CHRIS “DAZE” ELLIS B
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The Online Catalog!
June 3rd – July 15, 2017 Curated by Laura James & Eileen Walsh, BXNYCreative For more Information & SALES INQUIRIES 203.814.6856 [email protected] AT BronxARTSpace 305 E. 140 St, Bronx, NY 10454 Sotero oRtiz, Hector Nazario, Wilfredo Feliciano No discussion of Bronx art would be complete without mention of TATS CRU. Their work can be found in nearly all areas in the borough. It exemplifies the street art culture that rose up from the roots of the graffiti movement. It is both familiar and ever changing to any Bronx resident. Beyond the Bronx, the work of TATS CRU reaches all 5 boroughs of New York City, many states in the USA, and as far away as China. “TATS CRU is the story of graffiti and street art. From subway trains to commissioned murals to worldwide street art festivals, the masterful TATS CRU represents the evolution of graffiti to the global phenomenon it is today,” states Lois Stavsky, editor of the wildly popular blog Street Art NYC. “Stylish and striking, their artwork – individually and collectively – continues to seduce viewers as it fuses elements of graffiti, illustration, graphic design and fine art.” The Art of TATS CRU shows a representation of past projects through photographs and videos produced by Miguel Teck Arteaga. There are also works on canvas by NICER, BIO, and BG183, and a new mural collaboration reproduced as a poster to commemorate the exhibition. “We are looking at a unique rise to art world success, it’s inspirational in that it illustrates that every artist doesn’t need to follow the standard, art school, gallery system, connection-based path,” says co-curator Eileen Walsh. -
^^SOJVIAN 4^ Fc, 3 Smithsonian Center for Folklife Ami Cultural Heritage
^^SOJVIAN 4^ fc, 3 Smithsonian Center for Folklife ami Cultural Heritage 750 9th Street NW Suite 4100 Washington, DC 20560-0953 www.folklife.si.edu « 2001 by the Smithsonian Institution ISSN 1056-6805 EDITOR: Carla M. Borden ASSOCIATE EDITOR: Peter Seitel DIRECTOR OF DESIGN: Kristen Femekes GRAPHIC DESIGNER: Caroline Brownell DESIGN ASSISTANT: Michael Bartek Cover image: Gombeys are the masked dancers of Bermuda. Art from photo courtesy the Bermuda Government . mB^th Annual Smithsonian Folklife Festiva On The National Mall, Washington, D.C. June 27 - July 1 a July 4 - July 8, 2001 Bermuda Connection Mew York City amhe Smithsonian' Masters c#!he Building Arts NewYOiK CITY ax THe smiTHSonian The Festiva. This program is produced in collaboration with Mew York's is co-sponsored by __ Center for Traditional Music and Dance and City Lore, the National Park Service. with major funding from the New York City Council, the New York City Department of Cultural Affairs, The Festival is supported by federally Howard P. Milstein, and the New York Stock Exchange. appropriated funds, Smithsonian trust funds, The Leadership Committee is co-chaired by The Honorable contributions from governments, businesses, Daniel Patrick Moynihan and Elizabeth Moynihan and foundations, and individuals, in-kind corporate chairman Howard P. Milstein. assistance, volunteers, food and craft sales, and Friends of the Festival. Major support is provided by Amtrak, Con Edison, the Recording Industries Music Performance Trust Funds, IVIajor in-kind support has been provided by Arthur Pacheco, and the Metropolitan Transportation GoPed and IVIotorola/Nextel. Authority. Major contributors include The New York Community Trust, The Coca-Cola Company, The Durst Foundation, the May £t Samuel Rudin Family Foundation, Leonard Litwin, and Bernard Mendik. -
CAROLEE SCHNEEMANN B
CAROLEE SCHNEEMANN b. 1939, Fox Chase, PA d. 2019, New Paltz, NY EDUCATION MFA, University of Illinois, Urbana, Illinois BA, Bard College, Annandale-On-Hudson, New York School of Painting and Sculpture, Columbia University, New York The New School for Social Research, New York La Universidad De Puebla, Mexico SOLO EXHIBITIONS 2022 Carolee Schneemann, Barbican Museum, London, UK (forthcoming) 2021 After Carolee: Tender and Fierce, Artpace, San Antonio, TX 2020 Liebeslust und Totentanz (Love’s Joy and Dance of Death), Bündner Kunstmuseum, Chur, Switzerland Off the Walls: Gifts from Professor John R. Robertson, Blanton Museum of Art, Austin, TX American Women: The Infinite Journey, La Patinoire Royale, galerie Valérie Bach, Saint-Gilles, Belgium All of Them Witches, curated by Dan Nadal and Laurie Simmons, Jeffrey Deitch, Los Angeles, CA Don’t Let this be Easy, Walker Art Center, Minneapolis, MN Barney, Scheemann, Shiraga, Tanaka, Fergus McCaffrey, Tokyo, Japan 2019 Carolee Schneeman, les Abattoirs, Toulouse, France Up to and Including Her Limits: After Carolee Schneemann, Museum Susch, Zernez, Switzerland Exhibition of Edition Works, Michele Didier, Paris, France Carolee Schneeman, mfc-michele Didier, Paris, France 2017 Kinetic Painting, Museum fur Moderne Kunst, Frankfurt, Germany; MoMA PS 1, Long Island City, NY More Wrong Things, Hales Gallery, London, United Kingdom 2016 Further Evidence – Exhibit A, P·P·O·W, New York, NY Further Evidence – Exhibit B, Galerie Lelong, New York, NY 2015 Kinetic Painting, Museum der Moderne Salzburg, Salzburg, -
Cp Red One Eng.Pdf
Red One, A scaned name, a Moroccan echo, as an appeal to multiple talents which, within Red Garden, will make only 1! June will be the month of the meeting and the confrontation, between the abstraction of the letter of very recognized MadC and the abstraction of the pattern for the young Goddog, between the Chinese masks of Ceet and the offbeat facies by Kashink... The balance of the gender and the techniques, the meeting of four artists having 1 common point: began the spray can in the hand. MadC, with his graffiti writer soul, transform the line in a soft calligraphy. She develops its style on walls and on paintings, seeking out the transparency of color, support of the flow and the energy of the movement. Kashink, Parisian young women, wearing a mustache stages these monstrous characters in surrealist scenes, a naïve imagination tinged with onirism. Ceet, influential graffiti artist of the Truskool, Hong Kong resident decided to put its animal idol on wel-know people for its second residence in Jardin Rouge. Goddog, as for him, pursues research on the meeting of his works on paper and on walls, the thought of patterns meets the instinctive of the line. Red One, is to be discovered in Jardin Rouge, only by appointment, from June 15th till July 31st, 2015. MADC MadC born 1980 in Bautzen GDR. MadC is an internationally renowned artist from Germany, who has worked in over 35 different counties across the globe. MadC 2015 started her artistic trajectory as a teenaged Solo show “Bits and Pieces” WallWorks New York, graffiti writer, then in studying at both New York City, USA Burg Giebichenstein – University of Art and Solo show “Night and Day”, 44309 Gallery, Dortmund, Design, Halle and Central Saint Martins Germany “Past & Future” Kolly Gallery, Zurich, Switzerland College, London, and carries a master “Revolution” 1:AM gallery, San Francisco, USA degree in graphic design. -
The Recent Controversy Over the Destruction of 5Pointz and How Much Protection Does Moral Rights Law Give to Authorized Aerosol Art?
The Catholic University of America, Columbus School of Law CUA Law Scholarship Repository Scholarly Articles and Other Contributions Faculty Scholarship 2015 Who's the Vandal? The Recent Controversy over the Destruction of 5Pointz and How Much Protection Does Moral Rights Law Give to Authorized Aerosol Art? Susanna Frederick Fischer The Catholic University of America, Columbus School of Law Follow this and additional works at: https://scholarship.law.edu/scholar Part of the Entertainment, Arts, and Sports Law Commons, Intellectual Property Law Commons, and the Science and Technology Law Commons Recommended Citation Susanna Frederick Fischer, Who’s the Vandal? The Recent Controversy over the Destruction of 5Pointz – How Much Legal Protection Should the Law Give to Graffiti/Aerosol Street Art?, 14 J. MARSHALL REV. INTELL. PROP. L. 326 (2015). This Article is brought to you for free and open access by the Faculty Scholarship at CUA Law Scholarship Repository. It has been accepted for inclusion in Scholarly Articles and Other Contributions by an authorized administrator of CUA Law Scholarship Repository. For more information, please contact [email protected]. THE JOHN MARSHALL REVIEW OF INTELLECTUAL PROPERTY LAW WHO'S THE VANDAL? THE RECENT CONTROVERSY OVER THE DESTRUCTION OF 5POINTZ AND HOW MUCH PROTECTION DOES MORAL RIGHTS LAW GIVE TO AUTHORIZED AEROSOL ART? SUSANNA FREDERICK FISCHER ABSTRACT This paper considers the extent to which federal moral rights law protects authorized graffiti and aerosol art against destruction, in the context of the controversy over the destruction of 5Pointz. 5Pointz, a sprawling complex of warehouse buildings in Queens, was a Mecca for aerosol art. The buildings’ owners ordered the demolition of 5Pointz after the November 2013 order by New York federal district judge Frederic Block denying the artists a preliminary injunction to stop destruction under the federal moral rights statute, the Visual Artists Rights Act (VARA). -
Good Chemistry James J
Columbia College Fall 2012 TODAY Good Chemistry James J. Valentini Transitions from Longtime Professor to Dean of the College your Contents columbia connection. COVER STORY FEATURES The perfect midtown location: 40 The Home • Network with Columbia alumni Front • Attend exciting events and programs Ai-jen Poo ’96 gives domes- • Dine with a client tic workers a voice. • Conduct business meetings BY NATHALIE ALONSO ’08 • Take advantage of overnight rooms and so much more. 28 Stand and Deliver Joel Klein ’67’s extraordi- nary career as an attorney, educator and reformer. BY CHRIS BURRELL 18 Good Chemistry James J. Valentini transitions from longtime professor of chemistry to Dean of the College. Meet him in this Q&A with CCT Editor Alex Sachare ’71. 34 The Open Mind of Richard Heffner ’46 APPLY FOR The venerable PBS host MEMBERSHIP TODAY! provides a forum for guests 15 WEST 43 STREET to examine, question and NEW YORK, NY 10036 disagree. TEL: 212.719.0380 BY THOMAS VIncIGUERRA ’85, in residence at The Princeton Club ’86J, ’90 GSAS of New York www.columbiaclub.org COVER: LESLIE JEAN-BART ’76, ’77J; BACK COVER: COLIN SULLIVAN ’11 WITHIN THE FAMILY DEPARTMENTS ALUMNI NEWS Déjà Vu All Over Again or 49 Message from the CCAA President The Start of Something New? Kyra Tirana Barry ’87 on the successful inaugural summer of alumni- ete Mangurian is the 10th head football coach since there, the methods to achieve that goal. The goal will happen if sponsored internships. I came to Columbia as a freshman in 1967. (Yes, we you do the other things along the way.” were “freshmen” then, not “first-years,” and we even Still, there’s no substitute for the goal, what Mangurian calls 50 Bookshelf wore beanies during Orientation — but that’s a story the “W word.” for another time.) Since then, Columbia has compiled “The bottom line is winning,” he said. -
A Medici to Spray Paint and Graffiti Artists by FELICIA R
ART & DESIGN A Medici to Spray Paint and Graffiti Artists By FELICIA R. LEE JAN. 28, 2014 From left, the filmmaker Charlie Ahearn and the artist Lee Quiñones at ABC No Rio.CreditDamon Winter/The New York Times “Times have changed,” Aaron Goodstone said stoically, eyeing the spruced-up brick tenement at Ridge and Stanton Streets on the Lower East Side, now hip, where his friend Martin Wong once lived. Thirty years ago, when Mr. Goodstone was a teenage graffiti artist, he vied with drug dealers for the corner pay phone to reach Wong in his buzzerless sixth-floor walk-up: a salon, a studio, an archive and a refuge among the crumbling buildings and gated storefronts. Wong, a major painter in the East Village art scene, who died in 1999, was also a major collector. A mentor to young artists, he amassed about 300 works of graffiti in that small railroad apartment. Nearly 20 years after he donated his collection to the Museum of the City of New York, nearly 150 of those works are in “City as Canvas: Graffiti Art From the Martin Wong Collection.” The first exhibition of Wong’s collection, opening on Tuesday and running through Aug. 24, it is one of several graffiti and street art shows in the United States and abroad at museums and galleries in the past several years. Lee Quiñones’s “Howard the Duck” (1988). CreditMuseum of the City of New York. The exhibition prompted Mr. Goodstone’s recent trek to Wong’s old neighborhood. He was accompanied by the filmmaker Charlie Ahearn (director of the seminal 1983 film “Wild Style,” about New York’s hip-hop and graffiti scene), who shot a 13-minute documentary for “City as Canvas.” The film shows how several artists helped the museum’s curators choose and identify the artworks, some unsigned or misidentified: Mr. -
The Bronx Museum Champions the Brave, Unflinching Martin Wong By: Andrew Russeth
November 6, 2015 Big heat: The Bronx Museum Champions the Brave, Unflinching Martin Wong By: Andrew Russeth Martin Wong loved firemen. The late East Village artist, whose paintings stand as some of the most original and brave art produced in New York in the past 40 years, painted an intimate portrait of one in bed, still wearing his heavy jacket under the covers, in My Fire Guy (1988). “I really like the way firemen smell when they get off work,” he wrote in another piece from the same year. “It’s like hickory smoked rubber and B.O.” And in one of his masterpieces, Big Heat (1988), two firemen in full uniforms (hats on their heads, oxygen tanks on their backs) kiss in front of an abandoned building, which looms over them ominously. Friends gave Wong FDNY gear, and despite warnings, he couldn’t resist gallivanting around downtown Manhattan sporting the stuff. (“It’s a felony to impersonate a fireman,” he once explained. “So of course I wore them.”) And so, while I could not at first believe my eyes, it was a joy to find a team of firemen perusing the Bronx Museum of the Arts’ superb Wong retrospective one morning this week, admiring his paintings of shuttered storefronts, ruined buildings in downtown Manhattan, boxers, and prisoners—and, yes, joking with each other about that make-out session. Wong, I hope, was staring down from someplace and swooning. It was an unreal sight, but also somehow a weirdly plausible one: of course magical things were going to happen when so many of his paintings were brought together. -
Glyphadelphia Press Release
HESSE FLATOW Glyphadelphia Organized by Carl D’Alvia April 29–May 29 Opening Reception: April 29, 5–8PM by appointment Inquiries: info@hesseflatow.com HESSE FLATOW is pleased to present “Glyphadelphia,” an intergenerational group exhibition organized by sculptor Carl D’Alvia of artists who use different variations of a glyph—ancient hieroglyphics, a question mark, shapes, icons and symbols—as a departure for their work. The exhibition features works by thirty-five artists spanning sculpture, painting, drawing, and collage. The works are loosely grouped into five categories, each representing different definitions of the glyph: the ancient glyph, the body, alphabet and code, geometric and minimalist, and abstracted landscape. Figures in Catherine Haggarty’s work recall Egyptian hieroglyphs of various birds, while Carolyn Salas, Drea Cofield and Amy Pleasant employ repetitive motifs of the human body in their works. Glendalys Medina and Mira Dayal explore the use of abstracted alphabetic characters; Chris Bogia, Matthew Fisher, and Kalina Winters distill compositions down to geometric "Utopian" shapes. Emily Kiacz and Beverly Fishman utilize shaped canvases, inevitably repurposing iconography seen throughout corporate marketing campaigns—and John Dilg’s post-apocalyptic landscape recalls Philip Guston’s glyph-inspired canvases. The glyph has been a subject and inspiration for many artists over the years including Martin Wong, Ray Yoshida, Alina Szapocznikow, Judith Bernstein, Philip Guston, Elizabeth Murray and Deborah Kass. Glyphadelphia—which features artists aged 25 to 76—explores artists’ ongoing interest in using history as a playground, and bridging the gap between ancient and contemporary art. This show presents a catalogue of the different modalities of symbolic communication in use by contemporary artists and how this iconic mode of communication is constantly being adapted in innovative and diverse ways. -
My Community-To Not Woodhaven Queens 11421 Bandshell Restaurants Music Venues Y Not Sure Y Feel Like I Have to Go Elsewhere
Represent for Your Community Activity 1. Where do you Live 2. What are your favorite Arts and Culture Spots 3. Does your Neighborhood Have... 5. Anything else? Express yourself. a) How are you most likely to find out about arts and culture Do you go to those places/enjoy events? b) How many arts and/or culture events do you attend a month? c) What would malke you those activities? Why or Why not? more likely to attend more arts and culture events than you normally do? d) Are you an artist or 6. If you were in charge of the budget for Places to Hang Places to be Borough Zipcode Neighborhood Neighborhood Borough All of NYC Activities (Y/N) What programs, places or activities from arts organization? If so, please let us know your discipline or your organization) e) Do you arts and culture in NYC, what's the one (Y/N) creative (Y/N) would you most like to add or bring want to join the Northern Manhattan Arts and Culture email list? (You do not need to be an artist or thing you would fund? back? 4. What is in your neighborhood that you arts organization in order to be updatedon the progress of this organization! We would love to can't find anywhere else? keep everyone informed.) If yes, what is your email address. Manhattan La Mama, all of 4th The Kraine, Under Central Park Y Y Y Yes, because I want to live full life and Diversity in Manhattan on LES, though it is Civil service, non profit, artist job program + more equity in funding. -
The Ballad of the Lone Medievalist
the ballad of the lone medievalist Before you start to read this book, take this moment to think about making a donation to punctum books, an independent non-profit press, @ https://punctumbooks.com/support/ If you’re reading the e-book, you can click on the image below to go directly to our donations site. Any amount, no matter the size, is appreciated and will help us to keep our ship of fools afloat. Contri- butions from dedicated readers will also help us to keep our commons open and to cultivate new work that can’t find a welcoming port elsewhere. Our ad- venture is not possible without your support. Vive la open-access. Fig. 1. Hieronymus Bosch, Ship of Fools (1490–1500) the ballad of the lone medievalist. Copyright © 2018 by editors and au- thors. This work carries a Creative Commons BY-NC-SA 4.0 International li- cense, which means that you are free to copy and redistribute the material in any medium or format, and you may also remix, transform and build upon the material, as long as you clearly attribute the work to the authors (but not in a way that suggests the authors or punctum books endorses you and your work), you do not use this work for commercial gain in any form whatsoever, and that for any remixing and transformation, you distribute your rebuild under the same license. http://creativecommons.org/licenses/by-nc-sa/4.0/ First published in 2018 by punctum books, Earth, Milky Way. https://punctumbooks.com ISBN-13: 978-1-947447-54-7 (print) ISBN-13: 978-1-947447-55-4 (ePDF) lccn: 2018940292 Library of Congress Cataloging Data is available from the Library of Congress Book design: Vincent W.J. -
Mytriptoamericabymartinwong.Pdf
Published on the occasion of the exhibition Painting Is Forbidden, this anthology of newly commissioned texts and interviews examines the work and legacy of Chinese- American artist Martin Wong (1946–99). Entitled My Trip MY TRIP to America by Martin Wong, the book presents an expanded perspective on Wong’s practice through the inclusion of rarely seen reproductions of his photographs, poems, drawings, essays, recollections, and correspondence. A transcript of a lecture given by the artist at San Francisco Art Institute in T 1991 rounds out the picture of an impassioned practitioner A O working at what, at the time, appeared to be the margins of the M art world—but what today would be acknowledged as some ERIC of the most fertile grounds of the twentieth century’s cultural production: the streets of San Francisco and New York. A BY M BY A R T IN WONG Annotated cover of Splash magazine, April 1989. Text: Martin Wong, photo: Ken Nahoum. Reproduction rights courtesy Jordan Crandall. Image courtesy The Martin Wong Papers; Series II; Box 2; Folder 89; Fales Library and Special Collections, New York University Libraries. MY TRIP TO AmERICA BY MARTIN WONG Edited by CAITLIN BURKHART and JULIAN MYERS-SZUPINSKA CONTENTS foreword 4 Leigh Markopoulos my trip to america by martin wong 9 Alia al-Sabi and the Editors the actionability of the archive 19 Tanya Gayer and Julian Myers-Szupinska works by martin wong 27 martin wong, “it’s easier to paint a 89 store if it’s closed.” Introduced and edited by Caitlin Burkhart the dynamic: martin wong and 103 the asian american community Rui Tang whatusi in san francisco 113 Amelia Brod in conversation with two of the Angels of Light spring begins today! 123 Stuart Krimko index of images 131 works in the exhibition 133 acknowledgements 139 colophon 140 2 FOREWORD Leigh Markopoulos To navigate this encryption, communication with those who knew and loved Wong proved a significant resource for the orga- nizers of this exhibition during their research.