2012: Year of the GLI.TC/H panel at SXSW
What happens when accidents become the building blocks of the art-making process?
Vote for this panel to be at SXSW until October 10th, 2012.
- Patrick Lichty Columbia College
- Jon Satrom School of the Art Institute of Chicago
- Jon Cates School of the Art Institute of Chicago
- Alan Sondheim EyebeamAdditional Supporting Materials
February 19 to April 15, 2012
Technology has traditionally been used to make what functions function faster, easier and more efficiently. We expect computers, robots and machines to continue to take over the performance of chores and ramp up the production of goods. But what happens when technology is used for the non-functional, to make what is functional less functional? What happens when technology, especially high technology, is used for art or for play?
In organizing an exhibition based on technology, we’re looking for artists who subvert the functional or fabricate the handmade. We’re particularly interested in work that expands upon or pushes against traditional definitions of art, and investigates the relationship between technology and play.
Installation, screen based and/or digital projection projects, music/sound devices, and other media will be considered. Any robots out there?
Curators: Barbara Blades and Debra Tolchinsky
Department of Radio-TV-Film
1920 Campus Drive, 2nd floor
Evanston, IL 60208
A BARcamp is a participation oriented event focusing on some of the best parts of conferences: between session discussions, knowledge sharing and socializing. All the talks are given by attendees and the schedule is decided the day of the event. The event is FREE and open to the public.
What none of them could figure out was how he had gotten into the apartment. Even he was vague on the details, insisting that he had come in through a locked window a good eight feet above the ground. Still, the fact remained that sometime in the wee hours of the morning, he had appeared in the wrong bed, sending its rightful occupant shuffling through the hallway and out to the refuge of the couch.
His phone had vanished at some point in the evening’s revelry, the only clue to its whereabouts a series of charges for calls made to Paraguay near dawn on a Sunday. The Polaroids, however, were intact, a linear series of snapshots that gave structure and meaning to the blurred thread of a memory that formed the foundation of his tale of mirth and woe: himself, the quixotic hero adventuring on the high seas of Wicker Park, consorting with the locals and ultimately triumphing over a misdirected cabby and a slumbering, fastened garden apartment.
When: Wednesday, July 20 through Saturday, July 23, 2011
Where: Francis W. Parker School, Chicago, Illinois, USA
At last, a full length book on these challenging shit-starters…
Founded in New York City in the mid-1960s by self-educated ghetto kid and painter Ben Morea, the Black Mask group melded the ideas and inspiration of Dada and the Surrealists, with the anarchism of the Durruti Column from the Spanish Revolution. With a theory and practice that had much in common with their contemporaries the San Francisco Diggers, Dutch Provos, and the French Situationists—who famously excommunicated 3 of the 4 members of the British section of the Situationist International for associating too closely with Black Mask—the group intervened spectacularly in the art, politics and culture of their times. From shutting down the Museum of Modern Art to protesting Wall Street’s bankrolling of war, from battling with Maoists at SDS conferences to defending the Valerie Solanas shooting of Andy Warhol, Black Mask successfully straddled the counterculture and politics of the 60s, and remained the Joker in the pack of both sides of “The Movement.”
By 1968 Black Mask dissolved into “The Family” (popularly known as Up Against The Wall Motherfucker—the name to which they signed their first leaflet), which combined the confrontational theater and tactics of Black Mask with a much more aggressively “street” approach in dealing with the police, and authorities. Dubbed a “street gang with analysis” they were reputedly the only white grouping taken seriously by the Black Panther Party, and influenced everyone from the Weathermen to the “hippy” communal movements.
This volume collects the complete ten issues of the paper Black Mask (produced from 1966-1967 by Ben Morea and Ron Hahne), together with a generous collection of the leaflets, articles, and flyers generated by Black Mask, and UATW/MF, the UATW/MF Magazine, and both the Free Press and Rolling Stone reports on UATW/MF. A lengthy interview with founder Ben Morea provides context and color to this fascinating documentary legacy of NYC’s now legendary provocateurs.