What is the Summer Salon Series?
Every Friday evening, from June 1 through August 31, 2012, The San Diego Museum of Art will be hosting artists, lecturers, poets and performers to investigate the topics of historical fictions and the dissemination of information. Where do we get our news from? Who and what controls our access to information? What are the historical images and myths that affect our current social, cultural and political discourse? How is fiction used by artists to tell stories and create awareness of particular issues? Is there such a thing as the ethical use of propaganda? With such a glut of information at our fingertips, how do we assemble this information into practical knowledge? What are the personal fictions we tell ourselves as individuals? When does “the document” become the event itself in terms of shaping public discourse? These are the types of questions that have been raised since the popularization of postmodernist inquiry in the 20th century, which raise relevant questions for the information age, and serve as an appropriate link between contemporary art and the 15th century art that will be on view at the Museum over the summer.
This program provides the Museum an opportunity to present its version of the “salon,” a place for all those interested in art and culture to meet, discuss ideas, and engage with artistic performances. The Series presents projects, performances, talks, demonstrations, and workshops, most for one night only, although repeat performances or projects that occur over the course of several evenings will also be considered. Artists are encouraged to think about how their work at the Museum might engage the surrounding neighborhoods and residents of San Diego either directly or indirectly.
What is the theme of the 2012 Summer Salon Series?
In 1471, the Portuguese king Afonso V carried out a military campaign in Northern Africa that ended in the capture of the important cities Asilah and Tangier near the Straits of Gibraltar. To commemorate his victory, Afonso V commissioned a set of four tapestries that were originally hung in his royal palace. The first three tapestries illustrate the long siege and battle for Asilah, but the conquest of Tangier is depicted in a single panel: receiving no reinforcements, the town’s citizens chose exile over massacre and abandoned the city to the Portuguese army. Woven soon after the 1471 battles, these monumental tapestries, each measuring 12 by 36 feet, are considered among the finest Gothic tapestries in the world. Long held at the Collegiate Church of Our Lady of the Assumption in Pastrana, Spain, they are commonly identified as the “Pastrana Tapestries.”
For three months, from June 9 until September 9, 2012, the San Diego Museum of Art will host The Invention of Glory: Afonso V and the Pastrana Tapestries, an exhibition that marks the first time that these recently restored tapestries have been shown in the United States. Exquisitely rendered in wool and silk threads by Flemish weavers in Tournai, Belgium, the tapestries teem with vivid and colorful images of knights, ships, and military paraphernalia set against a backdrop of maritime and urban landscapes. They are also among the rarest and earliest examples of tapestries created to illustrate what were then contemporary events, instead of allegorical or religious subjects. The designer minimized the misery of warfare, reinventing the event with the heroic image of Afonso and the ideals of chivalry in mind. Along with the glorification of the battles, the tapestries act as document of the earliest stages of European colonialism. Yet, at the time of their creation, these works would have been considered a primary document of the battles; now, 500 years removed, we can understand how these tapestries were utilized as a tool to mold opinion. The problematic nature of these otherwise incredible works raises several issues, the focus of which will comprise the 2012 Summer Salon Series.
Where did the 2012 title come from?
The Series title, “Beyond the Banner,” is actually an advertising term, which refers to a type of web page advertising that uses strategies other than an embedded image at the top of the page, such as sponsoring, contest promotion and blending with the content of the page itself. In other words, this type of advertising is a bit harder to separate from actual content. In the Medieval and Renaissance periods of course, banners were the flags that armies carried bearing the symbols and crest of their sovereign state or lord, and they are quite prominent throughout the Pastrana Tapestries. The 2012 Series has taken as its starting point the historical re-examination of the 15th century Pastrana Tapestries, in order to investigate the fictions of our own information age.
Who does the Museum partner with on the Summer Salon Series?
The San Diego Museum of Art is proud to work with important community partners in San Diego, such as Agitprop and M-Theory Records.
Agitprop is an alternative, community-oriented art space in the North Park neighborhood of San Diego.
M-Theory Records is located in the Mission Hills neighborhood of San Diego, and is a favorite of vinyl junkies, DJs and music enthusiasts alike. They frequently hold in-store performances and are passionate about turning people on to music they may not know about.
How do I apply to have my work included in the 2012 Summer Salon Series?
STATE OF EMERGENCY: ACTION FOR EDUCATIONAL JUSTICE
University of California, San Diego
March 1, 2012
It is with immediate concern that the administration of the University of California, San Diego address issues of upholding the promises of the California Master Plan of Education for an accessible, public, and free University of California. Though the Master Plan does not qualify the meaning of accessibility and equity or address the structural racism of the education system, our expectation is that the University of California be accessible and free regardless of race, socio-economic status, immigration status, or other potential barriers to access.
We, the Public Education Coalition (Faculty, Graduates, Undergraduates, Staff, United Auto Workers, AFSCME Workers, and other workers’ organizations), Reclaim UCSD, the Student Affirmative Action Committee (The Asian Pacific-Islander Student Alliance, Black Student Union, Kaibigang Pilipino, Movimiento Estudiantil Chican@ Aztlan, Muslim Student Association, Native American Student Alliance, Queer People of Color, Students with Disabilities Coalition), and numerous allies at the University of California, San Diego have the following concerns, expectations, and demands:
We, the Students, Faculty, Staff and Workers of the University of California, San Diego, demand that the library formerly known as “CLICS” be reopened, owned and run by and for students and librarians (not under the Executive Vice-Chancellor of Academic Affairs), and refunded by the University through decreases in administrator salaries and student fees and increases in taxes on the wealthy and corporations. In order to pursue these ends, we are committed to uniting with people and movements in all sectors of society, all around the world, from Chile to Puerto Rico, from Greece to Spain, from Egypt to Iran, from Peru to Ireland to the Phillipines, from Occupy Wall Street to Occupied Palestine, from UC Riverside to UC Davis to UC Berkeley, who share our commitment to the empowerment of workers, students, and the unemployed to create an equitable and compassionate society. Our peoples will rise to decolonize UCSD, which is on occupied Kumeyaay land, to decriminalize the border and to smash imperialism and capitalism in our country and throughout the world. Through collective struggle we will reverse the privatization of our University and reclaim public education as a human right for all people.
II. UCSD INSTITUTIONAL DEMANDS
DEMAND 1: CLICS BE REOPENED IMMEDIATELY
Before CLICS permanently closed in the Fall of 2011, it was one of the few libraries that provided enough study space for all students. During Finals Week, CLICS was the only space that would provide students with the resources to study for their Finals on a 24/7 basis and was a close library for Revelle students to study at. Currently, the University has opened a portion of Giesel Library to be used by students during Finals Week but it does not provide the same resources as CLICS once did. As a response to budget cuts from the state and the mismanagement of funds by the Regents of the University of California, the UCSD Administration, specifically the Executive Vice Chancellor of Academic Affairs, decided to close CLICS Library and three other libraries to save the University money. By doing so, the University has prevented students the ability to excel in their academics and has institutionally neglected the needs of students.
Throughout finals week last quarter, students collected 1,261 signatures for a petition to reopen CLICS as a student-run university funded study space. This petition along with an abbreviated set of immediate demands was personally delivered to a number of Vice Chancellors on Friday, December 9th. There were three immediate demands: keys to CLICS be delivered to an appointed liaison, chairs and desks be returned to CLICS, and a moratorium be placed on construction plans. With the exception of returning desks and chairs, the petition and the demands were ignored, although CLICS has been temporarily reopened for winter quarter, a decision made unilaterally by the administration.
The university, without the approval or transparent consultation of the student body, plans to renovate the space formerly known as CLICS Library and convert it into a large lecture hall with a minimal peripheral portion dedicated to study spaces. In this time of increasing class sizes and a decreasing workforce of instructors, a lecture hall will only contribute to an already impersonal, ineffective, and unsustainable educational model. Furthermore, these renovations will cost $6.7 million. Running CLICS, however, cost only $450,000 annually. Millions of dollars are being wasted on this renovation which could be going to instruction and keeping libraries open, services essential to quality education.
Further, we understand that space has been promised to the Theatre and Dance Department for rehearsal/design studios and needed office space. Given this, WE DEMAND that the Theatre and Dance Department’s needs be met as promised.
This University needs to prioritize education. We will no longer allow our Administration to use our student fees and public dollars and waste them on things that are not relevant to the access, retention and success of students. Thus, WE DEMAND that the University allocate sufficient funds to keep CLICS Library open and to provide students the resources they need to achieve in their academics.
DEMAND 2: PERMANENT FUNDING FOR THE CRITICAL GENDER STUDIES PROGRAM AND EXPANSION OF SUPPORT FOR CURRENTLY UNDERFUNDED
DEPARTMENTS, INCLUDING THOUGH BY NO MEANS LIMITED TO, ETHNIC STUDIES, LITERATURE, VISUAL ARTS, AND HISTORY.
In the profit-driven university, disciplines are heirarchized to meet the needs of for-profit-corporations who demand certain types of lucrative intellectual labor but not others. For example, while graduate students in Chemistry or Engineering might be getting $25,000 to $30,000 a year to cover their living expenses, graduate students in Sociology are getting as low as $14,000 a year to cover the same living expenses. Under this model, the living conditions (food and housing) of certain students are prioritized over those of others, which means there is a disparity in quality of life. This is unacceptable. Obviously, allocating funding across disciplines is a complex and messy process. The only problem is is that it is not transparent to students how this process works. WE DEMAND a student and faculty-led review of funding allocations across disciplines in order to ensure that each department gets funding according to their needs. WE DEMAND that underfunded departments such as Critical Gender Studies, Literature, Visual Arts, and Ethnic Studies be prioritized. While we understand funding will not be the same for every department as every department has different needs, we do DEMAND that the amount of support for covering the living expenses of graduate students across disciplines be standardized by this student and faculty-led review so that there is no disparity in the living conditions of graduate students across disciplines.
DEMAND 3: WE DEMAND OASIS CONTINUOUSLY RECEIVE MANDATED, PERMANENT, BUDGET-CRISIS FREE FUNDING FROM THE UNIVERSITY SINCE OASIS IS A FORCE ON CAMPUS AT THE FOREFRONT OF RETAINING STUDENTS.
OASIS, The Office of Academic Support and Instructional Services, offers transition programs, tutoring, and other services to underrepresented students on campus. Specifically, the STEP and Summer Bridge transition programs provide some of the first opportunities for students from underrepresented and under-served backgrounds to foster those one on one connections that are critical for their retention at UCSD. Considering that many students face culture shock and other challenges during their transition to college, it is essential to recognize the academic and social support these programs provide for these students. While OASIS has been able to avoid direct cuts to its Summer Bridge program for the past two years, the center overall has been reduced which limits the its ability to serve non-Summer Bridge students during the academic year. Through Summer Bridge, now in its 35th year, OASIS has served thousands of students and the center serves about 2,500 UCSD students during the academic year. Surveys taken by students and alumni show unequivocal support to the effectiveness of the program’s services.
Unfortunately, a recent notice from Business Affairs (which controls the dorm space that houses the Summer Bridge Program) has notified OASIS that their Summer Bridge “discount” will be revoked starting in 2014. That means OASIS will have to pay more for housing Summer Bridge students and subsequently serve fewer students. They are already under pressure to start charging students for Summer Bridge which would mean that lower-income students would likely be unable to participate. Currently, UCSD’s program is the only UC Summer Bridge that does not charge students, which helps the university enroll underrepresented students who are also admitted to UCLA and/or UCB. Charging enrolled, underrepresented, under-served students to ensure their success and retention is a disrespectful contradiction. It is time that the UCSD administration deliver on its supposed institutional priority of diversity, equity, and inclusion. WE DEMAND that programs for the retention of these students remain free of charge.
DEMAND 4: FULL FUNDING AND IMPLEMENTATION OF THE DEMANDS OF THE BLACK STUDENT UNION SIGNED IN MARCH 2010
WE DEMAND that the administration, Chancellor and all Vice Chancellor offices recognize their commitment to the BSU Demands signed on March 4th, 2010. WE DEMAND full funding and resolution of BSU Demands before March 4th 2013. WE DEMAND a student-led and accountable campus climate council with policy making abilities. WE DEMAND that completion of the BSU Demands must be approved by the student body through the Black Student Union.
DEMAND 5: FUNDING FOR STUDENT RESOURCES
The University must provide its students with the resources to structure, manage, and maintain fully functioning educational programming to succeed in the University of California’s mission to increase the yield of historically underrepresented/under-served minority students (HURMS) on the UCSD campus. WE DEMAND that the Student Co-Ops stay student run and that they are rent free. WE DEMAND that the University begin to do a transparent audit on the University College System to see if it is sustainable to have a Six College System during this economic crisis.
DEMAND 6: WORKERS’ WAGES, BENEFITS, AND PENSIONS
We DEMAND that the University stop laying off workers as they continue to give high University executives bonuses and raises at the same time they increase fees for students every year. We DEMAND an immediate halt to the outsourcing of UC jobs. We further DEMAND that the UC protect and increase their contributions to the pension to maintain the health of the UCRP (retirement plan) in order for workers to be able to retire with dignity. Furthermore we DEMAND that workers not pay more into their pensions without substantial wage increases to offset the cost of living. We also DEMAND that the UC not shift the cost of retiree health care onto workers who already have retired. We DEMAND that the UC stop its plans to create a two tier system for pension and health care benefits. Furthermore, the University administration has failed to deliver on the wage increases AFSCME workers were promised back in 2008. We DEMAND a legal guarantee from the UC system that the wage increases that were promised in 2008 be enacted in order to provide liveable wages for workers. We also DEMAND that workers be provided with safe work environments and that they have the right to decide what cleaning supplies and materials they will utilize so that incidents such as the recent unsafe use of steam-machines are avoided. Finally, we DEMAND that workers’ rights be made a priority at this institution and that the administration ensures that workers are not overworked, underpaid and under-served.
III. UNIVERSITY OF CALIFORNIA SYSTEM-WIDE DEMANDS
The UC Regents still have not rejected a proposed plan of $2.5 billion in cuts and tuition hikes of up to 81% over the next four years. Brothers and sisters, the privatization of public education is not only an attack on students but it is also an attack on public employees, through the privatization of the pension fund, the rising cost of benefits for workers, and the restructuring of our universities following the corporate model, that increases the number of high paid administration and management positions while cuts are made to staffing and faculty positions. In order to stop and reverse this process of privatization, we make the following demands from the UC Regents, CSU trustees and the State of California:
1. A COMPLETE REVERSAL OF THE FEE INCREASES, LAYOFFS, AND CUTS to essential services such as libraries, instruction, student housing and dining, and campus facilities. This includes the expansion of support for currently underfunded departments such as, though not limited to, literature, history, visual arts, ethnic studies, and critical gender studies.
2. GUARANTEED RETIREMENT SECURITY AND EQUAL BENEFITS FOR ALL WORKERS, including pensions, healthcare, and childcare, and the re-hiring of workers fired as a result of the budget cuts, specifically workers who are marginalized as a result of immigration status, sexual or gender identity, or other markers of difference. We also demand a revision of safety regulations in the workplace for all university staff.
3. A FULL INVESTIGATION INTO THE REGENTS’ CONFLICTS OF INTEREST, especially their investments in banks, hedge funds, and for-profit schools, financial support of political officials, and previously held positions as executives of banks and private corporations.
4. AN END TO UC ADMINISTRATIVE AND POLICE SURVEILLANCE, VIOLENCE, AND INTERVENTION in political and academic activities, the immediate resignation of UC President Mark Yudof, UC Davis Chancellor Linda P.B. Katehi, UC Berkeley Chancellor Robert J. Birgeneau, and UC Riverside Chancellor Timothy White for their role in UCPD police brutality, and the disbanding of the UCPD and the formation of a community self-policing model of protection for students and workers not based on institutionalized violence and control.
5. A REVISION OF CURRENT ADMISSIONS POLICIES TO LIFT BARRIERS FACED BY UNDERREPRESENTED STUDENTS OF COLOR, LGBT/QUEER STUDENTS, AND WORKING CLASS STUDENTS, including public and active support for the full implementation of affirmative action throughout public education and the state, beginning with student leadership in implementing Senate Bill 185, as well as increased access and retention for these students and continued support for spaces on campus that support and/or employ these students.
6. ENCOURAGEMENT AND FACILITATION OF THE CREATION OF MORE STUDENT-RUN, SELF-ORGANIZED SPACES ON CAMPUS, as well as active support for such spaces that already exist, including the student cooperatives, in the form of rent elimination and forgiveness as well as work-study opportunities.
7. EQUAL AND FULL ACCESS TO THE UNIVERSITY FOR UNDOCUMENTED STUDENTS AND WORKERS, including the immediate implementation of the California DREAM act, and the democratic control of the university by students, faculty, and staff.
8. THE RAISING OF INCOME TAXES ON CALIFORNIA’S WEALTHIEST, a financial transaction tax on Wall Street, and Prop 13 tax reform in order to save and expand public education.
IV. NATIONWIDE DEMANDS
1. END STUDENT DEBT!
We must strip higher education of its dependence on debt bondage. The student loan industry has profited from borrower vulnerability through predatory lending practices such as compounding interest rates, high collection fees, and few consumer protections. Inflating tuition costs have been financed through student debt that will soon exceed 1 trillion dollars. The morality of perpetuating this unjust system by continuing to pay these predatory loans is questionable. In times of fuller employment, the student loan debt system has yielded no end of private suffering and humiliation for at least two generations of debtors. In a time of chronic underemployment–and the worst may be yet to come–the burden is beyond tolerance. Immediate forgiveness in the spirit of a jubilee, where the injustice of an unpayable debt is redeemed through a single, corrective act, is the only just response to this crisis.
2. FREE PUBLIC EDUCATION FOR ALL!
The single, largest step we could take to alleviate future student loan debt would be to guarantee tuition-free education for students enrolled at public colleges and universities. In the case of systems in California and New York that were formerly free, this would be a restoration of the status quo. According to a recent estimate, drawn from Department of Education data, the cost of covering tuition at all the nation’s two- and four-year colleges and universities would be about $70 billion. Put in the perspective of the federal budget, a recent audit found that the Pentagon “wastes” this sum in unaccountable spending every year. Ending the Bush tax cuts ($80 billion annually) would easily cover this cost.
3. EDUCATION NOT DEPORTATION!
The international division of labor creates the unequal economic conditions which drive many to immigrate in search of the means of survival. While the US economy depends on the cheap menial labor provided by these immigrants, the US state stigmatizes these immigrants as alien, and deports them back to their home countries where they are regarded as surplus labor by multinational corporations who degrade their environments and pay an insufficient living wage to workers while they profit from generous tarriff exemptions and the import of their products in Western countries. It is in this context that undocumented youth in the U.S. are deported. WE DEMAND an end to deportation and that these youth instead be granted access to education and the tools of knowledge previously denied them.
By Pat Flynn
Originally published December 5, 2011 at 1:59 p.m., updated December 5, 2011 at 5:38 p.m.
LA JOLLA — Students forced open the doors of a shuttered University of California San Diego library Monday and rushed inside, vowing to stay around the clock until the end of final exams Friday.
University police, who were on hand when students arrived at the library before 7 a.m., were pulled out of the area by administrators keen to avoid the kind of campus confrontations that have occurred recently, including the one at UC Davis last month when campus police sprayed nonviolent demonstrators with pepper spray.
And administrators said they will not seek to punish anyone for the break-in.
“We asked (the police) to leave so we wouldn’t have any interactions,” said Gary Matthews, the vice chancellor who oversees campus officers. “I think since the events at UC Davis, UC Berkeley, Penn State and Syracuse, everyone is reassessing responses, and the need to respond, and our duty to protect property and make sure everyone is safe.”
Students stressed that they, too, wanted to avoid confrontation. Nonetheless, they set an 11 a.m. deadline for the administration to respond to their demand that they be allowed into the former Center for Library & Instructional Computing Services, commonly called CLICS. The library was one of three the university closed over the summer in response to steep cuts in state funding. It had traditionally been open 24 hours a day during finals week.
Shortly after 11 a.m., a group of perhaps 50 students were holding a vote in front of the library’s main entrance on whether they should force their way in. As they counted hands, other students, who had forced open a separate entrance, pushed open the front doors and students streamed inside.
Several students stressed that they were “reclaiming” the library and took pains to avoid the word “occupy” or a connection to the Occupy movement.
“This library was always a 24-hour library during finals,” said Samer Naji, vice president of external affairs for the Associated Students. “It’s two stories with a ton of study space. Students took it upon ourselves that we were going to reclaim the space. We’re paying tuition through the roof and (administrators) blow money all over the place.”
Eden White, a sophomore biochemistry major, was one of those who arrived early in the cold morning to sit outside the library in hopes of persuading officials to reopen it.
“I’m here to help reclaim CLICS,” she said, working on a laptop with a blanket wrapped around her jacketed shoulders. “I think we’re trying to get away from ‘occupy.’ It’s got kind of a negative connotation.”
Several of UCSD’s top administrators arrived just moments after the students entered the building.
Suresh Subramani, senior vice chancellor for academic affairs, said the university is prepared to overlook the forced entry.
“It’s a moot point,” he said. “We were on our way over here with the keys to open it up.”
Subramani and other administrators spent more than an hour talking with student leaders after the break-in. He assured them that the university would not try to force them out and they told him and others that they have no intention of staying in the building beyond the end of finals.
link to original article: http://www.signonsandiego.com/news/2011/dec/05/students-reclaim-ucsd-library/
All Traditional and Digital Print Media
January 30 – March 9, 2012
Tuesday, December 6, 2011
Organized by the University Galleries at William Paterson University, American Impressions is an annual juried printmaking exhibition featuring traditional and digital print media and book art. Select works will receive Purchase Awards and become part of the University’s permanent collection. One artist will be selected to have a solo exhibition at the University Galleries.
The exhibition is open to all artists residing in the United States. Prints must have been completed within the past two years and may not exceed 60 inches. Work previously shown at the William Paterson University Galleries will not be accepted.
All accepted work requires proper framing and should be ready to be hung (except for book art which will be displayed in vitrines on pedestals). The Juror reserves the right to reject any work found to be unacceptable upon arrival.
SALES & AWARDS
Sales are encouraged. A 20% commission will be taken by the University. Prints and books selected for Purchase Awards will become part of the University’s Permanent Print & Book Collection.
All work shown at the gallery will be insured for the duration of the exhibition. The gallery cannot insure works in transit.
The cost of shipping works to and from the gallery is the responsibility of the artist. Please do not send artwork in packing peanuts.
1. To submit your artwork, please visit: www.wpugalleries.slideroom.com
2. Register an account with SlideRoom. Click on ‘Start a New Submission.’
3. Fill out the Application Form.
4. Upload your Artist Bio/CV and Artist Statement in the Documents section.
5. Upload up to 3 images (one image per artwork; 4 x 6 inches at 300 dpi). Be sure to list the Title, Date, Medium and Dimensions in the specified areas.
6. Pay the entry fee of $25 when prompted to receive submission confirmation.
(Entry fees go toward the purchase of artwork from the American Impressions exhibition for the William Paterson University permanent art collection.)
Tuesday, December 6, 2011
Thursday, December 22, 2011
Receipt of Work Deadline
Monday, January 16, 2012
Sunday, February 5, 3:00 – 5:00 p.m.
ABOUT THE JUROR
Elizabeth F. Spungen, Executive Director of The Print Center in Philadelphia, PA.
Liz Spungen has been the Executive Director of The Print Center in Philadelphia since 2006. She received both a BA and MA in the History of Art from the University of Pennsylvania and has spent her entire career working with the visual arts in Philadelphia.
During her tenure at The Print Center, her curatorial efforts have included Black Pulse: Doug + Mike Starn (2007); Nakazora: space between sky and earth: Masao Yamamoto (2008); and the upcoming Silver Mine, a retrospective exhibition of the work of photographer Robert Asman.
Spungen has been on the curatorial staff at the Institute of Contemporary Art, The Fabric Workshop and Museum and Bryn Mawr College, and was President of the Chester Springs Studio and the Arcadia University Art Gallery. From 2002 – 2006 she headed Liz F. Spungen Fine Art, specializing in works on paper from the greater Philadelphia region.
ABOUT THE COMPETITION
Since 2001, this national juried exhibition has celebrated the print and the printmaker. Elizabeth F. Spungen, Executive Director of The Print Center (Philadelphia, PA) is the juror for the 2012 printmaking competition. Past jurors have included: Anne Coffin (Founder and Director, International Print Center of New York); Willie Cole (Artist/Printmaker); Ofelia Garcia (former Dean of the College of Arts and Communications, William Paterson University); John W. Ittman (Curator of Prints, Philadelphia Museum); David Kiehl (Curator of Prints, Whitney Museum of American Art); and Dr. Marilyn S. Kushner (Curator of Prints and Drawings, Brooklyn Museum); among others.
Exhibitions are made possible in part by a grant from the New Jersey State Council on the Arts, Department of State.
Papers must be received by September 15, 2012 to be considered for publication in this issue. Please send manuscript publications to the managing editor: Leslie Shortlidge email@example.com. See Style Guidelines at www.raceethnicity.org.
Submission of artwork for the cover that relates to the theme of the issue is welcome. See website for submission guidelines.
Race/Ethnicity: Multidisciplinary Global Contexts encourages and welcomes contributions by scholars, researchers, grassroots activists, policy advocates, and organizations
Submissions are invited to explore the politics of contention and social movements in the postcolonial world (Africa, Asia, and Latin America), with particular regard to the ways in which race and ethnicity relate to identities and claims revolving around class, gender, nationality, and religion. Comparative discussions of social contestation in different societies are welcome.
Guest Editor Franco Barchiesi, Associate Professor in the Department of African American and African Studies at the Ohio State University, and the editorial staff of Race/Ethnicity invite submissions for Volume 6, Number 3, and entitled “Grassroots Politics in the Postcolony.” We welcome submissions from activists, advocates and practitioners working on relevant issues, as well as from scholars in the social sciences and the humanities. In this issue, we look to engage the following questions:
Contributions from scholars, activists, and social movement participants can include, but are not limited to, case studies, theoretical discussions, and experience-based reflections.
Papers must be received by September 15, 2012 to be considered for publication.
Submission of artwork for the cover that relates to the theme of the issue is welcome. See website at http://www.raceethnicity.org/coverart.html for submission guidelines.
“My project is a mini mobile museum of sweeteners, which I call MMMsweet cart. The mobile cart presents information about artificial and natural sweeteners by traveling the streets of San Diego and possibly other cities in the future. Adults and kids will be invited to participate by taste testing sweeteners, playing a game, taking a quiz, inventing a sweetener, creating a new soda, etc.. The world of sweeteners is about as complex as food itself. I’m fascinated by where typical packaged food comes from and how it’s made. Food Scientists and the food industry work together to create new products for consumers and most of us get fooled by the advertising and the excitement of a new product.
I began a few years ago with designing the mobile cart to resemble an old fashion ice cream cart. I struggled for months to create characters to go with each sweetener. I was inspired by Charlie Harper’s style of illustration and I studied Pokemon characters. I painted lots of creatures with my two kids, until I finally found some that could resembled sweetener heros.
The ironic heros on the trading cards are meant to recruit followers to be concerned about what they eat? My big questions are, What are these sweeteners doing to our bodies? Which ones are better than others? How do we decide what sweeteners we should eat, if any?
The sweetener mobile cart includes a collection of natural and artificial sweeteners in jars. At every event, I will unveil a new trading card. The trading cards will be given away for free and include a donation jar to fund printing costs for future trading cards. I anticipate about 18 trading cards distributed over the first year of the project. Nine trading cards have been completed but I need funds to print the cards and pay the graphic designer to set up more trading card designs. I also need funds to purchase sweeteners for tasting events and soda invention activities. Thanks for your support.
$520 initial printing costs of the first 9 trading cards, 1000 each.
$300 graphic designer cost to set up the front and back of the next 9 trading cards
$180 for sweetener samples, soda making supplies and photocopying for public events.
To find out more about the Sugar Museum’s past projects, please visit
Email ideas to the public Facebook forum: https://occupywallst.org
Occupy Wall Street: https://occupywallst.org/
The Wall Street Occupennial:
An Open Call to Artists in Alliance with Occupy Wall Street and Beyond
The Wall Street Occupennial is an urgent call for artists to contribute to the ongoing Occupy Wall Street (OWS) movement currently centered at Liberty Plaza in the Financial District of New York City. The Occupennial is founded on the belief that artists have a crucial role to play in helping to elaborate and sustain the democratic public space that is currently being created by the occupation of Liberty Plaza.
OWS is one in a chain of protest movements unfolding across the world over the past several years concerned with democratic empowerment and economic justice in the face of untrammelled corporate domination of political institutions and social life more generally. This domination has involved the legal enshrinement of “corporate personhood” at the expense of representative government, punitive austerity measures, rising unemployment, massive income inequality, ecological destruction, assaults on collective bargaining rights, the dismantling of the social safety net, and the scapegoating of public employees, working families, people of color, and immigrants.
The Occupennial embraces the fact that the OWS movement is not reducible to a single “message” or even a particular set of policy prescriptions; in the most general sense, OWS and its affiliated movements around the world are about democratization, the first manifestation of which has often been the unauthorized occupation of nominally public streets, buildings, and plazas ranging from Tahrir Square to the Wisconsin State House.
While it echoes the familiar art-world term “biennial,” the Occupennial is unencumbered by any predetermined curatorial program or institutional apparatus. It exists instead as an imaginative umbrella-concept and pragmatic media platform (wallstreetoccupennial.tumblr.com/) through which diverse activities might be brought into alliance around both the specific site of Liberty Plaza and other occupation-sites throughout the United States and the rest of the world.
While OWS has gathered political strength and sympathetic media coverage in recent days, the occupation of Liberty Plaza remains an inherently precarious process due in part to the ambiguous legal status of the site: it is a privately-owned public park mandated to remain open twenty-four hours a day; however, the immense police presence is a constant reminder that events on the ground can change very quickly. For now at least, a major priority is sustaining the presence of as many bodies and cameras at the plaza as possible. The Occupennial thus encourages contributions that engage the physical site of Liberty plaza and its occupants, and that can unfold in as timely a manner as possible. For those contributors unable to be physically present at the site itself, we encourage projects that are digitally-based (photos, videos, texts, graphics), but also long-distance ideas capable of on-site realization by interested collaborators. These might encompass sign-making, performative gestures, tours, choreographic scores, acoustic experiments, historical reenactments, or ephemeral architectures. In conceiving of such projects, it is important to keep in mind that various park regulations already constrain OWS occupation activities in terms of the marking of surfaces, the amplification of voices, and the erection of structures found to be “blocking the sightline of the park.” Such constraints are unfortunate, but they might also become opportunities for artistic inspiration, response, and critique.
Finally, it is crucial to note that in recent days, important new linkages have begun to develop between OWS and already-existing labor unions, non-governmental organizations, community groups, public intellectuals, and media outlets. Art projects working to cultivate and facilitate cultivate such linkages are especially welcome under the umbrella of the Occupennial.
-Wall Street Occupennial
Dear MoveOn member,
Over the last two weeks, an amazing wave of protest against Wall Street and the big banks has erupted across the country.
In Seattle, San Francisco, Ohio, and Boston (where 3,000 people rallied),1grassroots groups have shut down banks and held sit-ins to demand that giant banks pay their fair share of taxes, end the foreclosure crisis, and create jobs.
In financial centers like Chicago and Atlanta, hundreds of people have set up encampments in front of major financial institutions for round-the-clock demonstrations.
Outside Los Angeles, community members have been running a 24-hour vigil around the home of Rose Gudiel, who faces eviction after getting foreclosed on for being two weeks late on a mortgage payment after her younger brother was murdered.2
But the biggest protests are on Wall Street itself. ”Occupy Wall Street,” which began with a brave group of young people, has swelled to thousands of students, unemployed folks, union members, and others who have persevered through intense police harassment and mass arrests to sustain a rolling 24-hour-a-day protest against the bankers who’ve wrecked our economy and undermined our democracy.3
On Wednesday, MoveOn members will join labor and community groups in New York City for a huge march down to the protest site—the biggest yet.
And because we can’t all be in New York, we’re going to stage a massive “Virtual March on Wall Street” online with our friends at Rebuild the Dream. Together, we’ll add hundreds of thousands of voices of solidarity from the American Dream Movement for the protests across the country and show just how widespread outrage at the Wall Street banks really is.
Click here to sign up to join the Virtual March on Wall Street this Wednesday
The protests on Wall Street have been running for two weeks straight and are only getting bigger every day. The signs, placards, and chants focus on standing up for what the protesters are calling “the 99%” of us who are suffering while Wall Street bankers grow richer by the day.
In a telling moment last week, a group of bankers even went so far as to mock the protests while sipping champagne from balconies overlooking thousands of people marching down Wall Street.4
But adding mockery to the callous disregard for our country that we’ve seen from the big banks isn’t slowing down the Occupy Wall Street movement one bit. The protests on Wall Street are set to grow even more this week and solidarity actions are already planned in dozens more cities.
You can see what’s planned in your area by visiting the solidarity site Occupy Together:http://www.moveon.org/r?r=264645&id=31654-18856523-BzLT8yx&t=3
And you can sign up to add your voice to the national “Virtual March on Wall Street” online here:http://www.civic.moveon.org/joinvirtualwallstreet/?id=31654-18856523-BzLT8yx&t=4
Thanks for all you do.
–Justin, Robin, Peter, Elena, and the rest of the team
1. “BofA’s Boston Building Draws Protesters; 21 Arrests Are Made,” bloomberg.com, September 30, 2011
2. “La Puente Family Fights Eviction from Foreclosed Home,” KTLA.com, September 29, 2011
3. “Anti-Wall Street Protestors Vow to Keep Up Fight,” Reuters, October 2, 2011
4. “Occupy Wall Street Protestors Meet Champagne Sippers,” abcnews.com, September 30, 2011
Art School Confidential by Daniel Clowes via Glasstire]]>
Call for applications.
Deadline 7th of October 2011
Online Application form
phone: +358 3 410 23 787
It is an inspiring place to produce original work and collaborate with other energetic and ambitious artists & creative professionals. We are place that encourages experimentation and innovation – a place that also gives voice to works that otherwise have nowhere else to be produced or displayed.
There are lots of opportunities to connect with the locals and get plugged into the contemporary art scene in Finland.
Besides fostering creativity, we also value partnering with established institutions and influential figures to create a rich network for artists to be embedded into. Our foreign collaborators around the world value the selected group of Arteles artists and are willing to offer working possibilities for fresh inspiring projects and new creative people.
We see relationships with artists as ongoing and continue to work with you even after you leave. We have new refurnished living and studio spaces which are designed to support creative activities and social exchanges.
You are also welcome to experience the extraordinary nature of Hämeenkyrő Finland (European Union Landscape Award in 2009) where you can soak in the fresh air, go for wandering walks in the deep forests, swimming in the many lakes nearby, go skiing and skating at winter time, do guided hiking and trekking trips in the nearby nature or have daily relaxing in a traditional wood-fire sauna. And If you get lucky, you can even get to know the fascinating and rich old culture of Finland viewed through the Kalevala Epic, full of trolls, witches, myths and its inherent ties with nature.
See more: www.arteles.org/creativecenter.html]]>
830 25th Street
RSVP to firstname.lastname@example.org or 619.239.1721
This structure, known as Indianapolis Island, is actually a work of art commissioned by the Indianapolis Museum of Art and created by artist Andrea Zittel (currently Joshua Tree, CA resident) as part of her body of work exploring shelters and structures — especially small, sustainable, and inhabitable shelters and structures.
Since the work was commissioned last year, residents (local art students) have lived on the island (see definition three of ISLAND: http://www.thefreedictionary.com/island) inhabiting the fiberglass, foam, and mixed media structure during the summer months. The museum’s intention is to have four summer residencies in total (2010, 2011, 2012, 2013).
Anyone need a summer vacation home?
Image of 2010′s residents Jessica Dunn and Michael Runge
Indianapolis Island Residency Blog: https://www.imamuseum.org/island2011/
Images from http://tinyhouseblog.com/dome/indianapolis-island/
Related, RE-tooling RESIDENCIES. A Closer Look at the Mobility of Art Professionals: http://www.re-tooling-residencies.org/]]>
Wanna know more?]]>
Join us as we “sit in solidarity”
On Thursday, May 19, MCASD staff and community leaders will participate in a silent yet symbolic event, and we invite you to join us.
Beginning at 11 AM on Thursday, May 19 and continuing through 11 AM on Friday, May 20, volunteer participants will occupy two traditionally styled Chinese chairs for one-hour periods. This 24-hour sit-in references Ai Weiwei’s sculpture series, Marble Chair, two of which are currently on view in Prospect 2011 and were acquired earlier this week by the Museum’s International and Contemporary Collectors.
We invite you to participate by offering an hour of your time to sit in the replica chairs during the 24-hour demonstration. Please RSVP on Facebook or by e-mailing email@example.com with the subject line “Sitting in Solidarity,” and note your available times.
Internationally acclaimed Chinese artist Ai Weiwei was detained April 3 at the Beijing airport as he attempted to board a flight to Hong Kong. MCASD has stood alongside members of the international art community in encouraging action from members, the community and the government to call for the artist’s release.
Read more about Ai Weiwei. To sign the online petition calling for his release,click here.]]>
“We are a coalition of international artists working to ensure that migrant worker rights are protected during the construction and maintenance of the Guggenheim’s new branch museum on Saadiyat Island in Abu Dhabi, UAE.
Artists should not be asked to exhibit their work in buildings built on the backs of exploited workers. Those working with bricks and mortar deserve the same kind of respect as those working with cameras and brushes.
Help safeguard migrant workers’ rights.
gulflabor [at] gmail [dot] com”
The California Democracy Act, a non-partisan constitutional amendment authored by UC Berkeley Professor George Lakoff, consists in its entirety of a mere 14 words:
“All legislative actions on revenue and budget must be determined by a majority vote.”
California is one of the only states in the nation to constitutionally give a 34 percent minority of its state representatives direct control over all such legislation-thereby ensuring the budget and revenue gridlock we are experiencing.
California is in the middle of an unprecedented economic crisis requiring fundamental new approaches for resolution. Creativity is essential as we are currently unable to implement more obvious solutions to resolving the crisis. For example, we are also one of the only significant oil producing states that fails to charge oil companies an extraction tax on the oil they pump-even Governor Sarah Palin prided herself on taxing Alaska’s oil profiteers. …
George Lakoff gave a talk yesterday evening at UCSD. As you may know, he is organizing a drive to put a proposition on the ballot that would end the 2/3 rule that currently makes it impossible for the state of California to raise revenue or to pass a budget without the consent of a militant Republican minority intent on starving the state to death. The initiative has 5 weeks to gather the necessary 1.2 million signatures.
Here is what you can do. It will take all of 5 minutes:
You can download a copy of the petition from the internet, and sign the document twice: 1) once on the line for petitioner signatures and 2) a second time at the bottom of the petition as the one gathering signatures.
In other words you can submit your own petition signed by you, and mail it in.
Anyone can do it.
So link the URL below to your Facebook and get your friends to do the same.
THAT WAY IT WILL GO VIRAL
Here is the web site:
Here is the text of the Constitutional amendment that needs only 50% plus 1 vote in the referendum to pass:
“All legislative actions on revenue and budget must be determined by a majority vote.”
It is clear that there is no solution to the current crisis of public higher education in California, unless the state is able to raise revenue. It is clear that there is no solution to the current crisis of public anything (k-12, healthcare for poor children, fire departments etc.) in California without abolishing the 2/3 rule. Please sign the petition, get others to do the same, and help to put Lakoff’s proposition on the ballot.]]>
We all have a lot of things laying around. Detritus is an attempt to reexamine those utilitarian objects that are often used and simultaneously overlooked. The table holds twenty palm sized everyday objects carved out of marble. This piece was completed in 2005.
Restaurant site HERE
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