gunter unltd.

2007-10-30T15:07:00.001-07:00

I used Photoshop to simulate Paul Outerbridge's mid-20th century color photography.

Donovan Plans Meditation University

2007-10-29T08:54:00.000-07:00

Donovan Plans Meditation University

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By THE ASSOCIATED PRESS
Published: October 29, 2007

Filed at 11:33 a.m. ET

EDINBURGH, Scotland (AP) -- Donovan, famous for '60s pop hits such as ''Hurdy Gurdy Man'' and ''Mellow Yellow,'' has announced plans to open the Invincible Donovan University, where students will adhere to the principles of transcendental meditation.

''I know it sounds like an airy-fairy hippie dream to go on about '60s peace and love,'' said the 61-year-old singer, who was born Donovan Leitch in the Maryhill area of Glasgow. ''But the world is ready for this now, it is clear this is the time.''

He said the university will be located in either Glasgow or Edinburgh.

Donovan discovered transcendental meditation while visiting India and guru Maharishi Mahesh Yogi in 1968.

''The Maharishi told me during that 1968 visit that I should build a university in Edinburgh. I went to my room and drew a beautiful dome-shaped place of learning,'' he said Friday.

''I didn't know what to do because I couldn't do this on my own. But then I met David Lynch, who told me about the positive effects of TM in education. Although it's taken me 35 years, I will do what the Maharishi told me to do.''

Donovan and Lynch, Oscar-nominated director of ''Blue Velvet,'' ''Mullholland Dr.'' and ''The Elephant Man,'' are part of a tour to promote transcendental meditation as a means of reducing violence, crime and stress in schools and colleges.

The David Lynch Foundation has introduced TM to schools in the U.S., where the 61-year-old filmmaker claims it has transformed results and behavior.

''We have gone into some of the most deprived areas and turned around kids with violent emotional and behavioral problems,'' he said.

The duo said they will now contact Scottish authorities to have the institution accredited.

''For a country the size of Scotland it would take only 250 students meditating to protect Scotland from its enemies and to bring peace, to stop violence and drug abuse,'' Lynch said. ''That is just a byproduct of the students meditating together.''

http://www.nytimes.com/aponline/arts/AP-People-Donovan.html

This is DIY: A Do It Yourself Panel Discussion

2007-10-26T07:46:00.000-07:00

This is DIY: A Do It Yourself Panel Discussion
Thursday, November 15, 7pm

YouTube and Flickr are just two of the latest incarnations of the Do It Yourself ethic, which has shaken up markets and created new communities. Arts and media leaders at the forefront offer some perspective: Vanessa Bertozzi, editor in chief and director of communications, Etsy, the online retailer of handmade goods; Steve Englander, director, ABC No Rio community-based arts center; David Reinfurt/Stuart Bailey of Dexter Sinister: Just-in-Time Workshop & Occasional Bookstore; and John Strausbaugh, a regular contributor to The New York Times, The Washignton Post and Cabinet. Moderated by SVA students Michaela Murphy and Tarah Rhoda; organized by faculty member Amy Wilson.

Amphitheater
209 East 23rd Street, 3rd floor
Free and open to the public.

Universal Studios: Tracking the Art School in a Globalized World

2007-10-26T07:41:00.000-07:00

School of Visual Arts
Tuesday, October 30, 7pm

The BFA Fine Arts and Art History Departments present Universal Studios: Tracking the Art School in a Globalized World, a panel discussion examining the practice of visual art today.

From starving artist to artist-as-entrepreneur, from artist-researcher to artist-as-activist, the persona of the artist operats in multiple guises. As artists gain currency within frenzied global art markets and international art fairs, how are art schools being affected by recent patterns of cultural consensus? From million-dollar kitsch to sensorial spectacle, from tell-all biographies to video feats of endurance, have the visual arts become just another contributor to the entertainment industry? How can a critical appreciation of art be addressed now? Distinguished educators, critics and artists will explore different perspectives within the field.

Panelists:

Suzanne Anker is an artist and theorist whose work intersects the visual arts and biological sciences. Forthcoming books include: Visual Culture and the Biosciences (National Academy of Sciences and University of Maryland) and Neuroculture: Picturing the Biology of Mind (Cold Spring Harbor Laboratory Press). She is chair of the BFA Fine Arts Department at SVA.

Michael Archer is an educator, critic, writer and artist. His focus on contemporary art has led him to write Installation Art (Thames & Hudson, 2002) and a survey, Art Since 1960 (Thames & Hudson, 2002). In the 1980s and 1990s he made a number of performances and exhibitions with William Furlong, which featured sound as an intrinsic component of their work. He is Head of School at the University of Oxford’s Ruskin School of Drawing and Fine Art.

Miriam van Rijsingen is an art historian. Her areas of expertise include feminist and gender studies and the boundaries of art history, including aesthetics, semiotics, cultural studies and new media. Having published on the representation of the body in Western art, she is now working on the topic of art and anatomy in contemporary art. She teaches at the University of Amsterdam and is co-director of The Art and Genomics Center at Leiden University.

Shelley Rice is a photo historian, critic and curator. She is the co-curator of the Avon Collection of Contemporary Women’s Photography and the editor of Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman (MIT Press, 1999). She has been awarded a Fulbright Senior Research Fellowship, a Rockefeller Foundation Bellagio Residency, two NEA grants, and the PEN/Jerard Fund Award for Nonfiction Essay. She is an associate arts professor at NYU’s Tisch School of the Arts.

Raphael Rubinstein is a senior editor at Art in America and faculty member in the MFA Art Criticism and Writing department at SVA. His writing includes a book of poems, The Basement of the Cafe Rilke (1996), Polychrome Profusion: Selected Art Criticism 1990-2002 (2003) and Critical Mess: Art Critics on the State of Their Practice, (2006) all from Hard Press Editions.

Amphitheater
209 East 23 Street, 3rd floor
Free and open to the public

The Exiles of Marcel Duchamp

2007-10-26T07:11:00.000-07:00

The Exiles of Marcel Duchamp

T. J. Demos

MIT Press, October 2007

Marcel Duchamp was a famous expatriate, a wanderer, living and working in Paris, New York, and Buenos Aires and escaping from them in turn. But exile, argues T. J. Demos in this innovative reading, is more than a fact in Duchamp's biography. Exile--in the artist's own words, a "spirit of expatriation"--infuses Duchamp's entire artistic practice. Indeed a profound sense of dislocation--from geographical situation, national identity, and cultural conventions--deeply informs the mobile objects and disjunctive spaces of Duchamp's readymades and experimental exhibition installations.

Duchamp's readymade constructions, his installations for surrealist exhibitions in Paris and New York, and his "portable museum" (the suggestively named La boîte-en-valise), Demos writes, all manifest, define, and exploit the terms of exile in multiple ways. Created while the artist was living variously in New York, Buenos Aires, and occupied France, during the global catastrophes of war and fascism, these works express the anguish of displacement and celebrate the freedom of geopolitical homelessness. The "portable museum," a suitcase containing miniature reproductions of Duchamp's work, for example, represented a complex meditation--both critical and joyful--on modern art's tendency toward itinerancy, whereas Duchamp's 1942 installation design entangling a New York gallery in a mile of string announced the dislocated status that many exiled surrealists wished to forget.

Demos connects Duchamp's condition of exile to forms of displacement within photographic practice and modern museum exhibitions, theorized extensively at the time by Walter Benjamin, André Malraux, and Frederick Kiesler. He claims that in the period of fascism's elevation of the home as the site of national imagination, Duchamp's antinational identity became a form of resistance, just as his artistic practice represented a complex response to capitalism's increasing institutionalization and marketing of art. Duchamp's exile, writes Demos, defines a new ethics of independent life in the modern age of nationalism and advanced capitalism, offering a precursor to our own globalized world of nomadic subjects and dispersed experience.

T. J. Demos is a Lecturer in the Department of History of Art, University College London.

http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=11110

Dr. Watson Has Spoken, But Him Is Rong

2007-10-25T07:53:00.000-07:00

Black peeple ees not so stoopid as him sey. Hey, I's black!
http://www.timesonline.co.uk/tol/news/uk/article2677098.ece