I have decided to live a life of freedom ….after struggling for years with trying to “catch up” ….”be somebody” ,”be my best” and all of those very american slogans that we try our hardest to live up to i began to realize that this is my life not an ad agency slogan…not my mothers or families not my “successfull friends” and not a reality tv episode.Suddenly i feel no urge to be liked or pleased but to find out what is behind the mask i have been carefully taught to wear
one of being docile …subservent …passive …dull .. silent …angry but smiling ….in other words fearfull.
scared of rain and sunlight frightened by the beauty and the ugliness of life ….i am on the verge of 50 half my life is lived and well frankly that half belonged to all the people who dominated my youth ….parents ,family and friends who helped recover and served as surrogate family. well all that i am rethinking and re-schooling myself about who I am today ..these people taught me there fears and dreams …but this time belongs to me and the other half will be incredibly beautifull.you aint seen nothin yet
there will be music …there will be costumes….lol.. there will be growth and Change new languages and a lot of fucking money .
no more freebies …for all you pimps who felt you got over …getting shit from me for free the jokes on you because you only got a quarter of me..i can smell a user from a mile away because of you …you served your purpose thank you teacher! .you taught me that when you pay someone what there worth you get what there worth and then some. but a penny and nickle pimp will only get a penny and nickle hoes worth of anything…in other words you cheated yourself .
because i no longer desire to be mediocre the store is closed and will reopen with a brand new direction .a direct from your pocket to my account attitude …yes i am putting to work all i learned in the american game …sit on it till they give u what your worth.
the visceral obsessive post Drum & Base emotional electro
Lift up the fresh cut grass and you’ll find a whole underworld of dark and creepy creatures …Thats what makes Pusha T the new Biggy..the Next JZ
they have that Beatles songbook meets Kate Bush and Air mash-up sound that i find hypnotic
Miljohn Ruperto, Appearance of Isabel Rosario Cooper, 2006-10 (still)
FOR IMMEDIATE RELEASE
Miljohn Ruperto: Isabel Rosario Cooper
February 28-April 12, 2014
Opening Reception: Friday, February 28, 6-8PM
Koenig & Clinton is pleased to announce its first solo exhibition with Los Angeles-based artist Miljohn Ruperto. Four years in the making, the artist deploys photography, film, video, and screenplay in homage to the eponymous actress. Isabel Rosario Cooper retrieves the actress from the sidelines of historical periphery and recasts her as a cinematic protagonist, releasing her image from the racial confines of both Hollywood and U.S. history.
Isabel Rosario Cooper began her career as a dancer, singer, and actress in Manila, Philippines in the mid-1920s, where she first met U.S. General Douglas MacArthur. In 1930, MacArthur took the 16-year old, mixed race vaudevillean as his mistress and subsequently arranged to keep her in a covert residence at the Chastleton Hotel in Washington, D.C. It is rumored that Cooper abided by a strict order to not leave her room for four years. When she did eventually leave, she moved west to continue her acting career in Hollywood. Before her suicide in 1960, Cooper appeared as an extra in numerous cinematic features.
In the main gallery, a series of eight appropriated professional headshots taken by Jose Reyes in 1940 depict Cooper donning various historical attire — a Western formal gown, a Chinese cheongsam, and Hawaiian grass skirt — documenting the wide range of stereotypical roles for which Cooper was commonly cast. Projected behind the curtain, Appearance of Isabel Rosario Cooper presents a sequence of film clips in which Cooper appeared during her Hollywood career. The digitally edited compendium obscures all participants but for Cooper herself. Frame-by-frame on 16mm film, her form floats throughout the blurred scenes unchallenged.
Adjacent to Appearance, a faint torch song echoes down an empty hallway in Ruperto’s Reappearance of Isabel Rosario Cooper. Revealing itself slowly, Cooper’s specter haunts a dark corridor moments before she retreats back into the shadows. The sole high-definition video in the exhibition, Arden Cho as Isabel Rosario Cooper imagines scenes from the actress’ life off-screen at the Chastleton Hotel. The original feature-length screenplay Dimples, penned by Miljohn Ruperto and Jean Shin, offers a fictionalized account spanning several months in Cooper’s life in the United States. It is inspired by Cooper’s biography, and written in the style of 1930s romantic screwball comedy films.
Miljohn Ruperto (b. 1971 Manila, the Philippines) received his M.F.A. from Yale University and his B.A., Studio Art from University of California, Berkeley. Following his inclusion in the first Made in L.A. biennial in 2012, Ruperto is included in the 2014 Whitney Biennial, and his work has been exhibited at institutions including Whitechapel Project Space, London; The Wattis Institute, San Francisco; and LA><ART, Los Angeles. Ruperto lives and works in Los Angeles.
For further information please contact firstname.lastname@example.org or call (212) 334-9255. Hours of operation are Tuesday-Saturday, 11AM-6PM and by appointment.
This is the look of art for the 21st century it will point out our transgressions against nature and heal it ..it will speak the inexplicable truth that nature is and will always be the only god any of us should ever worship because it embodies all .Beyond the White Cube of the artworld beyond the resentfull half story of History and beyond the church of the poisoned minds (sorry i couldnt resist ) is our mother earth …bow down bitches
Brandon Ballengée, Touch of Light in the foggy Night that reverberates the Desire calls Death, Madness, Motionless… Voluptuousness rounded in an arch bombed…, 2010/2012. Unique digital chromogenic print, 217 x 178 cm. In scientific collaboration with Stanley K. Sessions with titles from a poem by KuyDelair.
Seasons in Hell
16 February – 29 June 2014
Museum Het Domein
NL-6130 AE Sittard
The work of American artist, biologist and conservationist Brandon Ballengée (b. 1974; Sandusky, Ohio, USA) provides prominent and striking proof of the fruitful fusion of art and science. Central in his artistic and scientific research is the global decline of animal populations, and how species adapt and evolve in particular ecological systems in order to survive. Ballengée has a background in both art and science and is currently finishing his Ph.D. as part of a transdisciplinary program at the University of Plymouth, England with the Züricher Hochschule der Künst, Switzerland in which both interests meet. Seasons in Hell- the title is inspired from a poem by Arthur Rimbaud-is Ballengée’s first solo museum exhibition in the Netherlands. It features paintings, photos, installations, sculptures, and videos from 1996 through present and can be considered as a concise retrospective.
Ballengée is internationally acclaimed for his continuing research project Malamp (Malformed Amphibian Project): a scientific and artistic study of anatomical deformities in frogs and other amphibians. This project has taken him all over the world since 1996. Amphibians are important indicators (“sentinel species”) of water and air quality. Although there have been reports of such deformities in amphibians as far back as 250 years ago, the massive increase in reports from 1995 onward has alarmed the scientific community. Up to 40% of the approximately seven thousand known species of amphibians are currently endangered or already extinct. One of Ballengée’s most recent works in the exhibition brings attention to the fate of the Fire salamander, a critically endangered species which, in the Netherlands has declined by up to 96% since 2010 and is found virtually only in South Limburg.
Lesser known are the works by Ballengée, devoted to avian species also in decline. Frameworks of Absence: The Extinct Birds of John James Audubon (2006-ongoing), for instance, is based on the engravings from the famous publication Birds of America (1827-1838) by the celebrated French-American naturalist, ornithologist and painter. Of the over four hundred bird species in Audubon’s portfolio, Ballengée selected historic prints of those that have become extinct or are in severe decline. Ballengée then cut out the bird images from actual historical works creating an absence. In the site-specific installation Apparitions (2014), historic taxidermy specimens of declining bird species are displayed looking out a window with their back to the viewer, representing how some of the most beautiful and beloved birds of yesterday have disappeared and many are on the path to extinction right before our eyes.
Another group of works in the exhibition addresses the ecological degradation of marine life. The video
Committed (2012), for instance, juxtaposes the publicity campaign which BP launched after the 2010 Deepwater Horizon oil spill in the Gulf of Mexico to clean its reputation with the grim reality. Commercials showing sunswept beaches with white sands and blue water are countered by scientific analyses and interviews with Gulf residents about the devastating effects of the most severe oil spill in North American history. Similarly, the large-scale pyramid sculpture Prelude to the Collapse of the North Atlantic (2013), built from stacked jars of sea animals in ethanol, draws attention to the rapid loss of species in the Northern Atlantic Ocean and the impact of such losses on the larger marine food web.
The artist has also developed a large-scale, site-specific new installation for the exhibition. During the evening hours, the museum’s many windows will be lit up with UV lights, turning the exterior of Het Domein into a giant Love Motel for Insects.
During the month of May, the artist/biologist will be in Sittard to conduct exhibition tours, take school groups out on nature excursions, and lead field trips for youths and adults. Anyone who wants to contribute to the study of malformations in amphibians in and around Sittard is welcome to join field trips on May 11, 18, and 25 at 11am. This is likely the first time since the early 1960s that field research into deformities in amphibians has been conducted in the Netherlands. For more information, visit http://www.hetdomein.nl.
Performance & Discussion: Los Angeles Poverty Department Presents “Agentes y Activos (Agents & Assets) OFFSITE
Mar 2 2014, 2:30pm – 5:00pm
Agentes y Activos (Agents & Assets) Performance Schedule:
(en español debajo)
Friday February 28th // 7:30 -10pm
Queens Museum, New York City Building, Flushing Meadows Corona Park, Queens, 11368
Saturday March 1st // 2:30-5pm
Langston Hughes Library & Cultural Center, 10001 Northern Blvd, Corona, Queens 11368
Sunday March 2nd // 2:30-5pm
Clemente Soto Vélez Cultural Center, Flamboyán Theater, 107 Suffolk Street, LES Manhattan, 10002
All performances free on a first come basis. Doors open 30 mins prior to showtime. No tickets or RSVPs required.
Performances are in spanish with english supratitles. Panel discussions are in english with simultaneous spanish interpretation.
Los Angeles Poverty Department (LAPD) was founded on LA’s Skid Row in 1985. They create performances that connect the experience of people living in poverty to the social forces that shape their lives.
Agentes & Activos, a Spanish-language version of LAPD’s best known work, Agents & Assets, is in two parts.
First, members of LAPD and members of Drogadictos Anónimos (DA), a Queens-based recovery group, reenact a 1998 House of Representatives hearing on allegations that the CIA was complicit in crack cocaine trafficking into the Los Angeles area. This means that cast members–most of whom have been directly impacted by drugs–speak the words of the people who made drug policy.
Second, people with knowledge of the subject connect the performance to concerns here and now, and open up a conversation with everyone in the room. The issues addressed range from local and international drug policy, to organizing for humane and sustainable alternatives to the “drug war”, to harm reduction and public health.
Agents & Assets was first performed in Los Angeles in 2001 and has toured internationally.
Friday, February 28 // 7:30pm
Queens Museum, New York City Building, Flushing Meadows Corona Park, Queens, NY 11368
His voice in this book is so surprisingly different from his last book The Zone. The Intuitionist embodies that exhausted clarity that Camus displayed in “The Stranger” and that Sartre nailed in “Le Nausea” and also that Ellison carried with him throughout all his work.So far it is Whiteheads best work in my opinion and you can meet and talk with the author about his inspiration .Whitehead is a formidable speaker …he is comfortable …open and very tuned into the workings of his own mind .This promises to be a great evening …wish i could make it OI
The Shadows Took Shape Book Club
Colson Whitehead: The Intuitionist
Feb 23, 2014 4:00 PM – 6:00 PM
In honor of the major group exhibition The Shadows Took Shape, please join The Studio Museum for a new series of book club discussions moderated by prominent artists, scholars, and bloggers interested in science fiction and speculative literature. The moderator for Colson Whitehead’s The Intuitionist is Jeffrey Allen Tucker, Director of the Frederick Douglass Institute for African & African-American Studies at the University of Rochester.
The Intuitionist is set in the curious world of elevator inspection, portrays a universe parallel to our own, where matters of morality, politics, and race reveal unexpected ironies. This novel takes place in a city full of skyscrapers and other buildings requiring vertical transportation in the form of elevators. The time, never identified explicitly, is one when black people are called “colored” and integration is a current topic. The protagonist is Lila Mae Watson, an elevator inspector of the “Intuitionist” school. The Intuitionists practice an inspecting method by which they ride in an elevator and intuit the state of the elevator and its related systems. The competing school, the “Empiricists,” insists upon traditional instrument-based verification of the condition of the elevator. Watson is the second black inspector and the first black female inspector in the city.
Jeffrey Allen Tucker is Associate Professor in the Department of English at the University of Rochester, where he teaches courses on 20th-century American and African-American literature. He is the author of A Sense of Wonder: Samuel R. Delany, Race, and Identity (Wesleyan Press, 2004) and co-editor of Race Consciousness: African-American Studies for the New Century (New York University Press, 1997). He also has written essays on George S. Schuyler, Octavia E. Butler, and Colson Whitehead. His most recent publication is “‘A Sort of Double Writing’: They Fly at Çiron’s Generic Identities” (American Literary History 24.4, 2012), addresses a 1971 short story that was co-composed by Samuel R. Delany and re-published as a novel in 1993. Tucker is a contributor to the forthcoming Cambridge Companion to Slavery in American Literature and is working on a collection of interviews conducted with John A. Williams by himself and others.
Additional scheduled Book Club dates:
November 24: Octavia Butler, Kindred (1979)
December 15: Nalo Hopkinson, Brown Girl in the Ring (1998)
January 26: Samuel R. Delaney, Nova (1968)
March 6: Ralph Ellison, Invisible Man (1952)
All of the books listed above are available in the Studio Museum bookstore!
To RSVP for the Book Club, please email email@example.com.
… – See more at: http://www.studiomuseum.org/event-calendar/event/the-shadows-took-shape-book-club-2014-02-23#sthash.nntO6Ruo.dpuf
Bronx Arts.org:Longwood Gallery On view: February 5 – May 7, 2014Bronx Culture Trolley Reception:
Bronx Culture Trolley Reception:
Wed, Feb 5, 2014, 5:00-9:00pm
Wed, Mar 5. 2014, 5:00-9:00pm
Wed, Apr 2, 2014, 5:00-9:00pm
Wed, May 7, 2014, 5:00-9:00pm
GAY examines the cultural shift that has taken place in identity within the last decade by looking at the production of gay male artists of color from 2003-2013. Through painting, drawing, sculpture, video, performance and text, the artists in the exhibition interrogate, de-construct, embrace and celebrate the gay label. This show contains adult content.
Artists include: David Antonio Cruz, Jose Joaquin Figueroa, Cacy Forgenie, Lawrence Graham-Brown, Imani Henry, Steve Locke, Rafael Melendez, Lucas Michael, Troy Michie, Netza Moreno, Twiggy Pucci Garçon, Carlo Quispe, Carlos Sandoval De Leon, Jacolby Satterwhite, Hector Silva, Rob Vassilarakis, Charlie Vázquez, Antonio Vicenty and Dorian Wood.
About the Curator: Ivan Monforte was born in 1973 in Merida, Yucatan, Mexico. He is the recipient of a UCLA Arts Council Award, a fellowship to attend the Skowhegan School of Painting and Sculpture, a Lambent Fellowship in the Arts from the Tides Foundation and an Art Matters Foundation grant for research in Samoa. He curated the exhibition I Never Meant to Hurt You at Buzzer Thirty in 2006. Monforte currently resides and works in Harlem where he maintains a studio practice and provides HIV prevention education to gay, bisexual and transgender homeless and runaway adolescents
BCA | Longwood Events/Public Programs:
•Wednesday, February 5, 2014, 5:00-9:00pm
Opening Reception & Bronx Culture Trolley
•Tuesday, February 11, 2014, 6:30-9:30pm
Art 21 Screening: Jacolby Satterwhite & more, Longwood Art Gallery
•Wednesday, March 5, 2014, 5:00-9:00pm
Bronx Culture Trolley
•Saturday, March 8, 2014, 4:00-9:00pm
Gay Today, a panel discussion & performances, Longwood Art Gallery
•Wednesday, April 2, 2014, 5:00-9:00pm
Bronx Culture Trolley
•Saturday, April 26, 2014, 6:00-8:00pm
Performances @ Bronx Academy of Arts & Dance, Westchester Square
•Saturday, May 3, 2014, 5:00-9:00pm
Panel Discussion/Kiki Ball, Longwood Art Gallery
•Wednesday, May 7, 2014, 5:00-9:00pm
Closing Reception & Bronx Culture Trolley
ON VIEW January 29, 2014 – March 16, 2014
In His Own Likeness primarily reaffirms existence, which in its diversity and complexity, is equally divine. Although, it does present us, in a somewhat provocative manner, an assortment of images of eroticized men alluding, rather than to God, to His gender—the masculinity attributed to Him—and as a result, to the power associated with the male gender. Thus, the exhibition addresses the way in which masculinity unfolds, expresses itself, and even loses all meaning: sex.
A Su imagen y semejanza es en primer lugar una reafirmación de la existencia, que en toda su diversidad y complejidad es divina. Aunque tendenciosamente nos lleva hacia un espectro de imágenes de hombres erotizados que, más que a Dios, aluden a Su género—a la masculinidad desde la cual ha sido entendido—y por consecuencia, al poder asociado con el género masculino. Esta exposición transita por la manera más cotidiana en que la masculinidad se desarrolla, se expresa y hasta pierde su sentido: el sexo.
12 February 2014 – 17 August 2014 /
Institute of Contemporary Art, University of Pennsylvania, Philadelphia, United States
Ruffneck Constructivists, a group exhibition curated by artist Kara Walker brings together eleven international artists in order to define a contemporary manifesto of urban architecture and change.
The term “Ruffneck Constructivists” is Walker’s intentional recasting of “Russian Constructivists.” Viewing F.T. Marinetti’s 1909 Futurist Manifesto as a precursor to hip hop artist The Notorious B.I.G.’s Machine Gun Funk, the phrase “Ruffneck Constructivists” evokes thuggishness as an expression of abjection. Walker’s wordplay suggests a relationship between the works on view in the exhibition and the moment, a century ago, when art and architecture were remaking a modern world.
The exhibition features sculpture, photography, and video and focuses on structure and space as it is made and remade by policed bodies and identities. As Walker states, “it is my hope that the interaction between these very divergent works and methods could return a viewer to the questions of modernism, architecture, urbanism and the resistant bodies who reshape it.”
Artists: Dineo Seshee Bopape, Kendell Geers, Arthur Jafa, Jennie C. Jones, Kahlil Joseph, Deana Lawson, Rodney McMillian, William Pope.L, Tim Portlock, Lior Shvil, and Szymon Tomsia.
12 February 2014, 6:30-10pm : Opening
An exhibition walkthrough with artists and curators at 5pm. (ICA Members Only)
6:30-8pm Public Reception (Free for All)
8-10pm Celebrate with special guest DJ from Okayplayer (Free for All)
21 February 2014, 5pm: Kara Walker in conversation with Charles Bernstein
In conjunction with the Penn Humanities Forum on VIOLENCE
Kara Walker will engage in a lively conversation on her exhibition and many other topics with Penn?s Charles Bernstein, renowned poet and Donald T. Regan Professor of English and Comparative Literature University of Pennsylvania.
Location: Harrison Auditorium, Penn Museum, 3260 South Street
building on what got Calvin over big time in the early to late 90′s that sort of modernist …easy to replicate sack dressing that hides all the imperfections of the american girl no matter her age the Olsen duo hit the nail on the head …the secret to being a great american designer doing the minimum in absolutely maximum amounts of luxury fabric.
so much the rage ..still ..vogueing is so hot it hit the runways at the Hood to Air fall fashion shows.
it may outlast Madonna its “founder”?!!
below:an excerpt from “Malcolm McClaren’s” the 80′s Deep in Vogue..featuring the legendary Willie Ninja
…vogueing is a goldmine for anyone who wishes to exploit vainglorious disenfranchised people…find yourself a few vogue queens throw them some trinkets and trash and give them a stage and you can make a fortune there is gold in them there hills. “
FIVE (The Drawing Center) is a multimedia performance that highlights the art of vogue, a dance form characterized by angular and linear body movements inspired by the stylized poses of high fashion models on the catwalk and in the pages of magazinesImage: Rashaad Newsome, FIVE (ARTHK), 2012, Video still from the live performance
As visual artist Rashaad Newsome’s work illuminates, it also evokes a number of qualities long associated with the medium of drawing: the latter’s emphasis on repeated gestures; its mapping of time and space. New York-based vogue dancers and musicians, including renowned opera singer, Stefanos Koroneos, and distinguished Vogue Commentator, Kevin Jz Prodigy, will perform and be conducted by Newsome. For FIVE (The Drawing Center), Newsome uses cutting edge technology to challenge the ephemeral nature of live performance by transforming the dancers’ movements into unique line drawings. In addition to the evening performance, video documentation from FIVE (ARTHK), originally performed at the 2012 Hong Kong International Art Fair, will be exhibited as well as five multi-colored, line drawings produced using motion-tracking software from that performance.
Produced by Joanna Kleinberg Romanow.
Rashaad Newsome: FIVE (The Drawing Center) is made possible through the generous support of the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Program, which supports risk-taking and innovative collaborations in the spirit of Robert Rauschenberg.
already lining up the tents are open for the first world bacchanal…..some of the worlds top chefs and Whole Foods!??! will gather to not stop hunger and poverty in the world but you know show just how rich we are as a people.
apathy never seemed so…uhm… chic?
then of course if your all about film you can do the
SOME INFINITELY GENTLE, INFINITELY SUFFERING THING
WAYNE HODGECurated by Rich BlintFebruary 6 – May 9, 2014
Wayne Hodge, (Untitled,) The Face of Another, 2013
Russ Berrie Medical Science Pavilion
1150 St. Nicholas Avenue (@168th Street)
Joint Opening Reception: Thursday, February 6, 2014, 6pm-8pm
Regular Viewing Hours: Monday – Friday, 9am-6pm
Some Infinitely Gentle, Infinitely Suffering Thing is a solo exhibition of new work by conceptual and performance artist, Wayne Hodge. The show pursues the artist’s long-held interest in how expressive forms and genres develop and produce contested meanings. Responding specifically to the concept of “built environments,” Hodge examines space (and time) through the visual language of the gilded age and the gilded frame, itself. The images that emerge strike one as a kind of “mash-up,” inspired as they are by the collage work of Surrealist, Max Ernst, and his visual novel Un Semaine De Bonté (A Week of Kindness), a work that takes its source material from nineteenth century popular media and culture. Hodge has in mind a conversation across the centuries and thus employs imagery from the same period as Ernst, which featured representations of blackface minstrelsy—the single most popular cultural phenomenon of nineteenth century America. The figures conjured are, however, newly animated by Hodge’s deceptively light hand. Achieved through the particular fall of the head, the set of the eyes, a flash of disarming gold teeth, or the quiet severity of an open mouth, Hodge reasserts the racial encounter as a historically tangled affair. Here, we find neither flat juxtaposition or righteous inversion, but query, wit, and plea. And since, as the artist reminds us, Surrealism was also to give way to the fantastic, Hodge presents sci-fi illustration as a comment on the mythologies and fictions of racial belonging that persist. This is an alternative or future-directed visual study that is at once otherworldly and deeply present.
Wayne Hodge is an artist whose work combines elements of collage, performance, and photography. His practice explores the relationship between history, media, and fantasies of race and desire. He received an M.F.A. from Rutgers University and attended the Whitney Independent Study Program, and the Skowhegan School. His work has been shown at The Bronx Museum, MoMA P.S.1, as well as internationally in Germany, Brazil, and China. He is currently featured in The Radical Presence: Black Performance in Contemporary Art and The Shadows Took Shape exhibitions, both currently on view at the Studio Museum in Harlem
This exhibition is part of the series built environments, a curatorial initiative conceived by Columbia University School of the Arts’ Office of Community Outreach and Education, to engage contemporary issues in fine art concerning aesthetics, value, difference, and public space. As a term, built environments functions as a framing and rhetorical device to capture the ambition and goal of every artist. The term is also presented as a way to think about the sustainability of exhibition contexts that extend beyond the confines of the white cube gallery or museum space. And most directly related to the fields of architecture and urban planning within which the concept emerged, built environments marks the project’s location in Northern Manhattan and its exploration of alternative fine art exhibition north of 96th Street.
Simultaneously on view at the Mary Lasker Building as part of the built environments exhibition series:
SLIGHT PRESENCES, FLASHES OF REMEMBERANCE
Curated by Rich Blint
February 6 – May 9, 2014
Upcoming: Duhirwe Rushemeza, Renee Cox
Rich Blint, Ph.D.
Associate Director, Office of Community Outreach and Education
Columbia University School of the Arts
Adjunct Assistant Professor, Institute for Research in African American Studies, GSAS
Columbia University, Prentis Hall, MC 5011
632 W. 125th Street, New York, NY 10027
firstname.lastname@example.org, 212-854-2828 (phone), 212-851-1876 (fax)
*************************************************************************************ALSO CHECK THIS OUT*************************************************************************************
What is liquid blackness?
L.A. Rebellion Photos
liquid blackness announces a
Hosted by the
Department of Communication,
Georgia State University
On April 11-12, 2014
with Hamza Walker, (Associate Curator, The Renaissance Society at the University of Chicago
Derek Conrad Murray, (Assistant Professor of History of Art and Visual Culture at UC Santa Cruz)
And a panel of local and regional new and multi-media artists
The Symposium will foster a conversation between artists, scholars and curators surrounding ideas of aesthetic liquidity and blackness in contemporary visual and sonic culture.
Please see below an outline of the ideas of liquidity that have inspired both the constitution of liquid blackness as a research group as well as the purpose of the April Symposium.
It remains exceedingly attractive and possible in this post-black, postsoul age of black cultural traffic to love black cool and not love black people
Reflecting on Blackness for Sale – conceptual artist Keith Obadike’s eBay auction of his own blackness – Harry Elam asserted that in contemporary culture, blackness has become capable to “travel on its own, separate and distinct from black people.” Because of this newly found detachability of blackness from black subjectivity, identity and history, Elam argued, “it remains exceedingly attractive and possible in this post-black, postsoul age of black cultural traffic to love black cool and not love black people.”
Liquid blackness, a Research Project on Blackness and Aesthetics of the Department of Communication at Georgia State University is organizing a Symposium to be hosted by the Department of Communication on April 11-12, 2014. The purpose of the Symposium, which will bring together scholars, artists and curators, is to begin a conversation about liquidity as a primary aesthetic form in which blackness is encountered in our contemporary visual and sonic landscape. The idea of the liquidity of blackness emerges both from an observation of salient contemporary aesthetic forms as well as a sort of thought experiment. If, as Harry Elam has argued, blackness does indeed ‘travel on its own,’ then what aesthetic arrangements have become possible as a result of that?
What happens if we leverage, rather than condemn, this type of mobility? What happens when blackness is deliberately held in suspension, by the critical act one might perform in attempting to understand its contours? What if we could think of it, not as an attribute, but rather in its own terms, like a thing, like a substance, a shadow that “escapes from the body like an animal we had been sheltering”? What if we held blackness in balance, so to speak, not necessarily to sever it from its lived experience, but in order to confront and come to terms with the many other ways in which it exists?
If blackness is placed firmly in the middle, held at the center of our conversations, affective investments, aesthetic concerns, if it is therefore made accessible, discussable, touchable, usable, re-purposable, then the focus might shift to new considerations: not what it represents, but what it does and can do, to its affective charge, and its sensorial reach; to the relations it facilitates, the fantasies it coagulates, and the sensible and sensorial configurations it orchestrates. One would therefore not be seeking a black aesthetic but rather to understand blackness as aesthetics.
Thus, as a research group, liquid blackness privileges the aesthetic mode of liquidity because it offers a provocative and generative characterization of one of the most mercurial, yet vigorous modes of interfacing blackness in contemporary visual and sonic culture, as well as the affects and intensities that this mode of engagement produces and circulates.
Liquidity is also meant to describe the fluid relationship between creative, critical and curatorial practices, as well as a bleeding between artistic community and academic community this research project is committed to pursue.
Finally liquidity intends to convey the desired adaptability of liquid blackness as a research group and platform for scholarly and artistic work, which will hopefully grow in pursuit of its research questions, spilling into those spaces where critical and creative thinking grapples with ideas of what indeed lies between us all, with the conviction that, given its enormous role in filling this in-between, there is no question about blackness that is not worth asking.
Below, we have listed some conceptual clusters that the idea of liquidity of blackness is intended to render. They are meant to perform evocatively in the hope that they will trigger both the critical and artistic imagination of the Symposium’s participants as well as the larger Atlanta artistic community.
•Sensuousness – liquid blackness is sensorially rich and erotically charged
•Affectivity – liquid blackness exists and moves in between bodies
•Formlessness – liquid blackness fills all available space and fluidly transforms with the shape of its container.
•Penetration – in its shape-shifting qualities, liquid blackness is capable of infiltrating anywhere.
•Fluctuation – liquid blackness moves through ripples and waves, like electronic signals
•Modulation – liquid blackness oscillates and vibrates within a spectrum of possibilities
•Absorption and assimilation – liquid blackness manifests fantasies of racial amalgamation
•Intensity – liquid blackness channels “intensive affective flows”
•Viscosity – liquid blackness produces fantasies of tactility and experiences of stickiness
•Density – liquid blackness is tangibly material and thick
•Slipperiness: liquid blackness can be seemingly touched, but not held, or held in place
•Elasticity – liquid blackness can stretch, bleed, and slightly give in
•Allure – liquid blackness beckons and yet withdraws
•Vibration – liquid blackness is animated by the vitality of black matter
•Unboundedness – liquid blackness is unstoppable and pervasive
•Virality – liquid blackness proliferates and procreates, gaining incremental vitality with each reproduction.
•Channeling – liquid blackness is a channel, a vehicle, a medium – it carries, funnels, and puts in contact
•Plasticity – liquid blackness mutates within constantly mutating conditions
•Organicity – liquid blackness wades fluidly through processes of appropriation, sampling, grafting, injecting, rejecting, implanting, and transplanting.
•Glide – liquid blackness slides transversally across and between surfaces
Please feel free to circulate widely and to direct all questions to email@example.com or firstname.lastname@example.org.
liquid blackness will consider facilitating informal conversations leading up to the Symposium to assure and encourage a larger and more vivacious participation. Please send us an email if you would like to be involved.
Elam, Harry J., Jr. “Change Clothes and Go: A Postscript to Postblackness.” In Black Cultural Traffic. Crossroads in Global Performance and Popular Culture, edited by Harry J. Elam, Jr. and Jackson Kennell, 379-88. Ann Arbor: The University of Michigan Press, 2005.
Fleetwood, Nicole R. Troubling Visions. Performance, Visuality, and Blackness. Chicago: University of Chicago Press, 2011.
Holland, Sharon Patricia. The Erotic Life of Racism. Duke University Press, 2012.
Lhamon, W.T., Jr.,. “Optic Black: Naturalizing the Refusal to Fit.” In Black Cultural Traffic: Crossroads in Global Performance and Popular Culture, edited by Harry J. Elam Jr. and Kennell Jackson, 111-40. Ann Arbor, MI: University of Michigan Press, 2005.
Murray, Derek Conrad. “Hip-Hop Vs. High Art: Notes on Race as Spectacle.” Art Journal 63, no. 2 (2004): 5-19.
Prettyman Beverly, Michele. “Phenomenal Bodies: The Metaphysical Possibilities of Post-Black Film and Visual Culture.” Georgia State University, 2012.
Raengo, Alessandra. On the Sleeve of the Visual: Race as Face Value. Hanover, N.H.: Dartmouth College Press, 2013.
———. “Optic Black: Blackness as Phantasmagoria.” In Beyond Blackface: Africana Images in the Us Media, edited by Akil Houston. Dubuque, Iowa: Kendall Hunt Publishing, 2010.
———. “Reification, Reanimation, and the Money of the Real.” World Picture no. 7 (2012).
Schmidt Campbell, Mary. “African American Art in a Post-Black Era.” Women & Performance: a journal of feminist theory 17, no. 3 (2007): 317 – 30.
Shaviro, Steven. “Post-Cinematic Affect: On Grace Jones, Boarding Gate and Southland Tales.”. Film-Philosophy 14, no. 1 (2010): 1-102.
Thompson, Krista. “The Sound of Light: Reflections on Art History in the Visual Culture of Hip-Hop.” The Art Bulletin (2009): 481-505.
 Harry J. Elam, Jr., “Change Clothes and Go: A Postscript to Postblackness,” in Black Cultural Traffic. Crossroads in Global Performance and Popular Culture, ed. Harry J. Elam, Jr. and Jackson Kennell (Ann Arbor: The University of Michigan Press, 2005), 386.
 Gilles Deleuze, Francis Bacon: The Logic of Sensation (Minneapolis: University of Minnesota Press, 2003), 20.
 Steven Shaviro, “Post-Cinematic Affect: On Grace Jones, Boarding Gate and Southland Tales.,” Film-Philosophy 14, no. 1 (2010).
Ronald Feldman Fine Arts
For Immediate Release: January 23, 2014
YISHAY GARBASZ:Ritual and Reality February 15 – March 22, 2014
Ronald Feldman Fine Arts presents photographer Yishay Garbasz in her first major New York solo exhibition. Working across themes of memory, history, separation, and healing, Garbasz consistently captures both the pain of injury and the desire for reconciliation through her camera lens. Previous bodies of work exploring her mother’s survival of a Holocaust death march and Garbasz’s own personal journey with gender identity exemplify this dichotomy of pain and beauty. Physical location, and the inextricable link to the events that take place there, plays a large role in Garbasz’s interests. She focuses on places that have been forgotten or abandoned and where the physical signs of pain are obscured.
In Ritual and Reality, we join Garbasz on her journey through Japan’s Fukushima Prefecture, where on March 11, 2011, the Fukushima Daiichi nuclear power plant was hit by a tsunami triggered by the Tohoku earthquake. The resulting catastrophic failure has become the largest nuclear incident since the 1986 Chernobyl disaster. Garbasz’s investigation into Fukushima continues her life-long quest to explore and document spaces that have gone through a serious trauma.
Over the course of three weeks, donning protective gear and a Geiger counter, Garbasz travelled the Fukushima Prefecture, predominantly on foot, photographing the abandoned towns that have been taken back by nature because humans have rendered them uninhabitable. By walking and documenting the actual landscape of this disaster, Garbasz makes visible all that was lost. An area that was once home to a population of roughly two million has been turned into a collection of ghost towns by a disaster that was largely preventable. Years of corporate and governmental cronyism led to ineffective and toothless regulatory bodies incapable or unwilling to deal with the dangers staring directly at them. It’s no surprise that the clean-up effort has also been marred by disinformation, ineptitude, and corruption. Her eerily beautiful videos, photographs, and audio recordings of the Exclusion Zone echo with a sense of loneliness and pain. The videos, which should be filled with the sounds of children going to school and adults commuting to work, are permeated only by the sounds of rustling winds, the occasional meowing of a stray cat, and the incessant beeping of a Geiger counter alerting us to the danger that will linger for decades.
Also on display will be photographs depicting the “temporary” housing that evacuees must now call home, as well as a series of images from Tokyo, the world’s largest metropolitan area which lies but 150 miles south west of Fukushima. One of Garbasz’s goals for this project is to highlight the human disaster that is taking place in Japan alongside the environmental one. Through her work Garbasz exposes the cultural attitudes that allowed this disaster to occur in the wake of a highly predictable natural catastrophe. As she sees it, the Fukushima disaster is rooted in many facets of the Japanese culture, as well as common behaviors in the nuclear industry worldwide, and she believes that the healing process must begin deep within the society that allowed these events to transpire. No longer can people afford to take comfort in what Garbasz keenly identifies as the ritual of safety, but they must now face the very real dangers and obstacles before them. The old status quo of denial and quick fixes will no longer suffice. One only has to look at the landscape, and the large piles of leaking bags containing radioactive materials, to understand that.
Reception: Saturday, February 15, 6-8. Gallery hours are Tuesday – Saturday, 10-6. Monday by appointment. For more information, contact Varvara Mikushkina at (212) 226-3232 or email@example.com.
RONALD FELDMAN FINE ARTS 31 Mercer Street | New York, NY 10013 | 212-226-3232 | http://www.feldmangallery.com
The Rise of African-American Fine Art @ Swann Galleries
On February 13 Swann Galleries’ African-American Fine Art department will offer a curated sale titled Shadows Uplifted, which highlights the development of African-American artists in the 19th century and early 20th century.
The auction includes paintings, sculpture, drawings, fine prints and photographs by artists who emerged from the shadows of academic and genre painting, and defined a new visual culture during the Harlem Renaissance and Works Progress Administration (WPA) era.
The title of the sale is taken from Frances Harper’s 1892 book, Iola Leroy, or Shadows Uplifted, one of the first novels written by an African-American female author. The struggles faced by African-American visual artists at the turn of the century mirror those of the book’s protagonist—a young woman in the antebellum South.
Highlights include two works from one of the earliest successful landscape painters, Edward Mitchell Bannister, whose Providence Art Club helped launch the Rhode Island School of Design; two fine works by Charles Ethan Porter; the first work by early modern sculptor Nancy Elizabeth Prophet to come to auction and three small oil studies by Hentry Ossawa Tanner. From the Harlem Renaissance era are works by Malvin Gray Johnson and Augusta Savage; while the social realism that defined the WPA era is found in paintings by Hughie Lee-Smith, Eldzier Cortor, Charles White and Margaret Burroughs.
Carrie Mae Weems: The Museum Series presents an intimate look at an ongoing series that Weems began in 2006. The artist stands, with her back turned to the camera, in proximity to some of the world’s leading museums and cultural institutions. The resulting images act as ruminations on the collecting and exhibiting practices of these sites.
Since 1978, Weems (b. 1953, Portland, Oregon) has examined the historical complexities of identity, class and social relations through photography and other media, such as video, installation, sound and text. Working in series, her generally black-and-white photographs articulate and reify the African-American experience in particular for broad contemplation. Varying from intimate to sweeping in scale, Weems’s diverse oeuvre reflects the artist’s commitment to revealing inequalities that potentially touch upon all segments of humanity.
The Museum Series (2006–present) shows Weems, shrouded in black, traveling to domestic locations, such as the Philadelphia Museum of Art and Project Row Houses in Houston, as well as outside of the United States to the Tate Modern, London; the Pergamon Museum in Berlin; and the Galleria Nazionale D’Arte Moderna in Rome. The images are complicated by her position as an artist in relationship to these institutions as well as by the constellation of race and gender inequality, agency and access that surround them. Implicated in each photograph by virtue of size and physical position, the viewer is asked to question the manner by which cultural institutions affirm or reject certain histories through their collecting and display decisions.
Carrie Mae Weems: The Museum Series is organized by Assistant Curator Lauren Haynes and runs concurrently with Weems’s mid-career retrospective, Carrie Mae Weems: Three Decades of Photography and Video, on view at the Guggenheim Museum from January 24 – May 14, 2014. Three Decades was organized by the Frist Center for Visual Arts in Nashville and has traveled to the Portland Art Museum, The Cleveland Museum of Art and the Cantor Arts Center at Stanford University.
– See more at: http://www.studiomuseum.org/exhibition/carrie-mae-weems-the-museum-series#sthash.41bZkaPr.dpuf
In honor of the major group exhibition The Shadows Took Shape, please join The Studio Museum in Harlem for a new series of book club discussions moderated by prominent artists, scholars, and bloggers interested in science fiction and speculative literature. Artist Wayne Hodge will lead a discussion that delves into the book’s themes.
In Nova, the suns of Draco stretch almost sixteen light years from end to end and the cost of transportation is the most important issue of the 32nd century. Illyrion is the element most needed for space travel, and Lorq von Ray is plenty willing to fly through the core of a recently imploded sun in order to obtain seven tons of it. The potential for profit is so great that Lorq has little difficulty cobbling together an alluring crew that includes a gypsy musician and a moon-obsessed scholar interested in the ancient art of writing a novel. What the crew doesn’t know, however is that Lorq’s quest is actually fueled by a private revenge so consuming that he’ll stop at nothing to achieve it. In the grandest manner of speculative fiction, Nova is a wise and witty classic that casts a fascinating new light on some of humanity’s oldest truths and enduring myths.
Wayne Hodge is an artist whose work combines elements of performance, video and photography. His practice explores the relationship between history, media and fantasies of race and desire. He received an M.F.A. from Rutgers University and attended the Whitney Independent Study Program and the Skowhegan School. His work has been shown at The Bronx Museum, MoMA P.S.1 and The Studio Museum in Harlem, and internationally in Germany, Brazil and China.
Get into the liberator online as well…the liberator is not a trend but a tradition …the tradition of having a forum where the voices of our generation is heard unfiltered and uncensored by status quoi.The journal covers all aspects of culture fiction essays pop criticism …enjoy
everyone knows that a young black man at the top of his game in this democracy of ours is not even considered the equivalent to a young white boy whoes daddy owns the game …so that being said i found myself particularly disturbed by two things this week
one the finding of the Avonte Oquendos body found in pieces in the east river after a four month search and two the victimization and dismemberment of black icon Kanye West’s image in the current Interview magazine ….one defenseless and autistic victim and the other a fairly grown and willing victim.We mourn the death of young Avonte and our hearts and wishes for healing go out to the young boys family .It has been a year of victimization of black men whether it be by our own race or outside of our kind lets hope all these deaths will call attention to the fact that the life of young black men are in peril constantly by all of us by being indifferent or in contempt of there existence we all contribute
That being said please Mr West we adore you but come home …brother please leave the Steven Klien shoots and LVMH type people alone and take all that cash there throwing you and invest it in some black business…just cause its Paris stamped bro dont mean its good for us ….aint none of us want to see you splayed out and bodybagged..masked and sexualized all at the same time …everyone knows no one can make a bitch out of a black male like Steven Klien can and dude honestly the image projected in that shoot is one of vulnerability and victim …..in perhaps a different context it could be a commentary on the violence inflicted on black men period from slavery to modern day stop and frisk but instead what i got was bondage chic and stylish subjugation.that being said here was another issue i found interesting an article written by Greg Gradin in the NY Times on the Melville novel “Benito Cereno” comparing president Obama’s presidency to a taking over of the ship.
American Folk Art Museum
Ronaldus Shamask …Jean Yu …Garry Graham serve it Couture style dress warm and enjoy
then check out the Queer Threads:Crafting Identity and Community Jan 17th till March 16th exhibit at the Leslie Lohman Gallery
Every real player knows you don’t buy Hi-End labels you get them to give you there shit for free and A$AP is working it …everyone in fashion and Hollow-wood knows it too where have we on the street been we buying our shit full price ????See bro knows that he is a demographic and that if he wears it soon we will …so really you on the subway rocking those 230$ Y-3′s not just paid for yours but A$AP and Yojhi Yamamoto’s retirement …hey big spender can you spare a dime???
artwork:Alma Thomas “Lunar Rendezsvous-circle of flowers” 1969
Michael Rosenfeld Gallery
Bierut born Ali Cherri explores identity from the individuals viewpoint and the society we live in as well .Ali Cherri
Annie Ling’s work is a must see at The Museum Of Chinese Art till April …cast her empathetic eye on the everyday lives and environment of China-Towns inhabitants…you can also see more of her work here Annie Ling
Certainly Black self esteem before and after the 60′s took a journey through the Hollywood looking glass
we buy bags of hair …korean womens hair .Blacks spend more on there hair(which most times really mean on korean womans hair ) than we do on books …its a known fact.Today with our porn star aspirations our women suffer not just serious damage to there self esteem but also by the look of Lil Kim permanent damage to there beauty.
Why wouldnt a star like Jay-Z marry someone who looked even a bit closer to his brand of beauty …perhaps because he does not see himself as beautifull!
what is America’s love affair with the light complexioned…the teutonic blonde and the WASP background?perhaps remnants of colonialist mindwashing!
all in all it all makes for fascinating theater from the outside and serius undermining of power from within the diaspora
there is something going on with the kids ….reductive beats ..perverse nursery rhymes
profanity …ball slogans love it or leave it this is the sound of music in 2014