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Lavender Place Community Gardens next to the Hexagon in Reading. Photos taken on 30th June 2019 at the Food4families 10th birthday celebrations.
Thames Valley Police in partnership with Food4families and working with volunteers from Reading Food Growing Network, pupils from Deemway Montessori School and students from Activate Learning Reading College have been creating a temporary community garden on the site of former Civic Offices until it is re-developed.
Study of the Victorian maps of the area that was demolished to make way for Civic Offices, Courts and Police Station show that there were many courtyards with edible connotations: Wine Court, Lavender Place, Cherry Court, Plum Court, Grape Passage. This may be an indication of small holdings in the area
Kontejner - www.kontejner.org/
Festival
Touch Me Festival 2008 - Feel better!
Feel better! Art at intersection of technology and science
19.12.2008. - 23.12.2008.
Student Center, Zagreb
This year’s festival has a name with connotations of pleasure − Feel Better!. Touch me festival is still testing out how the individual can be bound into the network of mechanical, electro-mechanical, electronic and cybernetic aids and biotechnology, and the non-critical attitude of society towards ethical issues that the changes in contemporary technological reality open up. The topic of this edition of the international festival is related to the imperatives of happiness, pleasure and hedonism, and draws upon paradigms that explain how in the contemporary social and political system the issue of stability and control has been diverted from the area of power and repression
to the area of happiness and fun. It starts off from the proposition that being down, gloomy, depressive, uninterested is equivalent to being socially unacceptable. Some of the pieces in the festival thus attempt to cheer the visitors up, to shift them into a state of short-lasting hedonism, provide them with all kinds of sensual and sensory pleasures, known and unknown.
ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage
USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:
Michael Asher
Eternal Telethon
Andrea Fraser
...Alex Israel
Sharon Lockhart
Yvonne Rainer
State of the Arts
Kenneth Tam
Anton Vidokle
Carey Young
Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.
In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:
Thursday, April 28, 6-9pm:
Opening Reception
Saturday, April 30:
Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm
A conversation with Yvonne Rainer and Sara Wookey, 5pm
Sunday, May 1:
A conversation with Alex Israel, 1pm
Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm
Saturday, May 7, 11am:
Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/
Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes
Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.
-----------------------------------------------------
Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.
Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere
The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.
ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage
USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:
Michael Asher
Eternal Telethon
Andrea Fraser
...Alex Israel
Sharon Lockhart
Yvonne Rainer
State of the Arts
Kenneth Tam
Anton Vidokle
Carey Young
Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.
In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:
Thursday, April 28, 6-9pm:
Opening Reception
Saturday, April 30:
Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm
A conversation with Yvonne Rainer and Sara Wookey, 5pm
Sunday, May 1:
A conversation with Alex Israel, 1pm
Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm
Saturday, May 7, 11am:
Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/
Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes
Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.
-----------------------------------------------------
Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.
Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere
The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.
A number of straw horses have danced in the Circumambulation since 1648. Probably related to the chevaux fous (crazy horses) in France that would dance through the streets during Carnival celebrations, these figures have a distinctly erotic connotation. The wearers stand inside the woven straw horses up to their hips so that they appear to be riding them.
ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage
USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:
Michael Asher
Eternal Telethon
Andrea Fraser
...Alex Israel
Sharon Lockhart
Yvonne Rainer
State of the Arts
Kenneth Tam
Anton Vidokle
Carey Young
Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.
In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:
Thursday, April 28, 6-9pm:
Opening Reception
Saturday, April 30:
Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm
A conversation with Yvonne Rainer and Sara Wookey, 5pm
Sunday, May 1:
A conversation with Alex Israel, 1pm
Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm
Saturday, May 7, 11am:
Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/
Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes
Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.
-----------------------------------------------------
Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.
Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere
The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.
ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage
USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:
Michael Asher
Eternal Telethon
Andrea Fraser
...Alex Israel
Sharon Lockhart
Yvonne Rainer
State of the Arts
Kenneth Tam
Anton Vidokle
Carey Young
Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.
In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:
Thursday, April 28, 6-9pm:
Opening Reception
Saturday, April 30:
Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm
A conversation with Yvonne Rainer and Sara Wookey, 5pm
Sunday, May 1:
A conversation with Alex Israel, 1pm
Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm
Saturday, May 7, 11am:
Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/
Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes
Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.
-----------------------------------------------------
Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.
Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere
The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.
ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage
USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:
Michael Asher
Eternal Telethon
Andrea Fraser
...Alex Israel
Sharon Lockhart
Yvonne Rainer
State of the Arts
Kenneth Tam
Anton Vidokle
Carey Young
Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.
In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:
Thursday, April 28, 6-9pm:
Opening Reception
Saturday, April 30:
Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm
A conversation with Yvonne Rainer and Sara Wookey, 5pm
Sunday, May 1:
A conversation with Alex Israel, 1pm
Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm
Saturday, May 7, 11am:
Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/
Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes
Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.
-----------------------------------------------------
Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.
Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere
The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.
Tikkun olam (תיקון עולם) is a Hebrew phrase that means "repairing the world" (or "healing and restoring the world") which suggests humanity's shared responsibility (with the Creator) "to heal, repair and transform the world." In Judaism, the concept of tikkun olam originated in the early rabbinic period. The concept was given new meanings in the kabbalah of the medieval period and further connotations in modern Judaism.
According to this spiritual concept, God created the world by forming vessels of light to hold the Divine Light. But as God poured the Light into the vessels, they catastrophically shattered, tumbling down toward the realm of matter. Thus, our world consists of countless shards of the original vessels entrapping sparks of the Divine Light. Humanity’s great task involves helping God by freeing and reuniting the scattered Light, raising the sparks back to Divinity and restoring the broken world.
Similar concepts are present in other religions too. Christ promised to return with the coming of the Kingdom of Heaven and exhorted people to prepare through love, wakefulness, and charity. In Buddhism, the Bodhisattva vows to forgo final liberation until all beings have been freed from suffering. The Gnostics held that a spark of Divinity resides entrapped within the soul of humans. The third pillar upon which the faith if Islam is built is the obligation to almsgiving, or “Zakat”. It literally means giving back to Allah (God) a portion of His bounty. Zakat is an act of beneficence of right-doing and a charitable act in the moral sense and represents fundamental requirement of the faith.
Herod's Gate, Jerusalem
April 2011
Lavender Place Community Gardens next to the Hexagon in Reading. Photos taken on 30th June 2019 at the Food4families 10th birthday celebrations.
Thames Valley Police in partnership with Food4families and working with volunteers from Reading Food Growing Network, pupils from Deemway Montessori School and students from Activate Learning Reading College have been creating a temporary community garden on the site of former Civic Offices until it is re-developed.
Study of the Victorian maps of the area that was demolished to make way for Civic Offices, Courts and Police Station show that there were many courtyards with edible connotations: Wine Court, Lavender Place, Cherry Court, Plum Court, Grape Passage. This may be an indication of small holdings in the area
An ID booklet measuring 60x90mm for the Socialist Alliance of The Working People of Yugoslavia, Bosnia & Herzegovina branch. It is stamped and signed by the representative of Logavina, in Sarajevo, but has not been made out to anyone. Although the Bosnia & Herzegovina logo is reproduced in Serbian Cyrillic and Latin script, the document itself is in Cyrillic.
The organisation was founded in 1945 as the People's Front, changing its name in 1953. It was formed with the aim of involving as many people as possible in activities on the party agenda, without the restrictions and negative connotations of direct party control. It ceased to exist in 1990 following the break up of Yugoslavia and its descent into bloody civil war between the ethnic factions.
First of all, I divorce myself from any unflattering connotations I may have ascribed to my reputation from taking this photo. I am not a "stoner," nor am I a "burn-out;" I am a student, I am a writer, I am an artist, a dreamer -- I am all of these things, and I just so happen to be a marijuana user. Next time you look down upon someone who reeks of incense and Woodstock, just think of how many of us are in your nation's colleges, learning the skills we need to survive in an empire in decline.
Many people know that I use cannabis to alleviate symptoms of chronic pain. Though I'd be selfishly overjoyed if Wisconsin's JRMMA were to pass, it'd mean a lot more to me knowing that patients like Jacki Rickert had legal, safe, secure access to the medication that worked for them. Think: how many people do you know would be able to live their lives to the fullest if only they were able to physically?
I would be overjoyed, not just for those whose symptoms are directly alleviated by marijuana use -- but also for those whose final days are wearing thin, and just want to be able to use a medication that puts them in a peaceful, comfortable position. If we allow the terminally-ill to be put on morphine -- a powerful opiate which often causes serious side effects -- for their final days, why don't we allow marijuana?
This is an issue I feel quite strongly about -- all from moral, ethical, personal, and medical perspectives. If you like this photo, please visit jrmma.org and immly.org for more information.
OBJECTS OF WONDER: A PRIVATE EUROPEAN KUNSTKAMMER
Southern German, late 17th/ early 18th century
PERSONIFICATION OF DEATH WITH A SCYTHE
Southern German, late 17th/ early 18th century
PERSONIFICATION OF DEATH WITH A SCYTHE
fruitwood and metal
36.2cm., 14¼in
Representations of memento mori motifs – reminders of the fleetingness of life – gained currency in the Renaissance, particularly in Reformation-led Germany. Acting as moral guardians with connotations of sin, decay, and the afterlife, such objects were valued equally as curiosities, satisfying the Renaissance obsession with human anatomy and the grotesque. The early 16th century saw the rise of skeletons personifying death – so-called Tödlein ('little deaths') – as an independent genre in Southern German small-scale sculpture. Perhaps the earliest of these is a figure by the Bavarian sculptor Hans Leinberger of circa 1520 (Beck, op. cit., fig. 63), which defines the type as a skeletal body in an advanced state of decomposition, with remnants of skin acting as stand-in clothing, and equipped with death-bringing attributes such as a bow and arrow or an hour glass. Further 16th-century examples following this scheme are illustrated in Bange (op. cit., pls. 72-73).
The present skeleton dates from the 17th century, when the popularity of this type of carving was renewed by sculptors within the Dürer Revival movement (Beck, op. cit.). While it relates to other known Tödleine in the characteristic attributes of a bow and quiver, our figure introduces the scythe as a less common motif and exhibits a menacingly long-limbed physique. The ornate base covered with trophies is not seen in known examples dated to the first half of the 17th century, indicating perhaps a later dating.
RELATED LITERATURE
E. F. Bange, Die Kleinplastik der Deutschen Renaissance in Holz und Stein, Florence and Munich, 1928, pls. 72-73; H. Beck and B. Decker (eds.), Dürers Verwandlung in der Skulptur zwischen Renaissance und Barock, exh. cat. Liebieghaus, Frankfurt am Main, 1981, pp. 298-304
www.sothebys.com/en/auctions/ecatalogue/2017/old-master-s...
ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage
USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:
Michael Asher
Eternal Telethon
Andrea Fraser
...Alex Israel
Sharon Lockhart
Yvonne Rainer
State of the Arts
Kenneth Tam
Anton Vidokle
Carey Young
Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.
In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:
Thursday, April 28, 6-9pm:
Opening Reception
Saturday, April 30:
Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm
A conversation with Yvonne Rainer and Sara Wookey, 5pm
Sunday, May 1:
A conversation with Alex Israel, 1pm
Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm
Saturday, May 7, 11am:
Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/
Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes
Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.
-----------------------------------------------------
Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.
Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere
The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.
ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage
USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:
Michael Asher
Eternal Telethon
Andrea Fraser
...Alex Israel
Sharon Lockhart
Yvonne Rainer
State of the Arts
Kenneth Tam
Anton Vidokle
Carey Young
Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.
In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:
Thursday, April 28, 6-9pm:
Opening Reception
Saturday, April 30:
Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm
A conversation with Yvonne Rainer and Sara Wookey, 5pm
Sunday, May 1:
A conversation with Alex Israel, 1pm
Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm
Saturday, May 7, 11am:
Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/
Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes
Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.
-----------------------------------------------------
Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.
Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere
The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District of Moscow Oblast, Russia. It grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh. The town status was granted to it in 1742. As the town's name, alluding to St. Sergius, had strong religious connotations, the Soviet authorities changed first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Zagorsky. The original name was restored in 1991. Population: 110,878 (2010 Census preliminary results);[1] 113,581 (2002 Census);[2] 114,696 (1989 Census).[4]
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important factory of toys.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
or "Wishing you a prosperous new year !" This greeting is traditionally accompanied by the hand gesture of clasping of one fist with the other hand, as Rouen has demonstrated.
Notice another interesting detail? The Chinese word for "blessing", or "福" is sometimes hung upside down. The Chinese word for "upside down" sounds like "come", so the entire connotation would have symbolised that blessings have come!
A great deal of boudoir; is now created in the photographer's studio or in luxury hotel suites, where it has become very fashionable to create a set of sensual images for women in boudoir style. This often takes the shape of partly clothed images or images in lingerie, and has become more than just a passing fad for brides to surprise their future husbands. Although in the past there were many negative connotations associated with boudoir photography, in recent years the trend has begun to gain momentum, and the entire look of boudoir photography has begun to change...
Lavender Place Community Gardens next to the Hexagon in Reading. Photos taken on 30th June 2019 at the Food4families 10th birthday celebrations.
Thames Valley Police in partnership with Food4families and working with volunteers from Reading Food Growing Network, pupils from Deemway Montessori School and students from Activate Learning Reading College have been creating a temporary community garden on the site of former Civic Offices until it is re-developed.
Study of the Victorian maps of the area that was demolished to make way for Civic Offices, Courts and Police Station show that there were many courtyards with edible connotations: Wine Court, Lavender Place, Cherry Court, Plum Court, Grape Passage. This may be an indication of small holdings in the area
There's something rather nice about the juxtaposition of a style of clothing intended to meet religious sensibilities combined with a material that has distinctly kinky connotations. :)
You have a dangerous face, and an illegal taste... This is relevant.
Oh look, another non-animal photo! WHAT IS MY STREAM COMING TO!?
I went through my computer to find photos to demonize/vampirize (to celebrate being able to use photoshop again! YAY!) and did a few that way, but I wasn't really happy with them. SO then I set up a photoshoot and got quite a few photos I liked (this is rare) and I edited a couple of them. This is one of them.
The eyes could use a little work to make them better, but whatever.
This was partly inspired by the demons on the TV show Supernatural, but mostly inspired by Mitchell in the show Being Human (UK), which I am currently watching. I only have 3 episodes left and I don't want to watch them because I don't want it to end! I like having something to look forward to and if I watch all the episodes then I'll have nothing! Mitchell is such a fascinating character - so vitally flawed but still lovable and redeemable. I adore him. Oh, and the eyes were at least a little inspired by a trio of barred owls I saw watching me a little less than a year ago.
FYI, fake blood tastes toxic and stains skin.
My RA already thinks I'm a freak (which is fine by me - I'd rather be that than boring and ordinary, like her), so meeting her in the bathroom with blood dripping down my face was oh so fun. She's very straight-laced and doesn't quite know what to do with me.
I really wish I could make my eyes do that for real sometimes (but only if I could control it...). It'd be incredibly useful.
I don't know why I have such a thing with monsters; I'm such a scaredy cat. Or at least I used to be.
My roommate and I practically live in the dark (when we turn on our overhead light the fire alarm goes off...so we just don't turn it on), though, so I guess it's applicable! I do like biting and blood poetically (meaning...I like it in poems and fiction and photos...I like how it keeps us alive and all the symbolism and imagery and connotations associated with it), though, so I guess it's suitable. I also think it's interesting how monsters, traditionally something horrendous, have recently been romanticized by the media. Vampires I get, for the most part. They're sexy...but this is nothing new. Goes back to Dracula. Werewolves...a natural offshoot. But I just learned that they're making a show about ZOMBIE ROMANCE. I had a good laugh after finding out about that one!
Oh, and special thanks to Travis for picking this one for me, even though in order to do so he had to look at them and they're pretty disturbing and he dislikes it when I'm creepy! ;)
There's something rather nice about the juxtaposition of a style of clothing intended to meet religious sensibilities combined with a material that has distinctly kinky connotations. :)
Kontejner - www.kontejner.org/
Festival
Touch Me Festival 2008 - Feel better!
Feel better! Art at intersection of technology and science
19.12.2008. - 23.12.2008.
Student Center, Zagreb
This year’s festival has a name with connotations of pleasure − Feel Better!. Touch me festival is still testing out how the individual can be bound into the network of mechanical, electro-mechanical, electronic and cybernetic aids and biotechnology, and the non-critical attitude of society towards ethical issues that the changes in contemporary technological reality open up. The topic of this edition of the international festival is related to the imperatives of happiness, pleasure and hedonism, and draws upon paradigms that explain how in the contemporary social and political system the issue of stability and control has been diverted from the area of power and repression
to the area of happiness and fun. It starts off from the proposition that being down, gloomy, depressive, uninterested is equivalent to being socially unacceptable. Some of the pieces in the festival thus attempt to cheer the visitors up, to shift them into a state of short-lasting hedonism, provide them with all kinds of sensual and sensory pleasures, known and unknown.
ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage
USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:
Michael Asher
Eternal Telethon
Andrea Fraser
...Alex Israel
Sharon Lockhart
Yvonne Rainer
State of the Arts
Kenneth Tam
Anton Vidokle
Carey Young
Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.
In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:
Thursday, April 28, 6-9pm:
Opening Reception
Saturday, April 30:
Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm
A conversation with Yvonne Rainer and Sara Wookey, 5pm
Sunday, May 1:
A conversation with Alex Israel, 1pm
Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm
Saturday, May 7, 11am:
Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/
Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes
Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.
-----------------------------------------------------
Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.
Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere
The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.
In 1936, only five years after beginning production, SS Cars startled the motoring public with the Jaguar 2.5-liter saloon, the company’s first car to feature overhead valves. The engine was the robust seven-bearing, six-cylinder unit built by Standard, but with a new cylinder head designed by Harry Weslake and Bill Heynes. With 104 bhp, smoothly delivered, flowing lines, a gearbox which made the best of the power, and a new chassis, it was the model which made the company’s reputation. Jaguar was then only a model name, but it was adopted as the company’s name after “SS” had acquired unfortunate connotations during the war.
If the Jaguar saloon epitomized excitement, it was as nothing compared to the Jaguar SS 100. No sports car better epitomizes the late 1930s, which is why it has been the model for so many modern “nostalgia” cars. It looked right from every angle and age has not withered its beauty.
Every aspect was in harmony. Stone guards over the large headlights, the long louvered bonnet and large wire wheels were aggressive, yet the flowing lines were silkily feline. It has the grace of a prowling cat. At Brooklands in 1936 a tuned and lightened version lapped at 104.1 mph, but normally owners tended not to race them. Instead they appeared in the rallies, trials and sprints which formed the bulk of British motorsport and they were successful because of their superb power-to-weight ratio, gearbox, brakes and handling. They were great all-rounders.
Chassis number 39030 was originally dispatched to Glovers, the early SS Jaguar dealers for Ripon on January 13, 1938. The Jaguar Daimler Heritage Trust, who have issued a Heritage Certificate for the car, record that it was originally delivered finished in lavender with blue trim. Purchased from Coys of Kensington in 1975, this beautiful example subsequently spent twenty years with a French enthusiast, before returning to home shores in the late 1990s. During its spell in France it underwent a comprehensive restoration by specialists Le Coq, in which the chassis and fittings were meticulously overhauled. The car comes with its original 3.5-liter engine and gearbox, although it is currently fitted with a competition power unit and uprated gearbox. These items were assembled in the vendor’s own workshops, specifically for competitive motoring and detail work included gas flowing of the cylinder head, the fitment of bronze liners to guides and conversion to use unleaded fuel. Further work was subsequently carried out to the suspension and shock absorbers as well as the gearbox by SS Jaguar specialists TRAC at a cost of over $6,400. Much attention was paid to detail, so that components such as the body tub and petrol tank were carefully and discreetly flexibly mounted to avoid damage on the arduous road rallies in which 39030 has become a competitor.
By any usage, the SS 100 must be considered a true classic. It is rare, lovely, iconic, and best of all, enjoyable. Only 118 of these cars were ever built and yet so many still survive that it is a rare classic car gathering that doesn’t have at least one out for the day. Above all, they are cars that are used and enjoyed by their owners rather than being kept in hermetically-sealed display cases. And they are practical. Even with the original four-speed gearbox, the seven-bearing engine can stand long distances at modern highway speeds without undue risk. Speeds over 80 mph are not excessive, though one must bear in mind that the car will be brought to a stop with rod-operated drum brakes slowing narrow tires.
This example is not particularly original in its detailing. One specialist noted incorrect chroming used on many pieces and substitutions of modern parts for some components. However, this car was restored to stand up to challenging secondary roads rather than straw-hatted concours scrutineers. The substitution of a competition-built engine (probably from a 3.5-liter Jaguar saloon) and a modern five-speed gearbox are in keeping with this intention, though the original drivetrain was included. If the new owner had the same intention of driving this car hard and enjoying its rugged power, then the price for this attractive, event-proven car was reasonable. It can easily be enjoyed for a season or two of vintage rallying and then cleaned up and sold, with very little net cost to the owner
Traditionally called Bushmen, these indigenous peoples of southern Africa are also known as San, Khwe, Sho, and Basarwa. However, these terms have been used by outsiders to refer to them, often with pejorative connotations. Western anthropologists adopted San extensively in the 1970s, where it remains preferred in academic circles. The term Bushmen is widely used, but opinions vary on whether it is appropriate because it is sometimes viewed as pejorative. In Botswana, the officially used term is Basarwa.
Yanking staples out of the skull of an old doll.
Yeah, I viciously ripped apart the last of those old nun dolls.
A couple of my insightful online contacts made a couple of insightful points.
One suggested that maybe the nun dolls weren't "loved" so much as kept out of a sense of obligation and that the connotations surrounding them were not positive but negative.
Another observed that using the dolls, or parts of the dolls, would offer a creative outlet, which is more use than the nun dolls have received for decades, and that either the original owners or the families of those owners no longer care about them.
Of course, one person agreed about keeping at least one of them in original condition and treasure it for what it is.
I decided to scavenge the costumes. This may have been a good move. The staples in the doll with the white costume were already quite rusty. The rust would eventually have stained the fabric. The staples were on the verge of rusting through and breaking, which would create sharp edges which might tear the fabric or rend flesh and present a tetanus hazard.
I will either donate the doll bodies to a local charity shop or list them for sale online. Perhaps somebody will crochet new outfits for them.
17 February - A Doll A Day 2025
A great deal of boudoir; is now created in the photographer's studio or in luxury hotel suites, where it has become very fashionable to create a set of sensual images for women in boudoir style. This often takes the shape of partly clothed images or images in lingerie, and has become more than just a passing fad for brides to surprise their future husbands. Although in the past there were many negative connotations associated with boudoir photography, in recent years the trend has begun to gain momentum, and the entire look of boudoir photography has begun to change...
A great deal of boudoir; is now created in the photographer's studio or in luxury hotel suites, where it has become very fashionable to create a set of sensual images for women in boudoir style. This often takes the shape of partly clothed images or images in lingerie, and has become more than just a passing fad for brides to surprise their future husbands. Although in the past there were many negative connotations associated with boudoir photography, in recent years the trend has begun to gain momentum, and the entire look of boudoir photography has begun to change...
There's something rather nice about the juxtaposition of a style of clothing intended to meet religious sensibilities combined with a material that has distinctly kinky connotations. :)
For the start of ZOOM-OUT , the Canal Basin in Hasselt (Belgium) was the perfect place for his giant rubber duck. Measuring 12 m in height, it may look like the favourite toy of Sesame Street’s Ernie, but it’s too big to fit into anyone’s bath- and impossible to ignore. According to the artist, the ‘Canard de bain’ crosses all bounderies, it does not discriminate and does not have a political connotation. The friendly, floating Rubber Duck has healing properties, it can relieve tensions as well as define them.
Reuze badeend in Kanaalkom
Hij was je misschien al opgevallen: een enorme, polyester badeend die ronddobbert op de Hasseltse kanaalkom. Deze ligt er sinds 30 mei. Als je hem nog niet gezien hebt, maak je niet ongerust: hij blijft er nog een tijdje liggen.
De komst van de eend betekent het startschot voor Z-out, een ambitieus project rond kunst in de publieke ruimte in Limburg. Wie graag een genummerd en door de kunstenaar gesigneerd badeentje heeft, kan mailen naar info@z33.be met vermelding ‘badeend’.
As-Salaam Palace is located on the site of the former Republican Guard Headquarters, which was destroyed in Operation Desert Storm. Construction of the Palace began shortly after the conclusion of the war. The destroyed Republican Guard was built in 1928 by the British as the home for the King of Iraq.
Begun while sanctions were in effect, construction of the four-story palace and lush grounds was completed in September 1999 at a cost of about $100 million. It was used primarily to house foreign dignitaries, and was located just off the Qadissiya Expressway which runs from the airport to the IZ area. The 814,000- square meter complex included orchards (orange, lime, date and other fruit trees), a series of artificial pools, lakes, and ponds, outdoor patios with freestanding hearths, and related out-buildings.
The United States attacked the palace by air in 2003, hitting it with seven guided bombs. The evidence of those strikes is readily apparent today in the ravaged dome and upper floors. Looters struck next, making off with everything including the toilets.
In mid-September 2004, as part of an Army-wide effort to give its facilities around Baghdad friendlier connotations, and try to resolve the issue of constantly-changing facility names, the old name Camp Highlander was renamed FOB Prosperity, with its Arabic equivalent "Camp al-Izdehar".
(From "A VISITOR’S GUIDE TO BAGHDAD’S INTERNATIONAL ZONE" by Richard H. Houghton III and Patrick J. McDonald, 1 May 2006)
Kontejner - www.kontejner.org/
Festival
Touch Me Festival 2008 - Feel better!
Feel better! Art at intersection of technology and science
19.12.2008. - 23.12.2008.
Student Center, Zagreb
This year’s festival has a name with connotations of pleasure − Feel Better!. Touch me festival is still testing out how the individual can be bound into the network of mechanical, electro-mechanical, electronic and cybernetic aids and biotechnology, and the non-critical attitude of society towards ethical issues that the changes in contemporary technological reality open up. The topic of this edition of the international festival is related to the imperatives of happiness, pleasure and hedonism, and draws upon paradigms that explain how in the contemporary social and political system the issue of stability and control has been diverted from the area of power and repression
to the area of happiness and fun. It starts off from the proposition that being down, gloomy, depressive, uninterested is equivalent to being socially unacceptable. Some of the pieces in the festival thus attempt to cheer the visitors up, to shift them into a state of short-lasting hedonism, provide them with all kinds of sensual and sensory pleasures, known and unknown.
ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage
USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:
Michael Asher
Eternal Telethon
Andrea Fraser
...Alex Israel
Sharon Lockhart
Yvonne Rainer
State of the Arts
Kenneth Tam
Anton Vidokle
Carey Young
Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.
In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:
Thursday, April 28, 6-9pm:
Opening Reception
Saturday, April 30:
Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm
A conversation with Yvonne Rainer and Sara Wookey, 5pm
Sunday, May 1:
A conversation with Alex Israel, 1pm
Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm
Saturday, May 7, 11am:
Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/
Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes
Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.
-----------------------------------------------------
Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.
Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere
The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.
ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage
USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:
Michael Asher
Eternal Telethon
Andrea Fraser
...Alex Israel
Sharon Lockhart
Yvonne Rainer
State of the Arts
Kenneth Tam
Anton Vidokle
Carey Young
Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.
In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:
Thursday, April 28, 6-9pm:
Opening Reception
Saturday, April 30:
Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm
A conversation with Yvonne Rainer and Sara Wookey, 5pm
Sunday, May 1:
A conversation with Alex Israel, 1pm
Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm
Saturday, May 7, 11am:
Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/
Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes
Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.
-----------------------------------------------------
Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.
Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere
The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.
Jaguar Cars Ltd., better known simply as Jaguar is a British luxury car manufacturer, headquartered in Coventry, England.
Jaguar was founded as the Swallow Sidecar Company by Sir William Lyons in 1922, originally making motorcycle sidecars before switching to passenger cars. The name was changed to Jaguar after World War II due to the unfavourable connotations of the SS initials.
The Jaguar D-Type, like its predecessor the C-Type, was a factory-built race car. Although it shared the basic straight-6 XK engine design (initially 3.4L and eventually uprated to 3.8 litres in the late fifties) with the C-Type, the majority of the car was radically different. Perhaps its most ground-breaking innovation was the introduction of a monocoque chassis, which not only introduced aircraft-style engineering to competition car design, but also an aeronautical understanding of aerodynamic efficiency. The D-Type was introduced purely for competition, but after Jaguar withdrew from racing, the company offered the remaining, unfinished chassis as the roadgoing Jaguar XKSS, by making changes to the racers: adding an extra seat, another door, a full-width windshield and primitive folding top, as concessions to practicality. However, on the evening of 12 February 1957, a fire broke out at the Browns Lane plant destroying nine of the twenty five cars that had already been completed or in semi-completion. Production is thought to have included 53 customer D-Types, 18 factory team cars, and 16 XKSS versions.
The Jaguar XKSS was a road-going version of the Jaguar D-Type racing car.
After Jaguar withdrew from racing the company offered the remaining, unfinished chassis as the roadgoing Jaguar XKSS, by making changes to the racers: adding an extra seat, another door, a full-width windshield and folding top, as concessions to practicality. However, on the evening of 12 February 1957, a fire broke out at the Browns Lane plant destroying nine of the twenty-five cars that had already been completed or were semi-completed. Production is thought to have included 53 customer D-types, 18 factory team cars, and 16 XKSS versions.
Following Jaguar's withdrawal from competition at the end of the 1955 season, a number of completed and partially complete D-types remained unsold at the Browns Lane factory. In an attempt to recoup some of the investment made in building these unused chassis, and to exploit the lucrative American market for high-performance European sports cars, Sir William Lyons decided to convert a number to full road-going specification. Only minor changes were made to the basic D-type structure: the addition of a passenger side door, the removal of the large fin behind the driver's seat, and the removal of the divider between passenger and driver seats. In addition, changes were made for cosmetic, comfort and legal reasons: a full-width, chrome-surrounded windscreen was added; sidescreens were added to both driver and passenger doors; a rudimentary, folding, fabric roof was added for weather protection; chromed bumpers were added front and rear (a styling cue later used on the E-type); XK140 rear light clusters mounted higher on the wings; and thin chrome strips added to the edge of the front light fairings. In total 16 XKSS variants were made, with most being sold in the USA, before the Browns Lane fire destroyed the remaining chassis.
The American actor Steve McQueen owned a Jaguar XKSS for personal use.
A deliberate departure from literal interpretation. The effect was achieved through a simple short exposure camera swipe. I appreciate that this connotative approach is not everyone's cup of tea. Takes a bit of experimentation to maintain a sense of composition but this one works (for me at least) in expressing a sense of forest fairly far removed from documentary portrayal.
Cheers!
Bob G.
This place is a public danchi (large apartment building) called Kaigan-dori Danchi, very close to Minato mirai in Yokohama. Unlike in the US, I don't think public housing in Japan has quite the same awful connotation. This building isn't dangerous or in a bad area; it's just old, because it was built in the 1960s.
Here's a web page about it with a directory of more public danchi: www.danchibar.com/catalog/kaigandori/1.htm
I know I'm weird, but this is one of my favorite buildings I've found anywhere. Its scale and its incongruity next to the brand-new Minato mirai are really awesome.
An ID booklet measuring 60x90mm for the Socialist Alliance of The Working People of Yugoslavia, Bosnia & Herzegovina branch. It is stamped and signed by the representative of Logavina, in Sarajevo, but has not been made out to anyone. Although the Bosnia & Herzegovina logo is reproduced in Serbian Cyrillic and Latin script, the document itself is in Cyrillic.
The organisation was founded in 1945 as the People's Front, changing its name in 1953. It was formed with the aim of involving as many people as possible in activities on the party agenda, without the restrictions and negative connotations of direct party control. It ceased to exist in 1990 following the break up of Yugoslavia and its descent into bloody civil war between the ethnic factions.
Really, I wanted to call this "The Colonel" simply because this bird looks so stately. Then I realized that this bird also looks a bit like a chicken and that "Colonel" has connotations of KFC. In the end, I think that Stately works. Besides that, this duck decided to share its pose with me in exchange for some bread crumbs.
Conversation
The tumult in the heart
keeps asking questions.
And then it stops and undertakes to answer
in the same tone of voice.
No one could tell the difference.
Uninnocent, these conversations start,
and then engage the senses,
only half-meaning to.
And then there is no choice,
and then there is no sense;
until a name
and all its connotation are the same.
Elizabeth Bishop
With all the Black Friday hype that seems to grow every year, it's nice to see at least one retailer has an old-fashioned looking Black Friday ad at least! And it even appears Jo-Ann will be closed for Thanksgiving, avoiding the annoying recent tactic of retailers opening after dinner (or earlier) on Thanksgiving itself to try and get the jump on the competition. At the current rate, Black Friday will start after trick or treat time on Halloween a few years from now!
The term Black Friday originated in Philadelphia in the early 60's, and carried a negative connotation back then: en.wikipedia.org/wiki/Black_Friday_%28shopping%29#Origin_... Hmmm, negative connotation? So in other words, nothing's really changed in all these years!
_________________________________________________
Images of Thanksgiving 2013: Jo-Ann Black Friday ad
This group of frescoes was discovered in 1880, during excavations conducted for the construction of Palazzo delle Esposizioni in Via Nazionale, facing the current Via Milano. The building containing them - probably intended for private use, given the strong residential connotation of the area - was completely destroyed immediately after the detachment of the frescoes.
Thanks to these watercolors executed at the time of the discovery, it was possible to recognize an elongated rectangular room, probably a corridor, covered by a succession of ribbed vaults and opening onto a marble-stepped staircase. The watercolour also reproduces a large part of the pictorial decoration, thus allowing the repositioning within the original decorative scheme of many of the surviving parts of the large fresco exhibited here. The frescoes date back to the early 3rd century CE.
The fresco fragment of the sheep on the left can be seen in my previous post at flic.kr/p/2pD2Z1G.
Watercolor by Antonio Arieti (1872-1924)
Performance Café with Perforated Sides, 2010
Dan Graham - New York City, USA
Installation
In Performance Café with Perforated Sides (2010), Dan Graham creates a structure that is intended to function as a space for performance and encounter. The pavilion evokes connotations of performer and audience, even when it is encountered alone, as viewers see themselves reflected in its shimmering surface. Conceptually, Performance Café is a stage. Two walls of the pavilion are made with perforated stainless steel. The two alternate ends of the pavilion are made of semi-reflective two-way mirror glass. Both mirror and steel create optical effects, unique experiences for each viewer. The perforations in the steel create a moiré pattern, an effect of visual interference, created by the two-different sized perforations. These quasi-hallucinogenic effects are reminiscent of the optical effects of rock shows and the psychedelic drug experiences associated with youth and rock culture. As a stage, or in its alternate potential use as a café, the pavilion beckons as a space for human interaction on a grand or intimate scale.
Co-produced by Plug In Institute of Contemporary Art, Winnipeg www.plugin.org
Dan Graham (New York) was born in Urbana, Illinois, and grew up in New Jersey. His diverse art practice encompasses performance, installation, writing, and video, and he is a leading figure in the history of 20th century art. In the late 1970s Graham began creating his pavilions, steel and semi-reflective glass architectural structures that are the logical continuation of his research into subjectivity and objectivity, performer and audience, self and other, an exploration he began in the 1960s in video and performance art.
ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage
USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:
Michael Asher
Eternal Telethon
Andrea Fraser
...Alex Israel
Sharon Lockhart
Yvonne Rainer
State of the Arts
Kenneth Tam
Anton Vidokle
Carey Young
Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.
In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:
Thursday, April 28, 6-9pm:
Opening Reception
Saturday, April 30:
Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm
A conversation with Yvonne Rainer and Sara Wookey, 5pm
Sunday, May 1:
A conversation with Alex Israel, 1pm
Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm
Saturday, May 7, 11am:
Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/
Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes
Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.
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Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.
Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere
The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.
Hősök tere (meaning "Heroes' Square" in Hungarian) is one of the major squares of Budapest, Hungary, rich with historic and political connotations. Its iconic statue complex, the Millennium Memorial, was completed in 1900, the same year the square was named "Heroes' Square". It lies at the end of Andrássy Avenue
IT’S DANGEROUS TO GO ALONE! TAKE THIS, a 30-minute-long CGI film, is the second part of an imaginary video game which follows an ambiguous “hero” undergoing numerous metamorphoses. The film challenges the amped-up constructed masculinity that video game avatars embody as well as the associated idealistic connotations of progress, growth, and transformation. Rather than just embracing the potential of computer-animated worlds, the film inverts their “logic” and questions their highly politicized and constructed nature.
Image Credits: Courtesy of the artist / Bassam Issa (IE)
Written, directed and animated by Bassam Issa. Commissioned by the Douglas Hyde Gallery. Supported by the Arts Council of Ireland.
The emblematic Red Fox is a frequent player in the stories of many cultures. A trickster character, the word Sly is almost invariably associated with foxes in English, and the connotation of a sneaking intelligence (or even magic powers of stealth) are seen in traditional tales of Europe, Japan, China, and North America (though in the North America the Coyote usually plays this role).
In the European fable tradition, running from Aesop's Fables, to Jean de La Fontaine's Fabliaux and the Reynard tales, the fox ranges from immoral villain (as the Fox in the hen house), to sly operator (either foolish or crafty), to wise observer (as a mouthpiece for the moral in some Aesop tales) to clever underdog (exemplified by the Reynard tradition). Some historians argue that the fox came to symbolize the survival strategies of European peasantry from the Medieval period to the French Revolution. Peasants admired guile and wit needed to outmaneuver the powers of aristocracy, state and church, just as they saw the fox use these same qualities to raid their livestock under cover of darkness.
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ETERNAL TELETHON documentation from the exhibition WORK AFTER WORK at the MAK CENTER's Mackey Apartments Garage
USC Roski School of Fine Arts, Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere is pleased to announce Work After Work, an exhibition of artworks and documents by:
Michael Asher
Eternal Telethon
Andrea Fraser
...Alex Israel
Sharon Lockhart
Yvonne Rainer
State of the Arts
Kenneth Tam
Anton Vidokle
Carey Young
Work After Work is an exhibition and program of events exploring issues of artistic production and labor, and is motivated by a keen awareness of how the current economic situation applies particular pressures on the many connotations of artistic “work.” It is a crucial moment to reexamine the shifting value, both economic and cultural, of artistic labor and to explore the ways in which artists navigate, resist, and reproduce these values. Each of the participating artists in the exhibition implement distinct methodologies for transforming the economic conditions of their artistic activities: from reflections on artistic practice as labor and entrepreneurial venture; to developing practical contracts that enforce artist fee structures; to resisting the speculative art market by offering unlimited multiples; to conceptualizations of artistic service provision, among others. Beyond evidencing economic models, the exhibition aims to reveal the shifts in political and social dynamics that artists face when negotiating the conditions of the production, reception, and consumption of art.
In conjunction with the exhibition, there is a program of artist conversations, panel discussions, screenings, and performances:
Thursday, April 28, 6-9pm:
Opening Reception
Saturday, April 30:
Instruction of Yvonne Rainer’s Trio A by Sara Wookey, 3pm
A conversation with Yvonne Rainer and Sara Wookey, 5pm
Sunday, May 1:
A conversation with Alex Israel, 1pm
Negotiating Institutional Relationships: A discussion with W.A.G.E., Sue Bell Yank and Robby Herbst, 3pm
Saturday, May 7, 11am:
Eternal Telethon: Performance and Online Broadcast, www.eternaltelethon.com/
Sunday, May 8, 12pm: Film Screening: Sharon Lockhart, Lunch Break (2008), 80 minutes
Work After Work will be accompanied by a fully illustrated catalogue featuring essays by Joshua Decter, Chloe Flores, Melinda Guillen, and Eric Golo Stone. In addition, each contributer in the exhibition is represented by a short biographical text. Design is by Eric Roinestad. The catalogue will be available free of charge throughout the duration of the exhibition.
-----------------------------------------------------
Garage Top at the Mackey Apartment Building, Mak Center for Art and Architecture is located at 1137 S. Cochran, Mid-City Los Angeles. Work After Work will be open April 28 – May 8 from 11 a.m. to 6 p.m. There is no charge for admission.
Master of Public Art Studies: Art/Curatorial Practices in the Public Sphere
The Master of Public Art Studies Program: Art/Curatorial Practices in the Public Sphere at USC's Roski School of Fine Arts is a unique platform to research art, architecture and other modes of cultural production, as well as models of curatorial practice/exhibition making, in relation to the material/social conditions of public space.