THE NAAO DATA STREAM
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THE NAAO DATA STREAM |
c o n t e n t s
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========== [As always submissions from the field welcome. === November 18–December 21, 2006 "Margaret Cogswell’s Buffalo River Fugues will be the second in a series of RIVER FUGUES that began in 2003 by exploring the river and steel mills in Cleveland, Ohio while in residence at SPACES World Artists Program. Cuyahoga Fugues described the artist’s encounter with generations of stories reflecting the life and dreams embodied by the Cuyahoga and, upon completion, suggested an expanded body of work, exploring the lives of other regional rivers through video/film footage of the post-industrial landscape and sculptural components drawn from the histories of the relevant industries. The River Fugues project emerges from Cogswell’s long-term investigations into the significance of water in our lives, but marks a shift from work exploring the individual’s longing for immortality to that of a society’s collective longing for a “better” life around rivers. The harnessing of a river’s power for development of industry and commerce uncomfortably links a dream of immortality found in the rarified waters of an idealized rural landscape with urban industry and technology. Buffalo River Fugues proposes to explore the poignant disillusionment defined by compromised river waters and waning dreams of prosperity." [1111] October 21, 2006 - January 21, 2007 "Carnival, Carnaval, Carnevale—What is the origin of these words and the rowdy festivals associated with them? The earliest mention of a Carnival celebration is recorded in a twelfth-century Roman account of the pope and upper-class Roman citizens watching a parade through the city, followed by the killing of steers and other animals. The purpose was to play and eat meat before Ash Wednesday, which marked the beginning of Catholic Lent—the forty-day fast leading up to Easter. The Latin term carnem-levare—to remove oneself from flesh or meat—was used to refer to the festival. ¡CARNAVAL! the exhibition, provides windows into eight communities in Europe and the Americas where Carnival is a high point of the yearly cycle." more And don't forget to vote! see ART IN THE CONTESTED CITY November 3, 2006 Arts and culture are transforming cities as never before, and are themselves being transformed in the process. In urban centers around the world, and in our own Brooklyn backyard, the fields of art and design, music and dance, architecture and new media are playing an ever increasing role in the development of neighborhoods and communities. They are doing so, however, at a time in which urban space is increasingly limited, expensive, and contested—fought over by developers, city governments, community and civic groups, housing advocates, arts institutions and artists themselves. [1102] === Marcia Tucker, a forceful curator who responded to being fired from the Whitney Museum of American Art by founding the New Museum of Contemporary Art, died on Tuesday at her home in Santa Barbara, Calif. She was 66. Ms. Tucker learned several years ago that she had cancer, but a spokeswoman for the New Museum did not specify the cause of death. In establishing the New Museum in 1977 when she was 37, Ms. Tucker continued the proactive impulses of an older generation of women who helped create the foremost modern art museums in New York: Abby Aldrich Rockefeller of the Museum of Modern Art, Gertrude Vanderbilt Whitney and Juliana Force of the Whitney and Hilla Rebay of the Solomon R. Guggenheim Museum. But Ms. Tucker, who was born in Brooklyn, came of age in the 1960’s and was a product of her time. She said that her motto in founding the museum was, “Act first, think later — that way you have something to think about.” Her encounters with feminism in college became the basis of a political activism that permeated much of what she did. But it was balanced by an omnivorous passion for art. In the early 1970’s she belonged to the Redstockings, a feminist group. In the 1980’s it was often rumored that she belonged to the gorilla-masked Guerrilla Girls, feminist watchdogs of the art world. Later she helped form an a cappella singing group called the Art Mob (singing alto) and also sometimes performed as a stand-up comedian. In a sense she made the New Museum, which she ran for 22 years as director, in her own image: a somewhat chaotic, idealistic place where the nature of art was always in question, exhibitions were a form of consciousness raising and mistakes were inevitable. She also wanted the museum to welcome art that was excluded elsewhere because it was difficult, out of fashion, unsalable or made by artists who were not white or male or straight. The daughter of a trial lawyer, Ms. Tucker was born Marcia Silverman and grew up in Bensonhurst, Brooklyn, and then New Jersey in a household that took politics and culture seriously. Drawn to art from an early age, she studied theater and art at Connecticut College, where she earned a Bachelor of Arts in 1961 and spent her junior year at the École du Louvre in Paris. Her first job was as a secretary in the department of prints and drawings at the Museum of Modern Art; she soon quit because she was asked to sharpen too many pencils. She went on to earn a master’s degree in art history from the Institute of Fine Arts at New York University and worked as an editorial associate at Art News magazine. She also supported herself by cataloging private collections, including those of Alfred H. Barr Jr., the first director of the Museum of Modern Art, and the independently wealthy painter William N. Copley. She was especially close with Mr. Barr and his wife, Margaret Scolari Barr. Ms. Tucker acquired her surname Tucker in an early marriage. Survivors include her current husband, Dean McNeil; their daughter, Ruby; and her brother, Warren Silverman. In 1969 Ms. Tucker became a curator of painting and sculpture at the Whitney. She almost immediately helped point the museum in a new direction with “Anti-Illusion: Procedures/Materials,” the first large show of Process Art, or Post-Minimalism, in an American museum, organized with James Monte, another Whitney curator. Her subsequent shows included surveys of the painters James Rosenquist, Joan Mitchell and Al Held, and the Post-Minimalists Robert Morris, Bruce Nauman and Richard Tuttle. The harsh reviews of the ephemeral, hard-to-find artworks in the Tuttle show eventually led to her dismissal in 1977. That same year, after assembling a board of trustees that included the philanthropist Vera List, she opened the New Museum on Fifth Avenue at 14th Street, on the ground floor of a building owned by what is now the New School. At the New Museum she emphasized inclusive group shows with provocative titles like “ ‘Bad’ Painting” and “Bad Girls,” insisted that the museum guards be knowledgeable about the art on view and planned to de-accession the collection every decade to keep the museum young. She served as series editor of “Documentary Sources in Contemporary Art,” five anthologies of theory and criticism. Her most notorious show, “Have You Attacked America Today?,” caused garbage cans to be thrown through the plate-glass window of the museum, which had by then moved to Broadway in SoHo. (The museum is constructing a new $35 million building on the Lower East Side, which is expected to open late next year. Until then it is sharing gallery space with the Chelsea Art Museum.) John Walsh, then director of the J. Paul Getty Museum in Malibu, Calif., described Ms. Tucker in especially apt terms in a 1993 article in The New York Times: “There’s always been a social conscience in Marcia that’s impatient and results in a kind of alertness you can just read across her forehead like a Jenny Holzer sign.” [1021] [1021] === The Films of Groupe Medvekine "Between the March strikes in 1967 at Rhodia in Besançon and work standardisation at the Peugeot factories in Sochaux, there occurred -- under the impetus of Chris Marker and his friends -- the constitution and action of the "Medvedkin Groups" for producing, directing and distributing political films. "A necessary caution: the "democratization of tools" entails many financial and technical constraints, and does not save us from the necessity of work. Owning a DV camera does not magically confer talent on someone who doesn't have any or who is too lazy to ask himself if he has any. You can miniaturize as much as you want, but a film will always require a great deal of work - and a reason to do it. That was the whole story of the Medvedkin groups, the young workers who, in the post-'68 era, tried to make short films about their own lives, and whom we tried to help on the technical level, with the means of the time." - Chris Marker" Tate Tracks We invited musicians to walk around the Tate Modern and find a piece of art to inspire them to write a trackk. It's about art inspiring art. Each month, a new track will be showcased on a pair of headphones in front of the art that inspired it. For one month, Tate Modern will be the only place in the world where you can listen to it. A month later the new track will also be available online." September 2006: The Chemical Brothers vs. Jacob Epstein [1010] === YOUNG-HAE CHANG HEAVY INDUSTRIES "Employing their usual mix of animated black and white typography, jazzy music and humour, the work explores the international contemporary art market from the artists' perspective." [1009] === Beneath the Strata/Disappearing A Studio in the Woods "ArtSpot Productions is a New Orleans-based nonprofit organization dedicated to the creation and production of original multidisciplinary performance works for local, national and international presentation. Founded in 1995 by Kathy Randels to produce her solo performance work, the company has expanded to include collaborative works with artists of different disciplines. Through audience development and performing arts education for artists of all ages and backgrounds, we seek to build a culture in New Orleans that participates in and supports live original performance work." "A Studio in the Woods, a program of Tulane University located in 7.66 forested acres on the Mississippi River in New Orleans, is dedicated to preserving the endangered bottomland hardwood forest and providing within it a peaceful retreat where visual, literary and performing artists can work uninterrupted. Programming includes community workshops in the arts and environmental preservation, and an outdoor classroom where school children and university students can experience and study the natural world. The only live-in artists' retreat in the Deep South, A Studio in the Woods fosters both environmental preservation and the creative work of all artists." === "It's a little spit of land jutting out into the San Francisco Bay from Albany on the eastern shore. Boasting a world-class view of the Golden Gate bridge and spectacular sunsets, the Bulb was originally a dump, covered over with dirt and then by vegetation. Deemed toxic, and neglected for many years, this unwanted trash heap was claimed by kindred spirits; fellow outcasts like homeless people and artists and finally, dog-walkers who could let their canine charges run wild." [1004] === more: [in the North Oakland Temporary Museum Annex] [1003] Tropicália is the first comprehensive exhibition to explore one of the most significant chapters in modern cultural history, a period beginning in the late 1960s when daring experiments in Brazilian art, music, film, architecture and theater converged—and ignited. Although suppressed by an increasingly oppressive military dictatorship, the moment produced a counterculture that has influenced successive generations of artists, even up to the present day." more === The NAFTA Effect LOS ANGELES, October, 7, 13 and 14, 2006 -- THINK AGAIN and Outpost for Contemporary Art are pleased to announce The NAFTA Effect, a public projection project that challenges anti-immigrant rhetoric and treatment of migrant labor. The NAFTA Effect is a project of "Fair Trade," organized by Outpost for Contemporary Art. THINK AGAIN´s mobile projectors will roam the streets of Los Angeles after dark on October 7, 13 and 14. Talking back to the advertising-dominated landscape of Los Angeles, this project acknowledges the contribution and participation of immigrant laborers in the life of Los Angeles. On the level of policy, The NAFTA Effect highlights how international treaties like NAFTA, in concert with national anti-immigration efforts, reshape the ways that families live and work on both sides of the border. The project addresses current debates surrounding H.R.4437, challenges the proposed 700-mile border fence, and criticizes the criminalization of undocumented workers. [1002]
The Tipitina's Foundation - Rebuilding New Orleans' music culture Bruce Springsteen [100206] |