Strengthening Africa's Museums
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FOTOGRAFI På GODSBANEN Byens Nye Åbne Værksteder
NÆSTE STATION: FOTOGRAFI på GODSBANEN Byens nye åbne værksteder - En projektbeskrivelse Om Projektgruppen Fotografi på Godsbanen Projektgruppen Fotografi på Godsbanen er en demokratisk no-profit gruppe af folk, der arbejder med fotografiet som deres kreative medie. Gruppen er åben for alle fotoentusiaster, billedkunstnere og folk fra vækstlaget, der vil bidrager til at skabe et miljø med hjerterum for Fotografi på Godsbanen. Bliv medlem af vores Facebookgruppe ‘Fotografi på Godsbanen’. Kontaktpersoner Barbara Katzin (frivillig leder af mørkekammer), Tony Turner (frivillig leder af fotostudie), Michell Smedegaard Boysen (stifter af Facebookgruppen ‘Fotografi på Godsbanen’) og Birthe Havmøller (co-admin af ‘Fotografi på Godsbanen’). Vision for Fotografi på Godsbanen Projekt: Fotoværksted på Godsbanen HUSETs mørkekammer og fotostudie MÅ videreføres og danne den fysiske og knowhow - mæssige base for Fotografi på Godsbanen. Med dette idé katalog vil vi gerne videregive en oversigt over hvorfor og hvordan de eksisterende fotofaciliteter på HUSET kan blive en del af Århus' kommende produktionscenter for scenekunst, billedkunst og litteratur i form af et brugerdrevet Værksted for Fotografi på Godsbanen. Derefter ønsker vi at give ordet til en række kommende brugere af Godsbanen. Baggrund HUSETs mørkekammer er det eneste tilbageværende åbne mørkekammer i Århus, hvor borgerne har fri adgang til at komme og lære at fotografere analogt og fremkalde deres egne unikke sort/hvide fotografier. Fotoværkstedets mørkekammer og fotostudie har været en del af HUSETs værksteder siden starten af 1980’erne, og bliver fortsat benyttet af mange brugere. I perioden 2000-2006 blev der givet introduktionskursus til flashanlægget i fotostudiet til ca. 150 personer, der herefter indgik i studiets faste brugerskare. -
In 1976, the Artist and Philosopher Adrian Piper Wrote a Manifesto
The prints in this exhibition have survived thanks Funding for this exhibition has been received in to Charles Rue Woods, a member of the Happy part from the generous support of the Graham Arts School of Manuscript Illumination. His Foundation for the Advanced Studies in the Fine generosity and willingness to discuss his time Arts, and Andy Warhol Foundation for Visual Arts. working with Varble have been essential to this project, and I am grateful for his friendship. I Edited by Paul Brown also thank Ree Wilson for his recollections and Designed by Ethan Fedele for the loan of Varble’s early print. Support for the preparation of the video has been provided by the Graham Foundation for Advanced Studies in the Fine Arts. This exhibition would not have happened without Paul Brown’s enthusiasm. It has been an honor to work with him to bring some of Varble’s work to Kentucky, where it will remain. Upon completion of the exhibition, the xerographic prints will be donated to the Stephen Varble’s Faulkner-Morgan Archive in recognition of its Xerographic Dreams important work preserving Kentucky’s LGBT histories. –DAVID J. GETSY David J. Getsy David J. Getsy is the Goldabelle McComb Finn Distinguished Professor of Art History at the School of the Art Institute of Chicago. His books include Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender (Yale, 2015), Rodin: Sex and the Making of Modern Sculpture (Yale, 2010), and the anthology of artists’ writings, Queer In 1976, the artist and philosopher Adrian Piper wrote a (MIT, 2016). -
Kanaka 'Ōiwi Critical Race Theory Historical and Educational Context
FEATURING MARINA TYQUIENGCO SHIRIN FOZI KIRK SAVAGE NICOLE F. SCALISSI CAITLIN FRANCES BRUCE NIK CRISTOBAL CHRISTIANA MOLLDREM HARKULICH HÉCTOR CAMILO RUIZ SÁNCHEZ PAULINA PARDO GAVIRIA ROSA DE FERRARI PATRICIA DOCUMET HAZEL BATREZCHAVEZ AARON HENDERSON MEGHAN KOZAL CECELIA IVY PRICE JEZEBETH ROCA GONZALEZ NICK SIMKO ANNIKA JOHNSON JACQUELINE LOMBARD GOLNAR YARMOHAMMAD TOUSKI LILY BREWER REBECCA GIORDANO BENJAMIN OGRODNIK Presenting Race Institutional Contexts and Critiques CONTEMPORANEITY historical presence in visual culture Volume 7, Fall 2018 Cover Images (Clockwise from top): Caitlin Frances Bruce, Orion, Steel Worker, Aerosol paint on wall, 2017, Rankin, Pennsylvania. Copyright: Caitlin Frances Bruce. Gregg Deal, White Indian, January 29, 2016. Denver Museum of Art, Denver, CO. 2016. Photos by Kelsey Huffer. Courtesy of Gregg Deal. Detail from J.M. Design Studio, “Prototype #3 A Wall of Artists Redrawing Borders” from The Other Border Wall Proposals (2017). Digital scanned image of ink drawing on paper, text. 8 ½ X 11 in. Collection of J. M. Design Studio. Vol 7, No 1 (2018) | http://contemporaneity.pitt.edu Presenting Race: Institutional Contexts and Critiques / i-iv Marina Tyquiengco Commentaries Race-ing the Museum: Two Years Later / 1-4 Shirin Fozi and Kirk Savage “An Imagined Border of Safety, Humanitarian Relief, and Creativity”: / 5-16 J.M. Design Studios Other Border Wall Project Nicole F. Scalissi Articles Hemispheric Conversations: Exploring Links between Past and / 17-26 Present, Industrial and Post-Industrial through -
The LA Art Scene in the Political 1970S
American Studies in Scandinavia, 48:1 (2016), pp. 61-83. Published by the Nordic Association for American Studies (NAAS). Claims by Anglo American feminists and Chicanas/os for alternative space: The LA art scene in the political 1970s Eva Zetterman University of Gothenburg Abstract: Originating in the context of the Civil Rights Movements and political ac- tivities addressing issues of race, gender and sexuality, the Women’s Liberation move- ment and the Chicano Movement became departures for two significant counter art movements in Los Angeles in the 1970s. This article explores some of the various reasons why Anglo American feminist artists and Chicana artists were not able to fully collaborate in the 1970s, provides some possible explanations for their separa- tion, and argues that the Eurocentric imperative in visual fine art was challenged already in the 1970s by Chicana/o artists in Los Angeles. In so doing, the art activism by Anglo American feminists and Chicanas/os is comparatively investigated with Los Angeles as the spatial framework and the 1970s as the time frame. Four main com- ponents are discussed: their respective political aims, alternative art spaces, peda- gogical frameworks and aesthetic strategies. The study found that the art activisms by Anglo American feminists and Chicanas/os differed. These findings suggest that a task ahead is to open up a dialogue with Chicana/o activist art, making space for more diverse representations of activities and political issues, both on the mainstream art scene and in the history of art. Keywords: the Los Angeles art scene – art activism – alternative art spaces – Chica- nas/os – feminism In the historiography of fine art, the 1970s is recognized as the decade when feminism entered the scene. -
F a St, C H Eap & Ea
Fast, Cheap & Easy 2018 The Copy Art Revolution CEPA GALLERY’S HISTORY Founded in 1974 during an intense period of creativity and artistic exploration in Buffalo, CEPA Gallery is Western New York’s premiere visual arts center. One of the oldest photography galleries in the nation, CEPA remains an artist-run space dedicated to the advancement of contemporary photo-related art. Throughout its history, CEPA has earned international acclaim for its unique array of visual arts programming and dedication to the artistic practice. Recognized as one of the most relevant and important alternative art spaces in the United States by the European Journal of Media Art, CEPA’s Visual Arts program curates world-renowned exhibitions; its organizational structure is celebrated for efforts to maximize resources through collaboration; and its educational programming is recognized among the best in the nation having earned a 2013 National Arts & Humanities Youth Programming Award. Each season, CEPA brings an impressive roster of national and international artists into Erie County for exhibitions, public art initiatives, residencies, educational and community-based programming. The projects CEPA commissions give voice to marginalized communities, promote diverse ideas and perspectives, and help to increase dialogue around issues pertinent to local audiences. Its commitment to serving artists and the artistic practice, to engaging new constituencies with exhibitions and installations of importance is continual- ly recognized and celebrated. CEPA’s unique ability to mutually serve the interests of working artists, WNY’s diverse communities, and international audiences is what separates it from other cultural organizations and is the reason for its continued success and growth. -
Flusseriana – an Intellectual Toolbox Siegfried Zielinski and Peter Weibel
Introduction Flusseriana – An Intellectual Toolbox Siegfried Zielinski and Peter Weibel inhalt_flusseriana_20150727-2.indd 4 27.07.15 13:34 “ The mystical has no rationale, is in permanent exile, wanders around, and is never at rest.”1 Amador Vega y Esquerra “[S]ynthetic images as an answer to Auschwitz”2 – the combative dialogician Vilém Flusser was very fond of pointed comments that would polarize. After making such a statement, which he often underlined with vigorous gestures and pathos, he would lean back contentedly in his chair for a moment and watch the reactions of the people he was talking to. Now he was quite sure that they would enter into a debate with him. For Flusser, proposition and objection generated ex- citement; not in order to arrive at a synthesis in the sense of Hegelian dialectics (Flusser was not a dialectical thinker), but to open a space for thought in which a rich fabric of arguments, positions, views, and even tricks and maneuvers could be spread out. There’s a lot behind the statement of Flusser’s quoted at the beginning of this text. Apart from the sheer provocation it represents, it can be interpreted as the most brutal summary of what occupied this intellectual from Prague in the diaspora, what he thought, wrote, and lived (in that order). The inconceivable event that was the Holocaust, understood by many of his intellectual Jewish fel- low sufferers as sacrosanct and untouchable and whose ontology ruled out the possibility of poetry for Theodor W. Adorno, is juxtaposed in this statement with a profane phenomenon. -
Peter Valentin Fernandez, Editor, Con Safos Magazine, '97
To: Ms. Denise Lugo/ Ms. Monica Torres Creason, Latino Museum , Los Angeles From: Peter Valentin Fernandez, Editor, Con Safos Magazine, '97 Date: January 2, 1997 Re: Los Four's involvement with Con Safos Magazine, 1968-1972 : A Personal Perspective Introduction " 380 Mexican American newspapers, published from 1848 to 1958, have documented Chicano life in the barrios of the United States.... This newspaper bibliography, compiled by Herminio Rios and Lupe Castillo has contributed greatly toward the eradication of the commonly disseminated but erroneous notions of the non-literate, non-literary, and non-intellectual Mexican American" (El Grito, Vol. V, No. 4, Summer, 1972, p. 38 ). I. Background: Con Safos Magazine, 1968-1972 A. Genesis 1. Dejure segregation/ "separate but equal" doctrine established by the Supreme Court Decision, Plessey vs Ferguson, 1896 Case 2. 1910 Mexican Revolution 3. Mexican Muralist Movement 4. Deportation/Repatriation of Mexican Americans, 1932, City/County of Los Angeles 5. America Tropical, mural by Siqueros, 1932, whitewashed after official unveiling, on Olvera St. 6. Mexico nationalizes its petroleum industry, 1935 7. " Aryes Report", filed by the Los Angeles County Sheriff Department, 1938 8. Executive Order 9066, Internment/Imprisonment of Japanese Americans, 1941 9. Sleepy Lagoon Case. 1941 10. Zoot Suit Riots, 1943 11. Desegregation of the Armed Forces of the United States, 1948 12. Korean War, 1951 13. "War" on "Rat Packs" of Mexican pachucos 14. Dejure segregation/" separate but equal "doctrine, ruled unconstitutional by the Supreme Court, in Brown vs Topeka Case, 1954 15 . Cuban Revolution, 1959 16. Presidential election of 1960 17. Assassination of President John F. -
CLS Movie List
CLS Movie List # 1492 Revisited This documentary provides an alternative "indigenous" perspective on the quincentenary of Columbus's arrival. It features provocative artwork from the touring national exhibition Counter Colon-Ialismo as well as challenging commentary by artists and scholars. The film also raises important questions about the nature and construction of history. Paul Espinoza, 1992 Color: 28 min. A Adelante Mujeres (2 copies) This video spans over five centuries and focuses on the history of Mexican American women and Chicanas dating from the Spanish invasion to the present. Hundreds of previously unpublished photographs, art works, and contemporary footage pay tribute to the strength and resilience of women as the center of their families, activists in their communities, and contributors to American history. National Women's History Project, 1992 Color: 30 min. After the Earthquake Before the revolution and after the earthquake, a woman from Managua unexpectedly encounters her Nicaraguan fiancé in San Francisco. The film questions the pursuit of self-serving interests in the face of larger issues, in this case the Somoza regime, and integrates political concerns with a love story. National Women's History Project, 1992 Color: 30 min. Agitating for Change: The Alliance Schools Initiative Eight years ago, many schools in Texas, like this one, were plagued by gangs, truancy, and poor academic results. Teachers were ready to try something new. Enter Ernie Cortes—a community organizer who is also disturbed by seeing kids turned off at school. Cortes formed an Alliance Schools Initiative to shake up public schools in working-class districts. The Cortes strategy was to work with churches and community activists to break down old hierarchies, to excite and empower teachers, and to reconnect schools to their communities. -
The Birth of the Letter R the Tension Between Words Scott Helmes 862
Ls-~ The Birth of the Letter R scott helmes 862 tuscaroa st paul mn 55102 the tension between words KALDRON 11 summer 1980 a journal of visual poetry and language a O O edited and publisht by karl kempton 441 north 6th st grover city ca 93433 usa 1980 belongs to contributor --no work may be repro- duced without his/her permission except for review purposes special thanx to calm for funding this issue KALDRON is open to submissions but a self addresst & stampt envelope for return must be enclosed otherwise work will be placed in KALDRON ARCHIVE PRICES free except for postage 41¢ in north america unprotected $1 .00 with envelope $1 .50 overseas -- air freight copies of K-9 & K-10 available for same postage rates 0 Diary Poem #2 Diary Poem #3 scott helmes CALIGRAPHIC PICTURE COMPOSED OF PRAYERS from india I ~J~I~ I~~l~i~ H p! bektashi dervish text eyllb~ILK''dll~I9 a a L~~I'~I islamic calligrafy curated by peter mayer dept of visual communication univ if london, goldsmith college lewisham way amulet in urdu london se14 6nw england nnnnJ~,nn)~nnnJ~,n) ~ n) Ln) Lnnn) LJ ~) ~) ~) ~) LI n) L1 L) Lnnn) LJ L1 L) L) LnJ n) LJ ~) L1 L)~,n) LJ Ln) LnJ~,) nJ L) L1 L) Ln) L1 L1 L)-~nnnJ 1Z) ~) LJ U ~) L) ~) L) Lnnnnn TV L) L) L) L) L) L) n) L) L) L) L) L) Lnnnnnnn FU L) L) L) L) Lnnnnnnr-LJ~ FU L) M) LnJVnnnnnV,n FM L) Lnn)Rnnnnnnnn n) L) Lrnnnnnnnnnnn n) Lnnn)VnnVT,nVVn ) LnnnnnJ~,)~,nnnnnn ) Lnnnnnnnnnn)~,)~,n nnnnnn)~nnnnn)~,n n,nnnn) Lnr-Ln)~,n)~,) Ln 1-L) L) L>-L) L) L) LI-Lnn) L) L) LJZ L) L) Ln) L) L) LnIV L) L) L) LTL I-L) L1 L) L) L) L) L)-L1 -
Breaching Walls (Real and Imaginary): Arte Hispano-Americano [Latin American Art], 1000 C.E
Breaching Walls (Real and Imaginary): Arte Hispano-Americano [Latin American Art], 1000 C.E. to 2017 C.E. A Guide to the Exhibition by Noel Dorsey Vernon A STUDENT EXHIBITION GUIDE FOR EDUCATIONAL USE ONLY -- 11/12/17 (NDV) Author's Note This guide supports the art exhibition “Breaching Walls (Real and Imaginary)” held at Skyline Community College in November 2017, celebrating Latino Heritage Month. Many thanks to the administration and faculty of Skyline College for hosting and supporting it. Many thanks also to Arthur Takayama, Lorenzo Hernández and Cristina Hernández for organizing this exhibition. I am indebted to all of them for agreeing that a gallery guide might be of use and permitting me to author it. Thanks also to Professor Carlos Ugalde for taking the time to author "Comments on Art by Professor Carlos Ugalde for Lorenzo Hernández " which is included in this Exhibition Guide. My own background in Mexican and Hispano-American history is far less than was necessary to take on this project, so I spent a lot of time reading, looking at art, listening and asking questions. I had studied the history of Mexico many years ago in Guanajuato, Mexico, although my greatest interest was in Mexico's Pre-Columbian urban heritage. As a professor and Associate Dean of Environmental Design (now a Professor Emerita) in the CSU system, I was able to incorporate some this information into my landscape architecture history courses. I also am aware that much that has been written in English about Mexican art history was written by non-Mexicans. This has resulted in the misunderstanding that Mexican art history has been driven almost entirely by Western European art movements, styles and artists. -
Mark Santarelli and Linda Arreola Collection of Mag㺠Materials
http://oac.cdlib.org/findaid/ark:/13030/c88k7fv3 No online items Mark Santarelli and Linda Arreola Collection of Magú Materials, circa 1999-2004 CSRC.2016.014 Finding aid prepared by David Platt and Xaviera Flores UCLA Chicano Studies Research Center 193 Haines Hall Box 951544 Los Angeles, CA., 90095-1544 310-825-2364 [email protected] November 1, 2016 Mark Santarelli and Linda Arreola CSRC.2016.014 1 Collection of Magú Materials, circa 1999-2004 ... Title: Mark Santarelli and Linda Arreola Collection of Magú Materials Identifier/Call Number: CSRC.2016.014 Contributing Institution: UCLA Chicano Studies Research Center Language of Material: English Physical Description: 1.0 linear feet(1 box) Date (inclusive): 1999-2004 Abstract: The Mark Santarelli and Linda Arreola Collection of Magú Materials consists of items related to the short film documenting the art and activism of Gilbert "Magú" Luján. Materials date roughly from 1999 to 2004. This collection includes audiovisual materials, electronic formats, and production papers. Physical Location: Collection stored off-site at SRLF: Open for research. Advance notice is required for access to the collection. Please contact UCLA Chicano Studies Research Center for paging information. Arrangement Note This collection is Arranged in the following series: I. Audiovisual, II. Digital (Hard Drive), and III. Production Materials. Conditions Governing Access OPEN FOR RESEARCH. Audiovisual materials may not be immediately available due to formatting issues. Portions of this collection are born digital. All requests to access these materials must be made in advance. Access with permission of CSRC librarian. COPYRIGHT NOTICE These materials are made available for use in research, teaching and private study, pursuant to U.S. -
From Mail Art to Telepresence: Communication at a Distance in the Works of Paulo Bruscky and Eduardo Kac
VIS Revista do Programa de Pós-graduação em Arte da UnB From Mail Art to Telepresence: Communication at a Distance in the Works of Paulo Bruscky and Eduardo Kac Simone Osthoff* Pennsylvania State University Abstract This article examines the early works of Brazilian artists Paulo Bruscky and Eduardo Kac, as important precursors to art and activism on the Internet. It argues that their legacies of the 1970s and 1980s are significant in any node of the global cultural network. Both engaged art and communication at a distance: Bruscky in Recife in the 1970s, through Mail Art, and Kac in Rio de Janeiro in the 1980s, through videotext networks and telepresence events. Moreover, their conceptual practices resisted the political oppression of those decades by nurturing “the experimental exercise of freedom.” Keywords Mail Art; Network Art; telecommunication; Paulo Bruscky; Eduardo Kac. Da Arte Correio à Telemática: Comunicação à Distancia nos trabalhos de Paulo Bruscky e Eduardo Kac Resumo Esse artigo examina os primeiros trabalhos dos artistas brasileiros Paulo Bruscky e Eduardo Kac, importantes precursores da arte e do ativismo na Internet. Também argumenta que esse legado artístico dos anos 70s e 80s é significante em qualquer nódulo da rede cultural global. Ambos exploraram a arte e a comunicação à distância: Bruscky em Recife nos anos setenta, através da Arte Postal, e Kac no Rio de Janeiro nos anos oitenta, através da rede de Videotextos e da Telepresença. Além disso, as práticas conceituais desses artistas resistiram à opressão política dessas duas décadas enquanto nutriam “o exercício experimental da liberdade.” Palavras-Chave Arte Correio; Arte em rede; telecomunicação; Paulo Bruscky; Eduardo Kac.