1. Dunkerley Dialogue: Donald Moffett with Mason Stokes

    58:50

    from The Tang Museum / Added

    230 Plays / / 0 Comments

    Mason Stokes in conversation with New York based artist/activist Donald Moffett whose exhibition, "Donald Moffett:The Extravagant Vein", is on view at the Tang Museum. As an original member of ACT UP and the 1980s AIDS activist collective Gran Fury, Moffett has been—and continues to be—a persistent and influential presence on the the New York art scene. Moffett and Stokes will discuss ideas, catalysts, and the context in which Moffett has been making art for the past twenty years. Stokes, an Associate Professor of English and chair of the English Department of Skidmore College, teaches courses in African American Literature and the history of sexuality. Dunkerley Dialogues are made possible by a generous gift from Michele Dunkerley, '80.

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    • "Kissing Doesn't Kill," part of Art, Love & Politics in the 1980s

      00:53

      from MCA Chicago / Added

      2,012 Plays / / 0 Comments

      The exhibition, This Will Have Been: Art, Love & Politics in the 1980s, provides an overview of the artistic production of a decade of cultural and political transformation. Presenting canonical as well as nearly forgotten works produced between 1979 and 1992, the exhibition touches on major developments of the period, including the rise of the commercial art market, the politicization of the AIDS crisis, the increased visibility of women and gay artists and artists of color, and the ascension of televised media. Organized by MCA Chicago, This Will Have Been: Art, Love & Politics in the 1980s is guest curated by Helen Molesworth, Barbara Lee Chief Curator, Institute of Contemporary Art/Boston. More info: mcachicago.org/exhibitions

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      • 1982 Plymouth Gran Fury

        03:23

        from Patrik HÁVEL / Added

        94 Plays / / 0 Comments

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        • Queens Museum of Art Arte Útil Lab presents Hypothesis: Access & Replication Mechanisms, Azra Akšamija

          13:17

          from Queens Museum / Added

          43 Plays / / 0 Comments

          Arte Útil makes certain propositions about the goals, methodologies, and values that pertain to it. We assembled particular questions in four key areas to be tested throughout the laboratory. Key figures in artivism and related academic fields were invited to publicly present various positions vis-à-vis these hypothesis areas. May 11, 2013: Access & Replication Mechanisms How are Arte Útil projects made accessible to the intended users? What are the challenges when a project works as a prototype versus when it intends to have a more permanent presence? What are the challenges of passing the project to others or becoming an open source project, and how does that challenge the concept of authorship? How do Arte Útil projects navigate local needs while still becoming a reproducible model? How does Arte Útil maintain its political topography and coherence while changing location and circumstances? • Azra Akšamija • Tom Kalin • Manon Slome Azra Akšamija is a Sarajevo born artist and architectural historian, currently Assistant Professor in the Visual Arts at MIT’s Art, Culture and Technology Program. She holds undergraduate and graduate degrees in architecture from the Technical University Graz, Austria (Dipl.Ing. in 2001) and Princeton University (M.Arch. in 2004), and received her Ph.D. from MIT (History Theory and Criticism of Art and Architecture / Aga Khan Program for Islamic Architecture) in 2011. In her interdisciplinary practice, Akšamija investigates the potency of art and architecture to facilitate the process of transformative mediation in cultural or political conflicts, and in so doing, provide a framework for researching, analyzing, and intervening in contested socio-political realities. Her artwork takes shape though different types of media, including clothing, video, performance, sculpture and/or new media. Tom Kalin is a New York based filmmaker, known as a prominent figure in the New Queer Cinema. Kalin’s award winning, critically acclaimed work traverses diverse forms and genres, from experimental video installations to narrative feature films. Based on two notorious 20th century crimes, his features Swoon and Savage Grace explore the tension between documentary fact and dramatic truth. In his short experimental work, Kalin often takes inspiration from literary sources and addresses contemporary issues such as displacement, urban isolation and homophobia. In these works and as a part of the AIDS activist collective Gran Fury, Kalin has done significant work to change the public opinion of AIDS, simultaneously expanding the definition of activist video. From short experimental videos to feature-length narrative films, Tom Kalin’s award winning, critically acclaimed work has been screened throughout the world. His films and videos are in the permanent collection of the Whitney Museum, the Centre Georges Pompidou and MoMA. Manon Slome is a curator and co- Founder of No Longer Empty (NLE), a non-profit organization whose mission is to introduce high caliber art to a wider public by temporarily transforming vacant spaces throughout the city. From 2002 to June 2008 she was the Chief Curator of the Chelsea Art Museum in New York. During that time, she curated and oversaw a program of some forty exhibitions, symposia and museum publications as well as monographs and scholarly essays. Ms. Slome became highly involved with the Israeli art scene during her research for the exhibition, Such Stuff as Dreams are Made on, (2005) and has followed and researched the Israeli scene for the last three years. Prior to the CAM, Ms. Slome worked as a curator at the Guggenheim Museum for seven years and was a holder of a Helena Rubinstein curatorial fellowship at the Whitney Independent Study program. She has written widely on contemporary art and has recently completed The Aesthetics of Terror published by Charta Press.

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          • Queens Museum of Art Arte Útil Lab presents Hypothesis: Access & Replication Mechanisms, Manon Slome

            16:59

            from Queens Museum / Added

            21 Plays / / 0 Comments

            Arte Útil makes certain propositions about the goals, methodologies, and values that pertain to it. We assembled particular questions in four key areas to be tested throughout the laboratory. Key figures in artivism and related academic fields were invited to publicly present various positions vis-à-vis these hypothesis areas. May 11, 2013: Access & Replication Mechanisms How are Arte Útil projects made accessible to the intended users? What are the challenges when a project works as a prototype versus when it intends to have a more permanent presence? What are the challenges of passing the project to others or becoming an open source project, and how does that challenge the concept of authorship? How do Arte Útil projects navigate local needs while still becoming a reproducible model? How does Arte Útil maintain its political topography and coherence while changing location and circumstances? • Azra Akšamija • Tom Kalin • Manon Slome Azra Akšamija is a Sarajevo born artist and architectural historian, currently Assistant Professor in the Visual Arts at MIT’s Art, Culture and Technology Program. She holds undergraduate and graduate degrees in architecture from the Technical University Graz, Austria (Dipl.Ing. in 2001) and Princeton University (M.Arch. in 2004), and received her Ph.D. from MIT (History Theory and Criticism of Art and Architecture / Aga Khan Program for Islamic Architecture) in 2011. In her interdisciplinary practice, Akšamija investigates the potency of art and architecture to facilitate the process of transformative mediation in cultural or political conflicts, and in so doing, provide a framework for researching, analyzing, and intervening in contested socio-political realities. Her artwork takes shape though different types of media, including clothing, video, performance, sculpture and/or new media. Tom Kalin is a New York based filmmaker, known as a prominent figure in the New Queer Cinema. Kalin’s award winning, critically acclaimed work traverses diverse forms and genres, from experimental video installations to narrative feature films. Based on two notorious 20th century crimes, his features Swoon and Savage Grace explore the tension between documentary fact and dramatic truth. In his short experimental work, Kalin often takes inspiration from literary sources and addresses contemporary issues such as displacement, urban isolation and homophobia. In these works and as a part of the AIDS activist collective Gran Fury, Kalin has done significant work to change the public opinion of AIDS, simultaneously expanding the definition of activist video. From short experimental videos to feature-length narrative films, Tom Kalin’s award winning, critically acclaimed work has been screened throughout the world. His films and videos are in the permanent collection of the Whitney Museum, the Centre Georges Pompidou and MoMA. Manon Slome is a curator and co- Founder of No Longer Empty (NLE), a non-profit organization whose mission is to introduce high caliber art to a wider public by temporarily transforming vacant spaces throughout the city. From 2002 to June 2008 she was the Chief Curator of the Chelsea Art Museum in New York. During that time, she curated and oversaw a program of some forty exhibitions, symposia and museum publications as well as monographs and scholarly essays. Ms. Slome became highly involved with the Israeli art scene during her research for the exhibition, Such Stuff as Dreams are Made on, (2005) and has followed and researched the Israeli scene for the last three years. Prior to the CAM, Ms. Slome worked as a curator at the Guggenheim Museum for seven years and was a holder of a Helena Rubinstein curatorial fellowship at the Whitney Independent Study program. She has written widely on contemporary art and has recently completed The Aesthetics of Terror published by Charta Press.

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            • Queens Museum of Art Arte Útil Lab presents Hypothesis: Access & Replication Mechanisms, Q&A

              37:00

              from Queens Museum / Added

              30 Plays / / 0 Comments

              Arte Útil makes certain propositions about the goals, methodologies, and values that pertain to it. We assembled particular questions in four key areas to be tested throughout the laboratory. Key figures in artivism and related academic fields were invited to publicly present various positions vis-à-vis these hypothesis areas. May 11, 2013: Access & Replication Mechanisms How are Arte Útil projects made accessible to the intended users? What are the challenges when a project works as a prototype versus when it intends to have a more permanent presence? What are the challenges of passing the project to others or becoming an open source project, and how does that challenge the concept of authorship? How do Arte Útil projects navigate local needs while still becoming a reproducible model? How does Arte Útil maintain its political topography and coherence while changing location and circumstances? • Azra Akšamija • Tom Kalin • Manon Slome Azra Akšamija is a Sarajevo born artist and architectural historian, currently Assistant Professor in the Visual Arts at MIT’s Art, Culture and Technology Program. She holds undergraduate and graduate degrees in architecture from the Technical University Graz, Austria (Dipl.Ing. in 2001) and Princeton University (M.Arch. in 2004), and received her Ph.D. from MIT (History Theory and Criticism of Art and Architecture / Aga Khan Program for Islamic Architecture) in 2011. In her interdisciplinary practice, Akšamija investigates the potency of art and architecture to facilitate the process of transformative mediation in cultural or political conflicts, and in so doing, provide a framework for researching, analyzing, and intervening in contested socio-political realities. Her artwork takes shape though different types of media, including clothing, video, performance, sculpture and/or new media. Tom Kalin is a New York based filmmaker, known as a prominent figure in the New Queer Cinema. Kalin’s award winning, critically acclaimed work traverses diverse forms and genres, from experimental video installations to narrative feature films. Based on two notorious 20th century crimes, his features Swoon and Savage Grace explore the tension between documentary fact and dramatic truth. In his short experimental work, Kalin often takes inspiration from literary sources and addresses contemporary issues such as displacement, urban isolation and homophobia. In these works and as a part of the AIDS activist collective Gran Fury, Kalin has done significant work to change the public opinion of AIDS, simultaneously expanding the definition of activist video. From short experimental videos to feature-length narrative films, Tom Kalin’s award winning, critically acclaimed work has been screened throughout the world. His films and videos are in the permanent collection of the Whitney Museum, the Centre Georges Pompidou and MoMA. Manon Slome is a curator and co- Founder of No Longer Empty (NLE), a non-profit organization whose mission is to introduce high caliber art to a wider public by temporarily transforming vacant spaces throughout the city. From 2002 to June 2008 she was the Chief Curator of the Chelsea Art Museum in New York. During that time, she curated and oversaw a program of some forty exhibitions, symposia and museum publications as well as monographs and scholarly essays. Ms. Slome became highly involved with the Israeli art scene during her research for the exhibition, Such Stuff as Dreams are Made on, (2005) and has followed and researched the Israeli scene for the last three years. Prior to the CAM, Ms. Slome worked as a curator at the Guggenheim Museum for seven years and was a holder of a Helena Rubinstein curatorial fellowship at the Whitney Independent Study program. She has written widely on contemporary art and has recently completed The Aesthetics of Terror published by Charta Press.

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              • Queens Museum of Art Arte Útil Lab presents Hypothesis: Access & Replication Mechanisms, Tom Kalin

                15:46

                from Queens Museum / Added

                22 Plays / / 0 Comments

                Arte Útil makes certain propositions about the goals, methodologies, and values that pertain to it. We assembled particular questions in four key areas to be tested throughout the laboratory. Key figures in artivism and related academic fields were invited to publicly present various positions vis-à-vis these hypothesis areas. May 11, 2013: Access & Replication Mechanisms How are Arte Útil projects made accessible to the intended users? What are the challenges when a project works as a prototype versus when it intends to have a more permanent presence? What are the challenges of passing the project to others or becoming an open source project, and how does that challenge the concept of authorship? How do Arte Útil projects navigate local needs while still becoming a reproducible model? How does Arte Útil maintain its political topography and coherence while changing location and circumstances? • Azra Akšamija • Tom Kalin • Manon Slome Azra Akšamija is a Sarajevo born artist and architectural historian, currently Assistant Professor in the Visual Arts at MIT’s Art, Culture and Technology Program. She holds undergraduate and graduate degrees in architecture from the Technical University Graz, Austria (Dipl.Ing. in 2001) and Princeton University (M.Arch. in 2004), and received her Ph.D. from MIT (History Theory and Criticism of Art and Architecture / Aga Khan Program for Islamic Architecture) in 2011. In her interdisciplinary practice, Akšamija investigates the potency of art and architecture to facilitate the process of transformative mediation in cultural or political conflicts, and in so doing, provide a framework for researching, analyzing, and intervening in contested socio-political realities. Her artwork takes shape though different types of media, including clothing, video, performance, sculpture and/or new media. Tom Kalin is a New York based filmmaker, known as a prominent figure in the New Queer Cinema. Kalin’s award winning, critically acclaimed work traverses diverse forms and genres, from experimental video installations to narrative feature films. Based on two notorious 20th century crimes, his features Swoon and Savage Grace explore the tension between documentary fact and dramatic truth. In his short experimental work, Kalin often takes inspiration from literary sources and addresses contemporary issues such as displacement, urban isolation and homophobia. In these works and as a part of the AIDS activist collective Gran Fury, Kalin has done significant work to change the public opinion of AIDS, simultaneously expanding the definition of activist video. From short experimental videos to feature-length narrative films, Tom Kalin’s award winning, critically acclaimed work has been screened throughout the world. His films and videos are in the permanent collection of the Whitney Museum, the Centre Georges Pompidou and MoMA. Manon Slome is a curator and co- Founder of No Longer Empty (NLE), a non-profit organization whose mission is to introduce high caliber art to a wider public by temporarily transforming vacant spaces throughout the city. From 2002 to June 2008 she was the Chief Curator of the Chelsea Art Museum in New York. During that time, she curated and oversaw a program of some forty exhibitions, symposia and museum publications as well as monographs and scholarly essays. Ms. Slome became highly involved with the Israeli art scene during her research for the exhibition, Such Stuff as Dreams are Made on, (2005) and has followed and researched the Israeli scene for the last three years. Prior to the CAM, Ms. Slome worked as a curator at the Guggenheim Museum for seven years and was a holder of a Helena Rubinstein curatorial fellowship at the Whitney Independent Study program. She has written widely on contemporary art and has recently completed The Aesthetics of Terror published by Charta Press.

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