ARTBASE (1)
BIO
Joy Garnett is a painter based in New York. She appropriates news images from the Internet and re-invents them as paintings. Her subject is the apocalyptic-sublime landscape, as well as the digital image itself as cultural artifact in an increasingly technologized world. Her image research has resulted in online documentation projects, most notably The Bomb Project.
Notable past exhibitions include her recent solo shows at Winkleman Gallery, New York and at the National Academy of Sciences, Washington, DC; group exhibitions organized by the Whitney Museum of American Art, P.S.1/MoMA Contemporary Art Center, Artists Space, White Columns (New York), Kettle's Yard, Cambridge (UK), and De Witte Zaal, Ghent (Belgium). She shows with aeroplastics contemporary, Brussels, Belgium.
extended network >
homepage:
http://joygarnett.com
The Bomb Project
http://www.thebombproject.org
First Pulse Projects
http://firstpulseprojects.net
NEWSgrist - where spin is art
http://newsgrist.typepad.com/
Notable past exhibitions include her recent solo shows at Winkleman Gallery, New York and at the National Academy of Sciences, Washington, DC; group exhibitions organized by the Whitney Museum of American Art, P.S.1/MoMA Contemporary Art Center, Artists Space, White Columns (New York), Kettle's Yard, Cambridge (UK), and De Witte Zaal, Ghent (Belgium). She shows with aeroplastics contemporary, Brussels, Belgium.
extended network >
homepage:
http://joygarnett.com
The Bomb Project
http://www.thebombproject.org
First Pulse Projects
http://firstpulseprojects.net
NEWSgrist - where spin is art
http://newsgrist.typepad.com/
Beautiful studio space for rent (fwd)
---------- Forwarded message ----------
Date: Sun, 7 Nov 2004 17:43:23 +0100
From: Nina Katchadourian <nina.katchadourian@gmail.com>
Reply-To: Nina@immaterial.net
To: nina@immaterial.net
Subject: Beautiful studio space for rent
Please pass along!
ARTISTS STUDIO SPACE FOR RENT
Approx. 500 square foot work space (no living) available now.
The space is in a building in the Gowanus are of Brooklyn, on the corner
of Union and Nevins, almost on the Gowanus Canal. F train Carroll
Street stop on Smith Street is three blocks away. N/R train at Union
St/4th Ave. is also very close.
It is a top floor space (4th floor) with three large windows and
bright, clear light, and amazing views west. Hardwood floors. Some storage
racks and a closet in the space as well. There is a freight elevator
in the building.
Would like someone who works dust-free, nothing toxic, and no noisy
tools in frequent use. Writers, designers, etc. also welcome of course.
$750/month.
If interested, contact Nina Katchadourian at Nina@immaterial.net as
soon as possible. My own studio is the one right next door to this one.
Feel free to write with any questions.
Thanks.
NK
--
***NOTE: Please make Nina@immaterial.net the one and only permanent
address for me in your address book. You should delete all others!***
Date: Sun, 7 Nov 2004 17:43:23 +0100
From: Nina Katchadourian <nina.katchadourian@gmail.com>
Reply-To: Nina@immaterial.net
To: nina@immaterial.net
Subject: Beautiful studio space for rent
Please pass along!
ARTISTS STUDIO SPACE FOR RENT
Approx. 500 square foot work space (no living) available now.
The space is in a building in the Gowanus are of Brooklyn, on the corner
of Union and Nevins, almost on the Gowanus Canal. F train Carroll
Street stop on Smith Street is three blocks away. N/R train at Union
St/4th Ave. is also very close.
It is a top floor space (4th floor) with three large windows and
bright, clear light, and amazing views west. Hardwood floors. Some storage
racks and a closet in the space as well. There is a freight elevator
in the building.
Would like someone who works dust-free, nothing toxic, and no noisy
tools in frequent use. Writers, designers, etc. also welcome of course.
$750/month.
If interested, contact Nina Katchadourian at Nina@immaterial.net as
soon as possible. My own studio is the one right next door to this one.
Feel free to write with any questions.
Thanks.
NK
--
***NOTE: Please make Nina@immaterial.net the one and only permanent
address for me in your address book. You should delete all others!***
Re: Re: opportunities abound
hey Lee --
there goes my once-a-year rant on art. back to the salt mines now.
best,
J
On Sun, 7 Nov 2004, Lee Wells wrote:
> Joy
>
> Very beautifully stated.
>
> Cheers,
> Lee
>
>
> On 11/7/04 11:04 AM, "Joy Garnett" <joyeria@walrus.com> wrote:
>
>> Consider this: "Art" is not about directly activating political
>> change. Sorry, but that's a head-in-the-clouds notion. Enacting political
>> change requires far simpler instruments. Art is not simple; it
>> is not a good way to communicate a "simple message" to a vast number of
>> people in record time. No matter how rad or avante-whatever or rhizomatic
>> and networky artists may think they are, they--we--are elitists. Yes YOU. Me.
>> And that's okay. Relax over that *e* word, because the alternative is
>> Britney. Your choice.
>>
>> Art is slow, often obtuse, has been known to--when it's truly complex and
>> resonant--muddy the waters in ways that cannot perhaps be immediately
>> understood. But as Ezra Pound pointed out in the ABC of Reading, being
>> capable of making artwork that is accessible on more than one level is
>> something we should aspire to... Note: this forms the POLAR OPPOSITE
>> strategy to the political activist modus operandi. (ie: ABC of Reading is
>> a really good book to argue with).
>>
>> That's not to say that there isn't good or great political art; but
>> political art is not about preaching some side of something. I always
>> hoped it was about exploding the limiting thought frameworks we've become
>> inured to, or something crazy and impossible like that. "Bad" political
>> art is bad because it becomes propaganda all too readily. Even angry and
>> in-your-face art (David Wojnarowicz; Leon Golub) doesn't have to be a
>> one-liner. Art is slow (a cool medium, in McLuhan terms), is not a crowd
>> pusher, may not even be a crowd-pleaser (often it isn't) and is OPEN TO
>> MULTIPLE INTERPRETATIONS. Once again: not a great activist strategy. But
>> it is essential that it be so; complexity and open-endedness is what's
>> lacking in our mainstream culture. The America of Disney and Dubya is
>> not big on complexity; (this complexity is why we lost the election this
>> time).
>>
>> So what does that mean? We should give up on open-ended complexity? Uh,
>> no, sorry. And I forgive you for missing the point and thinking my
>> paintings are like some sentimental expressionist Family of Man thing. I
>> forgive you because Ezra Pound says it's really important that our stuff is
>> accessible and multivalent, and he's right.
>>
>> This does not mean I think artists aren't capable of making good art that
>> reflects their convictions; only that I think most people think in black
>> and white and that art is one of the few places where all the shades of
>> grey live. Art both as a practice and as a consumer experience is something
>> subtler and stranger and more open-ended than agitprop or mere expression
>> of angst. Any toddler can effectively express angst. So let's not be
>> toddlers.
>>
>> best,
>> J
>>
>>
>> On Sun, 7 Nov 2004, Jason Van Anden wrote:
>>
>>> Lee,
>>>
>>> Many of my personal favorites.
>>>
>>> To me, this list demonstrates that frustration from the political climate an
>>> artist lives in can serve as an awesome muse. Unfortunately, more often than
>>> not, the product of politically motivated fine art serves as a historical
>>> artifact of the time the artist lived in, rather than fuel for change.
>>>
>>> I do not mean to dismiss the efforts of artists who express their feelings by
>>> making art about the times they live in. I was very touched by your drawings
>>> of every single soldier killed in combat in Iraq, as I am when I see Joy's
>>> paintings of people struggling and fighting in the world. Someday, if this
>>> country gets back on track, these works will resonate with an audience who
>>> will reflect about how far we have come since. At this moment in time
>>> though, I believe they preach to the choir. As noble an endeavor as it may
>>> be to make fine art to inspire change, more often than not I do not think it
>>> is the best suited activity to accomplish that goal.
>>>
>>> I am not suggesting people stop making art that expresses angst about the
>>> world they live in. I just think that artists shouldn't fool themselves into
>>> believing that just because we are good at making imagery, that this is the
>>> best way we can invest our time to cause change.
>>> Unless you are able to make art that clearly communicates a message that will
>>> compel those you are trying to convince to consider a different way, and
>>> present it somewhere they will see it (ie: Michael Moore, Deigo Rivera), we
>>> are working in a vacuum. Better to volunteer for an organization doing
>>> whatever takes (licking stamps, answering the phone, canvassing
>>> neighborhoods) and then go home and vent with your muse to help win the peace
>>> after we win the ground war.
>>>
>>> I was suprised that you left John Lennon out of your list. A very popular
>>> artist who mostly wrote love songs, and then leveraged his celebrity into
>>> truly effective activism.
>>>
>>> Give Peace a Chance!
>>>
>>> Jason Van Anden
>>> www.smileproject.com
>>> +
>>> -> post: list@rhizome.org
>>> -> questions: info@rhizome.org
>>> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>>> -> give: http://rhizome.org/support
>>> -> visit: on Fridays the Rhizome.org web site is open to non-members
>>> +
>>> Subscribers to Rhizome are subject to the terms set out in the
>>> Membership Agreement available online at http://rhizome.org/info/29.php
>>>
>>>
>> +
>> -> post: list@rhizome.org
>> -> questions: info@rhizome.org
>> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>> -> give: http://rhizome.org/support
>> -> visit: on Fridays the Rhizome.org web site is open to non-members
>> +
>> Subscribers to Rhizome are subject to the terms set out in the
>> Membership Agreement available online at http://rhizome.org/info/29.php
>>
>
>
there goes my once-a-year rant on art. back to the salt mines now.
best,
J
On Sun, 7 Nov 2004, Lee Wells wrote:
> Joy
>
> Very beautifully stated.
>
> Cheers,
> Lee
>
>
> On 11/7/04 11:04 AM, "Joy Garnett" <joyeria@walrus.com> wrote:
>
>> Consider this: "Art" is not about directly activating political
>> change. Sorry, but that's a head-in-the-clouds notion. Enacting political
>> change requires far simpler instruments. Art is not simple; it
>> is not a good way to communicate a "simple message" to a vast number of
>> people in record time. No matter how rad or avante-whatever or rhizomatic
>> and networky artists may think they are, they--we--are elitists. Yes YOU. Me.
>> And that's okay. Relax over that *e* word, because the alternative is
>> Britney. Your choice.
>>
>> Art is slow, often obtuse, has been known to--when it's truly complex and
>> resonant--muddy the waters in ways that cannot perhaps be immediately
>> understood. But as Ezra Pound pointed out in the ABC of Reading, being
>> capable of making artwork that is accessible on more than one level is
>> something we should aspire to... Note: this forms the POLAR OPPOSITE
>> strategy to the political activist modus operandi. (ie: ABC of Reading is
>> a really good book to argue with).
>>
>> That's not to say that there isn't good or great political art; but
>> political art is not about preaching some side of something. I always
>> hoped it was about exploding the limiting thought frameworks we've become
>> inured to, or something crazy and impossible like that. "Bad" political
>> art is bad because it becomes propaganda all too readily. Even angry and
>> in-your-face art (David Wojnarowicz; Leon Golub) doesn't have to be a
>> one-liner. Art is slow (a cool medium, in McLuhan terms), is not a crowd
>> pusher, may not even be a crowd-pleaser (often it isn't) and is OPEN TO
>> MULTIPLE INTERPRETATIONS. Once again: not a great activist strategy. But
>> it is essential that it be so; complexity and open-endedness is what's
>> lacking in our mainstream culture. The America of Disney and Dubya is
>> not big on complexity; (this complexity is why we lost the election this
>> time).
>>
>> So what does that mean? We should give up on open-ended complexity? Uh,
>> no, sorry. And I forgive you for missing the point and thinking my
>> paintings are like some sentimental expressionist Family of Man thing. I
>> forgive you because Ezra Pound says it's really important that our stuff is
>> accessible and multivalent, and he's right.
>>
>> This does not mean I think artists aren't capable of making good art that
>> reflects their convictions; only that I think most people think in black
>> and white and that art is one of the few places where all the shades of
>> grey live. Art both as a practice and as a consumer experience is something
>> subtler and stranger and more open-ended than agitprop or mere expression
>> of angst. Any toddler can effectively express angst. So let's not be
>> toddlers.
>>
>> best,
>> J
>>
>>
>> On Sun, 7 Nov 2004, Jason Van Anden wrote:
>>
>>> Lee,
>>>
>>> Many of my personal favorites.
>>>
>>> To me, this list demonstrates that frustration from the political climate an
>>> artist lives in can serve as an awesome muse. Unfortunately, more often than
>>> not, the product of politically motivated fine art serves as a historical
>>> artifact of the time the artist lived in, rather than fuel for change.
>>>
>>> I do not mean to dismiss the efforts of artists who express their feelings by
>>> making art about the times they live in. I was very touched by your drawings
>>> of every single soldier killed in combat in Iraq, as I am when I see Joy's
>>> paintings of people struggling and fighting in the world. Someday, if this
>>> country gets back on track, these works will resonate with an audience who
>>> will reflect about how far we have come since. At this moment in time
>>> though, I believe they preach to the choir. As noble an endeavor as it may
>>> be to make fine art to inspire change, more often than not I do not think it
>>> is the best suited activity to accomplish that goal.
>>>
>>> I am not suggesting people stop making art that expresses angst about the
>>> world they live in. I just think that artists shouldn't fool themselves into
>>> believing that just because we are good at making imagery, that this is the
>>> best way we can invest our time to cause change.
>>> Unless you are able to make art that clearly communicates a message that will
>>> compel those you are trying to convince to consider a different way, and
>>> present it somewhere they will see it (ie: Michael Moore, Deigo Rivera), we
>>> are working in a vacuum. Better to volunteer for an organization doing
>>> whatever takes (licking stamps, answering the phone, canvassing
>>> neighborhoods) and then go home and vent with your muse to help win the peace
>>> after we win the ground war.
>>>
>>> I was suprised that you left John Lennon out of your list. A very popular
>>> artist who mostly wrote love songs, and then leveraged his celebrity into
>>> truly effective activism.
>>>
>>> Give Peace a Chance!
>>>
>>> Jason Van Anden
>>> www.smileproject.com
>>> +
>>> -> post: list@rhizome.org
>>> -> questions: info@rhizome.org
>>> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>>> -> give: http://rhizome.org/support
>>> -> visit: on Fridays the Rhizome.org web site is open to non-members
>>> +
>>> Subscribers to Rhizome are subject to the terms set out in the
>>> Membership Agreement available online at http://rhizome.org/info/29.php
>>>
>>>
>> +
>> -> post: list@rhizome.org
>> -> questions: info@rhizome.org
>> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>> -> give: http://rhizome.org/support
>> -> visit: on Fridays the Rhizome.org web site is open to non-members
>> +
>> Subscribers to Rhizome are subject to the terms set out in the
>> Membership Agreement available online at http://rhizome.org/info/29.php
>>
>
>
Re: Re: opportunities abound
Consider this: "Art" is not about directly activating political
change. Sorry, but that's a head-in-the-clouds notion. Enacting political
change requires far simpler instruments. Art is not simple; it
is not a good way to communicate a "simple message" to a vast number of
people in record time. No matter how rad or avante-whatever or rhizomatic
and networky artists may think they are, they--we--are elitists. Yes YOU. Me.
And that's okay. Relax over that *e* word, because the alternative is
Britney. Your choice.
Art is slow, often obtuse, has been known to--when it's truly complex and
resonant--muddy the waters in ways that cannot perhaps be immediately
understood. But as Ezra Pound pointed out in the ABC of Reading, being
capable of making artwork that is accessible on more than one level is
something we should aspire to... Note: this forms the POLAR OPPOSITE
strategy to the political activist modus operandi. (ie: ABC of Reading is
a really good book to argue with).
That's not to say that there isn't good or great political art; but
political art is not about preaching some side of something. I always
hoped it was about exploding the limiting thought frameworks we've become
inured to, or something crazy and impossible like that. "Bad" political
art is bad because it becomes propaganda all too readily. Even angry and
in-your-face art (David Wojnarowicz; Leon Golub) doesn't have to be a
one-liner. Art is slow (a cool medium, in McLuhan terms), is not a crowd
pusher, may not even be a crowd-pleaser (often it isn't) and is OPEN TO
MULTIPLE INTERPRETATIONS. Once again: not a great activist strategy. But
it is essential that it be so; complexity and open-endedness is what's
lacking in our mainstream culture. The America of Disney and Dubya is
not big on complexity; (this complexity is why we lost the election this
time).
So what does that mean? We should give up on open-ended complexity? Uh,
no, sorry. And I forgive you for missing the point and thinking my
paintings are like some sentimental expressionist Family of Man thing. I
forgive you because Ezra Pound says it's really important that our stuff is
accessible and multivalent, and he's right.
This does not mean I think artists aren't capable of making good art that
reflects their convictions; only that I think most people think in black
and white and that art is one of the few places where all the shades of
grey live. Art both as a practice and as a consumer experience is something
subtler and stranger and more open-ended than agitprop or mere expression
of angst. Any toddler can effectively express angst. So let's not be
toddlers.
best,
J
On Sun, 7 Nov 2004, Jason Van Anden wrote:
> Lee,
>
> Many of my personal favorites.
>
> To me, this list demonstrates that frustration from the political climate an artist lives in can serve as an awesome muse. Unfortunately, more often than not, the product of politically motivated fine art serves as a historical artifact of the time the artist lived in, rather than fuel for change.
>
> I do not mean to dismiss the efforts of artists who express their feelings by making art about the times they live in. I was very touched by your drawings of every single soldier killed in combat in Iraq, as I am when I see Joy's paintings of people struggling and fighting in the world. Someday, if this country gets back on track, these works will resonate with an audience who will reflect about how far we have come since. At this moment in time though, I believe they preach to the choir. As noble an endeavor as it may be to make fine art to inspire change, more often than not I do not think it is the best suited activity to accomplish that goal.
>
> I am not suggesting people stop making art that expresses angst about the world they live in. I just think that artists shouldn't fool themselves into believing that just because we are good at making imagery, that this is the best way we can invest our time to cause change.
> Unless you are able to make art that clearly communicates a message that will compel those you are trying to convince to consider a different way, and present it somewhere they will see it (ie: Michael Moore, Deigo Rivera), we are working in a vacuum. Better to volunteer for an organization doing whatever takes (licking stamps, answering the phone, canvassing neighborhoods) and then go home and vent with your muse to help win the peace after we win the ground war.
>
> I was suprised that you left John Lennon out of your list. A very popular artist who mostly wrote love songs, and then leveraged his celebrity into truly effective activism.
>
> Give Peace a Chance!
>
> Jason Van Anden
> www.smileproject.com
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is open to non-members
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
>
change. Sorry, but that's a head-in-the-clouds notion. Enacting political
change requires far simpler instruments. Art is not simple; it
is not a good way to communicate a "simple message" to a vast number of
people in record time. No matter how rad or avante-whatever or rhizomatic
and networky artists may think they are, they--we--are elitists. Yes YOU. Me.
And that's okay. Relax over that *e* word, because the alternative is
Britney. Your choice.
Art is slow, often obtuse, has been known to--when it's truly complex and
resonant--muddy the waters in ways that cannot perhaps be immediately
understood. But as Ezra Pound pointed out in the ABC of Reading, being
capable of making artwork that is accessible on more than one level is
something we should aspire to... Note: this forms the POLAR OPPOSITE
strategy to the political activist modus operandi. (ie: ABC of Reading is
a really good book to argue with).
That's not to say that there isn't good or great political art; but
political art is not about preaching some side of something. I always
hoped it was about exploding the limiting thought frameworks we've become
inured to, or something crazy and impossible like that. "Bad" political
art is bad because it becomes propaganda all too readily. Even angry and
in-your-face art (David Wojnarowicz; Leon Golub) doesn't have to be a
one-liner. Art is slow (a cool medium, in McLuhan terms), is not a crowd
pusher, may not even be a crowd-pleaser (often it isn't) and is OPEN TO
MULTIPLE INTERPRETATIONS. Once again: not a great activist strategy. But
it is essential that it be so; complexity and open-endedness is what's
lacking in our mainstream culture. The America of Disney and Dubya is
not big on complexity; (this complexity is why we lost the election this
time).
So what does that mean? We should give up on open-ended complexity? Uh,
no, sorry. And I forgive you for missing the point and thinking my
paintings are like some sentimental expressionist Family of Man thing. I
forgive you because Ezra Pound says it's really important that our stuff is
accessible and multivalent, and he's right.
This does not mean I think artists aren't capable of making good art that
reflects their convictions; only that I think most people think in black
and white and that art is one of the few places where all the shades of
grey live. Art both as a practice and as a consumer experience is something
subtler and stranger and more open-ended than agitprop or mere expression
of angst. Any toddler can effectively express angst. So let's not be
toddlers.
best,
J
On Sun, 7 Nov 2004, Jason Van Anden wrote:
> Lee,
>
> Many of my personal favorites.
>
> To me, this list demonstrates that frustration from the political climate an artist lives in can serve as an awesome muse. Unfortunately, more often than not, the product of politically motivated fine art serves as a historical artifact of the time the artist lived in, rather than fuel for change.
>
> I do not mean to dismiss the efforts of artists who express their feelings by making art about the times they live in. I was very touched by your drawings of every single soldier killed in combat in Iraq, as I am when I see Joy's paintings of people struggling and fighting in the world. Someday, if this country gets back on track, these works will resonate with an audience who will reflect about how far we have come since. At this moment in time though, I believe they preach to the choir. As noble an endeavor as it may be to make fine art to inspire change, more often than not I do not think it is the best suited activity to accomplish that goal.
>
> I am not suggesting people stop making art that expresses angst about the world they live in. I just think that artists shouldn't fool themselves into believing that just because we are good at making imagery, that this is the best way we can invest our time to cause change.
> Unless you are able to make art that clearly communicates a message that will compel those you are trying to convince to consider a different way, and present it somewhere they will see it (ie: Michael Moore, Deigo Rivera), we are working in a vacuum. Better to volunteer for an organization doing whatever takes (licking stamps, answering the phone, canvassing neighborhoods) and then go home and vent with your muse to help win the peace after we win the ground war.
>
> I was suprised that you left John Lennon out of your list. A very popular artist who mostly wrote love songs, and then leveraged his celebrity into truly effective activism.
>
> Give Peace a Chance!
>
> Jason Van Anden
> www.smileproject.com
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is open to non-members
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
>
NEWSgrist: Artists Speak @ Artists Space
NEWSgrist - where spin is art
An e-zine covering the arts since 2000
======================
Vol.5, no.25
======================
read it on the blog:
http://newsgrist.typepad.com
Archives:
http://newsgrist.net
///////////////////////////////////////////////////////////////////////////////////////////////////////////
Friday, November 05, 2004
Artists Speak at Artists Space
Artists Space / Artists Speak at the Whitney Museum of American Art
Irving Sandler in conversation with Robert Longo, Matt Mullican, Elizabeth
Murray and Judy Pfaff.
Monday November 8, 2004
6:30-8:00 pm
Whitney Museum of American Art
945 Madison Avenue at 75th Street New York, NY 10021
Tickets to the lecture, followed by cocktails: $100.
Cocktail reception at Salon 94, 12 East 94th Street, NY 10021.
On view:
Shirana Shahbazi - Flowers, Fruits & Portraits
A limited number of tickets for the lecture only are available: $25/$15
students.
Proceeds to benefit Artists Space programs: tickets available at Artists
Space only. For information and tickets contact Artists Space:
212.226.3970 x 25
Since 1972, Artists Space has been one of New Yorks foremost venues for
the promotion and discovery of emerging artists and experimental work,
while also creating an arena for dialogue and exchange. In the 70s and 80s
the New York art world developed into an almost mythical success story,
still regarded with both disdain and admiration decades after the fact.
Artists Space became both a leader in this development and an alternative
to it, providing many artists with their first opportunity to present
work, and an environment of support and encouragement detached from market
constraints.
Irving Sandler, co-founder of Artists Space, talks with artists who were
involved with the gallery during those years and considers what defined
that period, what it meant to be an emerging artist, and what comparisons
can be made today.
Friday, November 05, 2004 at 03:12 PM in Benefits | Permalink:
http://newsgrist.typepad.com/underbelly/2004/11/artists_speak_a.html
///////////////////////////////////////////////////////////////////////////////////////////////////////////
Thursday, November 04, 2004
Margaret Mead Film & Video Festival
The Margaret Mead Film & Video Festival
Save the dates.... November 11-14 and 20, 21
$8 Members; $9 Non-members
The 28th annual Mead Festival offers the best in international documentary
films, conversations, and roundtables. Themes this season include native
media from the Northwest Coast and the Southwest and a tribute to the
creator of cinema verit, Jean Rouch (1901-2004).
6 days of 40+ films from around the globe : Afghanistan, Argentina,
Australia, Brazil, Canada, Cuba, China, France, Germany, Haiti, India,
Peru, Russia, South Africa, Uzbekistan, the U.K., and the U.S.
Post-screening discussions with many of the directors.
Screenings take place in the Kaufmann and Linder Theaters, except for the
opening night film, A Touch of Greatness, which takes place in the LeFrak
theater on November 11. Full schedule.
Margaret Mead Film & Video Festival
American Museum of Natural History
Central Park West at 79th Street
New York, NY 10024
Tel:1-212-769-5305
Fax: 1-212-769-5329
Email: meadfest@amnh.org
http://www.amnh.org/programs/mead
Thursday, November 04, 2004 at 08:59 AM in Film | Permalink:
http://newsgrist.typepad.com/underbelly/2004/11/margaret_mead_f.html
///////////////////////////////////////////////////////////////////////////////////////////////////////////
Wednesday, November 03, 2004
Precarious Life: Post Election Thoughts
I bought this book when it came out and I'm reading it now--it is quite
simply the perfect antidote to the election and the most insightful text
regarding where we are right now that I've yet to read. (Sorry, I must
uphold my mandate as the Queen of Hyperbole):
from the preface:
"Dissent and debate depend upon the inclusion of those who maintain
critical views of state policy and civic culture remaining part of a
larger public discussion of the value of policies and politics. To charge
those who voice critical views with treason, terrorist-sympathizing,
anti-Semitism, moral relativism, postmodernism, juvenile behavior,
collaboration, anachronistic Leftism, is to seek to destroy the
credibitlity not of the views that are held, but of the persons who hold
them [...] It is precisely because one does not want to lose one's status
as a viable speaking being that one does not say what one thinks. "
Precarious Life: The Powers of Mourning and Violence
By Judith Butler
Verso, London/New York 2004
Here's a review from Flak Magazine:
excerpt:
Butler sees Sept. 11 as a missed opportunity to redefine ourselves as part
of a global, interconnected community. It was "a chance to start to
imagine a world in which violence might be minimized," in which the
shocking revelation of our own vulnerability might lead us to reflect on
the vulnerability of others, particularly those others who have suffered
at the hands of the US. That opportunity was not only passed up, but, for
the near future, altogether foreclosed. Instead, post-Sept. 11 American
society closed itself off by responding to violence with unbridled
unilateralism.
Consider one striking anecdote Butler uses to show how closed American
society has become: A Palestinian citizen of the United States submitted
to the San Francisco Chronicle obituaries for two Palestinian families
killed by Israeli gunfire. The Chronicle rejected them, however,
explaining that the newspaper did not wish to offend anyone. "What might
be 'offensive' about the public avowal of sorrow and loss," Butler asks,
"such that memorials would function as offensive speech?" The "offense,"
Butler suggests, in admitting civilian deaths is that we would be
humanizing them, recognizing their vulnerability. And in doing so, we
would be empathizing, that is, equating "them" with "us" and positing that
there is some minimal human vulnerability we indeed share [...]
Wednesday, November 03, 2004 at 08:23 PM in Books | Permalink:
http://newsgrist.typepad.com/underbelly/2004/11/precarious_life.html
///////////////////////////////////////////////////////////////////////////////////////////////////////////
Voting Disorder
Votevomit
[click for full image (Igor Knezevic)]
via BoingBoing:
Kerry concedes.
8:15am: Four more years of a nation led by criminals. I was making coffee
with one eye on CNN when the news broke, and I called my dad, a man who's
spent many years fighting for good things, sometimes at great personal
cost.
"Get over it," he said, "The way you feel now is exactly how I felt when
Nixon won a second term -- crushed. I just couldn't believe America was
that stupid. But remember what happened to Nixon that term."
"Change comes from discontent," he said. "And right now, there's a lot of
discontent."
I finish pouring my coffee, and agree when my dad says what we're faced
with right now is considerably more frightening than Nixon. BB pal Jim
Graham IMs a few minutes later: "Yeah, and Karl Rove makes Lee Atwater
look like a choir boy."
Dan Gillmor sums up what the continuation of Bush's presidency means for
America.
[read the rest]
Wednesday, November 03, 2004 at 04:56 PM in Current Affairs | Permalink:
http://newsgrist.typepad.com/underbelly/2004/11/voting_vomiting.html
///////////////////////////////////////////////////////////////////////////////////////////////////////////
Every Time You Vote Republican...
image: Meow
[thanks Z!]
.............................................................................................................................................
Wednesday, November 03, 2004 at 10:46 AM in Current Affairs | Permalink:
http://newsgrist.typepad.com/underbelly/2004/11/every_time_you_.html
///////////////////////////////////////////////////////////////////////////////////////////////////////////
Sex, Lies, Codependence at PS122
Zoe Lister-Jones' Codependence is a Four-Letter Word opens tomorrow at
PS122:
via The Guide (NYTimes):
HOT FOR TEACHER
Zoe Lister-Jones opens "Codependence Is a Four-Letter Word," her one-woman
show, playing a graduate student who teaches sixth-graders in
Bedford-Stuyvesant, Brooklyn, the proper use of sex toys. She first
introduces herself with a rap (with backup dancers, no less), in which she
explains that she received her "ill actor training at Tisch School of the
Arts." The 11 characters she plays are linked by, as the rap puts it, sex
and love "and why both are pathetic."
P.S. 122, 150 First Avenue, at Ninth Street, East Village; 8 p.m., today;
$10 and $15. (Through Nov. 7.) For reservations call 212-477-5288
(Complimentary tickets for press/industry)
Wednesday, November 03, 2004 at 10:24 AM in Performances | Permalink:
http://newsgrist.typepad.com/underbelly/2004/11/sex_lies_codepe.html
///////////////////////////////////////////////////////////////////////////////////////////////////////////
Crazy For Submission
greg.org also reports on the murder of Theo Van Gogh:
Dutch filmmaker and great grandson Theo Van Gogh was murdered on an
Amsterdam street today, ostensibly because of his short film, Submission.
[That's the title.] Since Submission was broadcast on the VPRO TV network
in August, Van Gogh and the film's writer, an "ex-Muslim" member of
parliament, Ayaan Hirsi Ali, had received numerous death threats and
accusations of blasphemy.
Seriously, what is up with these people? I can't believe anyone not
related to the filmmakers actually watches a short film, much less gets
mad enough to kill over one.
[There was that one time when MVRDV got death threats over their short
animated film, Pig City... And the guy who got them in that trouble, Pim
Fortuyn, did get assassinated himself...]
Of course, if you make a movie with verses from the Koran painted on nude
women's bodies, which are visible through a translucent chador, I guess
you might piss some of the wrong people off. So is it the offended
militant Muslims who are crazy, or the Dutch?
Watch several minutes of Van Gogh and Ali's film, Submission at VPRO [...]
Wednesday, November 03, 2004 at 10:09 AM in Film | Permalink:
http://newsgrist.typepad.com/underbelly/2004/11/crazy_for_submi.html
///////////////////////////////////////////////////////////////////////////////////////////////////////////
Tuesday, November 02, 2004
Theo Van Gogh Shot, Killed
via BBC World News:
Gunman kills Dutch film director
Dutch film maker Theo van Gogh, who made a controversial film about
Islamic culture, has been stabbed and shot dead in Amsterdam, Dutch police
say.
Police arrested a man in a nearby park after an exchange of gunfire. The
man, aged 26, had joint Dutch and Moroccan nationality, they said.
Van Gogh, 47, had received death threats after his film Submission was
shown on Dutch TV.
It portrayed violence against women in Islamic societies.
The film was made with liberal Dutch politician Ayaan Hirsi Ali, a Somali
refugee who fled an arranged marriage.
Ayaan Hirsi Ali has been under police protection since the film was aired.
She has also received death threats and has renounced the Islamic faith.
[...]
The film Submission told the story of a Muslim woman forced into an
arranged marriage who is abused by her husband and raped by her uncle. It
triggered an outcry from Dutch Muslims.
In one scene the film showed an actress in see-through garments with
Koranic script written on her body, which also bore whip marks.
The Netherlands is home to nearly one million Muslims or 5.5% of the
population.
One of the film maker's colleagues at the film production company said Van
Gogh had received death threats "but he never took them quite seriously".
"He was a controversial figure and a champion of free speech," he told
Reuters.
Dutch Prime Minister Jan Peter Balkenende said "it is unacceptable if
expressing your opinion would be the cause of this brutal murder". [...]
Tuesday, November 02, 2004 at 07:21 PM in Film | Permalink:
http://newsgrist.typepad.com/underbelly/2004/11/theo_van_gogh_s.html
///////////////////////////////////////////////////////////////////////////////////////////////////////////
NEWSgrist - where spin is art
http://newsgrist.typepad.com
Archives
http://newsgrist.net
An e-zine covering the arts since 2000
======================
Vol.5, no.25
======================
read it on the blog:
http://newsgrist.typepad.com
Archives:
http://newsgrist.net
///////////////////////////////////////////////////////////////////////////////////////////////////////////
Friday, November 05, 2004
Artists Speak at Artists Space
Artists Space / Artists Speak at the Whitney Museum of American Art
Irving Sandler in conversation with Robert Longo, Matt Mullican, Elizabeth
Murray and Judy Pfaff.
Monday November 8, 2004
6:30-8:00 pm
Whitney Museum of American Art
945 Madison Avenue at 75th Street New York, NY 10021
Tickets to the lecture, followed by cocktails: $100.
Cocktail reception at Salon 94, 12 East 94th Street, NY 10021.
On view:
Shirana Shahbazi - Flowers, Fruits & Portraits
A limited number of tickets for the lecture only are available: $25/$15
students.
Proceeds to benefit Artists Space programs: tickets available at Artists
Space only. For information and tickets contact Artists Space:
212.226.3970 x 25
Since 1972, Artists Space has been one of New Yorks foremost venues for
the promotion and discovery of emerging artists and experimental work,
while also creating an arena for dialogue and exchange. In the 70s and 80s
the New York art world developed into an almost mythical success story,
still regarded with both disdain and admiration decades after the fact.
Artists Space became both a leader in this development and an alternative
to it, providing many artists with their first opportunity to present
work, and an environment of support and encouragement detached from market
constraints.
Irving Sandler, co-founder of Artists Space, talks with artists who were
involved with the gallery during those years and considers what defined
that period, what it meant to be an emerging artist, and what comparisons
can be made today.
Friday, November 05, 2004 at 03:12 PM in Benefits | Permalink:
http://newsgrist.typepad.com/underbelly/2004/11/artists_speak_a.html
///////////////////////////////////////////////////////////////////////////////////////////////////////////
Thursday, November 04, 2004
Margaret Mead Film & Video Festival
The Margaret Mead Film & Video Festival
Save the dates.... November 11-14 and 20, 21
$8 Members; $9 Non-members
The 28th annual Mead Festival offers the best in international documentary
films, conversations, and roundtables. Themes this season include native
media from the Northwest Coast and the Southwest and a tribute to the
creator of cinema verit, Jean Rouch (1901-2004).
6 days of 40+ films from around the globe : Afghanistan, Argentina,
Australia, Brazil, Canada, Cuba, China, France, Germany, Haiti, India,
Peru, Russia, South Africa, Uzbekistan, the U.K., and the U.S.
Post-screening discussions with many of the directors.
Screenings take place in the Kaufmann and Linder Theaters, except for the
opening night film, A Touch of Greatness, which takes place in the LeFrak
theater on November 11. Full schedule.
Margaret Mead Film & Video Festival
American Museum of Natural History
Central Park West at 79th Street
New York, NY 10024
Tel:1-212-769-5305
Fax: 1-212-769-5329
Email: meadfest@amnh.org
http://www.amnh.org/programs/mead
Thursday, November 04, 2004 at 08:59 AM in Film | Permalink:
http://newsgrist.typepad.com/underbelly/2004/11/margaret_mead_f.html
///////////////////////////////////////////////////////////////////////////////////////////////////////////
Wednesday, November 03, 2004
Precarious Life: Post Election Thoughts
I bought this book when it came out and I'm reading it now--it is quite
simply the perfect antidote to the election and the most insightful text
regarding where we are right now that I've yet to read. (Sorry, I must
uphold my mandate as the Queen of Hyperbole):
from the preface:
"Dissent and debate depend upon the inclusion of those who maintain
critical views of state policy and civic culture remaining part of a
larger public discussion of the value of policies and politics. To charge
those who voice critical views with treason, terrorist-sympathizing,
anti-Semitism, moral relativism, postmodernism, juvenile behavior,
collaboration, anachronistic Leftism, is to seek to destroy the
credibitlity not of the views that are held, but of the persons who hold
them [...] It is precisely because one does not want to lose one's status
as a viable speaking being that one does not say what one thinks. "
Precarious Life: The Powers of Mourning and Violence
By Judith Butler
Verso, London/New York 2004
Here's a review from Flak Magazine:
excerpt:
Butler sees Sept. 11 as a missed opportunity to redefine ourselves as part
of a global, interconnected community. It was "a chance to start to
imagine a world in which violence might be minimized," in which the
shocking revelation of our own vulnerability might lead us to reflect on
the vulnerability of others, particularly those others who have suffered
at the hands of the US. That opportunity was not only passed up, but, for
the near future, altogether foreclosed. Instead, post-Sept. 11 American
society closed itself off by responding to violence with unbridled
unilateralism.
Consider one striking anecdote Butler uses to show how closed American
society has become: A Palestinian citizen of the United States submitted
to the San Francisco Chronicle obituaries for two Palestinian families
killed by Israeli gunfire. The Chronicle rejected them, however,
explaining that the newspaper did not wish to offend anyone. "What might
be 'offensive' about the public avowal of sorrow and loss," Butler asks,
"such that memorials would function as offensive speech?" The "offense,"
Butler suggests, in admitting civilian deaths is that we would be
humanizing them, recognizing their vulnerability. And in doing so, we
would be empathizing, that is, equating "them" with "us" and positing that
there is some minimal human vulnerability we indeed share [...]
Wednesday, November 03, 2004 at 08:23 PM in Books | Permalink:
http://newsgrist.typepad.com/underbelly/2004/11/precarious_life.html
///////////////////////////////////////////////////////////////////////////////////////////////////////////
Voting Disorder
Votevomit
[click for full image (Igor Knezevic)]
via BoingBoing:
Kerry concedes.
8:15am: Four more years of a nation led by criminals. I was making coffee
with one eye on CNN when the news broke, and I called my dad, a man who's
spent many years fighting for good things, sometimes at great personal
cost.
"Get over it," he said, "The way you feel now is exactly how I felt when
Nixon won a second term -- crushed. I just couldn't believe America was
that stupid. But remember what happened to Nixon that term."
"Change comes from discontent," he said. "And right now, there's a lot of
discontent."
I finish pouring my coffee, and agree when my dad says what we're faced
with right now is considerably more frightening than Nixon. BB pal Jim
Graham IMs a few minutes later: "Yeah, and Karl Rove makes Lee Atwater
look like a choir boy."
Dan Gillmor sums up what the continuation of Bush's presidency means for
America.
[read the rest]
Wednesday, November 03, 2004 at 04:56 PM in Current Affairs | Permalink:
http://newsgrist.typepad.com/underbelly/2004/11/voting_vomiting.html
///////////////////////////////////////////////////////////////////////////////////////////////////////////
Every Time You Vote Republican...
image: Meow
[thanks Z!]
.............................................................................................................................................
Wednesday, November 03, 2004 at 10:46 AM in Current Affairs | Permalink:
http://newsgrist.typepad.com/underbelly/2004/11/every_time_you_.html
///////////////////////////////////////////////////////////////////////////////////////////////////////////
Sex, Lies, Codependence at PS122
Zoe Lister-Jones' Codependence is a Four-Letter Word opens tomorrow at
PS122:
via The Guide (NYTimes):
HOT FOR TEACHER
Zoe Lister-Jones opens "Codependence Is a Four-Letter Word," her one-woman
show, playing a graduate student who teaches sixth-graders in
Bedford-Stuyvesant, Brooklyn, the proper use of sex toys. She first
introduces herself with a rap (with backup dancers, no less), in which she
explains that she received her "ill actor training at Tisch School of the
Arts." The 11 characters she plays are linked by, as the rap puts it, sex
and love "and why both are pathetic."
P.S. 122, 150 First Avenue, at Ninth Street, East Village; 8 p.m., today;
$10 and $15. (Through Nov. 7.) For reservations call 212-477-5288
(Complimentary tickets for press/industry)
Wednesday, November 03, 2004 at 10:24 AM in Performances | Permalink:
http://newsgrist.typepad.com/underbelly/2004/11/sex_lies_codepe.html
///////////////////////////////////////////////////////////////////////////////////////////////////////////
Crazy For Submission
greg.org also reports on the murder of Theo Van Gogh:
Dutch filmmaker and great grandson Theo Van Gogh was murdered on an
Amsterdam street today, ostensibly because of his short film, Submission.
[That's the title.] Since Submission was broadcast on the VPRO TV network
in August, Van Gogh and the film's writer, an "ex-Muslim" member of
parliament, Ayaan Hirsi Ali, had received numerous death threats and
accusations of blasphemy.
Seriously, what is up with these people? I can't believe anyone not
related to the filmmakers actually watches a short film, much less gets
mad enough to kill over one.
[There was that one time when MVRDV got death threats over their short
animated film, Pig City... And the guy who got them in that trouble, Pim
Fortuyn, did get assassinated himself...]
Of course, if you make a movie with verses from the Koran painted on nude
women's bodies, which are visible through a translucent chador, I guess
you might piss some of the wrong people off. So is it the offended
militant Muslims who are crazy, or the Dutch?
Watch several minutes of Van Gogh and Ali's film, Submission at VPRO [...]
Wednesday, November 03, 2004 at 10:09 AM in Film | Permalink:
http://newsgrist.typepad.com/underbelly/2004/11/crazy_for_submi.html
///////////////////////////////////////////////////////////////////////////////////////////////////////////
Tuesday, November 02, 2004
Theo Van Gogh Shot, Killed
via BBC World News:
Gunman kills Dutch film director
Dutch film maker Theo van Gogh, who made a controversial film about
Islamic culture, has been stabbed and shot dead in Amsterdam, Dutch police
say.
Police arrested a man in a nearby park after an exchange of gunfire. The
man, aged 26, had joint Dutch and Moroccan nationality, they said.
Van Gogh, 47, had received death threats after his film Submission was
shown on Dutch TV.
It portrayed violence against women in Islamic societies.
The film was made with liberal Dutch politician Ayaan Hirsi Ali, a Somali
refugee who fled an arranged marriage.
Ayaan Hirsi Ali has been under police protection since the film was aired.
She has also received death threats and has renounced the Islamic faith.
[...]
The film Submission told the story of a Muslim woman forced into an
arranged marriage who is abused by her husband and raped by her uncle. It
triggered an outcry from Dutch Muslims.
In one scene the film showed an actress in see-through garments with
Koranic script written on her body, which also bore whip marks.
The Netherlands is home to nearly one million Muslims or 5.5% of the
population.
One of the film maker's colleagues at the film production company said Van
Gogh had received death threats "but he never took them quite seriously".
"He was a controversial figure and a champion of free speech," he told
Reuters.
Dutch Prime Minister Jan Peter Balkenende said "it is unacceptable if
expressing your opinion would be the cause of this brutal murder". [...]
Tuesday, November 02, 2004 at 07:21 PM in Film | Permalink:
http://newsgrist.typepad.com/underbelly/2004/11/theo_van_gogh_s.html
///////////////////////////////////////////////////////////////////////////////////////////////////////////
NEWSgrist - where spin is art
http://newsgrist.typepad.com
Archives
http://newsgrist.net
RHIZOME_RAW: Not my country
I'm subbed to the <underfire> list as well -- this post is kinda chilling,
about the death of reason:
---------- Forwarded message ----------
Date: Wed, 3 Nov 2004 18:08:06 -0500
From: Gena Gbenga <gbenga@blast.org>
Reply-To: a forum on the organization and representation of contemporary armed
conflict <underfire@list.v2.nl>
To: a forum on the organization and representation of contemporary armed
conflict <underfire@list.v2.nl>
Subject: Re: <underfire> some reflextions
I am thinking of that recent New York Times article that Paul Edwards cited.
The author, Ron Suskind, is describing his encounter with a senior aide to
Bush. He writes:
"The aide said that guys like me were 'in what we call the reality-based
community,' which he defined as people who 'believe that solutions emerge
from your judicious study of discernable reality.' I nodded and murmured
something about enlightenment principles and empiricism. He cut me off.
'That's not the way the world really works anymore,' he continued. 'We're
an empire now, and when we act, we create our own reality. And while you're
studying that reality -- judiciously, as you will -- we'll act again,
creating other new realities, which you can study too, and that's how things
will sort out. We're history's actors... and you, all of you, will be left
to just study what we do.'"
I am sick of being left out here in the "reality-based community" and forced
to do the mop-up job in the aftermath of Bush.
As Ana Valdez wrote, Are we not hostages of a rhetorical trap that needs us
to cover up a hollowness?
For all our focus on reason we underestimated the role of religious issues
in the rallying of the faithful in the reelection of Bush, and the role of
the dreams and imaginaries that his administration and the media provide.
Are we ready, as critics, to confront the death of reason in America?
What is to be our agenda now?
_______________________________________________
Under Fire
a forum on the organization and representation of violence
Witte de With center for contemporary art
http://www.wdw.nl
to post a message, send to:
underfire@list.v2.nl
for list information and subscription management:
https://list.v2.nl/cgi-bin/mailman/listinfo/underfire
for discussion archive:
http://www.wdw.nl/underfire-archive
about the death of reason:
---------- Forwarded message ----------
Date: Wed, 3 Nov 2004 18:08:06 -0500
From: Gena Gbenga <gbenga@blast.org>
Reply-To: a forum on the organization and representation of contemporary armed
conflict <underfire@list.v2.nl>
To: a forum on the organization and representation of contemporary armed
conflict <underfire@list.v2.nl>
Subject: Re: <underfire> some reflextions
I am thinking of that recent New York Times article that Paul Edwards cited.
The author, Ron Suskind, is describing his encounter with a senior aide to
Bush. He writes:
"The aide said that guys like me were 'in what we call the reality-based
community,' which he defined as people who 'believe that solutions emerge
from your judicious study of discernable reality.' I nodded and murmured
something about enlightenment principles and empiricism. He cut me off.
'That's not the way the world really works anymore,' he continued. 'We're
an empire now, and when we act, we create our own reality. And while you're
studying that reality -- judiciously, as you will -- we'll act again,
creating other new realities, which you can study too, and that's how things
will sort out. We're history's actors... and you, all of you, will be left
to just study what we do.'"
I am sick of being left out here in the "reality-based community" and forced
to do the mop-up job in the aftermath of Bush.
As Ana Valdez wrote, Are we not hostages of a rhetorical trap that needs us
to cover up a hollowness?
For all our focus on reason we underestimated the role of religious issues
in the rallying of the faithful in the reelection of Bush, and the role of
the dreams and imaginaries that his administration and the media provide.
Are we ready, as critics, to confront the death of reason in America?
What is to be our agenda now?
_______________________________________________
Under Fire
a forum on the organization and representation of violence
Witte de With center for contemporary art
http://www.wdw.nl
to post a message, send to:
underfire@list.v2.nl
for list information and subscription management:
https://list.v2.nl/cgi-bin/mailman/listinfo/underfire
for discussion archive:
http://www.wdw.nl/underfire-archive