Cosmic Generator presents a network of characters working in nonsensical, and at times absurd, economies. Artist Mika Rottenberg uses footage from actual discount dollar stores in Calexico, CA; Mexicali, Mexico; and Yiwu, China to recreate the imaginary “life” of a product, from its production in the factory to the moment it is sold.
The Harlem Festival of Culture not only pays homage to the past but also envisions a brighter future. It serves as a platform to showcase the rich diversity and dynamism of Harlem's artistic community, while also acting as a catalyst for social change and community empowerment. The festival boasts a lineup of artists from various genres and backgrounds, including jazz, soul, hip-hop, gospel, blues, rock, Latin, and Afrobeat.
Work ideology centers around sustainable work. Through fifteen interviews, workers and prospective workers were interviewed about their experiences with work and the job search. Those interviews are analyzed and compiled on work ideology. However, work ideology goes further than showcasing the interview results, it allows for anonymous responses to be entered as well, expanding the research’s accessibility to every worker.
The Dreamland Artist Club project was named after one of the famous amusement parks in Coney Island. The project consisted of more than 25 artists coming together to repaint rides and make custom signs, murals and scenic backdrops for the legendary neighborhood. Most of the artists that participated in this project were from New York City and therefore had a particular interest in the visual culture of the city.
Spent is an online in-browser game designed by ad agency McKinney as part of a partnership with Urban Ministries of Durham, NC, calling attention to the problem of poverty and educate people about homelessness. In the game, players are challenged to live on $1000 over a month, often having to decide between essentials and utilize outside options in order to survive.
The running world will come together for a virtual run on Friday, May 8, to celebrate and honor the life of Ahmaud Arbery, who was reportedly shot and killed while out on a run on February 23.
This modestly scaled exhibition, featuring work by three (then) young and relatively unknown photographers named Diane Arbus, Lee Friedlander, and Garry Winogrand, had a lasting influence on modern photography.
In Halt, a new solo piece premiered at
NYU Gallatin, dancer and choreographer
Jamar Roberts examined the language of
the body in protest. The work focuses
on what it means for human beings-the
committed individual and the organized
collective- to be equally the subjects
of progressive change and the targets
of unjust corporeal punishment.
When Fred Wilson did an installation at the Maryland Historical Society in 1992, he shook up the museum world. Co-sponsored by the historical society and the Contemporary Museum, Mining the Museum did not involve artwork made by the artist; rather, it involved reinstalling items from the historical society's collection in such a way as to make us reconsider them.
Matthew Shepard was attacked by Aaron McKinney and Russell Henderson on October 7, 1998, the victim of an anti-gay hate crime. He was pronounced dead on October 12th. Shepard's funeral was protested by Fred Phelps, notorious leader of the Westboro Baptist Church. The protesters bore signs with phrases such as, "God hates Fags", "No tears for Queens", and "Fag Matt in hell".
The Center for the Study of Political Graphics and the Esperanza Community Housing Corporation have combined forces to bring 75 powerful and engaging poster works on broad issues of health care to audiences traditionally excluded from the art world in Los Angeles and elsewhere. Both organizations have been in the forefront of social change for three decades.
For artist Christine Sun Kim, sound is a "ghost." The multiple-MFA-holding Senior TED Fellow who has had a Whitney Museum residency and exhibited at MoMA, has been profoundly deaf since birth. The sonic hush in which she lives has pushed her towards exploring sound through her work in a varied oeuvre of performance, installation, drawing, and video.
“Some people call you the elite,” George W. Bush joked to his wealthy funders, “I call you my base.” Whether candidate Bush meant it as a joke or not, the Billionaires for Bush (B4B) campaign used humor, street theater and creative media actions to show the country how true the quip was.
Joining art institutes nationally, a film on the 1921 Tulsa Race Massacre will premiere at the UMass Amherst Arts Center. This is especially important given its will be the 100th anniversary of the tragic event of when "Black Wall Street" was burned to the ground. It is widely known as one of the most violent events, let alone racially charged ones, in US History.
The Great Wall of Los Angeles represents a minority perspective/p.o.v. of the history of the city. Judy Baca first began the mural in 1974 through SPARC at the rise of the Chicano movement. The project was a part of the community and completed by Baca, other local artists and local youth volunteers. This mural is effective in depicting the racial tension of the past, but maybe it would be enhanced by a prospective future.
WITH HER 2003 PROJECT UNTITLED, Andrea Fraser throws us an archetype of sexual and cultural identity. More than in her other performances, Fraser here works without the protection of a research-based script, a surrogate actor, or the remove that often characterizes analytical thinking. The central action in Untitled has Fraser and a male client of her US gallery meet for a session of sex and video recording in a New York hotel room.
Katharina Grosse's public exhibition "Just Two of Us" consists of eight large meteor looking sculptures painted in bright technicolors. The sculptures, which have been placed in the public plaza at Metro Tech Commons, have transformed downtown Brooklyn. Grosse is a German artist based in Berlin, who is known for her use of spray gun techniques to create abstract colorful paintings on unconventional surfaces.
The US-Mexico border wall has become a battleground for political theater, but also various artistic interventions. One of these outstanding artworks is the pink seesaws. They went viral after they were installed by the two creative architects Ronald Rael and Virginia San Fratello. Between the erect giant steel posts of the border fence lie small gaps a couple of inches apart. It is this space where they installed the seesaws.
The new Oscar-nominated documentary, All the Beauty and the Bloodshed, focuses on world-famous photographer Nan Goldin, her life, her work, and the protests she led at museums that accepted funding from the Sackler family. Their company, Purdue Pharma, manufactured and unscrupulously marketed OxyContin. We'll talk with Goldin and director Laura Poitras.
‘‘HAMILTON,’’ the new musical biography of Alexander Hamilton created by and starring Lin-Manuel Miranda, kicks off with a doozy of a question. The houselights rise on Aaron Burr, the third vice president of the United States and, infamously, the killer of Hamilton in a duel in 1804. Burr steps to center stage and reels off several lines of verse:
By DOUGLAS QUENQUA
CAMBRIDGE, Mass. — For a table set up by a campus student group, this one held some unusual items: a gynecologist’s speculum, diaphragms, condoms (his and hers) and several packets of lubricant. Nearby, two students batted an inflated condom back and forth like a balloon.
CORPUS CHRISTI — Many Flour Bluff ISD students have developed an extracurricular activity that takes their education to the streets, to social media and toward a path of change: activism.Much of the students' passion stems from the April 1 suicide of 16-year-old Ted "Teddy" Molina, a former Flour Bluff Independent School District student.Ted's family has attributed his death to bullying.
On Tuesday night, Black-ish, one of the best shows on TV, returned for its fourth season. As expected, the premiere was outstanding.
The episode was a history lesson. The subject? June 19, 1865, better known as the Juneteenth, the official end of slavery.
On Tuesday morning, when Google CEO Sundar Pichai testified before the House Judiciary Committee about his company’s data collection practices, there was a familiar mustachioed face in the crowd. To most people, this person — also wearing a monocle and toting a bag of cash — is none other than the famous board game character most commonly known as Monopoly Man.