Stuckism (A Conversation)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Spoils of War
Spoils of War International Newsletter. No. 7. August 2000 Spoils of War. No. 7. August 2000 2 Imprint: Editorial board: István Fodor, Michael M. Franz, Ekaterina Genieva, Wojciech Kowalski, Josefine Leistra, Nicolas Vanhove. Editing: Dr. Michael M. Franz. Technical assistance and Translation: Svea Janner, Yvonne Sommermeyer. Editorial address: Koordinierungsstelle der Länder für die Rückführung von Kulturgütern beim Kultusministerium des Landes Sachsen-Anhalt Turmschanzenstr. 32, 39114 Magdeburg. Phone: 0049 - 391 - 567 38 59/ 567 38 57 Fax: 0049 - 391 - 567 38 56 E-mail: [email protected] or [email protected] Website: http://www.lostart.de ISSN 1435-6325 Addresses of the members of the editorial board: •István Fodor, Magyar Nemzeti Múzeum, Múzeum körni 14-16, 1088 Budapest, Hungary, phone: 36/1/3184259, fax: 36/1/3382/673 •Michael M. Franz, Coordination Office of the Federal States for the Return of Cultural Property, Turmschanzenstr. 32, 39114 Magdeburg, Germany, phone: 391/56738 58, fax: 391/5673856, E-mail:[email protected] •Ekaterina Genieva, All-Russia State Library for Foreign Literature, Nikolojamskaja Street 1, 109 189 Moscow, Russia, phone: 7/095/915 3621, fax: 7/095/915 3637, E-mail:[email protected] •Wojciech Kowalski, University of Silesia, Department of Intellectual and Cultural Property Law, ul. Bankowa 8, 40 007 Katowice, Poland, phone/fax: 48/32/517104, phone: 48/32/588211, fax: 48/32/599188 •Josefine Leistra, Inspectorate of Cultural Heritage, Prinsessegracht 31, 2514 AP The Hague, The Netherlands, phone: 31/70/302 8120, fax: 31/70/365 1914, E-mail: [email protected] •Nicolas Vanhove, Ministry of Economic Affairs, Directorate Economic Relations, Rue Gen. -
Reed May 01 Full
LETTERS Reed welcomes letters from readers found on page 50. The grinding wheel from kindergarten to fifth grade, concerning the contents of the left Reed for parts unknown many and everybody knows exactly where magazine or the college.Letters years ago.] they are and where they’re going. must be signed and may be edited The most enthusiastic prosely- for clarity and space.Our email IS SUCCESS FOR ALL tizers of SFA are invariably teachers address is [email protected]. A SUCCESS ? who didn’t know anything about Reed is now on line.Visit the elec- best practices in the teaching of tronic version of this publication at From Io McNaughton ’90 reading or cooperative learning http://web.reed.edu/ community/ How ironic that the very same pro- before coming across the program. newsandpub/reedmag /index.html. gram that drove me away from the And in my experience, SFA is teaching profession was invented driving the most thoughtful, by two Reedlings. experienced, creative teachers THE DOYLE OWL IN THE FIFTIES Slavin and Madden’s Success For away from the schools that need All has indeed been a lifesaver for them most. Success For All is an From David Lapham ’60 many troubled schools, but not easy way out for districts that In the summer of 1950 I had been because of any particular charac- don’t want to train and pay their a Reed student for two years. I was teristic of the program itself. teachers to use their own smarts living in a two-room apartment Instead, the program’s success has and initiative to develop their with Gary Snyder. -
THE STUCKISTS (Est. 1999) "Your Paintings Are Stuck, You Are Stuck
THE STUCKISTS (est. 1999) "Your paintings are stuck, you are stuck! Stuck! Stuck! Stuck!" Tracey Emin Against conceptualism, hedonism and the cult of the ego–artist. 1. Stuckism is the quest for authenticity. By removing the mask of cleverness and admitting where we are, the Stuckist allows him/herself uncensored expression. 2. Painting is the medium of self–discovery. It engages the person fully with a process of action, emotion, thought and vision, revealing all of these with intimate and unforgiving breadth and detail. 3. Stuckism proposes a model of art which is holistic. It is a meeting of the conscious and unconscious, thought and emotion, spiritual and material, private and public. Modernism is a school of fragmentation — one aspect of art is isolated and exaggerated to detriment of the whole. This is a fundamental distortion of the human experience and perpetrates an egocentric lie. 4. Artists who don't paint aren't artists. 5. Art that has to be in a gallery to be art isn't art. 6. The Stuckist paints pictures because painting pictures is what matters. 7. The Stuckist is not mesmerised by the glittering prizes, but is wholeheartedly engaged in the process of painting. Success to the Stuckist is to get out of bed in the morning and paint. 8. It is the Stuckist's duty to explore his/her neurosis and innocence through the making of paintings and displaying them in public, thereby enriching society by giving shared form to individual experience and an individual form to shared experience. 9. The Stuckist is not a career artist but rather an amateur (amare, Latin, to love) who takes risks on the canvas rather than hiding behind ready–made objects (e.g. -
Digital Thesis Room
ATHABASCA UNIVERSITY AN EXPLORATION OF THE POTENTIAL OF MUSIC AND NARRATIVE SONG AS AN INSTRUMENT FOR LEARNING, WITH A FOCUS ON DISTANCE EDUCATION BY Kirk Longpré A thesis submitted to the Athabasca University Governing Council in partial fulfilment of the requirements for the degree of MASTER OF DISTANCE EDUCATION Athabasca, Alberta April, 2004 DEDICATION I would like to dedicate this thesis in memory of my father, Bernard Longpré, for demonstrating to me the significance of hard work and instilling the value of education. iii ABSTRACT This thesis uses the qualitative research methodologies of Educational Criticism and Grounded Theory to explore whether expressive culture in the form of popular narrative song can play a constructive role as an instrument or agent for learning in the context of distance adult education. In chapter one, the author provides a theoretical framework for incorporating popular narrative song into the distance adult learning experience. Chapter two reviews the research literature related to the themes discovered through the interview process involving eighteen individuals that served as the foundation for this study and the research literature associated with several theories of adult learning. In chapter three, the methodology of Educational Criticism and Grounded Theory is explained, the informants and the research sites are described. In chapter four, the themes that evolved as a result of the researcher’s interviews are analysed and presented. Chapter five provides an examination of the relationship between the eight themes that were discovered through analysis and several adult learning theories. In the final chapter, the author reflects on the implications of the relationship between popular narrative song and distance adult learning, and draws conclusions regarding the use of popular narrative song and distance adult education. -
Why the European Green Deal Needs Ecofeminism Moving from Gender-Blind to Gender-Transformative Environmental Policies Report
WHY THE EUROPEAN GREEN DEAL NEEDS ECOFEMINISM Moving from gender-blind to gender-transformative environmental policies Report This report is published by: Date of publication: 16 July 2021 Disclaimer: This report seeks to contribute with critical voices to the public debate and make recommenda- tions around European environmental and climate policies and practices. Not all of the authors and organisa- tions that have contributed to this report work on all topics or areas covered. The different chapters reflect the opinions of the authors (and their organisations where they have contributed on their behalf) and do not necessarily reflect the positions of the publishing organisations or the other contributing organisations. Concept and editorial team: Patrizia Heidegger (EEB), Nadège Lharaig (EEB), Katy Wiese (EEB), Anke Stock (WECF), Rose Heffernan (WECF) With contributions from: Global Women's Network for the Energy Transition Acknowledgments The publishers wish to thank the following colleagues for their feedbacks and support throughout the development of this report: Irene Dankelman (WECF), Gabriele Koehler (WECF), Miriam Müller (WECF), Victoria Chartier (EEB), Bérénice Dupeux (EEB), Isabelle Brachet (ActionAid), Barbara van Paassen (ActionAid), Wadzanai Motsi-Khatai (CIJ), and Marine Uldry (EDF). With support from: This report was produced with the financial support of the European Union. Its contents are the sole responsibility of the authors and do not necessarily reflect the views of the European Union. Cover: © 4-life-2-b; this page: © Annabelle Avril © Ben Gingell CONTENT FOREWORD 6 EXECUTIVE SUMMARY 7 INTRODUCTION 11 I CONCEPTS 15 1. The theory behind the analysis: an explanation of our understanding of non-binary intersectional ecofeminism 16 II INCLUSIVE REPRESENTATION FOR STRONGER OUTCOMES FOR PEOPLE AND PLANET 23 2. -
Chris Yates Stuckist Interview
Artworks in the ‘Remodernist Artists Against Rubbish’ Exhibition, Marbella – Chris Yates Stuckist Interview Place of birth: Stockport, U.K. Place of current residence: Bury, U.K Where did you learn to be an artist? Self taught painter , but learnt how not to paint at M.M.U. and The Manchester University. Which artists inspire you? Ella Guru, Joe Machine, Charles Thomson, Paul Harvey , Billy Childish . Describe your own art work: Stuckist Pop Expressionism. Why do you make art? To save myself from severe mental illness, but fail- ing badly. Why do you think art is important? It helps to keep you sane. Which piece of your own art work do you like best? Portrait: Saffie Yates. Chris Yates Stuckist What is the worst piece of art work you have seen? Billy Childish by - Paul Harvey With Blue Wig Chris Yates Stuckist, because it makes me vomit. - 2011- Acrylic on Canvas Hobbies/ areas of interest (other than art): Drinking and sex - 51cm x 61cm Favourite quote: ‘Some people view the contemporary art scene with fear and desperation because there is so much crap. We, however, rejoice be- cause we think it is funny’. (Billy Childish and Charles Thomson) <http://artistaeli.com/2012/07/11/artworks-in-the-remodernist-art- Favourite colour: Saffron ists-against-rubbish-exhibition-marbella-5/> Favourite poem: For Huddie by Billy Childish Favourite motivational quote: ‘Get off your arse’ by L Yates How do you combat creative blocks? Don’t get them, thank god. The Stuckists are enemies of art I chanced recently on the website of Stuckism International. -
Frick Fine Arts Library
FRICK FINE ARTS LIBRARY ART & ARCHITECTURAL HISTORY ELECTRONIC JOURNALS Library Guide Series, No. 37 “Qui scit ubi scientia sit, ille est proximus habenti.” -- Brunetiere* Login: Pitt User Name and Password ULS Digital Library includes over 400 databases, including e-journals that are available for your use with your Pitt User Name and Password 24/7 from dorm, office, or home. Connecting From Home or Dorm Room You can connect from home to the ULS Digital Library and search the online databases to which it subscribes by using a web- based service called SSL VPN. Instructions on doing this are provided at a link on the ULS home page. Go to FINE ARTICLES and click on “Information on Connecting from Off Campus.” No special software is required. If you have problems connecting with SSL VPN, please contact Pitt’s Technology Department help line at 412-624-HELP (4357) for assistance. Locating E-Journals Electronic journals are easy to use and available 24/7 from the ULS libraries, dorm, or home. Begin at the ULS home page and click on FIND ARTICLES. Look at the options to the right of the screen and choose “Looking for a Specific E-Jounal.” You can choose to search by title OR you can scroll down the page and search by subject areas. A Subject Area Search - Choose ART, ARCHITECTURE AND APPLIED ARTS and the result will include: • Architecture – 36 online journals Includes such journals as Architectural History, Architectural Record, Architectural Review (London), Architecture (Washington, DC), Architecture Australia, Arq (London), Grey Room, Journal of Architecture (London), Journal of the American Society of Architectural Historians, Journal of the Society of Architectural Historians (UK), Journal of Urban Design, Perspecta, and several other titles.