4.26.2007

Crimes of Omission


April 20 - August 5, 2007

A "crime of omission" is defined as the failure to act upon a legal duty or responsibility. In this exhibition, the title refers to artistic strategies that remove visual traces of a crime or draw attention to injustices that typically go unnoticed. Viewers may initially overlook the criminal references in the works, allowing them to have an extended engagement with these contemporary artworks that will be presented as open-ended questions rather than foregone conclusions. "Crimes of Omission" will be on view in Institute of Contemporary Art, University of Pennsylvania's Project Space from April 20- August 5, 2007.


more info

4.17.2007

riffRAG artist Sally Willowbee in the Camden Courier Post, NJ

Green art
These artists take trash and turn it into treasure. To do so helps the environment.

from the Camden Courier Post Online
Photos by JOHN ZIOMEK
Tuesday, April 17, 2007

By JUDITH W. WINNE
Courier-Post Staff




With teaspoon arms and gelatin mold torsos, Sally Willowbee's female-figure lamps -- what she cheerfully calls turned-on or illuminated women -- are crafted from pieces others no longer want.

Tossed-out coffee percolator parts. Ditched costume jewelry. Discarded silvery balls that once held loose tea.

"I love seeing the extraordinary in the ordinary, in the worthless," says artist Willowbee, who lives in an 18th-century Deptford farmhouse. "I rescue things. It's seeing the beauty in the unwanted."

For some artists, creating something new from something old is a worthy pursuit. Call it found art, recycled art, creative re-use.

Next month, the Perkins Center for the Arts in Collingswood opens Green Alchemy -- Trash to Treasure: The Dumpster Divers Exhibition, a month-long display devoted to work produced by the Dumpster Divers. A Philadelphia-area group -- Willowbee is part of the clan -- the Divers trash pick their materials.

Diver Neil Benson of Philadelphia says folks bring found pieces to meetings, and artists who see a use for them speak up to claim them.

Object determinism, he calls it. "The object tells you what it wants to be," he explains.

A teacher and committed environmentalist, Benson says glass, metal and plastic -- everything from bottle caps to hard drives and aluminum scrap -- are relatively easy to find.

"Ninety percent of Dumpster diving is done from the outside of the container," says the 54-year-old artist. "You almost never have to go in."

Benson believes in the power of art to change minds and suggests that found art can get viewers thinking about the "trash tsunami," the despoliation of the planet.

Asked what kind of recycled art he makes, he replies, "Show me what you're throwing out."

In Haddon Township, the corner of artist Stacey Douglas' backyard boasts an outdoor fire pit. The kiva, twinkling with mosaic stones, was crafted from leftover concrete, a recycled hubcap and an ancient grate.

Inside the house, Douglas shows a visitor recycled windows whose panes are now showcases for her watercolors. Douglas cleaned up the blue-painted wood frame, but not much.

There's a primitive, roughed-up style, what Douglas calls a beach-cottage look, to this piece and others.

"It's all rustic and worn down," says Douglas, who teaches art in South Jersey to children and adults. "It's lived a life. It's worn. It feels safe and wonderful."

She stored drawerlike boxes in her basement for a decade. These became a repository for symbols of her life, including her creativity. In one cubby of God's Treasure Box, the 44-year-old artist features paint brushes. They are battered, of course, brushes she herself once used.

She has rescued driftwood from the shore of the Cooper River, found old feathers and incorporated her mother's hand-me-down jewelry into her work.

"I've always been into using what I found around," she says.

In Haddonfield, Lydia Hamilton Brown makes what some might consider the ultimate sacrifice -- she slices off pieces of her old paintings to re-use in collages.

"I get tired of looking at them, I guess," she says. "I cut them up, and I recycle them in other projects."

As an art teacher at St. Cecelia's Catholic School in Pennsauken, Brown has enlisted students in making recycled art. Once, she held up a wicker cornucopia, asking how it might be re-imagined, and one inventive boy decided he would craft a warrior.

Brown walks her neighborhood, and like many artists who trash pick, says the bounty is considerable and critical to her art.

"I use pieces of board games, old magazine posters, any kind of graphics, album covers," she says. "

Large Rubbermaid containers in her basement store countless pieces her students can choose as the raw materials of their creations.

She picked up a bag of colorful zippers, pointing out how they might be ideal for a sculpture in need of interesting hair or a three-dimensional mouth.

Deptford's Willowbee says the hunt for raw materials is part of the fun.

"It's treasure that I love," says the 60-year-old artist. "That's part of the trash picking -- the search for gold."

A self-taught woodworker, Willowbee makes elegant and simple tables rimmed with quotations she has saved. One, from a Spanish scientist, says, "Water is the blue soul of the planet."

The phrases are spelled out with Scrabble tiles. Not new, of course.

"The old ones are prettier," she says.

Reach Judith W. Winne at (856) 486- 2441 or jwinne@courierpostline.com


4.16.2007

Postcards From Tora Bora

My older sister Wazhmah just made a film about Afghanistan. It's a personal story and it got into Tribeca Film Festival.

It premiers on April 26th at 10pm with a party to follow. Check out the synopsis, watch the trailer, and we'll see you at the festival!

http://www.postcardsfromtorabora.com/trailer.html

---
lo

4.12.2007

Kurt Vonnegut, 1922-2007

While Vonnegut wasn't especially a queer or feminist author by any means, I feel the need to mention his death as he was one of my favorite authors when I was a teenager.

From an article in Time:
"The proper length for an obituary for Kurt Vonnegut is three words: "So it goes." This one will do what Vonnegut never did, which is go on too long."So it goes" is a phrase from Vonnegut's novel Slaughterhouse-Five, or The Children's Crusade. It's an expression the Tralfamadorians — a race of four-dimensional aliens — repeat whenever somebody or something dies. It expresses a certain airy resignation about the inevitability of death. Vonnegut — who died Wednesday night at the age of 84 from injuries suffered in a fall — had the Tralfamadorian attitude."

Read more on Time.com

4.10.2007

CALL for SUBMISSIONS: BLOOD, SWEATS AND CHEERS: 10 YEARS OF RADICAL CHEERING

BLOOD, SWEATS AND CHEERS: 10 YEARS OF RADICAL CHEERING

We are compiling a zine like anthology that will include a range of styles and voices – personal, political, academic, and artistic. This book should be like radical cheerleading itself, where the initial idea (an anthology) is corrupted to create a tool for activism. Let’s start writing about our experiences as radical cheerleaders setting protest (and turned over cop cars) on fire!

The following questions should provide a guideline for those wondering what aspect of RC to write about. Please choose your own adventure…mix and match our questions or make up your own!

Pom Pom’s Not Bomb Bombs
Do we make an impact politically?
• Action brag book or I can’t believe you got away with that!
• What was your favorite protest, and why?
• How does creative street theatre allow you to express your politics?
• How do the physical movements and choreography of radical cheerleading affect the way you participate in and feel about political action?

You Too Can Be a Cheerleader! NO TRYOUTS!!!
• Where/when did you first see radical cheerleading?
• What made you want to be a part of a radical cheerleading squad?
• How old were you when you first started cheering, and do you still cheer?
• How is radical cheerleading empowering? Sex, Gender, and Politics
• Pleated skirts and pom poms: Does radical cheerleading ever reproduce the politics or aesthetics it attempts to mock and reject?
• What were the gender politics of your squad?
• Is radical cheerleading for all genders/everybody?
• We’re here. We’re Queer. Get Used To It!

White Girls Gone Wild
• How are race and class accounted for in radical cheerleading?
• Why does radical cheerleading appeal to ___________ people?
• What did your squad look like and why?

Here Come the Cameras and the TV crew
• How does radical cheerleading (and performance activism) generate media attention?
• Does publicity help or hurt your message?
• Which stunts and antics worked, and which didn’t?

DIY
• Pleated skirts and pom poms. Radical cheerleading and fashion
• Queerleaders, jeerleaders, cuntleaders, raging grannies. How radical cheerleading is part of a larger movement of creative protest.
• Is radical cheerleading 3rd wave?
• Do you have a personal collection of radical cheerleading memorabilia? What does it look like?
• Did you ever write your own cheer or cheer ‘zine?

Deadline is June 1, 2007.

Send your photos, artwork, personal stories, academic essays, manifestos, cheers, collages, sound files, and more to: radicalcheerleaders @gmail.com - or -
Francis Goldin Literary Agency/Attn: Radical Cheerleading
57 E. 11th Street, Suite 5B
New York , NY 10003
Visit us at www.myspace. com/radicalcheerleadingbook

All accepted contributors will receive a copy of the book and financial compensation.

The editors – c – are represented by the politically progressive Francis Goldin Literary Agency in New York City (goldinlit.com)

4.08.2007

Generations of Feminist Art (a review and a call to task)


There certainly is a buzz around feminist art, at least for those of us listening for it, with the opening of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. This is underlined by the fact that this fantastic borough has also seen two other gallery shows focused around feminist art in the past month. Now, two is not many in the landscape of galleries, but I think that looking at them critically can make the point that feminist art is not a faddish thing that gets a reworking every 20 years or so, but a continuous movement of thinking about and creating artwork that deserves and demands way more attention than it gets and has gotten.

Let's start with "Women's Work: Homage to Feminist Art" a show that is still on view through May 13 at Tabla Rasa Gallery in Sunset Park, Brooklyn. The show was curated by venerable art critic Cindy Nemser. Nemser curated this show as a response to "Global Feminisms," the opening exhibition in the Brooklyn Museum's Sackler Center for Feminist Art. Nemser is upset that Global Feminisms does not include artists born before 1960. That cut off was a conscious, though difficult, decision by the curators to highlight artwork that could be classified as being part of the 3rd wave of feminism. Nemser wrote a scathing review and called the show "ageist." Might I point out that in our "ageist" society that women in their 40's are not considered "young" and that second wave feminist voices (like Nemser's) are still the ones being heard overwhelmingly in media coverage of feminist art and issues (as opposed to younger feminists)? Might I also point out that The Dinner Party by Judy Chicago occupies most of the Sackler Center for Feminist Art, providing at thoroughly second wave counter point to Global Feminisms?

In any event, I was excited about the impressive list of artists included in "Women's Work," including Eleanor Antin, Hannah Wilke, Howardena Pindell (who's work is above), and Dottie Attie (below). This is also probably one of the only gallery shows ever I could walk to from my house. When I got there it was, unfortunately, what I expected: A room full of older, white people (which does not at all reflect the demographic of the neighborhood). The art work itself was skillfully done and full of interesting ideas, but the show did not feel coherent enough. The only consistent theme seemed to be the fact the artists were feminist (which is a fine enough theme, but it made the show feel a little disjointed). The standout pieces were Howadena Pindells homage to victims of police violence (a very politically relevent choice considering the recent shooting death of Sean Bell) and Dottie Attie's small, three part painting. More distressing was the bitter tone of the wall text which seemed to be more about Cindy Nemser herself and how the show was a counterpoint to Global Feminisms than the individual and collective accomplishments of the artists exhibited. This added to my suspicion that Nemer's feeling of second wave artists being "slighted" by Global Feminisms (which is a temporary exhibition) wasn't really about these collective accomplishments of these artists, but about her own career. I heard two women remark as they read the wall text "So much for sisterhood is powerful."

In addition, Nemser's wall text eluded to artists of an "emerging third wave." If I check my feminist history, I think we could chart the third wave as emerging in the late 1980's or early 1990's. As many anthologies and feminists would attest, third wave ideas are not exactly new news. I think this show has powerful potential, but it's too bad the artwork got over shadowed by the curator's personal bitterness.

Another show (sadly closed now) was Re:Generation: Emerging Women Artists curated by Joan Snyder and Molly Snyder-Fink that was shown at Smack Mellon in DUMBO and the Kentler International Drawing Space in Red Hook, Brooklyn. In contrast to "Women's Work" I had never heard of any the artists exhibited. The show was a little hit or miss, my favorite pieces being the two shown below (unfortunately I missed the part of the show at the Kentler Drawing Center). Though this show was curated by two prominent feminist artists, the show itself did not seem to have overstated feminist content or wall text. If I hadn't known who the curators were I would have felt like it was a gallery show like any other. However, I think the idea of a mother/daughter collaboration is a fantastic idea and would love to hear the two curators expound on their ideas further and hear about the process, because in true feminist style, I think that is just as important as the product.

I would like to see feminists not playing into the game of being pitted against each other, as the media has been doing a good job to fan these flames. I would like us all to work together to address the ageism that effects both older and younger women in our society and create dialogues and Museum and gallery shows that reflect these goals. Feminism is not a career goal, it is an approach, a movement, a pratice...

Labels: , , , ,

Dottie Attie in "Women's Work"


This Dottie Attie piece was one of the strongest in the "Woman's Work: Homage to Feminist Art" show at Tabla Rasa Gallery in Sunset Park, Brooklyn.

Labels: , ,

Re:Generation (detail 2)


This mini faux revival tent included sound where you could hear the music and the sermon and was installed by riffRAG friend and supporter Michelle Dezember.

Labels: , , ,

Re:Generation (detail)


This beautiful accordion book details violence and racism faced by Muslin and Arab communities after 9/11

Labels: , , ,

4.06.2007

CALL FOR ARTWORK & APPLICATION FORM TO PARTICIPATE IN THE 2007 QUEER LATINA/O VISUAL ARTS EXHIBIT

PERSONAL SECRETS - PUBLIC SPACE, an exhibition in conjunction with the Queer Arts Festival / SF, CA
SUBMISSION DEADLINE: May 18, 2007


EXHIBITION DATES: June 3 - 28, 2007 at SomArts Cultural Center, San Francisco


How much of your private self is revealed in public? What do you choose to conceal? How interconnected or separate do you keep your online persona and your "real life"? How do your high techgadgets affect the way you interact with people? Many of us walk around in public plugged into our ipods or PDA's. We find dates on line, choose restaurants based on online menu availability, google friends, co-workers and potential lovers. Civic and social participation happens from "convenience of your computer". We consider networking web sites personal, yet they are intensely public spaces. This exhibit will use the queer Latina/o body as the locus for a dialogue on the dynamics of public and private identities. You are invited to submit work that includes but is not limited to examining: virtual and physical spaces that shape/define our urban experiences in public and private, personal secrets, private property, public space, internalized isms, borders, boundaries and dialogue about actively engaging everyday life.


ELIGIBILITY: Self-identified Latina/o Queer artists. Artists in any media are welcome to submit work, space is available for large installations, projections, or performances.


SUBMIT THE FOLLOWING:
1.) application form (postmarked by Saturday, May 18, 2007. 2.) a brief biography (~75 words) in English or Spanish.
3.) Slides, digital files or photographs of artwork, and/or performance proposal.
Email your submission to quelaco@raza.org.


Art must be ready to install at drop-off, including sturdy frame & hooks (no unfinished art).
Send entries to: QueLACo, P.O. Box 40792, San Francisco, CA 94140 or email this form with your digital images to: quelaco@raza.org
Name: Address: Phone: email: best time to reach you:


ABOUT THE ART: title: medium: dimensions: for sale: yes / no retail value $
Please use the back of this sheet if you submit more than one piece, and complete the needed information for each piece. Send this application with Slides, digital files or photographs of artwork, and/or performance
proposal. Slides will not be returned. If you do not have slides or photos, your works will have to be previewed in person by the Curator (please submit your application no later than May 1st if this is the case). Artists are responsible for safe shipping and handling of their artwork to and from the SomArts Gallery. If you need more information, please contact QueLACo's 2005 Visual Arts Exhibit Curator, Rebeka Rodriguez, at quelaco@raza.org.


Founded in 1998, Queer Latina/o Artists' Coalition (QueLACo) builds community by organizing arts events that explore the Queer Latina/o experience.

4.05.2007

Look at Us

I've been trying to decide between a technoLogical future and a plain old future based in humanity. And I was listening to the Radio, WBAI last week when a spoken word/poem opened up First Voices Indigenous Radio. It felt like a message from the airwaves direct to my brain. I called in to find out who wrote this piece and I was told it was by John Trudell called Look at Us - from Tribal Voice. Here goes the piece but to get the full impact it's better to hear it I think (I sure it's on YOutube somewhere):

We see your tech no logical society devour you before your very eyes we hear your anguished cries exalting greed through progress while you seek material advances the sound of flowers dying carry messages through the wind trying to tell you about balance and your safety But your minds are chained to your machines and the strings dangling from your puppeteers hands turning you, twisting you into forms and confusions beyond your control Your mind for a job your mind for a t.v. your mind for a hair dryer your mind for consumption with your atom bombs your material bombs your drug bombs your racial bombs your class bombs your sexist bombs your ageist bombs Devastating your natural shelters making you homeless on earth chasing you into illusions fooling you, making you pretend you can run away from the ravishing of your spirit While the sound of flowers dying carry messages through the wind trying to tell you about balance and your safety.

Trying to isolate us in a dimension called loneliness leading us into the trap believe in their power but not in ourselves piling us with guilt always taking the blame greed chasing out the balance trying to isolate us in a dimension called loneliness economic deities seizing power through illusions created armies are justified class systems are democracy god listens to warmongers prayers tyranny is here divide and conquer v trying to isolate us in a dimension called loneliness greed a parent insecurity the happiness companion genocide conceived in sophistication tech no logic material civilization a rationalization replacing a way to live trying to isolate us in a dimension called loneliness

Look at us, we are of Earth and Water Look at them, it is the same Look at us, we are suffering all these years Look at them, they are connected. Look at us, we are in pain Look at them, surprised at our anger Look at us, we are struggling to survive Look at them, expecting sorrow be benign Look at us, we were the ones called pagan Look at them, on their arrival Look at us, we are called subversive Look at them, descending from name callers Look at us, we wept sadly in the long dark Look at them, hiding in tech no logic light Look at us, we buried the generations Look at them, inventing the body count Look at us, we are older than America Look at them, chasing a fountain of youth Look at us, we are embracing Earth Look at them, clutching today Look at us, we are living in the generations Look at them, existing in jobs and debts Look at us, we have escaped many times Look at them, they cannot remember Look at us, we are healing Look at them, their medicine is patented Look at us, we are trying Look at them, what are they doing Look at us, we are children of Earth Look at them, who are they?

---
lo

4.04.2007

Macaroon Collage by riffRAG artist, Danielle Latman

riffRAG artist, Danielle Latman, who wrote the story The Unicorn & the Skeleton in riffRAG, issue 1 and contributed a watermelon collage in the print version of riffRAG, issue 2, posted a collage about Passover in her blog.

Latman writes...
Passover, one of my favorite Jewish holidays, is approaching. During Passover we tell the story of our slavery in Egypt, the 10 plagues, and finally our exodus into freedom. What I love about this holiday is that the theme of liberation can be applied to present-day situations, both personal and political. I appreciate the opportunity to reflect on my own personal shackles; the ways I limit myself or am constrained by external circumstances, and opportunities for change. At the same time, it’s important to consider ways my society, nation and the world constrict others, creating needless suffering and exploitation in places like Iraq and Palestine. Passover is a time to re-dedicate myself to creating the just and loving world I want to live in.

On a more logistical level, we abstain from eating bread and other foods containing yeast during the 8 days of Passover. Macaroons are an awesome dessert because they have no leavening agents, yet still taste so yummy and don’t make the restricted diet feel like a sacrifice. Chocolate, almond, chocolate-chip, plain… bring ‘em on! I love macaroons!


Click image for more images of the collage.