Wednesday, September 3, 2008 -- A large explosion in a Video parlour blast in the Ethiopian capital kills six.

Wednesday October 01, 2008 -- Fifteen men have died and 10 more people have been injured after a suspected arson attack on an all-night adult video parlour in Osaka, Japan.

rev billy

What does it mean for the Tate to endorse Street Art and the Street for art?

Street Art has, for as long as it has existed, been frowned upon by institutions, the critics disdain it's integrity and art professors grit their teeth at the students who go to art school and practice street art for their work.

The only place street art has had a dominant place in academia is its relation to the social world in humanities; The crime relevance to society and how the media has taken this sub-culture and taken its soul for advertising purposes.

This media trend also relates and somewhat explains the art worlds new acceptance with this art form.

I WANT CANDY
Allan D. Hasty
The Proposition
559 W 22nd St
July 1 - August 8, 2008

In his previous photographic work, Allan Hasty has evinced a decided Southern Gothic tendency. His images are replete with tabloid visions of sex, sleaze, sin and death, with B-girls in bustiers brandishing guns, with freaks and geeks. With portraits subjected to the choreographed flash of strobe lights, analyzing motion into a series of post-Eadweard Muybridge smears, tearing bodily into the fourth dimension. With memento mori awash in a sea of multimedia distress, the surface of the photo intentionally dirtied in its development from the negative. A photo from Solicitation, his last show at The Proposition in 2004, is representative of his penchant for the freakish and extreme, for his manipulation of the image, and for his peculiarly gothic obsessions.

Soumis par admin le 9 juin, 2008 - 16:09

I always have a vague yet persistent feeling of uneasiness when it comes to mobile and locative media art: a sense of play and liberty coupled with a tragic consciousness of locative media's capitalist blood ties. The politics and economics of mobile locative art have been partially addressed in issue 7 of .dpi , “Hard Mobility”, on mobility and hacking, 1 but can be further illustrated here by relatively well known projects that make use of Global Positioning System (GPS) enabled cellphones and PDAs to transform cities into sites of play. These projects include the various works of Blast Theory 2 and the likes of Urban Tapestries 3 by Proboscis, 4 which all clearly show how blurry the lines can become between artistic practice, academic research and corporate interests. Various military-industrial-entertainment complexes are part of today's reality and determine the terms of our contemporary constructions of utopia.

By Christopher Knight, Times Art Critic
July 25, 2008

http://www.latimes.com/theguide/art/la-et-galleries25-2008jul25,0,321940...

Early Saturday evening, Providence, R.I.-based artist Mark Tribe orchestrated a reenactment of a 1971 speech by Chicano labor activist César Chávez protesting the Vietnam War. On the South Lawn of Exposition Park, midway between the Natural History Museum and the Coliseum, a call went out for "organized and disciplined nonviolent action," aimed squarely at those "seeking [their] manhood in affluence and war."

If you're from the UK, or are visiting, then you should definitely pass by the Lisson Gallery for Spencer Finch's exhibition that is on show until the 26th July - So, not long now!

Artists re-create seminal events from the turbulent decade for Port Huron Project.

By Diane Haithman, Los Angeles Times Staff Writer
July 19, 2008
On May 2, 1971, about 200 uniformed police surrounded the perimeter of
Exposition Park while 30-odd plainclothes officers circulated through the
crowd as farm labor

leader César Chávez delivered a brief but impassioned speech decrying the

Tjorg Douglas Beer
Salonu Istambul/Observation Deck
Produzentengalerie Hamburg

While Tjorg Douglas Beer’s works previously collaged disparate iconography, confuting the viewer with abstracted associations of power versus the everyday, in the Salonu there is a distinct predominance of Islamic characters and militaristic residue. Of course, the artist might contend that as his studio was located in a Muslim region of Hamburg, Shemaghs and Hijabs (head scarves) are fashion and religion alike. And there is an interesting sensitivity in this; that in order for iconography to denude itself, to exist in its most malleable state, it must shift in context to cultural characteristics.

The great collage artist and accidental avant-garde father of found-footage, Bruce Conner died July 7th 2008. His legacy in Library of Congress and in collections among major art institution the world over. But long before he certainly had been immortalized on YouTube, and that of course bears an amusing double-irony. Some might interpret it as "giving back" others as "stealing from a thief".