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William Morris & Andy Warhol
MODERN ART EVENTS OXFORD THE YARD TOURS The Factory Floor Wednesday 7 January, 1pm Wednesday to Saturday, 12-5pm, weekly Sally Shaw, Head of Programme at Modern Art Oxford For the duration of Love is Enough, the Yard will discusses the development of the exhibition and be transformed into a ‘Factory Floor’ in homage to introduces key works. William Morris and Andy Warhol’s prolific production techniques. Each week a production method or craft Wednesday 21 January, 1pm skill will be demonstrated by a specialist. Ben Roberts, Curator of Education & Public Programmes at Modern Art Oxford discusses The Factory Floor is a rare opportunity to see creative education, collaboration and participation in relation to processes such as metal casting, dry stone walling, the work of Morris and Warhol. bookbinding, weaving and tapestry. LOVE IS Wednesday 4 February, 1pm These drop-in sessions provide a chance to meet Paul Teigh, Production Manager at Modern Art Oxford makers and craftspeople working with these processes discusses manufacturing and design processes today. Please see website for further details. inherent in the work of Morris and Warhol. TALKS Wednesday 18 February, 1pm Artist talk Ciara Moloney, Curator of Exhibitions & Projects Saturday 6 December, 6pm Free, booking essential at Modern Art Oxford discusses key works in the ENOUGH Jeremy Deller in conversation with Ralph Rugoff, exhibition and their influence on artistic practices Director, Hayward Gallery, London. today. Perspectives: Myth Thursday 15 January, 7pm BASEMENT: PERFORMANCE A series of short talks on myths and myth making from Live in the Studio the roots of medieval tales to our collective capacity December 2014 – February 2015 for fiction and how myths are made in contemporary A short series of performance projects working with culture. -
PRESS RELEASE Presents Top of The
PRESS RELEASE For Immediate Release Presents Top of the Pop Live on artnet Auctions from February 18 through 27, 2014 Roy Lichtenstein Sweet Dreams Baby!, 1965 Screenprint 35.63 x 25.56 in. 90.5 x 64.9 cm. Signed and numbered Edition 49/200 Est. US$100,000-125,000 New York / Berlin, February 19, 2014—artnet Auctions is pleased to announce the highly anticipated Top of the Pop print sale, which features over 50 classic Pop prints by artists such as Andy Warhol, Roy Lichtenstein, Robert Indiana, Robert Rauschenberg, and Tom Wesselmann. This dazzling, curated selection of iconic Pop prints is perfect for both new and seasoned Pop Art collectors. Among the sale’s highlights is one of the most famous Pop prints of all time, Roy Lichtenstein’s 1965 Sweet Dreams Baby!, estimated at US$100,000 to 125,000. With its irreverent comic book character on the business end of a knock-out punch, Lichtenstein challenges the reigning Abstract Expressionist movement’s anti-figure aesthetic and emotional intensity, and instead finds inspiration in the popular press. Another Lichtenstein print in the sale, Foot and Hand (1964), estimated at US$15,000 to 20,000, also draws inspiration from a violent comic book image, this time of a boot stepping on a hand reaching for a pistol. The work shows the development of the artist’s visual shorthand, which would define his work for the next 33 years. The sale also features superb examples of Lichtenstein’s later work, including his portrait of Lady Liberty, I Love Liberty (1982), estimated at US$35,000 to 45,000, and The Oval Office (1992), estimated at US$40,000 to 45,000. -
“Writing About Music” Vol
UCLA Department of Musicology presents MUSE An Undergraduate Research Journal “Writing About Music” Vol. 1, No. 1 “Dissonant Ones: The Harmony of Lou Reed and “Waitress! Equalitea and Pie, Please” John Cale” Irena Huang Gabriel Deibel “Boy Band: Intersecting Gender, Age, Sexuality, “A Possible Resolution for the Complicated and Capitalism” Feelings Revolving Around Tyler, the Creator” Grace Li Isabel Nakoud “Being the Cowboy: Mitski’s Rewriting of Gender Roles in Indie Rock” Jenna Ure Winter 2020 2 3 UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Volume 1, Number 1 Winter 2020 Contents Introduction from the Editors 4 Being the Cowboy: Mitski’s Rewriting of Gender Roles in Indie 6 Rock Editor-in-Chief Jenna Ure Matthew Gilbert Waitress! Equalitea and Pie, Please 16 Managing Editor Irena Huang Alana Chester Dissonant Ones: The Harmony of Lou Reed and John Cale 26 Review Editor Gabriel Deibel Karen Thantrakul Boy Band: Intersecting Gender, Age, Sexuality, and Capitalism 36 Technical Editors Grace Li J.W. Clark Liv Slaby A Possible Resolution for the Complicated Feelings Revolving 46 Gabriel Deibel Around Tyler, the Creator Isabel Nakoud Faculty Advisor Dr. Elisabeth Le Guin Closing notes 62 4 Introduction Introduction 5 Introduction Li’s discussion of the exploitation of boy band One Direction, Gabriel Deibel’s essay on the influence of John Cale on the Velvet Underground’s experimental sound, a feminist exploration by Irena Huang of the musical Alana Chester, Matthew Gilbert, and Karen Waitress (composed by a UCLA alumnus, Sara Bareilles), and a critique Thantrakul of the music industry through indie singer Mitski’s music by Jenna Ure. -
'Race Riot' Within and Without 'The Grrrl One'; Ethnoracial Grrrl Zines
The ‘Race Riot’ Within and Without ‘The Grrrl One’; Ethnoracial Grrrl Zines’ Tactical Construction of Space by Addie Shrodes A thesis presented for the B. A. degree with Honors in The Department of English University of Michigan Winter 2012 © March 19, 2012 Addie Cherice Shrodes Acknowledgements I wrote this thesis because of the help of many insightful and inspiring people and professors I have had the pleasure of working with during the past three years. To begin, I am immensely indebted to my thesis adviser, Prof. Gillian White, firstly for her belief in my somewhat-strange project and her continuous encouragement throughout the process of research and writing. My thesis has benefitted enormously from her insightful ideas and analysis of language, poetry and gender, among countless other topics. I also thank Prof. White for her patient and persistent work in reading every page I produced. I am very grateful to Prof. Sara Blair for inspiring and encouraging my interest in literature from my first Introduction to Literature class through my exploration of countercultural productions and theories of space. As my first English professor at Michigan and continual consultant, Prof. Blair suggested that I apply to the Honors program three years ago, and I began English Honors and wrote this particular thesis in a large part because of her. I owe a great deal to Prof. Jennifer Wenzel’s careful and helpful critique of my thesis drafts. I also thank her for her encouragement and humor when the thesis cohort weathered its most chilling deadlines. I am thankful to Prof. Lucy Hartley, Prof. -
Chicago Black Renaissance Literary Movement
CHICAGO BLACK RENAISSANCE LITERARY MOVEMENT LORRAINE HANSBERRY HOUSE 6140 S. RHODES AVENUE BUILT: 1909 ARCHITECT: ALBERT G. FERREE PERIOD OF SIGNIFICANCE: 1937-1940 For its associations with the “Chicago Black Renaissance” literary movement and iconic 20th century African-American playwright Lorraine Hansberry (1930-1965), the Lorraine Hansberry House at 6140 S. Rhodes Avenue possesses exceptional historic and cultural significance. Lorraine Hansberry’s groundbreaking play, A Raisin in the Sun, was the first drama by an African American woman to be produced on Broadway. It grappled with themes of the Chicago Black Renaissance literary movement and drew directly from Hansberry’s own childhood experiences in Chicago. A Raisin in the Sun closely echoes the trauma that Hansberry’s own family endured after her father, Carl Hansberry, purchased a brick apartment building at 6140 S. Rhodes Avenue that was subject to a racially- discriminatory housing covenant. A three-year-long-legal battle over the property, challenging the enforceability of restrictive covenants that effectively sanctioned discrimination in Chicago’s segregated neighborhoods, culminated in 1940 with a United States Supreme Court decision and was a locally important victory in the effort to outlaw racially-discriminatory covenants in housing. Hansberry’s pioneering dramas forced the American stage to a new level of excellence and honesty. Her strident commitment to gaining justice for people of African descent, shaped by her family’s direct efforts to combat institutional racism and segregation, marked the final phase of the vibrant literary movement known as the Chicago Black Renaissance. Born of diverse creative and intellectual forces in Chicago’s African- American community from the 1930s through the 1950s, the Chicago Black Renaissance also yielded such acclaimed writers as Richard Wright (1908-1960) and Gwendolyn Brooks (1917-2000), as well as pioneering cultural institutions like the George Cleveland Hall Branch Library. -
Reconstruction Report
RECONSTRUCTION IN AMERICA RECONSTRUCTION 122 Commerce Street Montgomery, Alabama 36104 334.269.1803 eji.org RECONSTRUCTION IN AMERICA Racial Violence after the Civil War, 1865-1876 © 2020 by Equal Justice Initiative. All rights reserved. No part of this publication may be reproduced, modified, or distributed in any form or by any electronic or mechanical means without express prior written permission of Equal Justice Initiative. RECONSTRUCTION IN AMERICA Racial Violence after the Civil War, 1865-1876 The Memorial at the EJI Legacy Pavilion in Montgomery, Alabama. (Mickey Welsh/Montgomery Advertiser) 5 CONTENTS INTRODUCTION 6 THE DANGER OF FREEDOM 56 Political Violence 58 Economic Intimidation 63 JOURNEY TO FREEDOM 8 Enforcing the Racial Social Order 68 Emancipation and Citizenship Organized Terror and Community Massacres 73 Inequality After Enslavement 11 Accusations of Crime 76 Emancipation by Proclamation—Then by Law 14 Arbitrary and Random Violence 78 FREEDOM TO FEAR 22 RECONSTRUCTION’S END 82 A Terrifying and Deadly Backlash Reconstruction vs. Southern Redemption 84 Black Political Mobilization and White Backlash 28 Judicial and Political Abandonment 86 Fighting for Education 32 Redemption Wins 89 Resisting Economic Exploitation 34 A Vanishing Hope 93 DOCUMENTING RECONSTRUCTION 42 A TRUTH THAT NEEDS TELLING 96 VIOLENCE Known and Unknown Horrors Notes 106 Acknowledgments 119 34 Documented Mass Lynchings During the Reconstruction Era 48 Racial Terror and Reconstruction: A State Snapshot 52 7 INTRODUCTION Thousands more were assaulted, raped, or in- jured in racial terror attacks between 1865 and 1876. The rate of documented racial terror lynchings during Reconstruction is nearly three In 1865, after two and a half centuries of brutal white mobs and individuals who were shielded It was during Reconstruction that a times greater than during the era we reported enslavement, Black Americans had great hope from arrest and prosecution. -
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[PDF] Andy Warhol
^$ ;::,-:>^^5 Andy .J35 1942 1949 1956 1963 1970 |S77 1111 ^ Artists in Their Time Andy Warhol Linda Bolton Franklin Watts A Division of Sclnolastic Inc. New York Toronto London Aucl<lancl Sydney IVIexico City New Delini Hong Kong Donbury, Connecticut First published in 2002 by Franklin Watts 96 Leonard Street London EC2A 4XD First American edition published in 2002 by Franklin Watts A Division of Scholastic Inc. 90 Sherman Turnpike Danbury.CT 06816 Series Editor: Adrian Cole Series Designer: Mo Choy Art Director: Jonathan Hair Picture Researcher: Julie McMahon A CIP catalog record for this title is available from the Library of Congress. ISBN 0-531-12225-5 (Lib. Bdg.) ISBN0-531-16618-X(Pbk.) Printed in Hong Kong, China © Franklin Watts 2002 Acknowledgements AKG London: 15 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002 & © 2002 Ronald Feldman Fine Arts, NY; 19 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DACS, London 2002; 29 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002; 42. Archives of The Andy Warhol Museum, Pittsburgh: 6; 7t; 9t; 22b; 32, 39 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002; 4Ib Paul Rocheleau. Artothek: 14 © The Estate of Roy Lichtenstein/DAGS 2002. BFl GoUections: 35 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002. Gourtesy of Gollection Stephanie Seymour Brant, The Brant Foundation, Greenwich, GT: 11 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002; 31 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002. -
Afro-Dog Author(S): Bénédicte Boisseron Source: Transition, No
Hutchins Center for African and African American Research at Harvard University Afro-Dog Author(s): Bénédicte Boisseron Source: Transition, No. 118, I Can Be Lightning (2015), pp. 15-31 Published by: Indiana University Press on behalf of the Hutchins Center for African and African American Research at Harvard University Stable URL: http://www.jstor.org/stable/10.2979/transition.118.15 Accessed: 26-08-2016 22:18 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Indiana University Press, Hutchins Center for African and African American Research at Harvard University are collaborating with JSTOR to digitize, preserve and extend access to Transition This content downloaded from 158.130.227.79 on Fri, 26 Aug 2016 22:18:07 UTC All use subject to http://about.jstor.org/terms Afro-Dog Bénédicte Boisseron The Department of Justice’s 2015 investigation of the Ferguson Police Department uncovered a connection between race and the repressive use of police dogs in the city of Ferguson, Missouri. As the report stated, “in every canine bite incident for which racial information is available, the subject was African American.” Dogs, though supposed- ly color-blind, work on cues and, in the case of the Ferguson police, seem to have been trained to direct their aggression towards the black population. -
The History and Memory of Quakertown, Denton, Texas
“REMOVING THE DANGER IN A BUSINESS WAY”: THE HISTORY AND MEMORY OF QUAKERTOWN, DENTON, TEXAS Chelsea Stallings Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2015 Stallings, Chelsea. “Removing the Danger in a Business Way”: The History and Memory of Quakertown, Denton, Texas. Master of Arts (History), August 2015, 125 pp., references, 136 titles. Overall this thesis analyzes a strain of the white supremacist vision in Denton, Texas via a case study of a former middle-class black neighborhood. This former community, Quakertown, was removed by white city officials and leaders in the early 1920s and was replaced with a public city park. Nearly a century later, the story of Quakertown is celebrated in Denton and is remembered through many sites of memory such as a museum, various texts, and several city, county, and state historical markers. Both the history and memory of Quakertown reveal levels of dominating white supremacy in Denton, ranging from harmless to violent. Chapters 2, 3, and 4 focus on the history of Quakertown. I begin chapter 2 by examining as many details as possible that reveal the middle-class nature of the black community and its residents. Several of these details show that Quakertown residents not only possessed plentiful material items, but they also had high levels of societal involvement both within their community as well as around Denton. Despite being a self-sufficient and successful community, Quakertown residents were not immune to the culture of racial fear that existed in Denton, which was common to countless towns and communities across the South during the Jim Crow era. -
Black & Brown Women of the Punk Underground
Sarah Lawrence College DigitalCommons@SarahLawrence Women's History Theses Women’s History Graduate Program 11-2018 Game Changers & Scene Makers: Black & Brown Women of the Punk Underground Courtney Aucone Sarah Lawrence College Follow this and additional works at: https://digitalcommons.slc.edu/womenshistory_etd Part of the Women's History Commons Recommended Citation Aucone, Courtney, "Game Changers & Scene Makers: Black & Brown Women of the Punk Underground" (2018). Women's History Theses. 37. https://digitalcommons.slc.edu/womenshistory_etd/37 This Thesis - Open Access is brought to you for free and open access by the Women’s History Graduate Program at DigitalCommons@SarahLawrence. It has been accepted for inclusion in Women's History Theses by an authorized administrator of DigitalCommons@SarahLawrence. For more information, please contact [email protected]. Game Changers & Scene Makers: Black & Brown Women of the Punk Underground Courtney Aucone Thesis Seminar Dr. Mary Dillard December 6, 2018 Submitted in partial completion of the Master of Arts Degree at Sarah Lawrence College, December 2018 Table of Contents: Acknowledgements……………………………………………………………………………………….…......1 Introduction…………………………………………………………………………………………………….…..2 v A Note on Methodology…………………………………………………………………………………21 Chapter I: “A Wave of History”…………………………………………………………………………... 26 Chapter II: The Underground…………………………………………………………………………….. 51 Chapter III: “Somos Chulas, No Somos Pendejas”: Negotiating Femininity & Power in the Underground……………………………..…………………………………………………………………70 -
Art As a Platform for Conversation
Art as a Platform for Conversation Recent events in the St. Louis community and across the nation highlight the need for continuing conversations on complex issues such as race, discrimination, and civil rights in the United States. The Kemper Art Museum invites Washington University faculty, staff, and students to use works from the Museum’s collection to serve as a catalysts for these important conversations. Below is a sampling of works that address topics such as African American, American Indian, and Hispanic and Latino identities; sexuality and gender; and civil rights, politics, and war. With advanced notice, these and other works can be displayed in the Museum’s Study Room for class visits. Museum educators are available to work with faculty on crafting conversations and discussions. To learn more about the Study Room, please visit kemperartmuseum.wustl.edu/StudyRoom or contact Kim Broker, associate registrar, at 314.935.5385 or [email protected]. For questions, please contact Rochelle Caruthers, university academic programs coordinator, at 314.935.9433 or [email protected]. Art as a Platform for Conversation Race ‒ African American Lewis Hine (American, 1874–1940) Child of a Sharecropper’s Family, c. 1920 Gelatin silver contact print, 5 x 4" Gift of Nicholas Vahlkamp, 1994 WU 1994.13 George Overbury Hart (American, 1868–1933) Mammy, 1924 Drypoint, 16 1/4 x 12 11/16" University purchase, 1944 WU 3700 Madeline Osborne (American) A Shack for Negroes Only at Belle Glade, FLA., 1945 Gelatin silver print, 8 1/4 x 10" University purchase, St. Louis Printmarket Fund, 1993 WU 1993.6 Bruce Davidson (American, b. -
Race, Space, and Riots in Chicago, New York, and Los Angeles This Page Intentionally Left Blank Race, Space, and Riots in Chicago, New York, and Los Angeles
Race, Space, and Riots in Chicago, New York, and Los Angeles This page intentionally left blank Race, Space, and Riots in Chicago, New York, and Los Angeles Janet L. Abu-Lughod 1 2007 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright ß 2007 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Abu-Lughod, Janet L. Race, space, and riots in Chicago, New York, and Los Angeles / by Janet L. Abu-Lughod. p. cm. Includes bibliographical references and index. ISBN 978-0-19-532875-2 1. Race riots—United States—History—20th century. 2. African Americans— Social conditions—20th century. 3. United States—Race relations. I. Title. HV6477.A38 2007 305.896’073—dc22 2006102002 987654321 Printed in the United States of America on acid-free paper Remembering my mother’s tolerance for difference; my husband’s commitment to social justice This page intentionally left blank Preface ny researcher who has spent long years writing a book is always ambivalent A when it is done: happy to see it published but disappointed that its results must be engraved in stone (now digitized)—just as the processes of research and writing have led to a new level of understanding.