Events.(Directory)
ARIZONA
Events: Scottsdale Museum of Contemporary Art, 7374 E. 2nd St.,
Activities throughout the year, including classes and workshops, film
screening and lectures, www.smoca.org.
CALIFORNIA
. . .
I wish to say (the Birthday Project).
In Summer 2006, with nifty, old-fashioned typewriter in hand,
Brooklyn writer sheryl Oring set out on a cross-country trip. She set up
a makeshift office at each stop, and had passersbys dictate . . .
The taste of crowds.
Photography has never quite shaken off its reputation as a
people's medium. Since 1839, when the French government presented
the daguerreotype as a gift "free to the world," inventions
from the . . .
I miss you already: a phenomenological understanding of Ken
Jacobs's Circling Zero: We See Absence.(Critical essay)
I Never Met You; I'll Never Forget You.
I Didn't Know You; I Miss You Already.
These words, taken from a poster prominently displayed in Ken
Jacob's film Circling Zero: We See Absence (2002), . . .
Cairo's avant-garde.
Although the term "avant-garde" may be a relic of
modernism to some, it is an appropriate descriptive term for an emerging
group of Egyptian artists often referred to in their community . . .
Etc.(Directory)
Collaborative effort: L.E. Don invites you to become part of a
global artwork aimed at getting people to question a society motivated
solely by profit. Artists across the globe are canvassing the . . .
The Horse Who Drank The Sky: film experience beyond narrative and
theory.
In the twenty-first century, watching a movie, particularly for the
first time, can happen through a number of media: on television or
computer screens, music players or cell phones. A film . . .
Seized and displayed.
"SEIZED" marked the end of a four-year trial by the
Justice Department against Steve Kurtz, a Critical Art Ensemble (CAE)
founding memeber and State University of NewYork at Buffalo art
professor. . . .
Playing it straight.
The popularity of documentary photography has exploded in recent
years and has become a site for rigorous discourse about the truth
content of images. Taking a critical rather than celebratory . . .
The evil eye: photography and America's Electoral
Appeal.
With each election year, American voters confer and ultimately
elect a presidential candidate who can keep their country a progressive,
global power. This year in particular, many American voters . . .
Exhibitions.(Directory)
ARIZONA
Scottsdale: Scottsdale Museum of Contemporary Art, 7380 E, 2nd St.
Branded and on Display. Through Sept. 21. www.smoca.org.
Tucson: Center for Creative Photography; University of . . .
Auteurism: true or faux?
Barry Keith Grant's Auteurs and Authorship: A Film Reader
presents an arresting, thoughtful procession of ideas about who makes a
movie. For any professor pulling together a syllabus on film . . .
Toxic slurry and Pond Scum.
It is not the Berkshires' astonishing beauty readily visible
from the windows, nor the region's prominence in Hudson River
School paintings, that makes Mass MoCA such a fitting site for
"Badlands: . . .
Pictures of home: the work of Sheila Pree Bright.
In a photograph just larger than life size, a young woman twists
toward the camera, looking over her shoulder into the lens. She stands
upright in an endless and undefined white space. Framing her . . .
Deus Ex machina.
How have technologies and the larger media world altered our
experiences of the sacred? This question formed the theme of the ninth
annual convention of the Media Ecology Association (MEA) held at . . .
Books.
Andrew Bush: Drive, by Andrew Bush. Yale University Press/143
pp./$65.00 (hb).
Anish Kapoor: Past, Present, Future, edited by Nicholas Baume. MIT
Press/143 pp./$29.95 (hb).
Bonfires, by John . . .
Breaking the wall of silence.
A few weeks away from the European Publishers Award for
Photography--awarded every year during the opening week of the Recontres
d'Arles Photography Festival--Dewi Lewis (the British publisher
that . . .
Stealing a glance.
So vast in both scale and ambition was "Street & Studio:
An Urban History of Photography," the latest of Tate Modern's
large-scale shows dedicated to photography, I had to take a rest during
my . . .
Variable Capital: a conversation with common
culture.(Interview)
Common Culture is a trio of artists based in Northern England. They
take their name from the book Modern Art in the Common Culture (1996) by
Thomas Crow, and share his assumption that avant-garde . . .
Migrations and mediations.
Amidst the paralyzing and polarizing effects of the Cold War,
Frances Flaherty inaugurated an annual film seminar in memory of her
late husband. Rather than inflame accusations and fuel paranoia, . . .
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