31 December, 2006
Print Australia's first blog started in 1999 and ran until 2004. It was called Impressions and it recorded the group's activities, with special reference to the print exchanges.
1999 - 2001 http://www.acay.com.au/~severn/imp/IMP2/imp2.htm
2002 - 2003 http://www.acay.com.au/~severn/imp/imp.htm
The internet phenomena of 'blogging' was first mentioned on Print Australia on 12th June 2002 in regard to a discussion on Empyre list. Blogs were discussed intermittantly on the list in the period leading up to the announcement of Print Australia's blog.
The Empyre list currently has an interesting discussion on
Subject: [-empyre-] weblogs
>can you send a quick intro to what exactly a blog is?
What the hell is a weblog?
weblogs: a history and perspective
An Incomplete Annotated History of Weblogs
example: member query Sept 2003
>what is blog? does anyone here know?
[a] blog (short for Weblog) is a log that someone maintains on the
Web. They take various forms stretchingn from family diaries to
special interest based blogs that offer opinions and links to simialr
material elswher on the Web.
An example blog : http://www.onlisareinsradar.com/
The impressions webpage is a blog,
there was a discussion on the empyre mailing list on blogging last year
what is a blog
Print Australia Blog went live on 6th June 2005 and was announced to the mailing list the following day.
06 June, 2005
Print Australia origins
Print Australia was founded in 1999 by Australian artist Josephine Severn.
Tue Jun 7, 2005 11:24 am
I've observed that the net has changed again over the last year or so. A lot of good sites and discussion lists have gone.
The search engines are much more commercially driven such that the 'pay for a listing' sites are
at the fore and the non-profit and academic sites are sliding further and further down the listings and are thus harder to find.
When I started the Print Australia printmaking portal it was because few such sites existed in 1999. There are hundreds now, but PA is still the primary source for australian print listings, and for that reason will continue to have an aussie emphasis.
Discussion lists have come and gone. I've observed that the majority of the lists could best be described as 'air head chatter' unless the site is well moderated or the discussion directed.
It is important to the health of the organisation that we not only continue to keep up, but that we direct our efforts into those areas that they are most beneficial. Accordingly, I hope to steer PA into some new
We are strong in technical discussion. We have an emphasis here on embracing less toxic methods and the list leads in this area of discussion n the web. The majority of list members, as far as I can see, are graduates, and that is the target audience PA aims at. An informed and academic level of discussion of printmaking theory is aspired to.
The rise of the blog as a net phenomena has had an impact on internet culture. So we now have a Print Australia Blog on Blogger.
You will note the the blog allows for multiple authors and for responses to be posted as comments to the posts. Dont know what a blog is? Here's a 2002 article
30 December, 2006
Natural Habitat consists of an exhibition and a seminar
The Netherlands Media Art Institute, Montevideo/Time Based Arts has set the goal for itself of promoting the wide development, application and distribution of, and reflection on new technologies in the visual arts. The Netherlands Media Art Institute supports media art in three core areas: presentation, research and conservation, and through its facilities provides extensive services for artists and art institutions. Associated with this are educational programmes, which are developed for all activities.
40 photo pages with works by 35 participants, as well as views of the
exhibition halls. Summary of information, artists list, etc.
Kuratorisk Aktion and NIFCA, Nordic Institute for Contemporary Art are very pleased to invite the public to the launch of the Rethinking Nordic Colonialism documentation DVD and WEBSITE.
Both document the rich body of aesthetic and theoretical reflections generated during the exhibition project Rethinking Nordic Colonialism: A Postcolonial Exhibition Project in Five Acts, which took place in Iceland, Greenland, The Faroe Islands, and Finnish Sápmi earlier this year. In addition, they contain a series of essays and interviews produced specifically for these publications.
Rethinking Nordic Colonialism has attempted to write a first collective history of Nordic colonialism. The project combined exhibitions with workshops, conferences, hearings, and happenings and featured fifty-six artists, theorists, politicians, and grassroots activists from all over the world. Together, they examined why the history of Nordic colonialism has been widely forgotten and how it continues to reproduce itself as waves of intolerance, xenophobia, and nationalism.
The DVD and website contain general information about the project and allow viewers to navigate through the project’s five acts and access the following:
• Participant Bios & Project Descriptions
• Exhibition Video Tours
• Film Program Video Tours
• Public Events Audio & Video Summaries
• Behind the Scenes Photos
• Printable Essays & Papers
• Reports from the Act Locations
• Press Material & Press Coverage
29 December, 2006
Bad Art for Bad People?
Jake and Dinos Chapman are leading British contemporary artists who came to prominence during the 1990s as part of the generation of so-called YBAs (Young British Artists). Since that time they have created a substantial, highly intelligent and challenging body of work that addresses the very heart of human experience and moral behaviour. They interrogate what we value as art, questioning the widely held view that the purpose of art is to be morally redemptive or socially edifying. They ask us to consider what we see as good or bad art – whether 'bad' art really is made by or for bad people – and to probe the assumptions that underlie established aesthetic criteria. They frequently employ subversive strategies through which they question the role of the artist and the complicity of the viewing audience.
The Chapmans' art is characterised by scepticism, parody and irreverence. It combines a vast range of influences, drawn from philosophy, critical theory, psychoanalysis, art history and popular culture. Their work engages with controversial issues including the human capacity for barbarity, war and violence, the 'banality of evil' in the twentieth and twenty-first centuries and the perpetual human preoccupation with mortality. It also addresses the transgressive realities of bodily existence as manifested in plastic surgery, genetic manipulation and cloning. A number of works tackle our assumptions about sex and sexuality, including the presumed innocence and asexuality of children, and the proximity between sex and death. Through an aesthetics of horror and disgust, they deal with the instability of moral and ideological belief systems, particularly those founded on eighteenth century Enlightenment thought, Christianity or consumerism. Another recurrent theme is the concept of originality, the validity of aesthetic appropriation and thus the nature of artistic creation itself. The painstaking craftsmanship and evident graphic facility exhibited in their work is played off against their tendency to endlessly recycle (their own and others') ideas.
Jake and Dinos Chapman, Bad Art for Bad People at the Tate Liverpool,
from 15 December 2006 to 4 March 2007
27 December, 2006
This statement outlines the origins and objectives for the Collections Australia Network (CAN).
In 2004 the Cultural Ministers Council (CMC), through the Australian Government Department of Communications, Information Technology and the Arts (DCITA) provided the funds for the redevelopment of the Australian Museums and Galleries On Line (http://amol.org.au/) website.
The CMC is a joint initiative of the Australian Government and Australian State and Territory Governments in partnership with the Australian cultural sector.
The Collections Australia Network (CAN) portal is intended to be the public gateway to collecting institutions across Australia including the small to medium regional institutions.
Besides providing access to nationwide information on Australia's cultural heritage, members of the public can also access an individual institution's own CAN website to explore its specific content, including:
collection descriptions and objects
exhibitions and general events
useful tools, links, resources for people working in the sector
A private, web-accessible area of the portal has been created for CAN partners. Here they can access sector information as well as tools to manage the content on their own institution's CAN-provided website.
Only not-for-profit, permanent organisations with publicly accessible collections (or groups representing the interests of such organisations) are eligible to apply for CAN Partner status.
Cultural Exchanges with Guangzhou China
Through Australian Eyes & Australia - Enchanting Impressions were two cultural exchange exhibitions hosted by the Guangdong Chinese Culture Promotions (GDCCP). The Australia China Council assisted in funding for both exhibitions.
Through Australian Eyes 2006
Australia - Enchanting Impressions 2004
Paper War 2004,
Digital Video 30 sec
This simple tracking shot along Guan Wei's exquisitely drawn battle scenes, silhouetted against a traditional landscape scroll, suggests the right-to-left movement of Chinese reading.
Sixteen of Australia's finest contemporary artists rethink the language of moving image and the rhythms of television programming by creating a series of 30-second works specifically for the television screen.
25 December, 2006
On the twelfth day of Christmas
My true love sent to me,
Twelve possums playing,
Eleven lizards leaping,
Ten wombats washing,
Nine crocs a-snoozing
Eight dingos dancing,
Seven emus laying,
Six sharks a-surfing,
Three wet galahs,
Two snakes on skis,
And a kookaburra in a gum tree.
Dashing through the bush,
in a rusty Holden Ute,
Kicking up the dust,
esky in the boot,
Kelpie by my side,
singing Christmas songs,
It's Summer time and I am in
my singlet, shorts and thongs
Oh! Jingle bells, jingle bells, jingle all the way,
Christmas in Australia
on a scorching summers day, Hey!
Jingle bells, jingle bells, Christmas time is beaut!,
Oh what fun it is to ride in a rusty Holden Ute.
Listen to the first verse of Australian Jingle Bells or the full song at A_G_R/MyChristmasPage.htm or purchase a CD containing this and other
Australian Christmas songs.
'The Holly and the Ivy' and 'Silent Night' are two popular Christmas songs. One is a traditional carol from the Middle Ages, while the other was written in the 19th century. Each has a snow-encrusted story to tell. For a sunburnt Christmas, we hear William James' 'Carol of the Birds'.http://abc.net.au/rn/rhythmdivine/stories/2006/1809717.htm
Across the plains one Christmas night,
Three drovers riding blythe and gay,
Looked up and saw a starry light,
More radiant than the Milky Way;
And on their hearts such wonder fell,
They sang with joy "Noel! Noel!
24 December, 2006
23 December, 2006
The Magic Pudding has been a source of wonder and amusement for nearly 90 years: no matter how much the reader gets out of the story, there is, as with the Pudding itself, always something left.
But to its author, artist and writer, Norman Lindsay (1879–1969), the book was a ‘little bundle of piffle’. Written as a distraction from the horrors of World War 1 and his brother’s death on the Somme, he thought it held him back as a serious writer.
The story arose out a professional disagreement Lindsay had with fellow writer, Bertram Stevens, who thought that fairies were the most popular subject for a children’s story. Lindsay believed it was food. The pudding won.
The original artwork is derived from 102 drawings Lindsay made for the book in pencil, ink and watercolour.
The first edition was a limited-edition art book, costing the relatively high sum of £110. Lindsay opposed the cost: ‘I wouldn’t have minded if it had come out as a kids’ book, to be sold at a price that would allow the kid to tear it up with a clear conscience’.
Norman Lindsay (1879–1969)Original illustrations for The Magic Pudding, c.1918
crayon, pen and wash drawings mounted in large albums; 47.0 x 40.0cm
Bequeathed by Sir William Dixson, 1952
Dixson Library, State Library of New South Wales
22 December, 2006
Good King Wenceslas
aled jones with the Royal College Of Music Chamber Choir
Oh Littletown of Bethlehem
aled jones with the Royal College Of Music Chamber Choir - carols for Christmas
Saint Paul's Cathedral Choir-Once in Royal David's City
Saint Paul's Cathedral Choir and Congregation
"Hark the Herald Angels Sing", from the 1997 Christmas concert... (more)
Saint Paul's Cathedral Choir - Psalm 84
Saint Pauls Cathedral Choir performs John Scott's composition of Pslam 84, presumably under John Scott's direction.
London's Saint Paul's Cathedral Choir sings "Glory to God", from Handel's Messiah, during the 1997 Christmas Concert at St Paul's Cathedral... (more)
performed by Vienna Boys Choir from a Chirstmas album recorded in 1977
ade fideles ( o come o ye faithful)
by Vienna Boys Choir
Vienna Boys Choir- Silent Night
Wiener Sängerknaben performs Stille Nacht. The original lyrics of the song Stille Nacht were written in German by the Austrian priest Fr. Josef Mohr and the melody was composed by the Austrian headmaster Franz X. Gruber.
"Silent Night" A duet: Andrew Kennedy and Harry Secombe.
King´s College Chapel Boys Choir - The Holly and the Ivy.
Choir of King's College, Cambridge singing "I saw three ships come sailing in" during a 2004 carols service.
A performance of "In dulci jubilo" from the Choir of King's College, Cambridge in 1954 during the first ever television broadcast of "A Festival of Nine Lessons and Carols." Boris Ord is the director.
Choir of King's College, Cambridge singing "Sussex Carol" during a 2004 carols service.
For unto us a Child is born
G.F. Handel's oratorio "Messiah", sung by the Musicon gang and friends, directed by Jon Colegrove. Approximately 75 voices plus the 4 soloists, and an excellent ad hoc orchestra. December 10, 2006 in Connecticut
The best-known part of G.F. Handel's oratorio "Messiah", sung by the Musicon gang and friends, directed by Jon Colegrove.
Saint Paul's Cathedral Choir- The Lord Bless You & Keep You
One of the premier British cathedral choirs performs for the Queen Mother's 100th birthday. The song is composed by John Rutter. In addition to the wonderful music there are some impressive shots of the cathedral and some cool views of the Yeamon of the Guard.
21 December, 2006
20 December, 2006
The research blog of Adrian Miles. Coordinator Labsome Honours Studio, RMIT University. Hypertext theory, vogs (videoblog) theory and practice, networked literacies and pedagogies.
From his vlogging manifesto (2000):
"A vlog uses PERFORMATIVE video and/or audio. A vlog is personal. A vlog uses AVAILABLE technology. A vlog experiments with writerly video and audio. A vlog lies between writing and the televisual."
Adrian's own blog about vlogs is: http://hypertext.rmit.edu.au/vlog/
14 December 2006 - 25 February 2007
Discover how moving imagery has become ubiquitous in both contemporary art and our daily lives with this exhibition of video art drawn from the extensive collection of the Centre Pompidou in Paris.
Tracing 40 years of practice, this exhibition allows visitors to walk through the history of video art from its first appearance in the 1960s to the current day. Curated by the Pompidou’s Curator of New Media, Christine Van Assche, this will be the first time a collection this size has been seen in Australia, taking up two floors of the MCA galleries. The exhibition has already toured to Barcelona, Taipei and Miami before arriving in Sydney.
Experience audiovisual installations, projections and works shown on monitors and be intrigued by the creations of over 25 renowned video artists from across the globe including Isaac Julien, Stan Douglas, Jean Luc Goddard, Samuel Beckett, Bill Viola, Pierre Huyghe and Tony Oursler.
a. is a monthly, online, bilingual magazine that showcases essays on contemporary art, reviews of exhibitions in Athens, interviews and book reviews. a. is attempting to document the contemporary art scene in Athens and to produce critical discourse, thus feeding the ongoing public discussion.
download current issue
#8 November - December 2006
a. athens contemporary art review
8 Acharnon str. Athens, 10432
tel.: +30 210 5232.222, fax: +30 210 5232.202
19 December, 2006
Autumn Evening , 1924
For Nolde the Third Reich brought defamation. His paintings were confiscated from the museums and his work was a special focus of the exhibition “Entartete Kunst” (“Degenerate Art”). From 1941 on he was prohibited from painting at all.
Nolde studied the Neo-Impressionists Vincent van Gogh, Edvard Munch and James Ensor, which, around 1905, gradually led him away from his early Romantic Naturalism and to the discovery of his own style with a strong emphasis on colour, colourful and glowing flower pictures came into existence. During a sojourn in Alsen in 1906 Nolde met the painters of 'Die Brücke', a group he joined briefly in the same year.
The Brücke group was quickly rehabilitated in the postwar years, although the attempt to stylise the anti-Semitic Emile Nolde as a resistance figure continues to astonish. Werner Haftmann, a well-known West German art historian, celebrated Nolde, the artist of inner emigration, as an "existential antifascist. Even more than those who were racially persecuted, he refused political strictures and intensified his own work."
The turbulent history of "Die Brücke" in Germany
... the 1937 "Entartete Kunst" (Degenerate Art) exhibition in Munich, which the Nazi Government organized to show the German people the kind of art they were meant to hate. That July, crowded willy-nilly into narrow galleries, on walls scrawled with epithets like "German Farmers as Seen by Jews," were 650 works by artists who included Max Beckmann, George Grosz, Wassily Kandinsky, and Emile Nolde. These works represent the 16,000 that had been confiscated from German public collections.
One of the founders of Die Brücke, (the Bridge) in 1905 along with Erich Heckel, Ernst Ludwig Kirschner, and Karl Schmidt-Rottluff, Nolde was intensely interested in printmaking.
The artists of the group frequently circulated exhibitions of prints in woodcut, etching, and lithograph; their hope was to strike a prophetic chord and awaken their compatriots to a new, free, passionate age.
Nolde, however, was too inclined to go his own way (and too much inclined to be suspicious of everyone) to stay with any group for long. Instead, he withdrew to work by himself on the moors and at the seashore of Northern Germany. His work, all of which was condemned by the Nazis as "Degenerate," is deeply spiritual and extremely intense, particularly his earlier work.
The Prophet, pictured below, is his most famous print and the work that, for many, best defines German Expressionism.
Nolde wanted his woodcuts to "embody an inner spiritual resonance," and he wrote, "I want so much for my work to grow forth out of the material, just as in nature the plants grow forth out of the earth, which corresponds to their character"
The Art that Hitler Hated: Kathe Kollwitz and German Expressionist Printmaking
The Stories Told by Record Covers
Record covers made a definitive mark on the visual image of twentieth-century urban culture.
The exhibition has been conceived as a multilayered and multimedia cultural and educational experience. Records and their covers – those fascinating, seductive objects that could once be found in nearly every home – are presented here as a phenomenon that reveals the commercial, class, sexual and ideological parameters of the twentieth-century world.
The first section of the exhibition presents the development of audio media from shellacs, singles, LPs, and cassettes to compact discs, as well as various forms of record packaging and the different ways records have been used.
The second section presents the colorful world of the record sleeve, as it was designed in the twentieth century by such visual artists as Marcel Duchamp, Jean Dubuffet, John Cage, Robert Rauschenberg, Joseph Beuys, Raymond Pettibon, Jože Slak-Đoka, Bogdan Borćić, Matjaž Vipotnik, Bronislav Fajon, Laibach, Kostja Gatnik, Slavko Furlan, Tadej Pogačar, Ediscroato, Marko Ilič, Jugoslav Vlahović, and many others.
The third section analyzes record covers with regard to their design and their social and political implications. It presents the stereotypical designs that emerged for jazz, rock, punk, classical music, popular folk music, etc., and examines the content of record covers that attempted to broach various social and political issues. It also looks at records that were the product of different music subcultures and their distribution networks both in Slovenia and abroad.
Finally, the exhibition speaks to the fact the many private and public record collections can be said to represent the most prevalent and most widely dispersed form of collecting twentieth-century art and visual culture.
Approximately 1000 record covers are on display in the present exhibition. The exhibited records have been borrowed from both private collections and public music libraries. The exhibition has been organized in collaboration with Radio Slovenia and Radio Študent. The curators of the exhibition are Nikolai Jeffs, Guy Schraenen, and Božidar Zrinski; serving as consultants are Ičo Vidmar, Polona Poberžnik, Jure Matičič, and Branko Kostelnik.
The Gorenje Company is the sponsor of exhibition;
the IPF Institute is the exhibition donor.
More information: 01 2413 800, firstname.lastname@example.org, www.mglc-lj.si
17 December, 2006
N0vember subject index
Mega Video screen at Rembrandtplein
The Vincent van Gogh Biennial Award
Grace Crowley: being modern
The Turner Prize 2006
Prints and printmaking Australia Asia Pacific
Irrkerlantye Etchings Exhibition
Damien Hirst Limited Edition Print Portfolio
Eye on Europe: Prints, Books & Multiples
Modern Chinese Prints: from 'We' to 'Me'
Since 2000: Printmaking Now
70 years of the ABC's history
Australian women's art
Australian Women Modernists
Desire, Sex & Power in Music Video
dead white males
advertising's image of women
NETWORKING, The Net as an Artwork
The First "Computer Bug"
Symposium II: ‘Curating and Feminism Today’
Elaine de Kooning, Portraiture, and the Politics of Sexuality
A History of International Women's Day
UbuWeb | Jean Cocteau
Blackfeather & Bon Scott
'Whatever Happened To The Revolution'
'I'll Be Gone'
The Goodies - gender ed
Geek Entertainment TV
BAK, basis voor actuele kunst
It was opened on the twentieth anniversary of International Women's Day and was one of more than one hundred exhibitions held in Australia in 1995 to celebrate women's activities and creativity.
The idea to hold many exhibitions simultaneously around Australia originated with Professor Joan Kerr and the team compiling a major text devoted to Australian women artists entitled: Heritage: the national women's art book.
The exhibition was successful and received media coverage, including mention on the front page of the local Canberra paper. The exhibition is mounted on the Internet in order to make images from the National Library's collection more accessible to all users of the Net.
Other images from the Pictorial Collection are accessible through the National Library of Australia Information Server.
Professor Joan Kerr is editor of the definitive book on Australian women artists, Heritage: the national women's art book. She and her team of researchers, firstly at the University of Sydney and during 1994 at the University of New South Wales, are the originators and driving force behind the exhibitions focusing on Australian women's art during 1994-95.
Art Gallery of South Australia 24 November 2000 - 25 February 2001
The show's format contributed to my sense of d￩ja vu, evoking the period of the 1970s when the shift of women's art from museum basements to gallery walls was accompanied by the shock of discovery. During this period of excavation and reclamation the survey style of exhibition was necessary - but is it still relevant a quarter of a century later? Since then women artists have been included in major surveys of Australian art, theme-based shows have been devoted to their work and key artists granted solo or retrospective exhibitions. Women modernists, in particular, have benefited from ongoing critical attention, either as the subject of monographs and/or contextualised within academic investigations of modernity and femininity.
This exhibition with its inclusion of a wide range of artists and art works unified only by gender, begs comparison with the 1975 exhibition Australian Women Artists 1840-1940 curated by Janine Burke. Significantly, the question of relevance finds a response in the quote from Burke that introduces the catalogue essay for Modern Australian Women:
"And it is in the wider world I wish to see women artists play their part. For that to continue to happen, we must tell stories, often the same story, over and over, so that it is not lost or forgotten, so that it retains potency, truth and relevance. "
(Burke quoted in Hylton, 2000, p. 15)
16 December, 2006
"he paints what he likes to paint, even if it means weathering accusations of misogyny, sexism, ageism, and homophobia"
Take one look at John Currin's paintings and you could assume he likes stupid women with big tits. Pouting, wide-eyed ing�nues look vacantly out of his canvases while ladies in mini-skirts measure each other's immense breasts. There is nothing politically correct here.
Currin, who had recently completed his M.F.A. at Yale University, was living in Hoboken, N.J., and trying to figure out how to break into the New York art world. As he tells it, he realized that the best way to stand out from the crowd of aspiring young artists was to do the thing nobody else was doing. So, he started making modest, easel-sized paintings, mostly portraits of young women loosely based on high-school yearbook photographs. "You get a lot of attention if you just play it straight," he said recently
Currin is also a masterful provocateur. For his first solo show at the Andrea Rosen Gallery in 1992, he presented a group of acerbic fantasy portraits of aging Park Avenue doyennes rendered in a pared-down, linear style that did the job without calling too much attention to itself. In the press release, Currin described them as
"paintings of old women at the end of their cycle of sexual potential … between the object of desire and the object of loathing"
—a deliberately sexist barb aimed at the "politically correct" art establishment. ("I meant it to sound mean. And I meant it to sound harsh," he later admitted.)
"You want sexism? I'll give you sexism!" A few years later he presented an instantly notorious group of paintings of women with basketball-sized breasts and faces done in craggy impasto acting out various soft-porn scenarios. Crass jokes rendered in oil on canvas, they are ostentatiously "bad paintings" done in the defiantly ironic mode of high-concept kitsch.
In the last few years, a painting by Currin has become the trophy of choice in Westchester living rooms, sending auction prices through the roof. (Last spring at Sotheby's, a work from 1995 sold for an astounding $427,500.)
Currin shifted away from the jokey, lowbrow subjects of his earlier work and toward a chaster rehashing of the Great Tradition.
Since 2000 highlights contemporary printmaking and the various ways in which artists have recently engaged and expanded upon the medium.
Since 2000: Printmaking Now
Kurator: Judy Hecker
mit Sarah Morris, Andrea Zittel, John Currin, Matthew Barney, William Kentridge, Richard Tuttle, Elizabeth Peyton, Paul Chan, Kelley Walker, John Armleder, Swoon , Nicola Lopez
Its not clear why Currin would be included in a printmaking survey show.
Since its release in 1991, over three million students and others have seen Dreamworlds. Updated in 1995, Dreamworlds 2 combines powerful imagery from some two hundred videos with incisive narrative to educate viewers on the impact of sexua Since its release in 1991, over three million students and others have seen Dreamworlds. Updated in 1995, Dreamworlds 2 combines powerful imagery from some two hundred videos with incisive narrative to educate viewers on the impact of sexual imagery in music videos.
Dreamworlds 2 addresses, more powerfully than any other tool available, the impact of pop culture on how young men and women see themselves (and each other) in terms of sexuality and gender. Shocking and often disturbing, Dreamworlds 2 allows its viewers to reflect critically on images which have such power precisely because they have become so common. By making their gendered messages clear, Dreamworlds 2 robs those images of their unchallenged power.
* Watch video
Filmmaker Maggie Hadleigh-West believes that the s What does it feel like to be a woman on the street in a cultural environment that does nothing to discourage men from heckling, following, touching or disparaging women in public spaces?
Filmmaker Maggie Hadleigh-West believes that the streets are a War Zone for women. Armed with only a video-camera, she both demonstrates this experience and, by turning and confronting her abusers, reclaims space that was stolen from her.
War Zone is an excellent discussion starter for both men and women. It gives voice and expression to a disturbing daily aspect of being a woman in this society. It also gives men a direct personal feeling for what harassing behavior looks and feels like to a woman. Young men who may think such behavior is cool or funny will be forced to rethink their assumptions.
War Zone is a classroom, documentary edition of Maggie Hadleigh-West's first film by the same title. Her film has been screened and applauded at scores of festivals in the U.S. and abroad. She has appeared to discuss the film on the Today Show, CBS News, 20/20, BBC, NPR, CNN, and Eye to Eye with Connie Chung.
Jean Kilbourne's pioneering work helped develop and popularize the study of gender representation in advertising. Her award-winning Killing us Softly films have influenced millions of college and high school students across two generations and on an international scale. In this important new film, Kilbourne reviews if and how the image of women in advertising has changed over the last 20 years.
With wit and warmth, Kilbourne uses over 160 ads and TV commercials to critique advertising's image of women. By fostering creative and productive dialogue, she invites viewers to look at familiar images in a new way, that moves and empowers them to take action.
Click here for Study Guide Handouts
* Watch videohttp://video.google.com.au/videoplay
Jean Kilbourne's award-winning video offers an in-depth analysis of how female bodies are depicted in advertising images and the devastating effects of those images on women's health. Addressing the relationship between these images and the Jean Kilbourne's award-winning video offers an in-depth analysis of how female bodies are depicted in advertising images and the devastating effects of those images on women's health. Addressing the relationship between these images and the obsession of girls and women with dieting and thinness, Slim Hopes offers a new way to think about life-threatening eating disorders such as anorexia and bulimia, and a well-documented critical perspective on the social impact of advertising.
Slim Hopes is a lively and engaging program suitable for a wide range of audiences at high schools, colleges and universities. Using over 150 ads, it informs as it entertains, allowing viewers to build an analytic framework for considering the impact of advertising on women's health.
15 December, 2006
Thursday 5PM: Micha Klein opens the Mega Video screen at Rembrandtplein Amsterdam
This Thursday (14 December) at 5pm sharp, Micha Klein will open Europe's largest urban video screen with a live VJ set. Mediamatic is doing the cultural programming of the screen in cooperation with more than 20 cultural institutions and many individual makers.
We'll celebrate with hot cocoa, rum and bubbly on the side walk opposite to the Escape discotheque. That's where the 114 m2 screen is installed. We'll show a selection of the programming and enjoy Micha's performance a bit more till, at 6pm, the regular cultural programming starts.
More info at http://www.mediamatic.net/rembrandt
Special guest at opening of Rembrandt Screen: Reza Abedini
Reza Abedini from Teheran is a guest of Amsterdam this week to collect this year's principal Prince Claus award and for the opening of his exhibition at Platform. He will say a few words at the opening of the screen this afternoon at 17:00.
The opening reel will start with an excerpt from his animation movie "In the Beginning" that is part of the show in Platform 21.
Just wasnt expecting to see little Johnny up there.....
14 December, 2006
the simpsons - the garden of eden (iron butterfly)
IRON BUTTERFLY In-A-Gadda-Da-Vida color clip
The Iron Butterfly on American Bandstand in upgraded quality.