Dog Star is A Creative Arts Guide for Teens


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DOG STAR NYC IS A CREATIVE ARTS GUIDE FOR TEENS | ART + THEATER + CHEAP DATES + POP CULTURE + FREE EVENTS + CITY LIVING + DESIGN + MUSIC + PHOTOGRAPHY + SPORTS + VIDEO + FILM + STREET LIFE + WRITING + POETRY & LOTS OF FUN + MAKE ART OUT OF YOUR LIFE!

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Image above: West Gallery of The Frick Collection

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BE CURIOUS ABOUT THE WORLD!

"Thank you for DogStarNYC, in general. The site speaks to so many kinds of interests; it discerns which qualities will appeal to many different tastes in a tremendous number of activities. I love how it encourages young people to pay attention to the unusual.

In New York we let so many teens walk around the periphery, mildly shell-shocked by life, while the information that they need to make sense of their world sits in the center of the room. DogStarNYC welcomes them into the middle of the room; the blog tells them how to walk there." - Stacy L.

EMAIL: dogstarcontact@gmail.com

DOG STAR is the creation of a high school English teacher in New York City. This blog began in 2008 as an online community for a journalism class and has since evolved into a curated site on the creative arts, arts-related news and a guide to free and low-cost events for teens. Our mission is to offer teens real-life options for enjoying all the creative arts in New York City. May wisdom guide you and hope sustain you. The more you like art, the more art you like!

IMPORTANT NOTICE OF NON COMMERCIAL & EDUCATIONAL CONTENT Unless otherwise stated, we do not own copyrights to any of the visual or audio content that might be included on this blog. Dog Star is for criticism, commentary, reporting and educational purposes under the FAIR USE ACT: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. If you own the copyright to any images and object to them being included in this blog, please advise and the content will be removed. No attempt is made for material gain from this blog's contents.

Wednesday, October 22, 2014

FREE! OPEN NOW - Go to the Met for CUBISM



Dog Star's devoted readers know that the best art education comes from standing in front of the real thing and simply LOOKING.

You don't need special training to appreciate this art exhibition!  This one rewards everybody with surprises, color, form and content.

Leonard Lauder made a fortune running his mother's cosmetics empire and decided years ago to spend some of  it on an art collection.  He focused - in this case - on two French and two Spanish artists who had a major impact on the development of cubism as an art form.

This will be a once-in-a-lifetime opportunity to see this special collection on view to the public.

The Met is ALWAYS FREE FOR HIGH SCHOOL STUDENTS (go to the admissions desk and say "I'm a high school student, may I have a sticker, please.") and everyone can pay just ONE DOLLAR at any time.  Open EVERY DAY.  Fifth Avenue and 82nd Street (take 4,5, 6 trains to 86th & Lexington and walk west to Fifth Avenue and south to 82nd Street)

from the Met Museum's website:

Cubism 
October 20, 2014–February 16, 2015 
Cubism, the most influential art movement of the early twentieth century, still resonates today. It destroyed traditional illusionism in painting and radically changed the way we see the world. The Leonard A. Lauder Collection, unsurpassed in its holdings of Cubist art, is now a promised gift to the Museum. On the occasion of this exhibition, the Collection will be shown in public for the first time—eighty paintings, collages, drawings, and sculpture by the four preeminent Cubist artists: Georges Braque (French, 1882–1963), Juan Gris (Spanish, 1887–1927), Fernand Léger (French, 1881–1955), and Pablo Picasso (Spanish, 1881–1973).

Gimme Shelter









Tuesday, October 21, 2014

Rumble & Sway (Timelapse of NYC)

The people behind this stunning timelapse call it a "mixtape" made up of 321 different shots taken over a two week period of time. The 3.5 minute piece was made for the 2013 US Open broadcast on ESPN.



Rumble and Sway from The Seventh Movement on Vimeo.

Monday, October 20, 2014

Discover Matisse's THE SNAIL (Included in MoMA Exhibition Coming Soon - Bring your friends and family!)



'The Snail' will be on display as part of 'Matisse Cut-Outs,' opening at Museum of Modern Art on Oct. 25. © Succession Henri Matisse/DACS 2013.


 Dog Star re-posts this from the Wall Street Journal:

Masterpiece: A Radical's Emancipation of Color

Nobody would ever guess that Henri Matisse was so close to death when he made his exuberant painted-paper cutout called "The Snail." Yet this joyful and monumental work—part of a major exhibition of Matisse cutouts to be seen in London and New York this year—was produced in 1953, only a year before a heart attack killed him at the age of 84. He had undergone major surgery for stomach cancer in 1941, and debilitating illness left him increasingly bedridden through the final decade of his life. 

But finding a new home, in the ancient hilltop settlement of Vence in the South of France, helped him gain peace. Matisse soon began work on designing a sublime Chapel of the Rosary for Vence, and he wanted this building to possess "the lightness and joyousness of springtime, which never lets anyone suspect the labors it cost." Although sickness prevented him from attending the formal consecration of the chapel in June 1951, he succeeded in his aim there. The stained-glass windows are filled with enchanting, sensuous vitality, and a similar strain of undaunted optimism suffuses "The Snail" as well. 

I first saw it as a 15-year-old schoolboy in 1962, shortly after the Tate Gallery (as it was then known) had acquired "The Snail." At that time, the majority of older British museum-goers still viewed Matisse with immense suspicion. When I showed my school art master a picture of it in a magazine one day, he said testily, "Oh, sonny, anyone can daub flat paint on pieces of paper, cut them up with scissors and stick them together like this." The radical degree of abstraction employed in this slowly spiraling cutout alienated him. But for me, seeing it at the Tate soon after, "The Snail" was an overwhelming experience, and it transformed all my intense adolescent ideas about what art could be.

Matisse had begun using painted-paper cutouts in the early 1930s as a way of testing color options while working on a mural for the Barnes Foundation. By the following decade they had become a means of artistic creation in their own right. In her 1990 memoir, "Matisse and Picasso: A Friendship in Art," Françoise Gilot describes a visit she and her partner Picasso made to Matisse in 1947 when, to their astonishment, the ailing master began talking about his new obsession with painted cutouts. Matisse picked up an enormous pair of scissors and began slicing into sheets of paper already painted in a wide range of brilliant colors. Ms. Gilot writes that she watched him with increasing admiration, going on to describe how "women, vegetation, birds, dancers, bathers, starfish, abstractions—a complete world emerged from his hands, full of strength and vitality." Matisse, who had enjoyed a rivalrous yet fruitful friendship with Picasso for 40 years, even went so far as to make two cutout works for his visitors. He presented one to Picasso and the other to Ms. Gilot. She recalled that they both felt "fulfilled, enchanted, and beguiled." 

Only a year later, Matisse was confronted by the grim realization that he could no longer work on oil paintings at an easel. But despite his deteriorating health, he bravely persisted in making cutouts on a grander and more ambitious scale. So illness did not prevent Matisse from achieving an ecstatic final phase in his long, radical career. Working in this way opened up fresh possibilities, and he described how the paper cutout "is a simplification for me. Instead of drawing the outline and putting the color inside it—the one modifying the other—I draw straight into the color."

This liberating sense of immediacy can be felt from the moment we look at "The Snail." The painted paper shapes seem to echo the spiraling structure of a snail's shell. Yet there is no point in searching for an identifiable image here. The title of this picture simply reminds us that even the most abstract of Matisse's late works are linked, by an umbilical cord, to his profound and passionate feelings about the visible world. "For me nature is always present," he insisted in 1947, explaining how "it is always when I am in direct accord with my sensations of nature that I feel I have the right to depart from them, the better to render what I feel." Although Matisse had previously made drawings of real snails, he now felt free to invent an image of unrolling without any specific reference to an actual shell. Working at the Hotel Regina in Nice, a city which stimulated him as much as Vence, he passed the sliced and glowing sheets of paper to a trained assistant who pinned them on the wall according to Matisse's precise instructions.

He must have wanted the spiraling motion of the seven leaves in the center to dominate the design of "The Snail." But their expansive and floating presence is controlled by the other four shapes placed near the corners. Matisse also made a border of orange run all the way round the picture, thereby ensuring that restlessness is countered by a feeling of stability. Throughout "The Snail" this tension between rival forces is sustained with subtle, unpredictable mastery. Viewed up close, the edges of the papers look ragged and uneven rather than neatly cut. They prove that Matisse was still bent on trusting his instincts at the moment of scissoring, and he refused to impose geometric regularity. The generous white spaces between the colored papers give "The Snail" a spirit of vivacity, as well as allowing the warmth of the gouache to assert itself elsewhere. Even the black sheet near the top exudes a sense of richness, and plays its part in the airborne dance revolving around the heart of this celebratory marvel.

The cutout technique enables Matisse to emancipate colors, so that they can sing with even more festive abandon than he had achieved in his most daring oil paintings. The old man may have been stricken by ever-advancing illness, but his art triumphed over bodily ailments and reached the fulfillment of a Mediterranean ideal that will never lose its ability to astound, nourish and delight.

 


Five Paintings We Love @ The Frick - Bring your friends and family!

Dog Star enjoys The Frick Collection because it NEVER changes its permanent collection - it always has on view the paintings Henry Clay Frick selected and placed within his home.  

This does not mean the Frick doesn't have room for special exhibitions; it has separate spaces for temporary little shows.  We want devoted readers to visit the Frick to see these paintings in person - for yourself.  

The descriptions of the paintings are taken from the museum's website.  

Here is a photo of the West Gallery - imagine having this room in your home as your private art collection.  It's just ONE of the rooms you will see at the Frick:
 


   
The Frick welcomes quiet and respectful teens who put away all electronics, check their coats and bags and enjoy this very special museum as if they are visiting a stranger's home.  The Frick is open to ALL NEW YORKERS!

The Frick Collection (more here) is EASY TO REACH at 70th Street and Fifth Avenue - take the 6 train to 68th Street / Hunter College and walk over to 5th Avenue from Lexington & 68th. Admission for teens is $10 (students with valid identification).  Dog Star says go early on Sundays and pay just $1!  On Sundays, pay what you wish from 11:00 a.m. to 1:00 p.m.


Learn more about the Frick family and origins of the collection and museum here.  The museum was planned as a permanent art collection to be open to the public by its founder Henry Clay Frick!



PAINTING #1 - ABOUT THE PAINTING ABOVE:  Lodovico Capponi painted by Agnolo Bronzino. This proud young aristocrat is Lodovico Capponi (b. 1533), a page at the Medici court. As was his custom, he wears black and white, his family's armorial colors. His right index finger partially conceals the cameo he holds, revealing only the inscription sorte (fate or fortune) — an ingenious allusion to the obscurity of fate. In the mid 1550s Lodovico fell in love with a girl whom Duke Cosimo had intended for one of his cousins. After nearly three years of opposition, Cosimo suddenly relented, but he commanded that their wedding be celebrated within twenty-four hours.   

WHY WE LOVE IT: We like to think that Frick chose this painting of Capponi because of its association with one of the most powerful families in history.  The Medici family of the Italian Renaissance ruled over the region of Florence / Tuscany and nobody did anything without their permission.  They made a fortune owning farms, mills, textile (tapestry) companies and family members were even connected to the Vatican in Rome.  Frick most likely admired this young man and may have seen an aspect of himself in the picture:  bold, proud and ready for the upper classes!


PAINTING #2 - ABOUT THE PAINTING ABOVE: Gilbert Stuart  (1755 - 1828) George Washington, 1795-1796  Stuart earned a fortune producing replicas of the three portraits he painted from life of the first President of the United States. The Frick canvas is thought to be one of two copies painted by the artist for the Philadelphia merchant John Vaughan. It belongs to the group known as the “Vaughan type,” although it differs from the related versions in the color of the coat and in the treatment of the background. Stylistically the portrait recalls the work of Stuart’s English contemporaries, such as Romney and Hoppner.

WHY WE LOVE IT: The first thing to know is that the portrait of Washington on the one dollar bill is by Gilbert Stuart - same artist.  We like this painting because it shows our first president in a red velvet coat and we like to think Frick liked that, too.



PAINTING #3 - ABOUT THE PAINTING ABOVE: Johannes Vermeer  (1632 - 1675) Mistress and Maid, 1666-1667  The subject of writing and receiving letters, which recurs frequently in Vermeer’s work, is given an exceptional sense of dramatic tension in this painting of two women arrested in some moment of mysterious crisis. The lack of final modeling in the mistress’ head and figure and the relatively plain background indicate that this late work by Vermeer was left unfinished. Nevertheless, the artist seldom if ever surpassed the subtly varied effects of light seen here as it gleams from the pearl jewelry, sparkles from the glass and silver objects on the table, and falls softly over the figures in their shadowy setting. Bought by Mr. Frick in 1919, the year of his death, this painting was his last purchase and joined Rembrandt’s Self-Portrait, Holbein’s Sir Thomas More, Bellini’s St. Francis, and Velázquez’ King Philip IV among his favorite acquisitions.

WHY WE LOVE IT: Frick had exquisite taste and bought the very best paintings.  His taste in art is strongly conservative; by the time of his death in 1919 cubism and abstratcion were very popular but he would never have bought those kinds of pictures - he did not have a taste for "modern" art.  But there is just no disputing the beauty of a Vermeer - the way he handles the light so delicately!



PAINTING #4 - ABOUT THE PAINTER/ING ABOVE: Rembrandt Harmensz. van Rijn  (1606 - 1669) Self-Portrait, 1658.  Rembrandt first studied art in his native Leyden and later worked under Pieter Lastman in Amsterdam. Around 1625 he returned to Leyden, but in 1631/32 he settled permanently in Amsterdam. Although he enjoyed a great reputation and pupils flocked to him, he suffered financial difficulties that led to insolvency in 1656. By 1660 most of his debts were settled, and his last years were spent in relative comfort. Rembrandt painted many portraits, biblical scenes, and historical subjects.

WHY WE LOVE IT: This painting was completed about ten years before the painter died.  By the time he painted it his career had long been over.  And yet Rembrandt makes himself look so majestic, so regal like a king who is still at the top of his game.


PAINTING #5 - ABOUT THE PAINTING ABOVE: Jean-August-Dominique Ingres  (1780 - 1867) Comtesse d'Haussonville, 1845Louise, Princesse de Broglie (1818–82) and granddaughter of Madame de Staël, married at the age of eighteen. Her husband was a diplomat, writer, and member of the French Academy, and she herself published a number of books, including biographies of Robert Emmet and Byron. For her time and her elevated social caste, she was outspokenly independent and liberal. This portrait, begun in 1842, was the fruit of several false starts and a great many preparatory drawings, including full-scale studies of the raised left arm, the head, and its reflection. According to a letter written by the artist, the finished work “aroused a storm of approval among her family and friends.” Ingres appears to have surprised the young lady in the intimacy of her boudoir, where she leans against an upholstered fireplace, having just discarded her evening wrap and opera glasses.  


WHY WE LOVE IT: This painter's last name is pronounced eng-ah.  It's so easy to see why Frick would have loved this painting and why we love it, too.  The Comtesse is so beautiful and so charming in this portrait while also hinting that she is ready and willing to have an intelligent conversation.

Building the Moroccan Court

Have you seen this yet? Really amazing! For anyone who wants to geek-out on hand-crafted Moroccan carvings and tile work that has been installed in the Islamic galleries at the Metropolitan Museum.



Will Black Teens Go See DEAR WHITE PEOPLE?


I am glad A.O. Scott gives the film a rave review - it means that Manhattan liberals will surely see the film so that they have the right "cocktail chatter" and they will be their usual smug selves about being "white people who get it" (whatever that means). 

I'm wondering how many in the audience at any screening will be teenagers - black and brown and mixed race heritage - who would benefit from seeing such a high quality exploration of a complex social identity.

It may not say very much but this film is not playing at the Linden Boulevard Cineplex in East New York or the Magic Johnson Cineplex in Harlem. It's playing at the Regal in Union Square and Lincoln Square Cinemas (see: privileged Manhattan liberals).

What an amazing film for young people and yet they are not likely to find their way into the theater...

Sunday, October 19, 2014

"American Schools Are Training Kids for a World That Doesn’t Exist" - IS THIS REALLY TRUE? NO!

Look at this headline:

"American Schools Are Training Kids for a World That Doesn’t Exist"

It's not honest and it's also intended to convince you that new technologies are the answer.

This is lame. And not a good read at all (but do read it anyway).

It's cheerleading for new technologies and a concept called "culture labs." 

It assumes all kinds of privilege - access to capital, access to unlimited technology, access to hardware and internet, access to free time time to think of ideas and collaborate with others.

None of these things are possible in NYC's current over-burdened education system.

As Tony Marx, the president of the NY Public Library, told me on Friday night, "2 million New Yorkers do not have internet access at home."

While the TED Talk set and the international gurus get worked up into a lather about how boring and disconnected THEY THINK schooling is in America, here's WHAT IS POSSIBLE: I have enough copies of Tennessee Wiliams's play A Streetcar Named Desire for my 11th graders and, in groups, they are speaking the lines, rehearsing scenes and presenting them to classmates with props. 

Not only are the obvious linguistic/language development gains being made but we are having rich conversation about human psychology, Blanche's battle between illusion v. reality and the ways Stanley/Stella both represent and promote conservative values of family and conformity. 

I am sorry but there isn't any course in 3D printing that will give THESE deserving teens, my beloved Coney Island students who deserve a real education, that kind of experience. 

So what? They can learn how operate new technologies? If they don't learn any compassion, tolerance, or have any deep grappling with the human mind and soul there will be no worthwhile future even if they can get a job.

Let's be mindful we don't jump on the public education bashing bandwagon just because you catch a gleaming piece of shiny metal up the road. When you run as fast as you can to go and see what it is you might be disappointed to find it's just a piece of scrap from another failed experiment.

Education isn't failing in America. America is failing education, educators, families and children. America should step up and stop passing the buck and spreading the blame.

The author the the article and WIRED magazine are not serious about promoting a progressive social agenda.  Let's be clear:  they want to create markets for new technologies.  

After all, the author is a professor at Harvard and created a culture lab in Paris and other European cities.  

If they were serious about tackling America's schooling problems they would have gone right into Bed Stuy and created an information commons, a culture lab, a well-trained and well-funded resource center and invited the local community to collaborate with new technologies to solve problems in the community.  

That's the tough work.  

Since they're not doing it they are merely farting in the room for their friends.  "Smell me, smell me!  I smell new and different!"

QUOTE OF THE DAY

“If I had no sense of humor, I would long ago have committed suicide.” ― Mahatma Gandhi

Saturday, October 18, 2014

Dog Star Selects Belle Grove

Belle Grove Plantation Mansion, Iberville Parish, Louisiana. Architect: Henry Howard, circa 1855.  Destroyed by fire, 1952.




Game Produces Track Offensive to Women to Stay Relevant

Sadly, Game is appealing to the most vulgar taste and lowest common denominator.  It's bad enough that women and black women, especially, are the victims of so much misogyny and sexual assault.  Here's Game making sure he stays "current" with the lingo and drops tracks to push song downloads while this generation of young black and brown males get brainwashed with more devastating and soul-crushing garbage.  

Young males DO pay attention and they DO treat young women, not as peers, but as sex objects to be treated like door mats.  This song supports that attitude, that swagger and it's unhealthy for their "girlfriends" and their daughters.  

Coming next:  Someone uploads a video of a 4-year old black boy dancing and singing along to this at a house party.

Sample lyrics:

That's your ho, I fucked your bitch
Hol' up, your face look mad as shit
She sucked my dick and you kissed her
Boy, I nutted all on her lips
Cause you fucking with a thot, nigga
You fucking with a thot, nigga
That's on mamas
Cause you fucking with a thot, nigga
You fucking with a thot, nigga
That's on mamas




Friday, October 17, 2014

QUOTE OF THE DAY

"That is beautiful which is produced by the inner need, which springs from the soul."
— Wassily Kandinsky
 

Wednesday, October 15, 2014

FREE! Go See Romare Bearden @ Columbia's Art Gallery - Open next month - Bring your friends and family!

Go here for details, images and a map to the gallery on the Columbia University campus



Columbia Explores Romare Bearden: A Black Odyssey from ColumbiaNews on Vimeo.

GO SEE these Exhibitions at NYC's Museums this Autumn/Winter


Dog Star's mini-guide to the Fall/Winter museum exhibitions.

THIS IS A PRINTER-FRIENDLY POST.  Just the one image above and all text in black to make it easy to print the list.  

Keep it in your agenda or refer to it and make dates to see these exhibitions with family and friends.

All of the museums have a free or pay-what-you-wish (it can be just $1) night so be sure to check the website - it is linked in BOLD in the name of the museum.

GETTING TO THE MUSEUMS - MAKE IT EASY WITH FRIENDS
You may read about artists here that you've never heard of before - that's a good reason to check it out.  Read the list and make a plan to see at least three to start - pick one you are excited about seeing and invite your family.  Choose another one and invite two friends to join you!  On the third go by yourself - it will be an entirely different experience and you would be doing less socializing, less talking, less talking ABOUT the art and MORE LOOKING. 

PRETEND YOU'VE LOST YOUR PHONE
And always keep your phone in your pocket.  It's tough to make a real connection to the artwork if you are texting, taking pictures or researching.  Give yourself the chance to have a "phone-free" experience with art. 

DOG STAR'S TOP FIVE PICKS - DON'T MISS THESE SHOWS
While we encourage everyone to see as many of these exhibitions as possible we know that's not likely to happen.  (There are about 35 exhibitions listed here.)  Here's FIVE that we think are DO NOT MISS SHOWS.  If you had to be selective - because of work schedules and school - we recommend these FIVE TO SEE IN THIS ORDER OF PRIORITY:

1.  Matisse at the Museum of Modern Art (MoMA)
2.  Romare Bearden at the Wallach Art Gallery (Columbia University)
3.  Nam June Paik at the Asia Society
4.  Sebastião Salgado at the International Center of Photography (ICP)
5.  Annie Leibovitz at The New York Historical Society

Finally, we've added one line called WHY GO? to encourage Dog Star readers to see an exhibition.


Under Another Name
Studio Museum in Harlem
Jul 17, 2014 - Mar 8, 2015
Under Another Name borrows its title from a line that appears in Renée Green’s letterpress print William Morris. In it, she cites William Morris, a 19th century English artist, writer, textile designer and socialist. In his novel A Dream of John Ball (1888), which Green quotes, he writes: “I pondered...how men fight and lose the battle, and the thing that they fought for comes about in spite of their defeat, and when it comes turns out not to be what they meant, and other men have to fight for what they meant under another name…” Under Another Name considers work in multiple media, focusing on the relationship of various genres and media to one another. Here, ephemeral sculptures are captured as photographs; letterpress prints invoke the aesthetics of video; performances are recorded as drawings; sound is captured in objects; and photographs are abstracted into paintings. Rather than privileging one medium over another, the exhibition looks at their interdependence and what happens when a work is understood through the context of a new medium.
WHY GO?  Don't miss the inventive and creative ways artists make images and objects.

PLAYING WITH FIRE: Political Interventions, Dissident Acts, and Mischievous Actions
El Museo del Barrio
September 4, 2014 – January 3, 2015
Tracing the founding of El Museo del Barrio by Raphael Montañez Ortíz at the end of the 60s, an era of social unrest and radical activism in the United States as well as throughout the Americas, the works in this exhibition target colonialism, imperialism, urban neglect, and cultural hegemony with a vast array of weapons, including irreverence and humor. The artists confront the status quo with a wide range of disarming conceptual strategies and aesthetic detonators. The fire that surfaces in some of the artworks points to an equally dangerous and alluring element that consumes and transforms, one that must be handled with care.
WHY GO?  Go to discover how activists expressed their rage and social agenda in their artwork.

Francesco Clemente: Inspired by India
Rubin Museum of Art
September 5, 2014 - February 2, 2015
The first museum exhibition devoted to the Indian influences in Clemente’s work and how they relate to the artistic practices and traditions of various regions in India features approximately 20 works, including paintings from the last 30 years, and four new, larger than life-size sculptures created especially for the exhibition. In contrast to leading conceptual art practices of the 1970s, Clemente refocused attention on representation, narrative, and the figure, and explored traditional, artisanal materials and modes of working.
WHY GO?  Don't miss this opportunity to see an amazing artist's paintings and sculpture inspired by the traditions of India - there will be a spiritual component to the whole exhibition.

Egon Schiele: Portraits 
Neue Galerie 
October 9, 2014-January 19, 2015
This autumn Neue Galerie New York will open "Egon Schiele: Portraits," a special exhibition devoted to portraiture created by the masterful Austrian artist Egon Schiele. This is the first exhibition at an American museum to focus exclusively on portraiture in Schiele's work.
WHY GO?  Egon was the bad boy artist of his times - like Basquiat in 1980s New York City.  Life during Egon's time (end of the 19th century, early years of the 20th century) was very conservative but he had an open, fresh and liberal idea about how to show people and their personalities.  The twisted body shapes and the expressive line that characterize Schiele's paintings and drawings mark the artist as an early exponent of Expressionism.  He is a true original who died of the Spanish Flu at age 28.

Matisse:  The Cut-Outs
Museum of Modern Art 
October 12, 2014–February 8, 2015
Henri Matisse: The Cut-Outs is a groundbreaking reassessment of this important body of work. The largest and most extensive presentation of the cut-outs ever mounted, the exhibition includes approximately 100 cut-outs—borrowed from public and private collections around the globe—along with a selection of related drawings, prints, illustrated books, stained glass, and textiles. The last time New York audiences were treated to an in-depth look at the cut-outs was in 1961.
WHY GO?  DO NOT MISS THIS EXHIBITION -  An opportunity to discover and re-discover this great modern master.  Go see his masterpiece "ZULMA" - completed at age 80!

Also at MoMA:
Robert Gober: The Heart Is Not a Metaphor - October 4, 2014–January 18, 2015
The Heart Is Not a Metaphor is the first large-scale survey of Robert Gober’s career to take place in the United States. Gober (American, b. 1954) rose to prominence in the mid-1980s and was quickly acknowledged as one of the most significant artists of his generation. Early in his career he made deceptively simple sculptures of everyday objects—beginning with sinks before moving on to domestic furniture such as playpens, beds, and doors. In the 1990s, his practice evolved from single works to theatrical room-sized environments. Featuring loans from institutions and private collections in North America and Europe, along with selections from the artist’s collection, the exhibition includes around 130 works across several mediums, including individual sculptures and immersive sculptural environments and a distinctive body of drawings, prints, and photographs. The loosely chronological presentation traces the development of this remarkable body of work, highlighting themes and motifs that emerged in the early 1980s and continue to inform Gober’s work today.

The Paris of Toulouse-Lautrec: Prints and Posters - Through March 1, 2015
This exhibition is the first MoMA exhibition in 30 years dedicated solely to Henri de Toulouse-Lautrec, and features over 100 examples of the best-known works created during the apex of his career.

El Greco in New York
Metropolitan Museum of Art
November 4, 2014–February 1, 2015 To commemorate the four-hundredth anniversary of the death of El Greco, the Metropolitan Museum and the Hispanic Society of America are pooling their collections of the work of this great painter to provide a panorama of his art unrivaled outside the Museo del Prado in Madrid. The Frick Collection will display its paintings contemporaneously. This is a unique opportunity to see this artist's work, which exerted such a strong impact on modern painting and especially appealed to New York collectors.
WHY GO?  A unique opportunity to see in one place several paintings by the Greek painter ("El Greco") who moved to Toledo, Spain and painted with such power and energy.

Cubism: The Leonard Lauder Collection
Metropolitan Museum of Art
October 20, 2014–February 16, 2015
Cubism, the most influential art movement of the early twentieth century, still resonates today. It destroyed traditional illusionism in painting and radically changed the way we see the world. The Leonard A. Lauder Collection, unsurpassed in its holdings of Cubist art, is now a promised gift to the Museum. On the occasion of this exhibition, the Collection will be shown in public for the first time—eighty paintings, collages, drawings, and sculpture by the four preeminent Cubist artists: Georges Braque (French, 1882–1963), Juan Gris (Spanish, 1887–1927), Fernand Léger (French, 1881–1955), and Pablo Picasso (Spanish, 1881–1973).
WHY GO?  DO NOT MISS THIS EXHIBITION -  It will be a very long time before you see this collection together again.  It will show the best of the best by these four Cubist artists.

Also at the Met:
Madame Cézanne - November 19, 2014–March 15, 2015
Madame Cézanne, the first exhibition of the paintings, drawings, and watercolors by Paul Cézanne (1839–1906) of his most painted model, Hortense Fiquet (1850–1922), will open at The Metropolitan Museum of Art on November 19. The exhibition will trace Cézanne’s lifelong attachment to the woman who was his model, his wife, and the mother of his son, Paul. She profoundly inflected his portrait practice for more than two decades, yet despite this long liaison, she was not well received—by either his family or his friends.

Paul Cézanne: Drawings and Watercolors from the Metropolitan Museum’s Collection will be on view from November 18, 2014 through March 15, 2015.
WHY GO?  Cézanne is the "godfather" of European modern art and had a big influence on Picasso, Matisse and the Cubist painters.  Go to enjoy a painter who has one foot int he 19th century and the other foot in the forward-looking modern age of the 20th century.

Romare Bearden: A Black Odyssey
Wallach Art Gallery at Columbia University
November 15–December 13, 2014 and January 21–March 14, 2015
Romare Bearden: A Black Odyssey presents and explores the artist's 1977 cycle of collages and watercolors based on Homer's Odyssey. One of the most esteemed and beloved African American artists of the 20th century, Romare Bearden (1911 – 1988) underscores the epic text in the service of his most significant artistic theme: searching for a way home. Bearden works with and against Homer, translating the ancient stories through a 20th–century visual voice while considering their enduring relevance. Bearden's black characters raise the issue of race, inviting us to consider the Odyssey as a truly global classic.
WHY GO?  DO NOT MISS THIS EXHIBITION -  Bearden is a true American original - an artist with his own vision and style and always engaging.  Go to see his incredible use of collage to create scenes from this mythical tale.

Sebastião Salgado: Genesis 
International Center of Photography (ICP) 
September 19, 2014–January 11, 2015 Genesis is the third long-term series on global issues by world-renowned photographer Sebastião Salgado (born Brazil, 1944), following Workers (1993) and Migrations (2000). The result of an eight-year worldwide survey, the exhibition draws together more than 200 spectacular black-and-white photographs of wildlife, landscapes, seascapes, and indigenous peoples—raising public awareness about the pressing issues of environment and climate change.
WHY GO?  Salgado is one of the great masters of large-scale photography and this exhibition will be engaging and informative.

Two Exhibitions at The Frick Collection

Frick Collection
El Greco at The Frick Collection
November 4, 2014 to February 1, 2015
To celebrate the 400th anniversary of El Greco’s death, the Frick continues its 2014 focus on the artist, which began with Men in Armor: El Greco and Pulzone Face to Face (August 5–October 26, 2014), with an installation organized in conjunction with El Greco in New York, opening in November at The Metropolitan Museum of Art. The Frick will unite its three remarkable El Greco paintings — Purification of the Temple and portraits of Vincenzo Anastagi and St. Jerome — showing them together, for the first time, on one wall of the East Gallery.
WHY GO?  Not sure why the Frick didn't loan these El Grecos to the Met for the big show up the block but they have agreed to put their El Grecos on display at the same time.  Think of this as El Greco Part 2 for the Met exhibition.

Masterpieces from the Scottish National Gallery
November 5, 2014 to February 1, 2015
In November, The Frick Collection will be the first venue to present a touring group of masterpieces from the National Galleries of Scotland. The ten paintings to be featured in New York include a Botticelli never before on public view in the United States.
WHY GO?  Because you have never seen these paintings unless you've been to Scotland.

The Morgan Library - Fall/Winter Exhibitions

The Morgan Library
From Here to Here: Richard McGuire Makes a Book
September 25 through November 9, 2014
The exhibition combines original drawings for the strip and the novel with source photographs, books that influenced the form and content of McGuire's invention, and collages and sketchbooks that afford glimpses into his creative process.

The Untamed Landscape: Théodore Rousseau and the Path to Barbizon 
September 26, 2014 through January 18, 2015
Comprising seventy works from private and public collections, including the Morgan Library & Museum, this exhibition will consider the artist's wide-ranging achievements as a draftsman and his particular approach to the open-air oil sketch.

Cy Twombly: Treatise on the Veil 
September 26, 2014 through January 25, 2015
This exhibition showcases Cy Twombly's monumental painting Treatise on the Veil (Second Version), executed in Rome in 1970, and its related drawings, all from the Menil Collection in Houston.

The Crusader Bible: A Gothic Masterpiece 
October 17, 2014 through January 4, 2015
The spectacular Crusader Bible is one of the greatest illuminated manuscripts in the world, renowned as much for its unrivalled and boldly colored illustrations as it is for its fascinating history.

NY Historical Society - Two Exhibitions

New York Historical Society
Chinese American: Exclusion/Inclusion
September 26, 2014 - April 19, 2015
Chinese American: Exclusion/Inclusion explores the centuries-long history of trade and immigration between China and the United States—a history that involved New York from its very beginnings—and will raise the question “What does it mean to be an American?” The exhibit narrative extends from the late eighteenth century to the present and includes all regions of the country, thus interpreting the Chinese American saga as a key part of American history.
WHY GO?  An important history that deserves to be told - this museum always does a superb and complete job of presenting all kinds of history and this will be an eye opening and engaging experience.

Annie Leibovitz: Pilgrimage
November 21, 2014 - February 22, 2015
Annie Leibovitz: Pilgrimage charts a new direction for one of America’s best-known living photographers. Unlike her staged and carefully lit portraits made on assignment for magazines and advertising clients, the photographs in this exhibition were taken simply because Leibovitz was moved by the subject. The images speak in a commonplace language to the photographer’s curiosity about the world she inherited, spanning landscapes both dramatic and quiet, interiors of living rooms and bedrooms, and objects that are talismans of past lives.
WHY GO?  Go to discover what happens when a legendary portrait photographer takes a new path to investigate new subjects and new experiences in her photography.

The Jewish Museum - Two Exhibitions

The Jewish Museum 
From the Margins: Lee Krasner and Norman Lewis, 1945–1952
September 12, 2014 - February 1, 2015
Through select paintings by both artists, this exhibition offers a revealing parallel view of two key Abstract Expressionists. Lee Krasner and Norman Lewis, a woman and an African American, each experimented with approaches that joined abstraction and cultural specificity. Their work similarly brims with gesture, image, and incident, yet was often overlooked by critics in their time.
WHY GO?  Finally we have an exhibition that honors the place of both women and African-American men in the story of abstract expressionism.  Most exhibitions of these painters have only the circle of white men who huddled together at the Cedar Tavern.

Helena Rubinstein: Beauty Is Power
October 31, 2014 - March 22, 2015
This is the first museum exhibition to focus on the cosmetics entrepreneur Helena Rubinstein (1872 – 1965). Rubinstein – as businesswoman and arts patron – helped break down the status quo of taste by blurring the boundaries between commerce, art, fashion, beauty, and design. Her innovative business and style challenged conservative taste and helped usher in a modern notion of beauty, democratized and accessible to all. Beauty Is Power will reunite much of Rubinstein’s famed collection, including modern artworks by Pablo Picasso, Henri Matisse, Elie Nadelman, and Joan Miró, among others, as well as her iconic collection of African and Oceanic sculpture, miniature period rooms, jewelry, and fashion.
WHY GO?  Go to find out more about a powerful female role model who used his wealth to collect great modern art.

Crossing Brooklyn: Art from Bushwick, Bed-Stuy, and Beyond
Brooklyn Museum
October 3, 2014–January 4, 2015
Reflecting the rich creative diversity of Brooklyn, Crossing Brooklyn presents work by thirty-five Brooklyn-based artists or collectives. The exhibition and related programming take place in the galleries and on the grounds of the Museum, as well as off-site in the streets, waterways, and other public spaces of the borough. While acknowledging Brooklyn’s heightened profile, Crossing Brooklyn presents a multigenerational picture that recognizes the borough’s long-established role as a creative center. Other themes explored in the exhibition include history and memory, place and geography, community, nostalgia, exchange, ephemerality, and politics, both local and remote.  
WHY GO?  Brooklyn artists get much respect in this borough-wide exhibition that features new and long-time artists in a giant show together.  Go to see the wide talent and creative expression coming out of Brooklyn.

Also at the Brooklyn Museum:
Judith Scott - October 24, 2014-March 29, 2015
Born in Columbus, Ohio, with Down syndrome, Scott (1943–2005) was also largely deaf and did not speak. Judith Scott’s work is celebrated for its astonishing visual complexity. In a career spanning just seventeen years, Scott developed a unique and idiosyncratic method to produce a body of work of remarkable originality. Often working for weeks or months on individual pieces, she used yarn, thread, fabric, and other fibers to envelop found objects into fastidiously woven, wrapped, and bundled structures.
WHY GO?  Don't miss an opportunity to see the work of an unconventional artist - Scott is not someone we normally think of as being artistic or an artist and yet she creates powerful and strange work.  She demands we respect all kinds of expression from the fullest range of human beings.

Guggenheim Museum - Two Exhibitions

Guggenheim Museum
V. S. Gaitonde: Painting as Process, Painting as Life
October 24, 2014–February 11, 2015
Comprising 45 major paintings and works on paper drawn from 30 leading public institutions and private collections across Asia, Europe, and the United States, this is the first retrospective exhibition dedicated to the work of celebrated Indian modern painter Vasudeo Santu Gaitonde (1924–2001).

Wang Jianwei: Time Temple
October 31, 2014–February 16, 2015
Wang Jianwei: Time Temple comprises an intricately designed exhibition space, a film, and a performance art event, exploring the role of time-based art practices in contemporary Chinese art for the first commission of The Robert H. N. Ho Family Foundation Chinese Art Initiative at the Guggenheim Museum. Wang Jianwei was born 1958 in Suining, Sichuan Province, Southwest China, and is widely recognized for his bold experiments in new media art.

Nam June Paik: Becoming Robot
Asia Society
September 5, 2014 through January 4, 2015
Nam June Paik (1932–2006) was a visionary artist, thinker, and innovator. Considered the “father of video art,” his groundbreaking use of video technology blurred past distinctions between science, fine art, and popular culture to create a new visual language. Paik’s interest in exploring the human condition through the lens of technology and science has created a far-reaching legacy that may be seen in broad recognition of new media art and the growing numbers of subsequent generations of artists who now use various forms of technology in their work.
WHY GO?  Don't miss this show - this guy practically invented video art and everything we have today such as arena sized video projections and music videos comes directly from his pioneering ideas and artwork.

Chris Ofili: Night and Day
New Museum of Contemporary Art
Ocgtober 29, 2014 through February 1, 2015
“Chris Ofili: Night and Day” will span the artist’s influential career, encompassing his work in painting, drawing, and sculpture. Over the past two decades, Ofili has become identified with vibrant, meticulously executed, elaborate artworks that meld figuration, abstraction, and decoration. In his extremely diverse oeuvre, Ofili has taken imagery and inspiration from such disparate, century-spanning sources as the Bible, hip-hop music, Zimbabwean cave paintings, blaxploitation films, and William Blake’s poems.
WHY GO?  Go because this is going to be fun.  Chris has a bad rep but this will show peopel he does more than one kind of artwork.  (Go here to see why he got into trouble - at the link scroll down to New York section.)

New Territories:  
Laboratories for Design, Craft and Art in Latin America
Museum of Art & Design (MAD)
November 4, 2014 to April 6, 2015
The term “new territories,” as evoked by Italian architect and designer Gaetano Pesce, refers to the state of making in today’s globalized society, a phenomenon that has helped to spur a confluence of art, design and craft. The exhibition New Territories: Laboratories for Design, Craft and Art in Latin America will examine this trend in several distinct cities throughout Latin America, where some of the most pertinent new directions in arts and design are emerging today. New Territories explores the collaborations between small manufacturing operations and craftspersons, artists, and designers, and demonstrates how the resulting work addresses not only the issues of commodification and production, but also of urbanization, displacement and sustainability. The exhibition will explore a number of key themes, including: the dialogue between contemporary trends and artistic legacies in Latin American art; the use of repurposed materials in strategies of upcyling; the blending of digital and traditional skills; and the reclamation of personal and public space.
WHY GO?  Don't miss this opportunity to see inventive new forms and materials.

Anonymous: Contemporary Tibetan Art
Queens Museum of Art
September 21, 2014 through January 4, 2015
Anonymous is an exploration of changing attitudes towards self-expression, attribution, and identity in contemporary Tibetan art. Traditional Tibetan culture placed little emphasis on individuality or artistic self-expression. Art adhered to a formal system of production to support the transmission of Tibetan religious culture and was, by and large, unattributed” artists remained anonymous. However, in the global contemporary market, the creativity of the individual has become the primary basis by which we produce, interpret and consume art. Innovation and novelty are often valued more highly than technique and tradition. Attribution ”the artists name” has become a fundamental aspect of the work. Within the new social reality as part of the Peoples Republic of China, art is becoming a vital medium of self-expression for Tibetans. Artists are increasingly focused on the experience of the individual and a cautious 21st-century visual language steeped in irony, metaphor and allusion has fully emerged.
WHY GO?  We don't always get the chance to see Tibetan art and this show will offer a chance to experience this culture in a large exhibition.

Mac Conner: A New York Life
Museum of the City of New York (MCNY)
September 10, 2014 - January 11, 2015
The New York saga of one of the original "Mad Men."
McCauley (“Mac”) Conner (born 1913) grew up admiring Norman Rockwell magazine covers in his father’s general store. He arrived in New York as a young man to work on wartime Navy publications and stayed on to make a career in the city’s vibrant publishing industry. The exhibition presents Conner’s hand-painted illustrations for advertising campaigns and women’s magazines like Redbook and McCall’s, made during the years after World War II when commercial artists helped to redefine American style and culture.

Also at the Museum of the City of New York:
Assembled Realities: Jeff Chien-Hsing Liao's New York
October 15, 2014 - February 15, 2015
Assembled Realities: Jeff Chien-Hsing Liao's New York features more than 40 works by this Taiwanese artist, who came to New York at 18 to study photography. Pushing the boundaries of traditional documentary photography, Liao (b. 1977) creates large-scale panoramas by combining multiple exposures of the same location taken over the course of several hours. The resulting composite photographs are often fantastical; complex, hyper-real views that no single shot—or the eye—could capture. Liao has spent the past decade honing his distinctive style, making images of his adopted city from the Grand Concourse to Coney Island, the old Shea Stadium to the 72nd Street Subway.
WHY GO?  Don't miss the old time "Mad Men" artwork and the wild photos.

Ernest Cole: Photographer
NYU - Grey Art Gallery
September 3 through December 6, 2014
Ernest Cole (1940–90), one of South Africa’s first black photojournalists, compassionately but unflinchingly portrayed the lives of black people as they negotiated apartheid’s racist laws and oppression. Ernest Cole: Photographer features over 100 rare black-and-white gelatin silver prints from Cole’s remarkable archive. While many of the photo-graphs expose segregation, destitution, and violence, others depict intimate moments of children at play, mothers smiling, couples dancing, and friends joking. Cole was arrested and fled South Africa in 1966, never to return. This is the first major solo museum show of his striking images, which are illuminated by incisive captions from his book House of Bondage (1967).
WHY GO?  Don't miss this chance to see the photos of an important South African photographer.

Garden of Unearthly Delights:
Works by Ikeda, Tenmyouya & teamLab
Japan Society
October 10, 2014 through January 11, 2015
A monster tsunami uproots a city. Modern tough guys lock samurai-style in battle. Candy-colored streams of animals and flowers hyperpixilate. These dramatic visual moments are among many to be encountered this fall in our new exhibition Garden of Unearthly Delights. The featured artists Manabu Ikeda (b. 1973, Saga Prefecture), Hisashi Tenmyouya (b. 1966, Tokyo) and the art and technology collective teamLab (est. 2001) are today's takumi, or master artisans, taking pride in the execution of dense and precisely detailed works requiring time and contemplation to grasp. Their creative imaginations travel through time, finding inspiration in a range of styles; from medieval Buddhist paintings to contemporary anime and manga. Come stroll through their fantastical visions.
WHY GO?  Go to see current artwork by major Japanese artists!

Beyond the Supersquare
Bronx Museum of the Arts
May 1, 2014 to January 11, 2015
Beyond the Supersquare explores the indelible influence of Latin American and Caribbean modernist architecture on contemporary art. The exhibition features over 30 artists and more than 60 artworks, including photography, video, sculpture, installation, and drawing, that respond to major Modernist architectural projects constructed in Latin America and the Caribbean from the 1920s through the 1960s. Beyond the Supersquare examines the complicated legacies of modernism through architecture and thought—as embodied by the political, economic, environmental, and social challenges faced by countries throughout Latin America—through the unique perspective of artists working today. This exhibition is co-organized by Holly Block (New York City) and María Inés Rodríguez (Colombia), and designed by Benedeta Monteverde (Mexico).
WHY GO?  This place is amazing and it's so easy to reach on the Grand Concourse - go discover it for yourself!

Also at the Bronx Museum:
Here I Am: Photographs by Lisa Leone
September 11, 2014 to January 11, 2015
The Bronx - Paris - Los Angeles - early 1990s - hip hop. This culture of music, dance, art and fashion is forever in its nascent and most authentic in Here I Am: Photographs by Lisa Leone. From Nas in the first studio recordings for what would become his iconic debut album Illmatic, to Snoop on the set of his first video, from ingénue Debi Mazar on the subway to Grandmaster Flash at a RockSteady reunion, Leone’s photographs open portals to the sounds, places and, most importantly, the people who forged and continue to influence the energy that is hip hop.




DEAR WHITE PEOPLE Trailer

OPENS END OF OCTOBER! GO SEE NEW MUSEUM'S GIANT CHRIS OFILI SHOW!



IMAGE ABOVE:  Chris Ofili, Afronirvana, 2002. Oil, acrylic, polyester resin, aluminum foil, glitter, map pins, and elephant dung on canvas,108 × 144 in (274.3 × 365.7 cm). Courtesy the artist, David Zwirner, New York/London, and Victoria Miro, London



In October 2014, the New Museum will present the first major solo museum exhibition in the United States of the work of artist Chris Ofili. 

Occupying the Museum’s three main galleries, the exhibition will span the artist’s influential career, encompassing his work in painting, drawing, and sculpture. Over the past two decades, Ofili has become identified with vibrant, meticulously executed, elaborate artworks that meld figuration, abstraction, and decoration. In his extremely diverse oeuvre, Ofili has taken imagery and inspiration from such disparate, century-spanning sources as the Bible, hip-hop music, Zimbabwean cave paintings, blaxploitation films, and William Blake’s poems.

Guess Hoe's Coming to Dinner (Boondocks)

Tuesday, October 14, 2014

Khalik Allah Featured on TIME's Lightbox

Khalik Allah, a 29-year-old filmmaker and photographer who documents the streets of Harlem at night, has been photographing the corner of 125th and Lexington since 2012; armed with little more than a manual camera and a few rolls of film.

Street photography can often be a daunting or awkward experience – especially when you’re trying to photograph people who might be skeptical of what you are doing and why. However, for this street artist, photography is an immersive experience where he has built hundreds of relationships with members of the community.

One of the methods Allah uses to gain access to the lives of so many people is to show them a book of his past photographs, a technique learned from one of his influencers, photographer Bruce Davidson.



Dog Star Selects Storyboard P

Monday, October 13, 2014

GRAND CENTRAL by Billy Collins

Have you seen this on the subway? I like the poem and the image (of the ceiling of GCT, of course)...

Grand Central

The city orbits around eight million
centers of the universe

and turns around the golden clock
at the still point of this place.

Lift up your eyes from the moving hive
and you will see time circling

under a vault of stars and know
just when and where you are.

- Billy Collins
 
 

Sunday, October 12, 2014

Bey & Hov and the Mona Lisa (Musée du Louvre)



I really like this photo of Bey and Hov in front the Mona Lisa at the Louvre.

It says so much about culture, taste and class.  Well, maybe not so much about all that only lots and lots about money and checking things off their bucket list.  Who cares, right?

Of course, they visited when the museum is closed to the public and had their own staff with them.  Maybe even a guide from the Louvre gave them a "highlights" tour because, well, there's just too much to see in one visit and I can't imagine they stayed more than an hour.

What I like the most is that they are simply there.  And maybe fans of Bey and fans of Hov will be prompted, too, to imagine themselves taking a selfie in the very same place.  I think it's a great promo for getting more people into the museum.  Their presence in front the Mona Lisa matters in countless ways. 

Bey comes from upper-middle class family in Houston, TX - it's likely she learned about the Mona Lisa at a young age.  She went to a "fame" -type high school in Houston.  

Hov, as we know, grew up in the Marcy projects.  The image of the Mona Lisa may have been known to him but it's not likely that he knew anything about its creator, its home or its source.  Even if they pose in front of the Mona Lisa for the most vulgar reasons ("Niggas in Paris") they are still representing a connection to the fine arts that may influence lots of young and old folks. 

How I draw a set of playing cards by Marcello Barenghi


Saturday, October 11, 2014

FOOD FOR THOUGHT

"Traditionally, in American society, it is the members of oppressed, objectified groups who are expected to stretch out and bridge the gap between the actualities of our lives and the consciousness of our oppressor. 

In other words, it is the responsibility of the oppressed to teach the oppressors their mistakes. I am responsible for educating teachers who dismiss my children’s culture in school. 

 Black and Third World people are expected to educate white people as to our humanity. Women are expected to educate men. Lesbians and gay men are expected to educate the heterosexual world. 

The oppressors maintain their position and evade responsibility for their own actions. There is a constant drain of energy which might be better used in devising realistic scenarios for altering the present and constructing the future."

- Audre Lorde, “Age, Race and Sex: Women Redefining Difference”