Heroin sold in the northeast, specifically in New York, Pennsylvania, and New Jersey tends to come in little glassine baggies. The art comes from the individual and unique "stamp" on said baggie sold to a user.
Through the Market Token program, wooden tokens are used as market currency, making it possible for customers with SNAP (Supplemental Nutrition Assistance Program) food-stamp benefits to get fresh, healthy, affordable foods at the Market. Customers stop at the Market office to swipe their Electronic Benefits Transfer (EBT) card and purchase $1 and $5 tokens that function as cash and are accepted by dozens of Market vendors.
Adrian Piper disguised her identity, changing her race, sex, and social class in order to experiment in public situations and gauge people’s reactions. She investigated how outwardly visible identity markers (like skin color) impacted others’ perceptions of her character. By manipulating her (apparent) identity to produce reactions, she demonstrated the power and influence of stereotypes (Piper, 1996).
Documentarian Clayton Patterson captured video of police brutality during the Tompkins Square Park riots in the summer of 1988. When District Attorney Robert Morgenthau ordered Patterson to hand over his camera and tapes as evidence, Patterson refused, citing distrust of the criminal justice system. He was sentenced to 90 days in jail, but after a 10-day hunger strike, his lawyers negotiated a deal to free him.
Anthony Papa was arrested for a drug crime and with no prior offenses was sentenced to 15 years to life in prison for violating New York's harsh drug laws. While in prison, Papa began to document his inner struggles via painting and ultimately earned a pardon from New York governor and has gone on to actively fight the drug war in his years since release.
The Trials of Spring is a major documentary event that chronicles the stories of nine women who played central roles in the Arab Spring uprisings and their aftermaths in Egypt, Tunisia, Libya, Syria, Bahrain and Yemen. It includes a feature-length documentary, six short films, articles by award-winning journalists, and a robust social media conversation about women and their unwavering quest for social justice and freedom.
You enter a narrow corridor where backlit Plexiglas panels offer three compelling narratives about whiteness and blindness: Nelson Mandela’s imprisonment and hard labor in Robben Island’s limestone quarry under a blinding sun; Bill Gates’ purchase of the Bettmann and United Press International archives, consisting of 17 million images, and their subsequent burial deep underground in a limestone vault for the sake of preservation, after Gates’s company C
MFA Fashion Parsons graduate and fashion designer Lucia Cuba, for her senior collection, created a fashion collection inspired by the victims and used to raise awareness of forced sterilization in Peru.
Spread over three institutions — the Bronx Museum of the Arts; El Museo del Barrio in East Harlem; and Loisaida Inc., a cultural center in the East Village — this show departs from straight political history by presenting the Young Lords as a cultural phenomenon as well as an ideological one, with a highly developed instinct for visual self-projection, right down to having an official party photographer, the gifted Hiram Maristany.
Marking the six month anniversary of September 11th, a poster designed by artist Hans Haacke appeared on scaffolding and media walls throughout New York City. The poster itself was blank and white, consisting only of die-cut silhouettes of the World Trade Center towers. The posters effectively reminded the pubic that September 11th created a ubiquitous filter through which everyday realities have become measured or seen.
John Wood and Paul Harrison are renowned British artists whose collaboration has led to the merging of video art with performance and conceptual art. Their works usually reside on the relationship between human beings, objects, and the environment, with humor and wit attached to them. They are well in place to make the artworks thought-provoking and entertaining. One such has to be 'Device'.
Enterprising Brooklyn men CHARGING people to see the new NYC Banksy street art by hiding it behind cardboard.
Some men in the tough Brooklyn neighborhood of East New York decided to charge admission when a Banksy piece showed up on their block.
It was the October 10 addition to the British artist's month-long street art residency he's dubbed Better Out Than In.
Peggy Digg’s The Domestic Violence Milk Carton Project consisted of an image printed by Tuscan Dairy Farms on over one million milk cartons, which were distributed during January and February of 1992 throughout New York, New Jersey, Connecticut, Maryland, Delaware, and Pennsylvania. This wide-reaching project sought to both raise awareness of domestic violence and distribute a helpline.
The Paris-based collective Claire Fontaine displays a neon sign that spells the words ‘Foreigners Everywhere’ in Arabic. Since this sign was installed strategically above the gallery’s wall-length window – facing in the street – in the edition of the show I saw, at Parsons in New York, it interacted not only with Parsons’ exhibition site but also with the urban environment beyond it.
Journalist and playwright Xandra Clark began creating Polylogues, a one woman show exploring non-monogamy, in 2017. The show is created from interviews Clark conducts around the world with people of different ages, genders, and races about their relationship with non-monogamy or polyamory (hence the name of the performance Polylogues).
It’s women’s history month, and your favorite radical feminist avengers want you to go ape. The Guerrilla Girls have been making noise about gender and racial inequality in the art world since 1985. Fighting discrimination with a sense of humor and their signature faux fur, these masked feminists continue to challenge major museums to spotlight more women and artists of color.
Jessica Williams talks about women's experiences with street harassment in New York with a satirical approach on how to avoid this unwanted attention.
http://www.cc.com/video-clips/5ndnit/the-daily-show-with-jon-stewart-jes...
Tina Takemoto is an artist and associate professor of visual studies at California College of the Arts in San Francisco. Her work examines issues of race, queer identity, memory, and grief. Her current project explores the hidden dimensions of same-sex intimacy and queer sexuality for Japanese Americans incarcerated by the US government during World War II.
A young Black boy, wearing deep red livery with gold trimming, a gold earring, and red-and-white turban secured with a jeweled brooch, stares out at the viewer. Standing before a ship at sea, he hands a letter, addressed to “Monsieur le chevalier de Rohan, captain of the King’s ships at Rochefort,” to an older white man, dressed in regal-looking steel armor.
The US artist Nan Goldin has staged her first public protest since she launched her activist group PAIN (Prescription Addiction Intervention Now), shaming members of the Sackler family who have profited from the sale of Oxycontin and institutions that have accepted their philanthropy.
This year marks the 50th anniversary of one of this country’s most beloved theater companies. Founded in New York City in 1963, the Bread and Puppet Theater’s first productions ranged from puppet shows for children to pieces opposing poor housing conditions. The group’s processions, involving monstrous puppets, some about 20 feet high, became a fixture of protests against the Vietnam War. "We don’t have playwrights in the theater.
Featuring photographs that represent a unique collaboration between men held in supermax prisons and the photographers who fulfilled their requests.
Curated by Laurie Jo Reynolds, Tamms Year Ten, Jeanine Oleson, Parsons The New School for Design, and Jean Casella, Solitary Watch.
The Survivaball made its first appearance in 2006, when "Halliburton representatives" attended a conference on catastrophic climate change and demonstrated the functionality of the large inflatable suits ("a gated community for one"), which keep corporate managers safe from global warming. Not long afterward, in Berlin, the Yes Men learned they also work as disruptive, arrest-resistant tools.