pure Kitasenju Marui/Tokyo Angele, a mini tomato for which ZEN-NOH is the sole seed supplier TAMAGO COCCO, a sweets shop operated directly by JA ZEN-NOH Tamago Co., Ltd./Tokyo The Southern Prefecture VF Station, which packages strawberries/Fukuoka Prefecture JA Farmers Tomioka, which includes a direct-sales shop for domestic farm products/Gunma Prefecture ZEN-NOH Grain Corporation’s grain export facility with expanded loading capacity/New Orleans, La., U.S.A. National Federation of Agricultural Cooperative Associations JA is the abbreviation for Japan Agricultural Cooperatives. 1-3-1 Otemachi, Chiyoda-ku, Tokyo 100-6832 Tel: +81-3-6271-8055 Fax: +81-3-5218-2506 Website: www.zennoh.or.jp Published in September 2019 ZEN-NOH Group Corporate Identity ZEN-NOH Report 2019 We, the ZEN-NOH Group, are the trusted and reliable go-between linking producers and consumers. 4 Message from ZEN-NOH Representatives We think about peace of mind from three points of view: Three-Year 6 Changing business environment ・Efforts to support farm management and lifestyles, and to create vibrant production centers Business Plan 8 ZEN-NOH's courses of action for the next 5-10 years Delivering to consumers domestically-produced fresh and safe agriculture and livestock products ・ （FY2019-2021） ・Proactive efforts to protect the earth's environment 10 Top-priority measures 12 ZEN-NOH as a cooperative JA Manifesto 15 We, members, employees and officers of JA, act in accord with the fundamental definitions, values and principles of cooperative union The SDGs and co-operative initiatives activities (independence, self-reliance, participation, democratic management, fairness, and solidarity). -
Carnegie Corporation of New York a N N U a L R E P O R T 2004-2005 Carnegie Corporation of New York
Carnegie Corporation of New York COMBINED ANNU A L R E P O R T 2004-2005 ANNU A L R E P O R T 2004-2005 Carnegie Corporation of New York Carnegie Corporation of New York was created by Andrew Carnegie in 1911 to promote “the advancement and diffusion of knowledge and understanding.” Under Carnegie’s will, grants must benefit the people of the United States, although up to 7.4 percent of the funds may be used for the same purpose in countries that are or have been members of the British Commonwealth, with a current emphasis on sub-Saharan Africa. As a grantmaking foundation, the Corporation seeks to carry out Carnegie’s vision of philanthropy, which he said should aim “to do real and permanent good in this world.” © 2007 Carnegie Corporation of New York Contents REPORT OF THE PrESIDENT I Reflections on Encounters With Three Cultures 2004 REPORT ON PrOGRAM 1 Ongoing Evaluation Enhances the Corporation’s Grantmaking Strategies in 2004 Grants and Dissemination Awards Education International Development International Peace and Security Strengthening U.S. Democracy Special Opportunities Fund Carnegie Scholars Dissemination Anonymous $15 Million in Grants to Cultural and Social Service Institutions in New York City 2004 REPORT ON FINANCES 77 Financial Highlights 2004 REPORT ON ADMINISTRATION 91 Fiscal 2004: The Year in Review 2005 REPORT ON PrOGRAM 97 Key Programs Meet the Challenges of Maturity in 2005 Grants and Dissemination Awards Education International Development International Peace and Security Strengthening U.S. Democracy Special Opportunities -
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. -
Ahead of Their Time
NUMBER 2 2013 Ahead of Their Time About this Issue In the modern era, it seems preposterous that jazz music was once National Council on the Arts Joan Shigekawa, Acting Chair considered controversial, that stream-of-consciousness was a questionable Miguel Campaneria literary technique, or that photography was initially dismissed as an art Bruce Carter Aaron Dworkin form. As tastes have evolved and cultural norms have broadened, surely JoAnn Falletta Lee Greenwood we’ve learned to recognize art—no matter how novel—when we see it. Deepa Gupta Paul W. Hodes Or have we? When the NEA first awarded grants for the creation of video Joan Israelite Maria Rosario Jackson games about art or as works of art, critical reaction was strong—why was Emil Kang the NEA supporting something that was entertainment, not art? Yet in the Charlotte Kessler María López De León past 50 years, the public has debated the legitimacy of street art, graphic David “Mas” Masumoto Irvin Mayfield, Jr. novels, hip-hop, and punk rock, all of which are now firmly established in Barbara Ernst Prey the cultural canon. For other, older mediums, such as television, it has Frank Price taken us years to recognize their true artistic potential. Ex-officio Sen. Tammy Baldwin (D-WI) In this issue of NEA Arts, we’ll talk to some of the pioneers of art Sen. Sheldon Whitehouse (D-RI) Rep. Betty McCollum (D-MN) forms that have struggled to find acceptance by the mainstream. We’ll Rep. Patrick J. Tiberi (R-OH) hear from Ian MacKaye, the father of Washington, DC’s early punk scene; Appointment by Congressional leadership of the remaining ex-officio Lady Pink, one of the first female graffiti artists to rise to prominence in members to the council is pending. -
Az EU Versenyszabályainak Hatása a Közszolgálati Műsorszolgáltatók Helyzetére
Tartalomjegyzék 1. FEJEZET 8 ELŐSZÓ 8 2. FEJEZET 9 BEVEZETÉS 9 2.1 A kutatás módszere 9 2.2 A dolgozat felépítése 11 2.3 Háttér 11 2..4 Az EBU áttekintése 16 2.5 A közszolgálatiság EBU által elfogadott definíciója 19 2.6 A definíció kritikája 23 2.7. A közszolgálati műsorszolgáltatók finanszírozása 24 3. FEJEZET 30 AZ EU VERSENYSZABÁLYAI 30 4. FEJEZET 38 PANASZOK ÉS HIVATKOZÁSAIK 38 5. FEJEZET 39 AZ EU NAPIRENDJÉN SZEREPLŐ, KÖZSZOLGÁLATI MŰSORSZOLGÁLTATÁS FINANSZÍROZÁSÁT ÉRINTŐ TÉMÁK 39 5.1 Az Amszterdami Jegyzőkönyv - 40 5.2 Vitairat a közszolgálati műsorszolgáltatók finanszírozásáról 43 5.3 Transzparencia: A tagállamok és a közvállalatok pénzügyi kapcsolatairól szóló EK Direktíva felülvizsgálata 46 6. FEJEZET 49 KÖZSZOLGÁLATI MŰSORSZOLGÁLTATÓK FINANSZÍROZÁSI RENDSZERÉT KIFOGÁSOLÓ PANASZOK 49 6.1 SPANYOLORSZÁG 51 6.2 PORTUGÁLIA 59 6.3 FRANCIAORSZÁG 74 6.4 OLASZORSZÁG 88 6.5 GÖRÖGORSZÁG 97 6.6 ÍRORSZÁG 105 6.7 NÉMETORSZÁG 107 6.8 EGYESÜLT KIRÁLYSÁG 116 7. FEJEZET 123 AZ ELJÁRÁSOK ÖSSZEFOGLALÁSA, KÖVETKEZTETÉSEK 123 7.1 Az eljárások 123 7.2 Következtetések 126 8. FEJEZET 132 A TELEVÍZIÓS SPORTKÖZVETÍTÉSEKKEL KAPCSOLATOS DOKUMENUMOK AZ EU-BAN - 132 A HATÁROK NÉLKÜLI TELEVÍZIÓ DIREKTÍVA MÓDOSÍTÁSA 132 9. FEJEZET AZ EU VERSENYSZABÁLYAINAK ALKALMAZÁSA AZ EUROVÍZIÓS RENDSZERRE 135 9.1 Az EBU Eurovíziós rendszere 135 9.2 A versenyszabályok alkalmazása az Eurovíziós rendszerre 136 10. FEJEZET 157 KÖVETKEZTETÉSEK 157 11. FEJEZET 160 ZÁRSZÓ 160 KÖSZÖNETNYILVÁNÍTÁSOK 161 MELLÉKLETEK 162 FELHASZNÁLT IRODALOM 1. fejezet Előszó Európában a televíziózás "ancien régime"-je a 80-as években zárult le: a közszolgálat monopóliumát megtörte az új környezet kereskedelmi- és versenylogikája. A megváltozott politikai, gazdasági, társadalmi, jogi és műszaki körülmények között a közszolgálati műsorszolgáltatás legitimációs válságot él át, bár a 90-es évekre talán "lassul az ingalengés" 1 (Rowland, Jr -Tracey [1990] p. -
Artist Stores: an Evolution in Art and Commerce
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2011 Artist Stores: An Evolution in Art and Commerce Naomi Huth CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/15 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Artist Stores: An Evolution in Art and Commerce Naomi Huth Advisor: Professor Lise Kjaer May 2011 Submitted in partial fulfillment of the requirements for the degree of Master of Arts of the City College of the City University of New York Table of Contents Introduction 1 Chapter 1: The Store Is My Art 11 Chapter 2: Pop 'til You Drop 44 Chapter 3: From the Art of Business to 84 the Business of Art Conclusion 115 Image Pages 137 Bibliography 180 Introduction “Power is in the hands of those that control the means of production.” – Craig Owens1 “It's a lady's handbag...No, it's an iron. No, a typewriter. No, a toaster. No, a piece of pie.” These words were exclaimed by a visitor to Claes Oldenburg's 1961 East Village storefront, trying to figure out what product she had just been examining.2 As the viewer encountered a series of handmade objects representing mass-produced goods, she found herself in a storefront oddly mimicking a retail space, creating an ambiguous space where common distinctions between “art” and “commerce” had seemingly collapsed. -
10 Stanton St., Apt,* 3 Mercer / OLX 102 Forayti * 307 Mtt St 307 Mott St
Uza 93 Grand' St. Scott 54 Thoaas", 10013 ^ •Burne, Tim -Coocey, Robert SCorber, Hitch 10 stanton St., Apt,* 10002-••-•-677-744?* -EinG,' Stefan 3 Mercer / \ - • • ^22^-5159 ^Ensley, Susan Colen . 966-7786 s* .Granet, Ilona 281 Mott SU, 10002 226-7238* V Hanadel, Ksith 10 Bleecl:-?4St., 10012 . , 'Horowitz, Beth "' Thomas it,, 10013 ' V»;;'.•?'•Hovagiicyan, Gorry ^V , Loneendvke. Paula** 25 Park PI.-- 25 E, 3rd S . Maiwald, Christa OLX 102 Forayti St., 10002 Martin, Katy * 307 MotMttt SStt ayer. Aline 29 John St. , Miller, Vestry £ 966-6571 226-3719^* }Cche, Jackie Payne, -Xan 102 Forsyth St/, 10002 erkinsj Gary 14 Harrieon?;St., 925-229X Slotkin, Teri er, 246 Mott 966-0140 Tillett, Seth 11 Jay St 10013 Winters, Robin P.O.B. 751 Canal St. Station E. Houston St.) Gloria Zola 93 Warren St. 10007 962 487 Valery Taylor 64 Fr'^hkliii St. Alan 73 B.Houston St. B707X Oatiirlno Sooplk 4 104 W.Broedway "An Association," contact list, 1977 (image May [977 proved to be an active month for the New York art world and its provided by Alan Moore) growing alternatives. The Guggenheim Museum mounted a retrospective of the color-field painter Kenneth Notand; a short drive upstate, Storm King presented monumental abstract sculptures by Alexander Liberman; and the Museum of Modern Art featured a retro.spective of Robert Rauschenberg's work. As for the Whitney Museum of American Art, contemporary reviews are reminders that not much has changed with its much-contested Biennial of new art work, which was panned by The Village Voice. The Naiion, and, of course, Hilton Kramer in the New York Times, whose review headline, "This Whitney Biennial Is as Boring as Ever," said it all.' At the same time, An in America reported that the New Museum, a non- collecting space started by Marcia Tucker some five months earlier, was "to date, simply an office in search of exhibition space and benefac- tors."^ A month later in the same magazine, the critic Phil David E.