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Michael Rakowitz – paraSITE

Mar 23, ’11 4:07 AM

Michael Rakowitz – paraSITE

ParaSITE: Custom built inflatable shelters designed for homeless people that attach to the exterior outtake vents of a building’s Heating, Ventilation, and Air Conditioning (HVAC) system. The warm air leaving the building simultaneously inflates and heats the double membrane structure. Built and distributed to over 30 homeless people in Boston and Cambridge, MA and New York City.

PARASITISM IS DESCRIBED AS A RELATIONSHIP IN WHICH A PARASITE TEMPORARILY OR PERMANENTLY EXPLOITS THE ENERGY OF A HOST.1

paraSITE proposes the appropriation of the exterior ventilation systems on existing architecture as a means for providing temporary shelter for homeless people.

 

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Michael Rakowitz

Mar 23, ’11 4:00 AM

Michael Rakowitz

(P)LOT questions the occupation and dedication of public space and encourages reconsiderations of “legitimate” participation in city life. Contrary to the common procedure of using municipal parking spaces as storage surfaces for vehicles, (P)LOT proposes the rental of these parcels of land for alternative purposes. The acquisition of municipal permits and simple payment of parking meters could enable citizens to, for example, establish temporary encampments or use the leased ground for different kinds of activities, such as temporary gardens, outdoor dining, game playing, etc.

 

A first initiative for this re-dedication is realized through the conversion of ordinary car covers to portable tents for use as living units or leisure spaces. Ranging from a common sedan to a luxurious Porsche or Lexus, the tents enable a broadcast of desire within the marginalized space of need.

 

 

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Krzysztof Wodiczko – The Homeless Vehicle Project

Mar 23, ’11 3:52 AM


Krzysztof Wodiczko – The Homeless Vehicle Project

This vehicle is neither a temporary nor a permanent solution to the housing problem, it articulates the fact that people are compelled to live on the street and that this is unacceptable. Through discussions with those people in New York City, a proposal for a vehicle to be used both for personal shelter and can and bottle collection and storage was developed. An earlier design was shown to potential users and modified according to their criticism and suggestions. It is not put forward as a finished product, ready for use on the streets, it attempts to function as a visual analog to everyday objects of consumption, such as food vendor carts. It bears a resemblance to a weapon, the movement of carts through New York are acts of resistance.

 

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Ernesto Costa

Mar 23, ’11 3:43 AM

Street Works.

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NYU Art and Politics Masters Program

Mar 22, ’11 9:17 PM

NYU Art and Politics Masters Program

The M.A. in Arts Politics: An Activist, Critical, Interdisciplinary Graduate Program

“The time has come to train unique arts activists–capable of activating critical and creative dialogue between art and the world, and committed to reshaping how art is produced, perceived and received.”

The politics that make art. The politics that art makes. This is an opportunity for artists and those working in the intellectual and institutional domains of art to enhance and elaborate the value and significance of their creative endeavors through intensive study, reflection, and engagement with the university and the world. Based at Tisch, the program combines a dedicated core faculty with access to faculty and courses from five different schools at New York University.

 

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The New School Vera List Center for Art and Politics

Mar 22, ’11 9:15 PM

The New School Vera List Center for Art and Politics

Mission

Founded in 1992 and named in honor of the late philanthropist, the Vera List Center for Art and Politics at The New School is dedicated to serving as a catalyst for the discourse on the role of the arts in society and their relationship to the sociopolitical climate in which they are created. It seeks to achieve this goal by organizing public programs that respond to the pressing social and political issues of our time as they are articulated by the academic community and by visual and performing artists. The center strives to further the university’s educational mission by bringing together scholars and students, the people of New York, and national and international audiences in an exploration of new possibilities for civic engagement.

 

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Glen Ligon: America

Mar 22, ’11 8:34 PM

Glenn Ligon: America

Glenn Ligon: AMERICA is the first comprehensive mid-career retrospective devoted to this pioneering New York–based artist. Throughout his career, Ligon (b. 1960) has pursued an incisive exploration of American history, literature, and society across a body of work that builds critically on the legacies of modern painting and more recent conceptual art. He is best known for his landmark series of text-based paintings, made since the late 1980s, which draw on the writings and speech of diverse figures including Jean Genet, Zora Neale Hurston, Jesse Jackson, and Richard Pryor. Ligon’s subject matter ranges widely from the Million Man March and the aftermath of slavery to 1970s coloring books and the photography of Robert Mapplethorpe—all treated within artworks that are both politically provocative and beautiful to behold.

 

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Artist: Tucuman Arde

Mar 22, ’11 8:30 PM

Tucuman Arde

“Tucuman Arde” is the name of a project executed by a collective of artists in Argentina in 1968. The artists conceived of art as an effective instrument for social change, and through the Tucuman Arde project they sought to bring the distressed social conditions of the Tucuman province to the attention of a large public. The project was conceived of as an intervention in mass communication, a circuit of counterinformation against the official one of the dictatorship.

A videotape about at the Queens Museum in New York resituating this important work in the context of Conceptual Art. In her essay “Escape Attempts,” Lucy Lippard had already pointed to the importance of the “Rosario group” as a model of a politicized conceptual art practice (in Ann Goldstein and Anne Rorimer, eds., Reconsidering the Object of Art: 1965-1975, Museum of Contemporary Art and MIT Press, Los Angeles, 1995). The catalogue for the Queens exhibition includes information on the Tucuman Arde project, and an essay from the 1968 exhibition is included in Alexander Alberro and Blake Stimson’s anthology Conceptual Art: A Critical Anthology (MIT Press, 1999).

 

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