Charles delante y Nike detrás

"la pasión frenética del arte es un cáncer que devora todo lo demás. Si en este arte no se produce lo justo y lo verdadero, el hombre entero se evapora. La supremacía loca del arte engendra la necedad, la dureza de corazón y una inmensidad de orgullo y egoísmo"
Charles Baudelaire (mi favorito)

nagy, höch, haussman

Tienes el cartel de murciana pegado en la frente

Pues la verdad que me parece un bochorno y una calamidad que así se me vea por l acalle, pero creo que así se me debe ver. En tan sólo quince días me han robado el bolso ya dos veces. Está vez no denuncié, la segunda digo, no sea que como a Yaiza los polis me miren con sorna y cierta incredulidad y afirmen que soy la única española a la que le roban el bolso cada quince días.
Bueno si se esfumó mi identidad en la primera acción, mis dineretes y todas mis llaves en esta, la segunda, se me esfumó mi relación clara con el mundo. Esto es, mis gafas, todas, fuera. Ahora veo el mundo desde el más profundo anonimato, o singularidda y además lo veo así como entre sombras, de esas que van y que vienen.
Creo que comenzaré a pensar en este ver sin ver en esto de la cualquereidad y sólo confío que el maldito cartel anunciador de paleta a bordo, con esta mi nueva y forzosamente adquirida condición de fronteriza, se desvanezca para dejarme vivir de una vez tranquila, cual animalillo sin pasado, sin futuro, sin imagen nítida de nada y libre de miedos, en general, o angustias, en particular.
http://www.cubanuestra.nu/web/article.asp?artID=12426

Y eso

Llego de tabacalera. Hace un momento. Hace una ducha. Pasé casi todo el día allí. Bueno, me fugué a la comida. Comí con Elena, comí gambas, y merluza y salmón y salsa de rábano. Hablamos con Alira, está en Mérida. Lisistrata. Esta en el coro de las feas de Lisistrata, en Mérida. Aunque ella dice que ella les llama las guapas, y ella es guapa. Muy guapa, hasta en el skipe. La vimos por skipe. Elena no piensa que sea guapa.
Regresé a Tabacalera. Hoy hacíamos taller. De serigrafía. "La inauguración". Y hemos hecho calzones, y un par de bragas y muchas camisetas. También comí acelgas. Del huerto de tabacalera. Por cierto que no me despedí de Manu. Majete este Manu. me invitó a Acelgas. Muy ricas las acelgas del huerto de tabacalera. Muy lindas las impresiones. Perro flautas y sellete de tabacos, casi clásico. Una estrella. Eso es lo diverso. Y luego, para variar, me tomé mil cervezas, y hablé, y hablé y hablé con Lucía de la necesidad, inminente, de materializar, urgentemente, toda idea peregrina, toda, que por tu cabeza ronde. Y es por eso que aquí, que esto es Madrid, y ahora, que son las doce y cincuenta minutos, me de a mi por escribir está absurdidad que tanto gusto me da.

chim pum.

Violette de Mazia, ¿de Dewey?

Born in Paris in 1899, Violette de Mazia studied art in the studio of Robert Christie at Hampstead Conservatory, the Camden School of Art, and London Polytechnic School in England. When she moved to the United States in the 1920s, she continued her studies by enrolling in philosophy and art appreciation classes taught by Dr. Thomas Munro at the Barnes Foundation in Merion, Pennsylvania.
Soon after those initial classes, Dr. Albert C. Barnes offered de Mazia a teaching position. At the Foundation, de Mazia taught, wrote, met with artists, and traveled to Europe for study, museum visits, and to assist with art purchases. She worked closely with Barnes and his colleagues, including Columbia University Professor John Dewey, philosopher George Santayana, art dealer Paul Guillaume, and the painters William Glackens and Alfred Henry Maurer.Over the years, de Mazia became the driving force behind the art education program, developing an original program of study
that, based on awards and honors she received, was considered a significant approach to the understanding of art. Ms. de Mazia was named Director of Education at the Barnes Foundation in 1950.
Following the death of Barnes in 1951, de Mazia was appointed trustee and Director of Education for life and taught the methodology to students of the Foundation. Under Ms. de Mazia, students learned about the aesthetic principles of paintings, but also that those same principles equally apply to music, literature, drama, architecture, fashion, gastronomy, athletics, and any other aspect of human activity.
In addition to teaching, de Mazia co-authored four books and wrote a number of essays. Among the many public accolades, de Mazia received honorary degrees from St. Joseph’s University, La Salle University, Moore College of Art and Design, and Lincoln University.

A.W.C. Artists Workers Coalition

The Art Worker’s Coalition (AWC) was a loose group of artists, writers, and members of the creative community formed in January 1969 after the artist Takis protested the Museum of Modern Art (MoMA) by removing his sculpture from their exhibition, “The Museum as Seen at the End of the Mechanical Age.” In the case with Takis, the artist was concerned with his ability to control the exhibition of his work after it had been sold (the Museum had exhibited his work against his wishes because they owned it and felt that their right of ownership superseded his rights as an artist to control its exhibition).

This initial protest was a spark that ignited the coalition—which gathered members and concerns exponentially throughout the early months of 1969. At the time, the Art Workers' Coalition was concerned with the responsibility of museums to artists and aimed their efforts at building a dialoge between themselves and MoMA. Another early issue was better representation of Black and Puerto Rican artists in MoMA as well as the other local museums.

As the coalition grew in membership, so did its concerns, which the Art Workers' Coalition sought to publicly discuss at MoMA. When these efforts proved unsuccessful, the coalition held an Open Hearing at the School of the Visual Arts on April 10, 1969, in which hundreds of people attended. Written statements were collected (some of which were read and some of which were not) and the proceedings were later transcribed. The statements were published in book form by the AWC under the name Open Hearing. At the same time, the AWC also published Documents 1Open Hearing and Documents 1 can be downloaded below. a collection of letters, press, and ephemera documenting the formation of the Coalition and its dialogue with MoMA.

http://www.primaryinformation.org/index.php?/projects/art-workers-coalition/

Following the Open Hearing, AWC’s emphasis broadened to address the political and social events and concerns of its time: racism, sexism, abortion rights, Vietnam, and Kent State, among others. With so many issues, AWC eventually splintered, with groups like Women Artists in Revolution, Guerilla Art Action Group, and Art Strike addressing specific concerns while remaining affiliated with AWC.

Art Workers Coalition remained active through Spring of 1971, with its last protest at the Guggenheim, which had cancelled a solo exhibition by Hans Haacke, on May 1, 1971. Many of its splinter groups continued throughout the 70s and 80s and were fundamental to addressing the unequal representation of the minority and women artists in the art world—a battle that is still being fought today.

Primary Information’s exhibition at PS1 will trace the history of the AWC through archival documents and photographs obtained through private as well institutional sources (including MoMA).

PS1
22-25 Jackson Avenue at 46th Avenue
Long Island City, NY
June 22 - September 22 2008

For more information on the Art Workers’ Coalition, please see:

Ault, Julie. Alternative Art New York, 1965 – 1985 (The Drawing Center/University of Minnesota), 2002.

Everything is Just Wonderful!!!, Wonderful

http://www.towson.edu/heartfield/images/wonderful.jpg