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Posts by Miss Rosen

Art AIDS America

Posted on September 2, 2016

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There is something terrifying about the speed at which people forget a genocide that swept the globe and wiped away a generation. Perhaps it is the nature of trauma itself; once the emergency lets up, the mind just wants to forget. You want to move on, you want to breathe, you want to live—because so many no longer do and there’s no way to make sense of it. Why him? Why her? Why not me? These questions cannot be answered in the moment. We simply need to be.

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In 1981, the public reports began to hit the United States. A new disease was ravaging immune systems, causing violent, early deaths—but what was it? The U.S. Centers for Disease Control did not have a name; they referred to it by the various manifestations the virus took in those grueling early days. The CDC thought they were clever in calling it “the 4H disease,” since the syndrome was most commonly observed in heroin users, male homosexuals, hemophiliacs, and Haitians. But that failed miserably. Not only was it stigmatizing already marginalized groups but it was steeped in ignorance.

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Categories: 1980s, 1990s, Art, Bronx, Crave, Exhibitions, Painting, Photography

The Resolution of the Suspect

Posted on September 1, 2016

Miki Kratsman & Ariella Azoulay- The Resolution of the Suspect (ISBN- 9781934435779.RADIUS BOOKS copy

 

Once an image is firmly embedded in the mind’s eye, it is difficult, if not impossible, to shake the belief that it is “true.” All too often we mistake sight for fact, believing that what we are being shown is what actually occurred. Yet so much of what we see is presented to use secondhand, filtered from sources we have not vetted to the fullest extent. We easily mistake fiction for fact when we are told that what we see is evidence of criminal activity.

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How many times has misinformation been presented as fact? It is impossible to know, for rare are the cases when sources admit to their error without a powerful public outcry demanding it be so. We are conditioned to believe these things do not actually occur, that neither the government nor the media would betray its citizenry for ulterior motives. And yet, with the Freedom of Information Act, we begin to learn just how frequent deceptions and counter operations regularly occur.

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Thus we are left to detect such things on our own, to train ourselves to think critically, to vet sources, and constantly watch for biases underlying another agenda at work. Argentine-Israeli photojournalist Miki Kratsman understands this better than most, having worked in the Palestinian Occupied Territories for over three decades creating photographs for the daily news.
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Categories: Art, Books, Crave, Photography

Martha Cooper & Henry Chalfant: Subway Art

Posted on August 29, 2016

Photo: “Midg” with yellow school bus, 1982. © Martha Cooper

Photo: “Midg” with yellow school bus, 1982. © Martha Cooper

 

During the early 1970s, graffiti made it way to the trains of New York, spreading across the city like a virus and capturing the imagination of a new generation of artists in every borough. Sneaking into the yards and walking through the tunnels in the dead of night, graffiti writers were on a mission like no one had seen before—or has seen since. Fame. Recognition. Renown. In the city that never sleeps, Kings were crowned.

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But as quick as it came, it disappeared. Were it not for the photographs, there would be nothing left. Fortunately writers and artists share that same compulsion to document and to collect. As fate would have it, Martha Cooper and Henry Chalfant had both been documenting the same scene at the same time from distinctive vantage points.

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Photo: Blade, 1980. © Henry Chalfant

Photo: Blade, 1980. © Henry Chalfant

Categories: 1970s, 1980s, Art, Books, Bronx, Brooklyn, Crave, Graffiti, Manhattan, Painting, Photography

Vision and Justice: The Art of Citizenship

Posted on August 29, 2016

Kara Walker, African/American, 1998. Linocut. Harvard Art Museums/Fogg Museum, Margaret Fisher Fund, M24376. © Kara Walker, Courtesy of Sikkema Jenkins & Co., New York. Photo: Harvard Art Museums, © President and Fellows of Harvard College.

Kara Walker, African/American, 1998. Linocut. Harvard Art Museums/Fogg Museum, Margaret Fisher Fund, M24376. © Kara Walker, Courtesy of Sikkema Jenkins & Co., New York. Photo: Harvard Art Museums, © President and Fellows of Harvard College.

Over 150 years ago, during the Civil War, the great American abolitionist Frederick Douglass gave a speech titled “Pictures and Progress,” which spoke to the ways in which images shaped our understanding of life. Douglass was speaking at a time when photography had just arrived, creating a type of immediacy comparable to the revolution of the Digital Age. With the advent of photography, the ability to capture moments from life and reproduce them en masse imbued this brand new medium with a superpower: the ability to become agents of justice.

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Whereas art had been used as a tool of the upper class, photography leveled the playing field by becoming the first democratic art to find itself in the hands of the people. Anything and anyone could become a subject in its own right, including facts that had been hidden from plain sight. Images have the ability to convey meaning and understanding in ways that words never could, for “seeing is believing,” as the old saying goes. As it turns out, this applies to both first and secondhand experiences. Images have the ability to bear witness and speak truth to power, to right the wrongs of injustice and become a vehicle for change.

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Categories: Art, Crave, Exhibitions, Photography

Stephen Dupont: Generation AK

Posted on August 28, 2016

Photo: Kabul, 2005. A body building gym new Shah do Shamshira Mosque. © Stephen Dupont, courtesy of Steidl.

Photo: Kabul, 2005. A body building gym new Shah do Shamshira Mosque. © Stephen Dupont, courtesy of Steidl.

Stephen Dupont is a warrior. Ready for battle, on the field, armed with a camera and nerves of steel. For twenty years, he has braved the harsh and unforgiving landscape of Afghanistan, after being inspired by the Mujahideen rising to defend their nation from a Soviet invasion in the 1980s. The Afghani never say die, and they sent the Soviets home, just as they drove back the British during the height of the Empire.

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In 1895, Rudyard Kipling famously penned a little ditty that goes: When you’re wounded and left on Afghanistan’s plains, And the women come out to cut up what remains, Just roll to your rifle and blow out your brains, And go to your God like a soldier.

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A century later, ain’t a damn thing changed.

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Categories: 1990s, Art, Books, Crave, Photography

Joe Conzo & DJ Disco Wiz on “The Get Down”

Posted on August 27, 2016

Photo ©Joe Conzo

Photo ©Joe Conzo

Best known for a series of posh, over-the-top cinematic extravaganzas including Moulin Rouge!, Romeo + Juliet,  and The Great Gatsby, Australian film director, screenwriter, and producer Baz Luhrmann has turned his attention to the small screen with The Get Down, a twelve-episode Netflix series, which premiered on August 12, 2016. Originally budgeted at $7.5 million per episode, the show ended up costing at least $120 million, making it among the most expensive series in television history.

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Set between 1977­–­79, The Get Down is a fictional account of life on the streets of the South Bronx as the twin stars of Hip Hop and disco crossed paths in ways no one could have ever imagined. Attracted to this pivotal moment in American culture, Luhrmann found himself an outsider with no firsthand knowledge of the scene so he brought Nas, Grandmaster Flash, Nelson George, and Kurtis Blow, among others, into the fold to produce and consult on the project. The production was troubled with a series of starts, stops, and stalls that lead to scripts being written, discarded, and revised to such an extent that, according to Variety, some writers had taken to calling the show “The Shut Down.” Variety went on to describe The Get Down as a cautionary tale for Hollywood, but Netflix indicated they had no regrets.

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DJ Disco Wiz, photo ©Jenny Risher.

DJ Disco Wiz, photo ©Jenny Risher.

Categories: 1970s, Books, Bronx, Crave, Music, Photography

Per-Anders Petterssen: African Catwalk

Posted on August 27, 2016

A model poses for photos at a test shoot with the Ivorian designer Barros Coulibaly in the Hôtel des Almadies during the Dakar Fashion Week, Senegal 2014. © Per-Anders Pettersson, courtesy of Kehrer Verlag.

A model poses for photos at a test shoot with the Ivorian designer Barros Coulibaly in the Hôtel des Almadies during the Dakar Fashion Week, Senegal 2014. © Per-Anders Pettersson, courtesy of Kehrer Verlag.

In 1994, Swedish photographer Per-Anders Pettersson (b. 1967) came to South Africa to cover the historic elections that saw Nelson Mandela become President—and he never left. Based in Cape Town, Pettersson has honed his talents on documenting stories across the continent, covering the stories the West knows so well: civil war, famine, disease. But Pettersson’s work shows not only the horrors of life, but its beauties as well—for the story of Africa is as vast, as rich, and as complex as the land itself.

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With the new millennium, global industry has become a phenomenon, bringing the four corners of the earth together as one. In doing so, emerging markets are formed, stages where local talents can shine their light to the world. Since 2010, Pettersson has been privy to a nascent scene, an industry on the come up beyond your wildest dreams.

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Categories: Africa, Art, Books, Crave, Fashion, Photography

Gordon Parks: Back to Fort Scott

Posted on August 25, 2016

Gordon Parks (American, 1912-2006). Husband and Wife, Sunday Morning, Detroit, Michigan, 1950. Gelatin silver print, 11 x 14 in. Museum of Fine Arts, Boston; Gift of The Gordon Parks Foundation

Gordon Parks (American, 1912-2006). Husband and Wife, Sunday Morning, Detroit, Michigan, 1950. Gelatin silver print, 11 x 14 in. Museum of Fine Arts, Boston; Gift of The Gordon Parks Foundation

The U.S. Army established Fort Scott in 1842, as they began crossing expanding the nation’s boundaries by expanding onto Native American territory. It was officially laid out as a town in 1857, during a period of violent unrest infamously known as “Bleeding Kansas.” Prior to the Kansas’s admission as a free state to the Union in 1861, abolitionist and pro-slavery factions violently fought for control. Throughout the Civil War, the conflict blazed, but the war settled things and Fort Scott became one of the premier cities on the American frontier in the years leading up to the turn of the twentieth century.

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Although Kansas was always a free state, it was among 35 states in the nation to put Jim Crow laws on the books following the Civil War. Once again Kansas found itself at the center of national conflict, as its segregation laws focused on education, requiring separate schools for black students. It was not until 1954, with Brown v. Board of Education of Topeka (Kansas) that the policy of “separate but equal” was declared unconstitutional.

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Categories: Art, Crave, Exhibitions, Photography

Bruno Ceschel: Self Publish, Be Happy

Posted on August 25, 2016

Photo: Nicolas Haeni and Thomas Rousset, untitled, from Self Publish, Be Happy (Aperture/Self Publish, Be Happy, 2015). © Nicolas Haeni and Thomas Rousset

Photo: Nicolas Haeni and Thomas Rousset, untitled, from Self Publish, Be Happy (Aperture/Self Publish, Be Happy, 2015). © Nicolas Haeni and Thomas Rousset

 

Rumi said, “Be the change you want to see in this world.” This is where it all begins. The power to create the world in which we want to live, to exact a future that is happening now, today, using all that exists at our fingertips. The Universe conspires to remind us of this: D.I.Y. Do It Yourself. With the major advancements in digital technology, self-publishing has returned to the forefront of our cultural consciousness. Over the past decade, self publishing has changed the landscape of the art book, introducing a new and vital means to produce and distribute work independent of the industry and its attendant challenges.

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British writer, publisher, and academic Bruno Ceschel understands the need that has emerged, a need for young artists to join the conversation and become a part of the community. He founded Self Publish, Be Happy in 2010 after inadvertently discovering a tremendous demand for new outlets for publishing—though the idea came to him by way of happenstance. Ceschel had curated an exhibition of self-published artist books for A The Photographer’s Gallery, London, and in doing so, generated a response that was large enough to propel the website he had created to share the work into a platform to showcase the latest releases of self-published authors.

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Categories: Art, Books, Crave, Photography

Leah Sobsey: Collections

Posted on August 24, 2016

Photo: Agehana maraho, Broad-tailed Swallowtail, North Carolina State University Insect Museum, 2012

Photo: Agehana maraho, Broad-tailed Swallowtail, North Carolina State University Insect Museum, 2012

 

It all began with a thud against the kitchen window one day. A Tufted Titmouse gave up the ghost on photographer Leah Sobsey’s porch. Her instinct to take pictures was triggered, as were childhood memories of wooden drawers of Chicago Field’s Museum collection filled with thousands of dead birds. The birds had been collected and given the full works as taxidermy experts made them ready for viewing in their new life after death as part of one of the Museum’s many compelling natural history exhibits.

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The human urge to college, to catalogue, to organize and preserve—from where does this compulsion come? Perhaps it is purely empirical, a belief that we can only study what we possess, and that as stewards of the earth, the material realm is at our fingertips. Like many before her, Sobsey was drawn to this, and in May 2008, she was awarded a residency at the Grand Canyon.

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Categories: Art, Books, Crave, Photography

Kerry James Marshall: Mastry

Posted on August 24, 2016

Artwork: Kerry James Marshall, Untitled, 2009. Acrylic on PVC panel. 61 1/8 x 72 7/8 x 3 7/8 in. Yale University Art Gallery, Purchased with the Janet and Simeon Braguin Fund and a gift from Jacqueline L. Bradley, B.A. 1979.

Artwork: Kerry James Marshall, Untitled, 2009. Acrylic on PVC panel. 61 1/8 x 72 7/8 x 3 7/8 in. Yale University Art Gallery, Purchased with the Janet and Simeon Braguin Fund and a gift from Jacqueline L. Bradley, B.A. 1979.

Artist Kerry James Marshall’s life traces the course of American history over the second half of the twentieth century. Born in Birmingham, Alabama, in 1955, Marshall spent his earliest years deep in the heart of Dixie where Jim Crow laws were enforced with a vengeance. In 1963, his family moved to South Central Los Angeles, where the Watts riots would pop off just two years later.

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While the Civil Rights and Black Power movements took hold of national consciousness, Marshall focused his talents of the depiction of African American identity, experience, and consciousness. Deftly translating the unique space that Black America holds, Marshall is driven by passion to render what has been erased visible. In doing so, he sets the record straight, restoring to not only America but the to the world what had been taken from it.

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Kerry James Marshall, Better Homes, Better Gardens, 1994. Denver Art Museum Collection: Funds from Polly and Mark Addison, the Alliance for Contemporary Art, Caroline Morgan, and Colorado Contemporary Collectors: Suzanne Farver, Linda and Ken Heller, Jan and Frederick Mayer, Beverly and Bernard Rosen, Annalee and Wagner Schorr, and anonymous donors. © Kerry James Marshall. Photo courtesy of the Denver Art Museum.

Kerry James Marshall, Better Homes, Better Gardens, 1994. Denver Art Museum Collection: Funds from Polly and Mark Addison, the Alliance for Contemporary Art, Caroline Morgan, and Colorado Contemporary Collectors: Suzanne Farver, Linda and Ken Heller, Jan and Frederick Mayer, Beverly and Bernard Rosen, Annalee and Wagner Schorr, and anonymous donors. © Kerry James Marshall. Photo courtesy of the Denver Art Museum.

Categories: 1960s, 1970s, 1980s, 1990s, Art, Crave, Exhibitions

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