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Posts from the “Crave” Category

Exhibit | Warhol by the Book

Posted on February 17, 2016

Artwork: Andy Warhol (1928–1987). “So Sweet,” 1950s, The Andy Warhol Museum, Pittsburgh. © 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ Artists Rights Society (ARS), New York.

Artwork: Andy Warhol (1928–1987). “So Sweet,” 1950s, The Andy Warhol Museum, Pittsburgh. © 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ Artists Rights Society (ARS), New York.

 

“I just do art because I’m ugly and there’s nothing else for me to do,” Andy Warhol said. His dedication to the creation of beauty in both the glamorous and the commonplace forever changed the course of art, culture, and communication. He worked in both commercial and fine arts, always able to build a bridge between these two worlds and he used the book as a vehicle throughout his career. In celebration of his works, the Morgan Library & Museum, New York, presents Warhol by the Book, a four-decade retrospective on view now through May 5, 2016.

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Featuring more than 130 objects dating back to his student days, the exhibition includes the only surviving project from the 1940s. It also features a remarkable collection of drawings, screen prints, photographs, self-published books, children’s books, photography books, text-based books, unique books, archival material; and his much-sought-after dust jacket designs. To call Warhol prolific would be an understatement. He simply was a one-man factory who aptly advised, “Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art.”

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Read the Full Story at Crave Online

Categories: 1960s, 1970s, 1980s, Art, Books, Crave, Exhibitions, Manhattan

King of the Forest: Adventures in Bioperversity

Posted on February 16, 2016

Artwork: Rebecca Clark, Albatross, graphite, colored pencil, and pastel on paper, 2013

Artwork: Rebecca Clark, Albatross, graphite, colored pencil, and pastel on paper, 2013

We have entered the Anthropocene Age, the era when human activities have begun to have a significant impact on the Earth’s geology and ecosystems. Soviet scientist began using the terms as they recognized the shift in the 1960s; the Holocene era had been completed, as human civilizations had completed their expansion across the globe, nestling into every corner, and in doing so, exterminating native populations, flora, and fauna. With the expansion of humanity came the inevitable shift, one that has just occurred and more than accounts for a vast cultural longing for a return to “the good old days,” or the blind denial of the significant and irreversible advent of climate change.

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Although the international commissions and unions have not officially approved this term as a recognized subdivision of geological time, there is mounting evidence that we have incontrovertibly entered a new age, many have become increasingly sensitive to the dawn of a new day. In addition to scientist, a number of artists have been at the vanguard of this conversation. King of the Forest: Adventures in Bioperversity, currently on view at the Arlington Arts Center, VA, is a powerful exploration of humanity’s changing relationship with other species.

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Curated by Megan Rook-Koepsel, King of the Forest features the work of thirteen contemporary American artists from the mid-Atlantic region, including Joan Danziger, Rebecca Clark, and Leslie Shellow. As Roek Koepsel observes, “We don’t understand the power of the natural world to adapt around us an in spite of us.”

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Read the Full Story at Crave Online

Categories: Art, Crave, Exhibitions

Anton Perich: Secret Histories

Posted on February 15, 2016

Photo: ©Anton Perich. Jerry Hall, 1979, ink on paper, 3X4 feet.

Photo: ©Anton Perich. Jerry Hall, 1979, ink on paper, 3X4 feet.

Artist. Editor. Revolutionary. Anton Perich has been exploring the boundaries of art and culture since the late 1960s, when he lived in Paris. Upon arriving in New York City in 1970, Perich charted his own path that included, among many things, the invention of an electric photography machine in 1977–87. The work was truly ahead of its time, as the mechanization of the work of art had not yet been embraced by the world. Perich speaks with Crave about ingenious invention, one which prefigured the very era in which we live.

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What was the inspiration for electric photography?

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Anton Perich: The inspiration was TV. The old-fashion cathode tube. I didn’t grow up with television in former Yugoslavia. I watched some in Paris where I was in the late ‘60s. It was magic, French TV with sensual overtones, with sexual undertones. In the ‘70s, before building the painting machine, I did lots of photography and video. I really loved the video image, and I wanted to paint and create photography with electricity. I realized then that the future of image would be electric and not chemical. Immediately after completion of the machine I produced some very large photographs with the machine. About 5×6 feet, ink on paper. Looking at them today, they definitely told the future of the electric image. They look like they were made with Photoshop today, and not 35 years ago.

 

Read the Full Story at Crave Online

Categories: 1970s, Art, Crave, Manhattan, Photography

Timeless: The Photographs of Kamoinge

Posted on February 9, 2016

Boy on a Swing. New York, 1976. Beuford Smith. Read more at http://www.craveonline.com/art/950635-books-timeless-photographs-kamoinge#UohGK1Rfmw0zxmMi.99

Boy on a Swing. New York, 1976. Beuford Smith.

In 1963, the Kamoinge Workshop produced their first portfolio of photographs taken by members who made up the group. The portfolio included a statement that read: “The Kamoinge Workshop represents fifteen black photographers whose creative objectives reflect a concern for truth about the world, about society and about themselves.” Accompanying that were the words of member Louis Draper, who elegantly wrote: “Hot breath steaming from black tenements, frustrated window panes reflecting the eyes of the sun, breathing musical songs of the living.”

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A collective was born. The word Kamoinge is derived from the Gikuyu language of Kenya. Translated literally, it means “a group of people acting together.” This spirit of camaraderie and family suffused the development of the group, which included Roy DeCarava, Anthony Barboza, Louis Draper, and Shawn Walker. Early meetings were held in DeCarava’s midtown Manhattan loft. The following year, they rented a gallery in Harlem on Strivers Row, where they held meetings and hosted exhibitions. When the gallery closed, they moved the meetings to other members’ homes in the city, keeping their bonds intact throughout the years.

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In 2004, founding member Anthony Barboza was selected President, and set out a course to create a photography book showcasing the group’s legacy. Together with fellow member Herb Robinson, Barboza has edited Timeless: The Photographs of Kamoinge (Schiffer). Featuring more than 280 photographs taken over fifty years, Timeless is an extraordinary collection of work that reminds us that the whole is greater than the sum of its parts.

Read the Full Story at Crave Online

Photo: Bridge on the Beach. Nassau, Bahamas, 2007. June DeLairre Truesdale.

Photo: Bridge on the Beach. Nassau, Bahamas, 2007. June DeLairre Truesdale.

Categories: 1960s, 1970s, 1980s, 1990s, Art, Books, Bronx, Brooklyn, Crave, Manhattan, Photography

Clara Vannucci: Bail Bond

Posted on February 4, 2016

Photo: ©Clara Vannucci, NYC - Baltimore, 2012-2014, courtesy of Fabrica

Photo: ©Clara Vannucci, NYC – Baltimore, 2012-2014, courtesy of Fabrica

In the United States, a person who has been arrested is presumed innocent until proven guilty in a court of law. The burden of proof is on the prosecution; they must provide compelling evidence that shows the accused is guilty beyond reasonable doubt. In the interim, the accused may be entitled to release from jail if granted bail by the court. It is here that the bail bondsman finds work. The bail bondsmen have a standing security agreement with local court official, in which the post an irrevocable bond for the defendant to appear in court. If they fail to do so, the bondsman can legally become a bounty hunter for the state and deliver fugitives to the jurisdiction of the court to recover the money paid under the bond. Bondsmen generally charge a fee of 10% for a state charge, and 15% for a federal bond.

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The practice of bounty hunting is illegal in most countries, but in the United States it is as homegrown as the Second Amendment. The presumption of innocence protects everyone, including criminals who might take advantage of the opportunity to run. In Band Bond (Fabrica), Italian photographer Clara Vannucci goes inside the New York City system, working alongside the bondsmen themselves, traveling through Brooklyn, the Bronx, Queens, and Manhattan—even crossing state lines to track a fugitive to Baltimore, Maryland.

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Read the Full Story at Crave Online

Photo: ©Clara Vannucci, NYC - Baltimore, 2012-2014, courtesy of Fabrica

Photo: ©Clara Vannucci, NYC – Baltimore, 2012-2014, courtesy of Fabrica

Categories: Art, Books, Brooklyn, Crave, Manhattan, Photography

Aaron Huey: Mitakuye Oyasin

Posted on January 21, 2016

Photo by Aaron Huey, courtesy of Radius Books

Photo by Aaron Huey, courtesy of Radius Books

Established in 1889, Pine Ridge is the site of the Wounded Knee Massacre (1890) and the Wounded Knee Incident (1973). Home to the Oglala Lakota, one of the seven tribes of the Great Sioux Nation, Pine Ridge is the eighth largest reservation in the United States. Yet despite its size, only 74K acres are suitable for agriculture. With a per capita income of about $6K, the unemployment rate is at a staggering 90% (versus 10% for the rest of the country). The life expectancy for men is 48, roughly the same as Afghanistan and Somalia, and the infant mortality rate is five times the national average.

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The United States policies toward the Oglala Lakota have always treated the natives of this land as the enemy within. Twenty Congressional Medals of Honor for Valor were handed out after the Wounded Knee Massacre, in which more than 300 prisoners of war were slaughtered. Considered the end of the Indian wars, the United States government had only just begun its occupation and systemic destruction of the surviving generations.

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In 2005, photojournalist Aaron Huey began documenting Pine Ridge as part of a story about poverty in America. As he writes in the afterword to his monograph, Mitakuye Oyasin (Radius Books), “In the beginning, it was all just statistics…. Over time it became clear to me that these statistics came from a deep historical wound. And then my photographs of Pine Ridge became a story about a prisoner of war camp, a story about genocide, a story about stolen lands…. I have stumbled into something sacred on Pine Ridge. It took my eyes a long time to see that, but my heart knew it right away.”

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Read the Full Story at Crave Online

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Categories: Art, Books, Crave, Photography

This Light of Ours: Activist Photographers of the Civil Rights Movement

Posted on January 18, 2016

Photo: Matt Herron, Selma–Montgomery March, Alabama, 1965: Rev. Martin Luther King leads singing marchers toward Montgomery.

Photo: Matt Herron, Selma–Montgomery March, Alabama, 1965: Rev. Martin Luther King leads singing marchers toward Montgomery.

In 1857, Frederick Douglass observed, “This struggle may be a moral one, or it may be a physical one, and it may be both moral and physical, but it must be a struggle. Power concedes nothing without a demand. It never did and it never will. Find out just what any people will quietly submit to and you have found out the exact measure of injustice and wrong which will be imposed upon them, and these will continue till they are resisted with either words or blows, or with both. The limits of tyrants are prescribed by the endurance of those whom they oppress.”

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A century later, Dr. Martin Luther King Jr. brought these words to life with the Civil Rights Movement. He made A demand and, with the 1964 Civil Rights Act, a measure of the demand was met. But it was not met without retaliation, and ultimately Dr. King would pay with his life, a life that the government who had him killed now honors with a Federal holiday.

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Read the Full Story at Crave Online

 

Photo: Maria Varela, near Canton, Mississippi, 1966: A hand-drawn black panther indicates a change of movement symbolism as young men joined the Meredith March in response to the call for Black Power.

Photo: Maria Varela, near Canton, Mississippi, 1966: A hand-drawn black panther indicates a change of movement symbolism as young men joined the Meredith March in response to the call for Black Power.

Categories: 1960s, Art, Crave, Exhibitions, Photography

Ishiuchi Miyako: Postwar Shadows

Posted on December 21, 2015

Photo: Creator(s): Ishiuchi Miyako (Japanese, born 1947) Title/Date: Yokosuka Story #73, 1977 Culture: Japanese Medium: Gelatin silver print Dimensions: Image: 43.7 x 53.7 cm (17 3/16 x 21 1/8 in.) Sheet: 45.4 x 55.7 cm (17 7/8 x 21 15/16 in.) Accession No. 2009.96.3 Copyright: © Ishiuchi Miyako Object Credit: The J. Paul Getty Museum, Los Angeles

Photo: Creator(s): Ishiuchi Miyako (Japanese, born 1947) Title/Date: Yokosuka Story #73, 1977 Culture: Japanese Medium: Gelatin silver print Dimensions: Image: 43.7 x 53.7 cm (17 3/16 x 21 1/8 in.) Sheet: 45.4 x 55.7 cm (17 7/8 x 21 15/16 in.) Accession No. 2009.96.3 Copyright: © Ishiuchi Miyako Object Credit: The J. Paul Getty Museum, Los Angeles

This year marked the seventieth anniversary of the bombing of Hiroshima and Nagasaki, which killed over 129,000 people and decimated the country of Japan. Although nearly half the people died on the first day, the other half clung to life in desperate shape, only to die from the effect of the burns, radiation sickness, and other injuries compounded by illness and malnutrition. The only use of nuclear weapons for warfare in history, the bombings destroyed primarily civilian populations.

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In the decades that followed, the bombings continued to have effect on subsequent generations born into the post-nuclear landscape. Self-taught photographer Ishiuchi Miyako was born two years after the war and stunned the Japanese photography establishment in the late 1970s with grainy, haunting, black-and-white images of Yokosuka—the city where Miyako spent her childhood and where the United States established an important naval base in 1945.

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Working prodigiously over the next forty years, Miyako has created an incredible body of work that has been collected for “Ishiuchi Miyako: Postwar Shadows”, now on view at the J. Paul Getty Museum, Los Angeles, through February 21, 2016, and is published in a book by the same name.

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Read the Full Story at Crave Online

Photo: Creator(s): Ishiuchi Miyako (Japanese, born 1947) Title/Date: Yokosuka Story #58, 1976 - 1977 Culture: Japanese Medium: Gelatin silver print Dimensions: Image: 45.5 x 55.8 cm (17 15/16 x 21 15/16 in.) Framed: 54.4 × 65.7 × 4.5 cm (21 7/16 × 25 7/8 × 1 ¾ in.) Accession No. EX.2015.7.76 Copyright: © Ishiuchi Miyako Object Credit: collection of Yokohama Museum of Art Repro Credit: Photo © Yokohama Museum of Art

Photo: Creator(s): Ishiuchi Miyako (Japanese, born 1947) Title/Date: Yokosuka Story #58, 1976 – 1977 Culture: Japanese Medium: Gelatin silver print Dimensions: Image: 45.5 x 55.8 cm (17 15/16 x 21 15/16 in.) Framed: 54.4 × 65.7 × 4.5 cm (21 7/16 × 25 7/8 × 1 ¾ in.) Accession No. EX.2015.7.76 Copyright: © Ishiuchi Miyako Object Credit: collection of Yokohama Museum of Art Repro Credit: Photo © Yokohama Museum of Art

Categories: 1960s, 1970s, 1980s, 1990s, Art, Books, Crave, Exhibitions, Japan, Photography, Women

Art Basel Miami Beach 2015 Edition

Posted on December 11, 2015

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Check Out
Art Basel Miami Beach 2015
Coverage at Crave Online

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A few highlights from the week include:

Incas wallpaper panel, 1818, Joseph Dufour et Compagnie (founded Mâcon, France, 1801–23), manufacturer, Block-printed on handmade paper, Courtesy of Carolle Thibaut-Pomerantz

Incas wallpaper panel, 1818, Joseph Dufour et Compagnie (founded Mâcon, France, 1801–23), manufacturer, Block-printed on handmade paper, Courtesy of Carolle Thibaut-Pomerantz

“Philodendron: From Pan-Latin Exotic to American Modern”
Wolfsonia-Florida International University
© Lorna Simpson. Direct Gaze, 2014 (detail)

© Lorna Simpson. Direct Gaze, 2014 (detail)

Top 5 Highlights at
Art Basel Miami Beach

 

Amarillismo by Wilson Diaz

Amarillismo by Wilson Diaz

Wilson Diaz: Amarillismo
at Instituto de Vision at Art Basel
© James Rieck. Flared Bell Bottoms, 2015.

© James Rieck. Flared Bell Bottoms, 2015.

Top 5 Highlights at
PULSE Contemporary Art Fair

© Guy Richards Smit

© Guy Richards Smit

Guy Richards Smit: Mountain of Skulls
Charlie James Gallery at PULSE

Categories: 1960s, 1970s, 1980s, 1990s, Art, Crave, Exhibitions, Latin America, Painting, Photography

Jamel Shabazz: Tour of Duty on Rikers Island

Posted on December 1, 2015

Photo: Jamel Shabazz

Photo: Jamel Shabazz

Despite the surging growth of the prison industrial complex, very little is known of what goes on inside prisons and jails aside from what is shared with us by the people who have actually done time or worked in them. Photographer Jamel Shabazz worked as a Corrections Officer for the New York City Department of Corrections. He joined the force in 1983, just as the crack epidemic hit the streets, and worked inside the belly of the beast for 20 years. Shabazz spoke with Crave about the complexities of life inside the prison industrial complex.

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Miss Rosen: Why do you think this subject is kept, for the larger part, out of the mainstream media? Why is it important to you to speak about your experience as an NYC corrections officer?

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Jamel Shabazz I think that the mainstream media has been mute for far too long on this issue primarily because, the overwhelming majority of those who are incarcerated are young black and Hispanic males. It is a known fact that the prison industrial complex is a multi-billion dollar corporation and Wall Street investors have gained great returns in their ventures regarding prisons. In all actuality, numerous businesses and organizations have profited from mass incarceration. As a witness to this, I feel the need to offer a different perspective about the system, as all too often Correction Officers are viewed in a negative light.

Read the Full Story at Crave Online

Photograph by Jamel Shabazz

Photograph by Jamel Shabazz

Categories: 1980s, 1990s, Art, Crave, Photography

Girls on Film: Michele Quan X Guzman X Geoffrey Beene

Posted on December 1, 2015

Michele Quan, photo by Guzman

Michele Quan, photo by Guzman

Fashion designer Geoffrey Beene was an American pioneer, challenging the industry at every turn. He had his own way of doing things, breaking and rewriting the rules. He created new seasons, Summer/Winter, and designed brilliantly crafted pieces accordingly. “Design is a revelation to me. It’s like taking something that is not alive and giving it form, shape, substance, and life,” Mr. Beene observed.

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While his clothes reflected his intuitive understanding for women’s desire to be comfortable and glamorous at the same time, Mr. Beene also understood the power of the photograph to communicate this understanding to consumers. Mr. Beene observed, “Clothes should look as if a woman was born into them. It is a form of possession, this belonging to another.” And if the clothes belong to the woman, the photograph is the perfect invitation to the viewer to participate.

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From 1988–1995, Mr. Beene partnered with Guzman, the husband/wife photography team of Russell Peacock and Connie Hanson, to produce a series of photographs of Michele Quan modeling the clothes. As Guzman recalls, “Mr. Beene introduced us to Michele. She was a good choice for his designs during that period. Both were elegantly streamline! Mr. Beene always played with contrasts. He would juxtapose an androgynous jumpsuit with a provocative layer of sheer lace. He would mix refined fabrics with quotidian materials like cashmere with metallic lame. He was thinking about the approaching millennium (2000) and what women should wear. For the modern woman comfort and simplicity were essential. Michele represented the modern woman in that not to distant future. Her personality matched his objectives. Elegant yet understated, feminine but powerful.”
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Read the Full Story at Crave Online

Michele Quan, photo by Guzman

Michele Quan, photo by Guzman

Categories: 1980s, 1990s, Art, Crave, Fashion, Photography, Women

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