26 June, 2008
VENETIAN CITYSCAPE PRINTS : A virtual exhibition by the Department for Image Science
In June the virtual exhibition *VENETIAN CITYSCAPE PRINTS*: A cicerone through the Venice of the early 18th century* developed by the Department for Image Science from the inventory of the Goettweig Monasteries Graphic Collection opens containing views of famous Venetian palaces, churches and town squares as well as reproduction engravings of important Venetian paintings by artists like Tizian, Tintoretto and Veronese.
Many artists produced their art works for the first time with the aid of the contemporary innovation *camera ottica*, a kind of wide-angel-lens that makes accessible, compared to the human eye, a wide field of vision of the squares, palaces and churches realistically visible. In this way the cityscape prints possess a documentary nature of Venices building history. Often the engravings are the only witness of the former look of the world-famous lagoon city before radical modification or demolition. The exhibition which is accompanied by texts of Werner Telesco also includes views of prominent memorials: Doge's palace, San Marco, Piazzetta, S. Giorgio Maggiore, Santa Maria della Salute, Rialto bridge and Arsenal. The main message of the *Vedute Ideate* is the effect of memory, the faithful documentation of Venetian main monuments that serves as remarkable testimonial of Venetian self depiction at the beginning of the 18th century.
The image database, which is result of the co-operation between the Department for Image Science, Danube University and the Goettweig Monastery is free for scientific use. High resolution Digital Fine Art Prints can be ordered from the Department for Image Science.
24 June, 2008
23 June, 2008
For more info see Blitz on Whilrpool:
What this means for Print Australia is that the original website is no longer online, and the contact emails are expected to go down at any time.
Steps are being taken to source a new service provider. In the interim, you are invited to access the site in its archived format on the Internet Archive site.
All other Aviary sites (Bellebyrd, Blakkbyrd and Lyrebyrd) remain operational.
There are extensive links between the various sites which will be out of order. We apologise for the inconvenience and request your patience.
Print Australia Websites
Print Australia - Original site (unavailable)
New Location on Internet Archive
"normal service will be resumed as soon as possible"
A replacement site is currently under construction.
21 June, 2008
May 2 through June 14, 2008
Opening Reception May 1, 6 – 9 pm
55 Great Jones Street between Bowery and Lafayette
Werkstätte is pleased to present The A.I.R. Gallery Retrospective: 1972 – 1979.
Opened on September 17, 1972 at 97 Wooster Street, The A.I.R. Gallery was the first women's cooperative gallery in New York. Founded in response to inadequate representation of women artists, and steeped in the ongoing discourse of the women's movement, the principal focus of the gallery was to exhibit the best, if non-traditional, work by female artists. Supplementing its rigorous exhibition schedule (the gallery exhibited 16 shows in its first year) was the “Monday Nights” program: a discursive educational program that utilized a time when galleries are traditionally closed. On select Monday evenings A.I.R. opened its doors to varying speakers, performances, and how-to seminars that covered topics ranging from tax preparation to organizing a cooperative gallery.
This exhibition, co-curated by Werkstätte and Patsy Norvell, surveys the work of the gallery's members from 1972 – 1979. At a time when the New York art scene is again moving downtown, the retrospective seeks to examine an organization that helped to pioneer the SoHo art scene in the seventies. Incorporating painting, sculpture, photography and video, and often utilizing such non-traditional materials as fabric, plastic bags and human hair, the exhibition demonstrates the wide range of work shown at A.I.R. Gallery during these years.
A.I.R. Gallery Retrospective 1972-1979 at WERKSTÄTTE GALLERY
Photograph of Shigeko Kubota performing her Vagina Painting, taken July 4th, 1965 at Cinemateque, E 4th Street, New York City during Perpetual Fluxus Festival. Photograph by George Maciunas.http://www.artnotart.com/fluxus/skubota-vaginapainting.html
Interview : Shigeko Kubota with Phong Bui
Rail: Over the last few decades, most artists of the younger generation, like myself, identify your work with video sculpture; but in fact you have made several remarkable performance pieces in the mid ‘60s. Let’s talk about Vagina Painting (held at Filmmaker Cooperative at Astor Place in 1965 where Jonas Mekas would occasionally let Maciunas take over the space to use for his Fluxfest) which was considered a kind of parody of Yves Klein’s use of the female body as a painting tool, as well as Pollock’s action painting. What was the reaction among those who saw it, and what did it mean to you at the time?
Kubota: They all said, “Oh, that’s a dirty idea, low art becomes high art.” Now people like it because it has a strong connection to Feminist Art, which is okay. But I didn’t really pay attention to what people thought about my work at the time. I was experimenting. The performance was important to my growth as a young artist. As you already know, through George I met Jonas Mekas, who had a great deal of influence on me and, because I recognized the connection between image and video, and since the whole performance scene became less active, I began to change my process as a result.
Les Vagina Paintings de KUBOTA and Les Anthropométries de KLEIN : les peintures menstruelles cachées et brûlées de YVES Klein (french)
Lilibeth Cuenca Rasmussen, A Void
45 Renwick Street, 212-609-3535
February 28 - March 29, 2008
Lilibeth Cuenca Rasmussen recreates Shigeko Kubota's 1965 performance "Vagina Painting" at her opening at Renwick Gallery.
Performance + 12 re-enactments by Lilibeth Cuenca Rasmussen
During the opening from 6-9 PM, Lilibeth Cuenca will make a live performance of her piece "The Artist's Song", followed by re-enact performances by Piero Manzoni, Yves Klein, Marina Abramovic, Yoko Ono, Ana Mendieta, and others. "The Artist's Song" deals with the different positions and genres in art. The film will be presented after the performance.
"A Void" investigates the identity of an artist and questions the authenticity of the art work and the history of art. Performance art has been very radical in its transgressions and has expanded the categories of art. The authenticity of performance art is related to the here-and-now experience. When the performance is over, it can only be experienced through documentation far from the original experience. Even if it is performed again, it will be very different from the original experience, dependent on the artist, the audience, time and context.
Lilibeth Cuenca Rasmussen re-enacts other artists' performances in her own way. The point of departure is identical, but the experience will be completely different. The historical re-enactments will follow each other without precedent announcement as one long performance. They will be documented and shown on video after the opening. Traces of the performances will also be present as drawings and photographs.
Lilibeth Cuenca Rasmussen (b. 1970 in Manila, lives and works in Copenhagen) had a solo exhibition in X-Rummet at Statens Museum for Kunst Copenhagen in 2006, and at Gävle Konstcentrum in Sweden. Furthermore she participated in the Busan and Rauma Balticum Biennales. She was chosen as Artist of the Year 2006 in the year book "Dansk Kunst 06". In 2007 she will participate in "Global Feminisms", Brooklyn Museum in New York, with performance and video.
images & video
Maya Stendhal Gallery
March 6 - May 24, 2008
Opening Reception: Thursday, March 6, 6-8pm
Maya Stendhal Gallery is pleased to present From Fluxus to Media Art, a special selection of artists working in a range of media including film, video, sculpture, conceptual performance, and digital technologies. On view will be work by Jonas Mekas, George Maciunas, Fluxus, George Brecht, Andy Warhol, Nam June Paik, Shigeko Kubota, and Studio IMC.
The exhibition offers a wider view of the history of media art, exploring many of its defining attributes in the pioneering practices of artists during the 1960’s. This time observed a radical shift when artists, strongly influenced by the anti-art practices and objects of Marcel Duchamp and Dada and theories of Surrealism, challenged established modes of value and interpretation. Critical artworks and films in combination with rare and original archival material shed new light on the interrelated, avant-garde activities of various artists whose sensibilities to new technologies of their time and multi-media foundations expanded the scope of artistic practice for later artists. Highlights include the international Fluxus art movement of the 1960’s comprised of artists who, through shared interdisciplinary interests, collectively explored the creative possibilities that occur between genres including art, performance, literature, non-narrative film, and music. Also featured will be Fluxus contemporaries Jonas Mekas and Andy Warhol whose unconventional approaches to filmmaking helped established film as an art form.
As early as the 1950’s, leading avant-garde filmmaker Jonas Mekas was experimenting with new technologies, developing his signature diaristic approach and in-camera style of editing. Nearly 60 years later, he continues to be at the helm of digital innovation with his website www.jonasmekas.com. The website witnessed Mekas’ relentless commitment to the art of film through his ambitious 365 film project. Drawing from old and recent footage, he released one film each day throughout 2007. For the exhibition, Mekas personally selected films from this collection capturing the creative impulses and interdisciplinary interests of key Fluxus members with appearances by its charismatic Chairman and Impresario George Maciunas, Shigeko Kubota, Nam June Paik, Ben Vautier, as well as Andy Warhol.
full media release
James Kalm drops in for a viewing of artifacts and documents that cover nearly a half century of developments that began with the meeting of Jonas Mekas and George Maciunas in 1955. Evolving from the anti-aesthetics of Dada and Marcel Duchamp, Fluxus came of age during a period that encompassed radical technological and social change. Features works by Andy Warhol, Jonas Mekas, George Maciunas, George Brecht, Nam June Paik, Shigeko Kubota and Studio IMC with an in-depth interview with Jonas Mekas
more James Kalm videos
In November 1968 work began on one of one of John & Yoko's most ambitious film ventures, a 75-minute mini-feature called Rape. It starred Eva Majlata, a 21 year old Hungarian actress who couldn't speak English. She cannot escape the prying attentions of the camera which follows her around the streets of London, through a park, allowing her no privacy and almost causing her to walk into the path of a truck. She attempts to escape in a taxi, but is still followed. She is eventually cornered in an apartment from which she apparently cannot escape and her tearful pleas to the camera remain ignored. Rape was shot when John and Yoko were both at Great Charlotte Street Hospital following Yoko's miscarriage. The cameraman was Nick Knowland, who worked on most of John and Yoko's productions.
The film received its world premiere on Austrian Television on 31st March 1969. That year it was also shown at the Montreux Television Festival and the Mannheim Film Festival. A day after the Austrian TV broadcast John and Yoko held a press conference in Vienna. John commented: "We are showing how all of us are exposed and under pressure in our contemporary world. This isn't just about the Beatles. What is happening to this girl on the screen is happening in Biafra, Vietnam, everywhere." The theme of the relentless, clinical camera lens, 'raping' the privacy of individuals or groups for the entertainment of the viewing public intrigued critic Willie Frischauer, who wrote in the Evening Standard; "This film does for the age of television what Franz Kafka's The Trial did for the age of totalitarianism."
In 1961, at age 33, Karlheinz Stockhausen was already among the most well-known of living composers, though not yet the guru figure of Beatles tributes and electronica lore. He had just finished composing Kontakte, a piece for electronic four-channel tape and piano/percussion duo, in which he attempted a high degree of interaction between live performers and taped sounds, as well a new degree of theatricality in the onstage movements of the musicians. He received a commission for a "theatrical" work from a theater producer in Cologne, and Originale (Originals) was scripted rapidly during a visit to Finland in July of 1961.
The stage actions consisted largely of normal activities undertaken by actors who were basically playing themselves: a poet played himself as "the poet," reading poetry on stage; a "painter" paints; a "film man" and "lighting man" and "models" go about their normal business, all within their allotted times (hence the title of the piece: "originals" playing themselves).
The premiere of the work in Cologne in autumn 1961 was a success for the participants and a scandal for the organizers, who pulled funding two days into the twelve-day run, forcing composer and company to take financial responsibility for the rest of the run.
Cast includes Allan Kaprow, Nam June Paik & Allen Ginsberg
Stockhausen's Originale: Doubletakes, The Film (1964)
1964-94, 30:05 min, b&w, sound
This video was converted from original film footage of three 1964 performances of Meat Joy at its first staged performance at the Festival de la Libre Expression, Paris, Dennison Hall, London, and Judson Church, New York City.
Meat Joy: First performed May 29, 1964, Festival de la Libre Expression, Paris.
Filmed by Pierre Dominik Gaisseau. Editor: Bob Giorgio.
Meat Joy (1964)
1964, 6 min, color, sound, 16 mm film
19 June, 2008
Girls and women, wives and mistresses, have played a crucial role in Blackman's life, and the female in her various forms re-appears in his paintings time after time.
"Of these most powerful invocations, the image of women is perhaps the strongest, such that he has painted woman in a fashion rarely ventured by other painters," writes Nadine Amadio in a book on Blackman. "His paintings of women reach the emotions, the dreams and the inner world of women . . ."
That is not so surprising when you learn he was born in Sydney in 1928, the only boy in a family with three girls. As his father walked out when he was four, he was the boisterous son in a family of excitable women and their influence seems to have pervaded his life and imagination.
Perhaps that is why schoolgirls became as much part of his earlier paintings as the harlequin did for Picasso or the guitar for Braque. ``I just started drawing my schoolgirl pictures, they just came out,'' Blackman once said. ``It takes a long time to get to the door, once you pass through the veil or once you pass through the surface of the idea, then it all comes pouring out.''
The schoolgirl paintings later led to the Alice in Wonderland series of pictures that are now highly expensive collectors' items. What attracted him to Alice, he recalled, was that ``once you go through the mirror, everything is possible. It had to do with my feelings about feminity and the fact that scale, size and relationships were altered ...''
One picture from the series titled The Madhatter's Tea Party that he sold in 1956 for 20 guineas, was knocked down for $430,500 at a Deutscher-Menzies auction in May last year - setting a new saleroom record for the artist and pushing him to the top ranks of high-priced painters for the first time in half-a-century.
full article - the age
....Blackman once said the schoolgirl pictures had a lot to do with fear: ``A lot to do with my isolation as a person and my quite paranoid fears of loneliness. It wasn't until I started painting schoolgirls that Sunday Reed (wife of John Reed the famed patron of artists such as Nolan and Boyd) showed me John Shaw Neilson's poetry about school girls; they were full of a kinship, the sort of thing that I was painting fitted in with it perfectly.''
..... Among a chaotic pitter-patter of details and noisy paint, Alice's head is schematised as a nicely defined tonal egg with pursed lips, generally riding on the same angle as that set by the stiff shaft of the neck. It inevitably gives Blackman's Alice a hypnotically goofy look.
Even more than the upstanding ears of the white rabbit, Alice's abnormal head with flashes of yellow hair arises almost in fulfilment of the Freudian caricature of Lewis Carroll's Alice. Beginning as a hoax, a theory had circulated since the 1940s, interpreting the rising and shrinking of the girl's physique as a projection of the male organ (and desire for the girl). This spurious theory informed the moral charge against Carroll's own photography of little girls, Alice included.full article - the age
The exhibition in fact took place Apr. 13-28, 1934. Galerie Pierre showed, besides two small portraits, the five large paintings that Balthus, working fast, had prepared during the last year.(1) Informing his friend Margrit Bay in Beatenberg in the autumn of 1933, Balthus wrote: "I want to complete a number of paintings for this winter that will be screaming witnesses to my right of existence."(2) The works he produced subverted familiar subjects -- a girl at a window, in front of a mirror, at her toilette or receiving a music lesson -- turning them into scenes of hard-edged eroticism with a strongly sadomasochistic undercurrent.
On Apr. 20, 1934, one week after the exhibition opened, Balthus wrote again to Bay:This exhibition, much to my surprise in these times so indifferent to intellectual pursuits, has caused a great sensation and produced many discussions. All people of any importance are either shocked, excited, deeply moved or enthusiastic, and, according to general opinion, it is the most important exhibition of the last ten years. So this is now the rise of my star. Of course, I dislike such loud enthusiasm ... ; however, I am pleased that I have been able to move some true and great people.... Thus I have not fought and endured privations in vain. There are some who understand when one has something important to say.... It was a moral victory, because money was not the object.... I had only planned to strike the gong violently in order to somehow shake people up and make them more aware. I think I succeeded.... My financial situation is tragic, and I ask myself if under these circumstances I shall now be able to express all that I have to say."(6
Alice presents two contrasting views of female sexuality. The ambiguity perceived by Artaud is analogous to the Symbolist view of female sexuality as threatening, cruel and dangerous. Alice's alluring posture and her strong sensuality can also be compared to Courbet's painting The Origin of the World (1886). (The Courbet was owned by the French psychoanalyst Jacques Lacan, whom Balthus knew; Lacan may well have shown it to him.)
...The Guitar Lesson is Balthus's most notorious yet least discussed work. No music is being played in the scene depicted, as the tutorial has turned instead into a sexual initiation rite. Most of Balthus's writer and poet friends have passed over the work in silence. Those who have addressed it tend toward the noncommittal. Jouve cared it "a little daring" (1944),(18) while Yves Bonnefoy commented on the work's "amazing stiffness,"(19) and Jean Leymarie described it as Balthus's "only deliberately erotic Work."(20)
...The composition is based on a Pieta, probably the Louvre's mid-15th-century Pieta of Villeneuve-les-Avignons, to judge from the near identical height and comparable sizes of the figures. Balthus depicts a female music teacher holding a young girl across her thighs in lieu of the toylike musical instrument abandoned on the floor. The child makes no attempt to struggle. Her body arches in anticipation of pleasure or, perhaps, pain, her posture evoking the rigor mortis of its celebrated prototype on the lap of the Virgin Mary.
Similar themes are of course a mainstay of popular pornography: in book illustrations devoted to sadomasochistic scenes, the stout school mistress who seduces her pliable pupil has long been a favorite, especially in Wilhelminian Germany of the late 19th century.
.... The history of The Guitar Lesson is as interesting as its subject matter. During the two-week exhibition at the Galerie Pierre, The Guitar Lesson hung in the gallery's back room, accessible only to a select few. It remained unsold at the time, and Soby had no competition in buying this work, shortly before the war, from Pierre Colle. To ensure its passage through U.S. customs the painting was covered by another canvas representing a religious subject with angels.
In 1977 Matisse showed The Guitar Lesson in a small retrospective exhibition of Balthus's work at his gallery in New York. The catalogue reproduced the picture for the very first time.(32) Forty-three years had passed since the work had last been seen in public. This image, shocking yet somewhat naive, erotic yet still oddly chaste, had lost little of its impact; the picture attracted a steady stream of gallery visitors.
In 1978 Pierre Matisse donated the painting to the Museum of Modern Art in memory of his late wife Patricia.(33) However, four years later, just before the opening at MOMA of a small installation devoted to the Balthus works owned by the museum, an important trustee happened upon The Guitar Lesson and was so shocked by it that in the end the painting had to be returned.
Balthus lessons - five controversial works by the French artist
Art in America, Sept, 1997 by Sabine Rewald
view The Guitar Lesson
Last year in an interview with Nicholas Glass the British Channel 4 News arts correspondent, Balthus recalled the Paris exhibition in 1934 in which he showed the controversial painting 'The Guitar Lesson'. Paris was shocked by the frankly erotic image of a naked young girl in the lap of her music teacher. According to the artist, he had well anticipated the public reaction.
"I remember I was very poor," he says. "The only way to get out of that state was to make a scandal. It worked well, too well."
(Tuesday April 25, 2000, The Guardian)
18 June, 2008
18 JUNE - 7 SEPTEMBER 2008
Welcome to the YouTube Channel for the 2008 Biennale of Sydney, Revolutions - Forms That Turn.
The Biennale of Sydney is Australia's largest and most exciting international visual arts event.
The Future of Pier 2/3
17 June, 2008
Have a look at these ten pictures, and for each case answer one simple question: art, or porn?
"Just got into an argument about this and i wanted to hear some opinions. The US government describes pornography as "Anything that causes sexual thoughts." I think that description is a little... well its a little too broad, esp. for photography. I mean we all know what blunt pornography is but where do "artistic nudes" turn into porn?"
forum on Digital Photography Review++++++++++++++++++++++
Another Forum on Yahoo
Exbibition "Hell at the Library, Eros in secret"
The items, on display through March 22, are drawn from a permanent collection created in the 1830s when the library isolated works considered "contrary to good morals." They were put in a locked section with its own card catalogue and given the name L'Enfer — hell. Many pieces have been consigned there over the years by the police for safeguarding, perhaps, and posterity.
it includes hundreds of pornographic literary works, including those by Sade, photographs by Man Ray, audio excerpts recorded during coitus, silent pornographic black & white movies from 1921, and official historical documents such as a police report that lists all the houses of ill repute in Paris circa 1900, and what they charged for their services.http://www.iht.com/articles/2008/01/17/arts/erotic.php
representation of sexual behaviour in books, pictures, statues, motion pictures, and other media that is intended to cause sexual excitement. The distinction between pornography (illicit and condemned material) and erotica (which is broadly tolerated) is largely subjective and reflects changing community standards. The word pornography, derived from the Greek porni (“prostitute”) and graphein (“to write”), was originally defined as any work of art or literature depicting the life of prostitutes.
Leo Schofield Interviews Bill Henson
23/5/2008 Kevin Rudd on Today - Bill Henson
Kevin Rudd Defends his Bill Hensons comments
Bill Henson at Rosslyn Oxley9
Bill Henson at the V & A
12 June, 2008
"A idéia de escultura funcional foi um jogo com as práticas urbanas e o modo como elas expandem a função do espaço público e da arquitetura civil". Shaun Gladwell em entrevista para o guia da 27ª. Bienal de São Paulo.
Trailer zur derzeitigen Ausstellung im OK Offenen Kulturzentrum OÖ!
On Bellebyrd June 2007
On Blakkbyrd June 2007
Artist Tony Schwensen hosts a sausage sizzle outside the MCA as a tongue-in-cheek attempt to raise funds to assist in realising artists’ projects for the 2010 Biennale of Sydney.
Clear your diaries for the opening week of the 16th Biennale of Sydney with events and Artists' Talks running from Wednesday, 18 June to Sunday, 22 June. More
The Biennale of Sydney celebrates its 35th birthday with a sensational line up of artists and projects that will keep growing until opening day and beyond. From the extreme to the arresting, it hosts more Australian artists than ever before and includes the magical Cockatoo Island in Sydney Harbour as a major exhibition site, as well as premiering an extraordinary online venue – a first for a biennale worldwide.
The free exhibition is expected to welcome more than a quarter of a million visitors, and more than 180 artists will participate – with over fifty newly created artworks presented alongside some of the world’s most ground-breaking art from the avant-gardes of last century.
Celebrating this milestone exhibition, Australia’s leading international contemporary arts festival has drawn on the expertise of renowned curator, Carolyn Christov-Bakargiev.
Billed this year as a celebration of the defiant spirit, the exhibition will bring together some of the most revolutionary artists the world has ever known alongside the shining stars of today.
The theme of the 16th Biennale, Revolutions – Forms That Turn, suggests the impulse to revolt, a desire for change, and seeing the world differently. Many works in this year’s exhibition will be participatory, encouraging people to step inside art and discover new ways of looking and thinking about life today. Movement is a strong feature – works turn, spin, go in reverse, mirror, make noise and even blow up.
Music video of Poland's DHC MEINHOF taken from a song on their debut album "Bring Chaos To Order", through D-TRASH Records. Riotous punk hardcore digital sounds!
11 June, 2008
One of his paintings, The Holy Virgin Mary, a depiction (portrait) of the Virgin Mary, was at issue in a lawsuit between the mayor of New York City, Rudy Giuliani, and the Brooklyn Museum of Art when it was exhibited there in 1999 as a part of the "Sensation" exhibit. The painting depicted a black African Mary surrounded by images from blaxploitation movies and close-ups of female genitalia cut from pornographic magazines, and elephant dung. These were formed into shapes reminiscent of the cherubim and seraphim commonly depicted in images of the Immaculate conception and the Assumption of Mary.
Edward Koch, Former Mayor, New York City, Robinson, Silverman, Pearce; Bill Donahue, President, Catholic League; Michael Kimmelman, New York Times; Floyd Abrams, First Amendment Attorney
May 2008 Subject Index
New Prints - NY
Print Exhibitions & Events
Print Australia Catalogue
What's On in Amsterdam
Graduate Exhibitions - de Brakke Grond
graffiti and art express
Gaugain - Tahiti
Close & Rauschenberg
Rauschenberg - Erased De Kooning
Art 39 Basel 2008
16th Biennale of Sydney 2008
2008 Biennale of Sydney Videos
How to Speak Mandarin Chinese
Art Museums - Taiwan
2008 Taipei Biennial
Language Lessons - podcast downloads
The Print Australia website
mat gleason interview
Wile E. Coyote v Acme Company
museum in progress
Art & Religion - Chris Ofili
art fraud - van Meegeren
Art Fraud - Myatt & Drewe
sao paulo - cidade limpa
Art or Porn?
Art or Porn?
IBM Gaming reports - de balie
From Fluxus to Media Art
Nancy Spero - De Appel
Brassaï - Graffiti Paris 1930s
If I Can't Dance Tonight
Shigeko Kubota 1965 (vagina painting)
The A.I.R. Gallery Retrospective: 1972 – 1979
Burning Bridges - London
Systems of Hobos Tramps or Gypsy signs
more on hobo signs
Train Tags: Beyond Hobo
Semiotics of the Bicycle
John Lennon & Yoko Ono 1968
Karlheinz Stockhausen 1964
Carolee Schneeman 1964
Dutch Football Intelligence
The Bon Scott Project
April 2008 - Subject Index
Marino Marini Museum
casestudy - (Un)Safe practices
Prints - Santa Croce, Florence
Demo of Block Printing
Build an Etching Press
Paris 1968 Posters
May 1968 - Protest Posters
Dictionary of Australian Artists Online
Andrea del Sarto
Bacon & Velazquez
Giorgione, Titian & Manet
the new normal
Traces du Sacré - paris
Rachel Ruysch 1664 - 1750
Whiteley & Bacon
Street Art - Tate Modern UK
What's On in Amsterdam
Arrow - Aust. Research Online
Mary Magdalene - Hair
Prize for Young Dutch Art Criticism
Shepard Fairey Sources
May 1968 Slogans
Pure Hate - Wir haben die Züge schön
Pure Hate Graffiti Berlin Lichtenberg
Birds - Florence (Firenze)
Barry McGee Interview
Quiksand - Photos
Artforum: May ’68
10 June, 2008
Chuck Close, Artist clips: "Chuck Close: Portrait in Progress" [Muse Film and Television / Art Kaleidoscope Foundation /WNET]; book: "Chuck Close" [The Museum of Modern Art], "The Portraits Speak: Chuck Close in Conversation with 27 of His Subjects"// Robert Rauschenberg, Artist, interview/walking tour at the Guggenheim
09 June, 2008
This page contains resources for learning and studying the Mandarin language.
How to Speak Mandarin Chinese for Beginners
- Ask Benny offers fun introductory videos. Benny goes through important phrases, teaching them word by word (in Pinyin).
- The cartoons from Active Chinese present dialogues, then show the words in simplified Mandarin as they explain each word's meaning.
Listen to language lessons from around the world. Click on a language lesson in order to listen to the lesson in your default media player. Or subscribe to the lessons as podcasts. Learn more about podcasts.
Currently, we offer:
08 June, 2008
13th September 2008 - 4th January 2009
2008 Taipei Biennial is organized by the Taipei Fine Arts Museum
181 ZhongShan north Road Section 3 Taipei 10461 Taiwan
After more than a decade of changes, in 1998 the Taipei Biennial instituted a revolutionary change: in order to adapt to the international 'biennial' trend, and in order to raise Taiwan's contemporary art to international acclaim, the TFAM began to invite internationally-renowned curators to cooperate with local Taiwan curators, marking the first time that Taiwan had held an international art biennial.
Beginning in the 1990s, countries across Asia began organising contemporary art biennials, named after the cities in which they were held, such as Japan's Yokohama Triennial, and Fukuoka Triennial, China's Shanghai Biennial, and Guangzhou Triennial, Australia's Sidney Biennial, Korea's Kwangju Biennial and Busan Biennial, and the Singapore Biennial. International Biennials and Triennials have become one of the most important cultural references in the cities in which they are held, and a crucial strategy for entering the international contemporary art stage.
The 6th Taipei Biennial, like our lives, is uncertain, fragmented and fragile. The project does not have a single theme, but a constellation of correlated themes, most of which address the chaotic states of things in this time of globalization. The exhibition engages with the city of Taipei in various ways. It does not only take place in the Taipei Fine Arts Museum, but also exists in a range of urban spaces. There will be performative works and interventions in the city, some of which will be documented and reconfigured in the exhibition venues. ...
Hence, the exhibition focuses on issues such as globalization and its resistances, the neo‐liberal habitat, mobility, borders, divided states and micro‐nations, urban transformations, informal economies, politics, and conditions of war.