The previously untold story of the brilliant Russian concert pianist Gregory Haimovsky is revealed in Marissa Silverman’s new book for University of Rochester Press. Exiled by the Soviet regime, Haimovsky found a way to perform the “banned” Western music of Olivier Messiaen and fight the USSR’s cultural prohibitions. Gregory Haimovsky, Gorky Conservatory of Music, 1960, …
According to artist Paula Crown, the #iamFOR exhibition on display at the For Freedoms headquarters incorporates, examines, and explores themes of environmentalism, racial awareness, and identity politics.
Located in the heart of the Meatpacking District in NYC, onlookers are provocatively greeted by and confronted with Crown’s environmentally probing piece, Humble Hubris: Don’t know what you got (till its gone) bench (2018), outside Fort Gansevoort, at 51 Gansevoort Street, NYC: “If you think you’re hot now, just wait.”
This statement, especially given its location—which is surrounded by all kinds of NYC construction—makes obvious the tangled mess of urbanization, commercialization, and industrialization. Notice, too, how Crown’s piece is juxtaposed with the seemingly dead vines clinging to the lattice work outside the edifice and the winding coils of cables adjoined to the outlet in back of the artwork. What does all this mean?
Crown repurposes a historical and picturesque photograph of a mountain-scape used in an advertising campaign for Humble Oil in 1962…Here, the photograph in the advertisement is translated directly into painting, channeling new evidence that oil executives knew of the link between their industry and the consequences of CO2 in the 1970s. The work references the language of posters and sign-painting to reroute this image from advertisement to activism.
Additionally, situated in the window just around the corner from Humble Hurbis are Not banners (2018). As stated by the exhibit:
In the 18thcentury, anthropologists and cartographers created hierarchies and vocabularies that continue to haunt us, labeling the world with colonial perceptions of human difference. Classification of human beings by color is a social construct dismantled by scientific truth. Artist Paula Crown’s NOT paintings prompt viewers to compare themselves with the subjective taxonomies of the past, to invalidate prior modes of categorization and to demand nuance and agency.
Moreover, it is worth noting that one of the construction signs posted next to Fort Gansevoort, and catty-corner to the Not banners, is a call for vehicles to “use alternate” means of maneuvering through the area. Of course, neither the For Freedoms group, nor Crown, would have expected this kind of coincidence. That is, it is provocative that NYC is asking motorists for “caution” and to take alternative traffic routes when Crown invites her artwork visitors to reconsider the routes they use to move through the world!
There’s much more to the #iamFOR exhibition. If you happen to be in NYC, be sure to experience it for yourself.
Important questions, fueled by potential answers at this one-day conference: “Looking Out, In, and Back: Artists on Citizenship”
What makes a citizen? How do the complex, elusive, and multifarious definitions of what it means to be an American exert their presence in art? And as the veil between artistic expression and political expression grows thin, how can contemporary artists shape and imagine new ways of being American? In this free-form, one-night-only conversation, four artists meet for the first time on stage to share their work and engage in a discussion about the intersection of art and American identity.
This interdisciplinary evening of performance and discussion brings together performance artist NIC Kay, author Lisa Ko, photographer Philip Montgomery, and stage and film director Yara Travieso, joined by Alejandro Rodriguez, artistic director of ASTEP’s Artist as Citizen Conference.
A portion of the proceeds for this event will be donated to Artists Striving to End Poverty (ASTEP).
For those who may not know, London’s Fourth Plinth is located in Trafalgar Square. The other three plinths, or platforms, contain sculptures of military officers: Henry Havelock, Charles James Napier, and King George IV. However, the fourth remained empty due to a lack of funding, unused for 150 years. That is until London’s Royal Society of the Arts developed the Fourth Plinth Project. The project maintains a revolving public art exhibit in order to celebrate, question, and engage with the world today through art-making. In fact, the Fourth Plinth hosts a series of commissioned artworks by world class artists and is the most talked about contemporary art prize in the UK.
So, what is on exhibit now?
On March 28th, Michael Rakowitz’s “The Enemy Should Not Exist,” was unveiled. The work “depicts a re-creation of Lamassu, an Assyrian statue that stood in Iraq in the ancient city of Nineveh, on the outskirts of modern-day Mosul, until 2015 when the militant group destroyed it along with other irreplaceable works of ancient art.” The work is made of 10,500 recycled cans of syrup made from dates (dates being an important export of Iraq).
Mayor of London, Sadiq Khan, stated: “One of the reasons we should be so proud is this piece of art is from an Iraqi American of Jewish faith to be displayed in the greatest city in the world … And the creation and installation of this piece of art is an act of resistance against the tyranny of religious fanaticism. It is an act of resistance against the acts of philistinism. But it is also a celebration of who we are as a city: confident in who we are, pluralistic, welcoming and diverse.”
Just returned from the “Reflective Conservatoire Conference: Artists as Citizens.” This inspiring, 4-day conference showcased, among other things, a variety of arts projects that illustrate how the arts do their good work.
In doing so, the conference asked the essential and age-old question: What do artists do? Undoubtedly, artists view the world in unique ways. And, through their artwork, help us confront our realities—the good, the bad, and the ugly. Thus, at the heart of this kind of work is the concept of “artistic citizenship” and being an “artist-as-citizen.”
Meet one artistic citizen: Helen Marriage. Director of “Artichoke,” Marriage stays clear of traditional “artistic spaces”— the gallery, concert hall, theater or dance studio—and instead transforms the streets, squares, gardens and coastlines of the public spaces around the UK.
In her talk, “Beyond the institution: Working the streets,” Marriage spoke about disrupting public spaces “with an objective to work with artists to create extraordinary, large-scale events that appeal to the widest possible audience.”
At the heart of Marriage’s projects is accessibility and equity, and the notion that all people have the right to experience artwork for free.
One such project was Great Fire 350, dedicated to commemorate the 350th anniversary of the London fire of 1666.
While this project, one among many, speaks for itself, a few aspects deserve special mentioning. Throughout 2016, London marked a season of exhibitions, concerts, lectures, and tours. A festival, really, of the power of the arts to provoke the imagination, Great Fire 350 included an underwater performance art-work, a domino-esque sculpture that snaked throughout London’s streets, which outlined the various roadways of the 1666 fire, and ended with a live re-burning of a model of 1666 London on the Thames River. This grandiose festival implied numerous aspects about social life. Primarily, though, Great Fire 350 highlighted a beautiful and powerful resilience of a city and its peoples to be re-born.
“The function of art is to do more than tell it like it is – it’s to imagine what is possible.” – bell hooks
An independent, Canada-based dancer, choreographer, and community organizer, Diverlus introduces, deconstructs, and dissects the concept of “artivism” and explains its manifestations, purposes, and social values. While recognizing the need for abstract, personal, form-driven, and curiosity-driven art making, Diverlus argues for the universal application of artivism, for a symbiotic relationship between art and activism. Diverlus investigates art makers as agents of social change, explains the juxtapositions of personal and political art, and argues for the importance of dance as a tool of communal engagement. Additionally, he proposes that arts educators radicalize arts-based education as a way of introducing artivism to students and emerging artists.
For Diverlus, artivism is both a vision and a call to action. It is a continuation of the age-old question: Why create?
Here, see Diverlus’ collaborative work excerpted from The Spectrum Project’s “(de)liberate”; A queer- themed dance theatre show on negotiating space, our bodies, and communal existence.
In an open letter, academics and artists have urged NYC Mayor de Blasio to remove five public monuments and statues they say exhibit and promote racism.
The letter’s signers, who include the well-known artist and art historian Deborah Willis and the art critic and theoretician Hal Foster, argue that the monuments and markers honor figures who represent a variety of racist views and practices.
Importantly, we must ask: Do these statues qualify, though, as art? If so, why so? If not, why not? And why should we ask such questions in the first place? Do these questions matter against the larger issues of racism and prejudice?
Questions worthy of our consideration…
From Plato to Public Enemy, people have debated the relationship between music and justice—rarely arriving at much consensus over the art form’s ethics and aesthetics, uses and abuses, virtues and vices. So what roles can music and musicians play in agendas of justice? And what should musicians and music scholars do if—during moments of upheaval, complacency, ennui—music ends up seemingly drained of its beauty, power, and relevance?
University of Michigan Press is proud to announce a new series, Music and Social Justice. This endeavor welcomes projects that shine new light on familiar subjects such as protest songs, humanitarian artists, war and peace, community formation, cultural diplomacy, globalization, and political resistance. Simultaneously, the series invites authors to critique and expand on what qualifies as justice—or, for that matter, music—in the first place. Music and Social Justice lends a platform for writers who wish to submit traditional scholarly monographs. The editors are equally enthusiastic to work with authors and artists who wish to unsettle the discursive norms of conventional academic prose in the name of rhetorical experimentalism, anti-capitalism, neurodiversity, and radical collaboration.
Music and Social Justice has assembled an Advisory Board who are active and activist leaders in their fields: Naomi André, Suzanne G. Cusick, Ellie M. Hisama, Mark Katz, Alejandro L. Madrid, Darryl “D.M.C.” McDaniels, Carol J. Oja, and Shana L. Redmond. The Advisory Board will work closely with the editors to seek out prospective authors, open lines of communication, and review submissions.
For more details on the impetus behind the series, including short interviews with the Advisory Board, please see http://musicologynow.ams-net.o
Please direct queries and proposals to series editors William Cheng (william.cheng -at- dartmouth.edu) and Andrew Dell’Antonio (dellantonio -at- austin.utexas.edu), or University of Michigan Press Editorial Director Mary Francis (mfranci -at- umich.edu).
How can art transform a landscape? And who have access to such transformation? The River Assembly Project not only confirms that art has the power to transform, but also declares that each and all should have access to art’s potentials.
Turning an industrial barge into The Floating Museum, Chicago’s local artists, with various arts and cultural organizations, came together to “create temporary, site-responsive museum spaces to activate sites of cultural potential throughout Chicago’s neighborhoods.”
According to the creators of the project, first it’s important to talk “with community leaders, organizations, and artists who are deeply invested in their neighborhood.” Then they “nurture new connections between communities, institutions, and the people these spaces serve.” The results of this process are “installations are platforms for engaging communities and celebrating the art and culture being produced by our neighborhoods.” In doing so, The River Assembly Project “bring[s] together the work of … dispersed locations in a traveling museum that celebrates the energy” of Chicago.
The Floating Museum showcases visual arts, media, and performances by more than 30 local and national artists, including:
Miguel Aguilar (aka Kane One), Tiaybe Bledsoe, Marcus Alleyne, Hebru Brantley, Marcus Davis, Asia Delores, Bill Douglas, Louis DeMarco, Kameco Dodd, Marcus Evans, Assaf Evron, Krista Franklin, Maria Gaspar, Tracie D. Hall, Jeff Harris, Adam Hines, Jeremiah Hulsebos-Spofford, Yashua Klos, Gaby Ibarra, Kopano (performance), Faheem Majeed, Christopher Meerdo, Ciera Missick, Cecil McDonald Jr, Jesse McLean, MonAerie (performance), Derek Moore, Dan Peterman, Cheryl Pope, Pope.L, Fernando Ramirez, Kameelah Janan Rasheed, Cauleen Smith, Sheila Smith, Edra Soto, Lan Tuazon, Maria Villarreal, Roman Villarreal, JGV/WAR (J. Gibran Villalobos & Wil A. Ruggiero), Amanda Williams, Bernard Williams, Avery R. Young & De Deacon Board (performance)