Nuit Blanche Analysis

Lorraine O’Gradys’ unintentionally historic performances, seemingly elevate everyday life to the status of art. In her ‘exhibit’ at the Studio Museum, her work is represented through photographs, in ‘Art is…’. Thirty years ago, O’Grady presented ‘Art is’ in the form of a float in the African American Day Parade right here in Harlem. Performers pranced with empty frames, metaphorically capturing fleeting pictures of the people and places that surrounded the route of the parade. By doing so, the trappings of high art were brought out of the museum, into the street, which promotes a new way people might begin to recognize this new art form in the celebrations of every day life. The

1985 (Figure 2) first appeared in 1985 plastered on billboards around New York City. The piece is illustrated in monochrome colours so to not distract viewers from the meaning of the poster. The harsh contrast in colours between the black writing and white background make the piece stand out and draw the attention of bypassers. Written on the artwork is a list of well-known museums in New York City and beside them is a score of how many women artists have had one-person exhibits there in the past year. The results showed that the Guggenheim, Metropolitan and Whitney museums each had zero, whilst the Modern museum had one. These results are supposed to shock the audience and make gallery curators feel a sense of guilt, that it’s clear the art world don’t appreciate women artists like they do men. Whist they are confronting the public with that truth they are also providing another critical message with this piece. The Guerrilla Girls identified these museums by first name, not out of convenience, but to make a statement, that the only museums to allow women artist some form of respect like male artist do was the ‘modern’ museum. Emphasising the fact that gender discrimination and bias nature in the art world should be in the past, and the only museum that realises and recognises this is the modern one. The poster’s main message challenges the patriarchal world of art and confronts art galleries

Du Bois is very famous African American writer and author where he mainly focuses on the lives of black people, one of these famous works is The Souls of Black Folk where he brings up a very interesting idea of the Veil in American history. The way that Du Bois explains the Veil as that it is a screen that will always be over black people because they will never truly be Americans in the society that we as people have created. Racism and discrimination from then and now hasn’t changed as much as it should have throughout this time period. One idea similar to this is the “glass ceiling” and the “color line”, which symbolizes that there is always the separation there even though no one can see it. The Veil is a very prominent role in African

Toronto is famous for its liberal, expressive arts, and the local performing arts scene has been in the spotlight many times and received numerous rewards (Henry, C., 2009). Every year, flocks of tourists are drawn in by world-renowned theatre events and festivals. Examples include (Toronto International Film Festival Inc., 2011):

Despite the somewhat cold weather, downtown Marietta radiated a vibrant atmosphere on April 22 for the inaugural Brick Street Arts Bash. In coordination with Marshall Kimball and the Marietta College Music Department, along with the Leader in Residence program through the McDonough Center, the People’s Bank Theater contributed tremendously to the success of the festival; predominantly in terms of publicizing to the community and offering a performance venue. Within this essay, I will discuss how the People’s Bank Theatre exhibited Drucker’s idea of social responsibility, as described by William Cohen, with specific regard to its involvement with the Brick Street Arts Bash.

I fell in love with methodologies of art history. I felt empowered in that, through my own interpretations, I could attach words and meaning to objects. My study of art history reached a turning point when, in 2012, I took a class entitled Identity in a Post-Identity Art World: Gender, Race, Sexuality, and Trans/Nationality, 1990 to the Present. The course endowed me with another lens with which to examine works and, more importantly, shed light on representations of marginalized identities. As a result, I was introduced to the writings of Judith Butler and Simone de Beauvoir, both seminal theorists who inspired my own analyses. I enjoyed every minute of conducting research and forming arguments to support my claims. Ultimately I was interested in developing my understanding of issues in contemporary art further and sought to accomplish this by engaging with a larger

While the protester is being sprayed in the eyes with mace, the music festival goer is smiling and a person is posting a photo of her with tags such as #stylish #coachella etc. This piece truly reflects the treatment of Native Americans: How people are so quick to use a person’s culture to their advantage, how people use others but don’t really care for them. “Thus the art will endure, both as a testimony to and a reminder of the protesters’ courageous fight” (“The Art of the Standing Rock”).

Aside from the Brooklyn Museum, the only museum I had been to in the last four years would be the Met Breuer. As I was instructed to visit the Diane Arbus exhibit at the Met Breuer, I imagined the same type of scenery any museum would look like; high ceiling, large frames, and a collection of detailed and colorful work. It occurred to my surprise when instead I saw an identical collection of same sized frames, of just people, in what seemed to be black and white. As I took a deeper glance, I noticed almost none of the people photographed were smiling. It appeared that they were candid photos, yet they all looked directly at the camera. Arbus’ photos were drawn to unusual public places and scenery in black and white with some surreal contrast portraits. I noticed the raw images of peculiar people often brought focus on those who may be the outliers of their society; transgender, dwarfs, nudists, circus clowns, and even children. There were various particular themes that struck a chord with me, however, among the many images I came across during my search, I found Arbus’ portraits on transgender people provoke the most emotion and intrigue. The wide variety of each portrait as well as the ways she chose to portray them told a story of both lives and culture within her lifetime. Being particularly interested on transgender people, I was captivated with the complexities of her work and the way that she transcended so many boundaries which constantly had me question the theme she

Life in the slums of New York, particularly that of Harlem during the years when racism was still openly practiced in public, has always interested me. I had a chance to go to museum about Gordon Parks. He was the first black photographer. He Proposed a series of pictures about the gang wars that were harassing post-war Harlem. He believed that he could draw attention to the problem then possibly it would be addressed through social programs or government intervention. Parks gained the trust one of particular gang and their leader, Leonard “Red”, and produced a serious of pictures of them that are artful, emotive, touching, and something shocking. The editors at Life selected twenty-one pictures to reproduce in a graphic, adventurous layout in the magazine, often cropping or increasing details in the pictures. Also, this museum photographic selection is for the writer’s eye program that challenges students and adult writers to use visual art as inspiration for the creation of original poetry and prose. So they didn’t have any information about pictures. Perception and the individual and ethics and perception are best subtopic for Gordon Parker museum. Perception and the individual is very important in daily our life. Individual perception means engage in selective attention and appoint meaning to our perception. Gordon Parker’s photographic was the best example of individual perception. He didn’t want to put

In understanding body politics and spatial struggles, one cannot neglect the concept of identity and what it means. The history of modern Canada has its history deep in migration and settlement; from the aboriginal peoples, to the French and later British. Over the years, discussions have entered academia with the aim of defining an understanding Canadian culture and identity. This project was aimed at finding artists who has work that deals with this and established themselves in this field.

My paintings give material form to the human tendencies to compartimentalize, and desegregate, both nature and our built environments. In each two-dimensional work, I start with an impression ---a feeling, a memory, a childhood friend, a family member, or a location---and build the forms using patches of color, showing my own habit of separating parts of the world around me into smaller, consumable parts. For example, in L.A. Bus Routes, I utilized my frustration with the pervading image of Los Angeles’s car-riding culture by making a largely unspoken bus-riding culture take center stage. I drew lines with colored pencil representing the L.A.’s city blocks defined by bus routes surrounding my East Hollywood home. Fluidly, colors bled into others where watercolored shapes met, representing the permeable borders of neighborhoods in L.A. My work questions the fabric of social dissonances using a patchwork of watercolor, gouache and pencil marks that suggest a human need to compartmentalize aspects of our surroundings, our selves, and

In the article, Public Art and Street Art, by Patrick Frank, the author, talks about the idea and meaning behind public art.

Shannon Jackson’s “High Maintenance” examines the work of Mierle Laderman Ukeles, an influential artist in performance and feminist art discourses. Jackson uses Ukeles’ collaborations with the New York Sanitation Department in order to exemplify the ways in which her artistic identity as a mother, artist, and feminist give rise to ideas about labor both within and outside of the gallery space. Jackson forces the reader to think about performance as a “reciprocally sustaining infrastructure—one that needs to be supported in order to support” and how that reciprocal relationship “serves as its most fundamental link to a larger socio-political consciousness on the role of maintenance in sustaining human welfare” (Jackson, 78).

THESIS: Montreal’s nighttime cultural economy is defined by its nocturnalization, created through installations like the illumination of the Pont Jacques-Cartier bridge, the festivals of light such as Illuminart, and is capitalized upon by cultural economic producers, such as Moment Factory. Montreal’s culture via these lights are a reverence to the city, providing a night time economy and a nocturnalization that are iconic to the city, but they do not change the inherent Montrealness.

The public place, in which I chose to observe fashion, was a community fall festival. This festival occurs once a year and brings people from several communities. I arrived at the festival in early afternoon, around 12:30 pm. The festival was just starting to get crowded. At this time there were mostly families with children present. I observed numerous families with babies in strollers. There were at least twenty “vendor” booths