Category archives: Art for Progress
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6 years ago
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Most Miami art week events are drawn to glitz and glam, vying to compete for a mention in the press or passed as gossip around town as the hottest soirée happening during its short life in Miami. The majority of art fairs push old and new artist names to the public while attempting to cash in revenues from lucrative collectors. They all play a part within the same hob-snob social games commonly celebrated in art communities across the board. It's just more intensified during this time of year.
Luckily, the RFC ( Rubell Family Collection) opened it's doors to the public with a refreshing solo exhibition of Purvis Young's messy Zulu inspired, folk art and new acquisitions. Over one-hundred works were displayed, created over Young's lifespan, shedding light on "universal themes."
Although Young is a prominently dominating name in the art world and his personal affairs disclosed to the public, there is still a sense of privacy or even distance that exists between his work and the public. This space became more apparent to me as I walked through the exhibition. Because the RFC exhibition space is vast and fixed in white walls, Young's smaller works became shushed from the viewer's direct gaze, but it was precisely his genius overcast brushstrokes what gesticulated the viewer to step in and absorb the extended, languid arrangements. Similarly to his reflective persona, his gestures seem pensive, drenched in the desire to understand humanity's fate, twisted by war, suffering,[...]
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6 years ago
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Since 1998, the Animation Show of Shows has selected the best animated shorts from around the world. According to founder and curator Ron Diamond, the 15 films chosen for the 20th annual edition “really illuminate human strengths and foibles, and the bonds that unite us across cultures and generations.” Though these films and their animators come from various backgrounds and countries, the themes represented are truly relatable across the board.
Ranging from 70 seconds to 15 minutes, the works range from darkly funny to deeply moving, representing an impressive array of visual styles and moods. Running a little over an hour and a half, the entire program is a treat from start to finish.
Some highlights include:
Grands Canons, from French multimedia artist Alain Biet, is a dizzying visual presentation of thousands of hand-dawn everyday objects, presented at various speeds and in myriad permutations, accompanied by jaunty, propulsive music. Clearly a labor of love, it ultimately becomes mesmerizing.
Barry, from filmmaker and Cal Arts animation student Anchi Shen, is a humorous, simply drawn story about a goat with a Harvard degree applying for an oncologist position at a hospital. He's first relegated to custodial work until he saves the day in the OR. Though his fellow physicians cheer him on, he’s fired from the staff because “Goats are never doctors.” A clever take on stereotyping.
The visually intriguing Love Me, Fear Me from Romanian filmmaker Veronica S[...]
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6 years ago
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It was social critic Edward W. Said who termed Orientalism as the post-colonial tendency to personify the "Arab and Eastern cultures as exotic, distorted, uncivilized and at times dangerous." It is through this faulty lens that the Eastern and Arab cultures continue struggling to legitimize their position in social structures of acceptance and understandings from the West and Eurocentric cultures.
Regretfully, although one would like to assume the art world as tolerant of "others" in its reich; evidence proves otherwise, displaying very little or vague opportunities for artists residing in the East ( dominantly Arab ) to exhibit their work on US soils. This year, in 2018, marked the first-ever solo exhibition of a self-taught Algerian artist Baya Mahieddine (1931–1998), at New York University’s Grey Art Gallery.
Back in Algeria the struggle to be seen outside the Orientalist perspective continues with a swath of renegade artists and curators: searching for ways to break the stereotype artforms and infrastructures by conducting new alternative run spaces and bridging communications with foreigners. These quads not only present the art of local contemporary artists but rather invite international voices to coexist in a place that offers a compound exchange of ideas, open forum, and cultural exchange with Algerian artists working on the edge of their medium. One of those spaces, BOX24, now in its ten-year anniversary is lead by its founding visionary leader, Walid Aidoud.
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6 years ago
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Hot off a national tour and an acclaimed performance at Hulaween, Toubab Krewe will perform a special, intimate engagement Friday, November 30th to benefit arts education in New York City. The concert, Music For Progress, will take place at NYC's famed Rockwood Music Hall and proceeds will go to Art For Progress, a local 501(c)3 non-profit arts organization committed to bringing arts education to NYC's public schools in underserved communities. In a city that boasts world-class music and art programming every hour of every day, many public schools throughout the five boroughs lack the budget, funding and personnel for robust programs to empower young artists and musicians. Through the work of Art for Progress, even the most disenfranchised have an opportunity to learn and engage with music!
With a strong track record in partnering with mission-based cultural organizations, Toubab Krewe is thrilled to be working with AFP to share a message of global community and empowerment.
Special VIP donor tickets with be offered, which will include a private viewing platform, a signed vinyl copy of the band's recent album 'Stylo,' as well as a box of fruit and vegetable seeds which the band released in conjunction with the album to promote sustainability, and other surprise merch gifts!
Support will be provided by Bad Faces, a local power quintet as deeply rooted in traditional roots music as they are reaching for stratospheric heights in their improvisational explorations. The g[...]
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6 years ago
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Now in its 9th edition, DOC NYC—America’s largest documentary film festival—runs from November 8 through 15. More than 300 films and events are included in a variety of categories, including American Perspectives, Behind the Scenes, Fight the Power, International Perspectives, Portraits, Jock Docs, Modern Family, Science Nonfiction, Sonic Cinema, and True Love. In most cases, filmmakers (and often their subjects) will be on hand to answer questions, post-screening. Awards will be given in several sections, including an overall Audience Award.
The gamut of films this year includes epic portrait Beyond the Bolex, Alyssa Bolsey’s doc about her great-grandfather, the groundbreaking movie camera inventor Jacques Bolsey; Afterward, in which Jerusalem-born director and trauma expert Ofra Bloch visits victims and victimizers in Germany, Israel and Palestine; Lindsey Cordero & Armando Croda’s timely I’m Leaving Now, about an undocumented worker in Brooklyn facing a difficult crossroads; and We Are Not Done Yet, a short directed by Sareen Hairabedian and produced by actor Jeffrey Wright, about U.S. veterans combating their traumatic military histories through art, poetry and performance.
A few more highlights:
Dennis and Lois
A doc by Chris Cassidy that will resonate with music fans, Dennis and Lois is a portrait of a 60-something couple who have been music superfans for over 40 years. The Brooklyn-based duo, together since 1975, live in a house stuffed with band mem[...]
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6 years ago
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Federico Guzmán (AKA Fiko) has become an iconic figure in Western Sahara, utilizing the platform art offers as a vehicle to promote peace and social change to the Saharawi people. Guzmán treads between a soldier of solidarity and curator of cultures emphasizing on gatherings, art, and experiences that will induce an exchange of ideas and collaborations between artists and wherever his projects realize, and the local community.
For twelve years Guzmán has co-organized ARTifariti The Arts and Human Rights Encounters of Western Sahara in the African desert "as a way to explain the circumstances of the Saharawi people " creating a "weapon of visibility" to a story not globally known by many nor should be hidden from the public eye: and with projects such as ARTifariti one sees the opportunity to include foreign narratives and artists distanced by unfavorable political circumstances into the art world”.
The selected artists demonstrate couth in human rights and its relevance within the arts, but more importantly "are confronted a reality" that is life-changing from personal to professional, receiving a surreal cultural exchange with fresh perspectives and resilient power from the Sahawari people (especially from the matriarch figure whose role is to lead the community).
During 2018's visitation in the Sahara, the artists delve into intense creative processes of art-making, finally exhibiting and documenting the work(s). Collaborations are accessible on the list of act[...]
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6 years ago
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Denmark’s official entry for Best Foreign Language Film, The Guilty is as suspenseful as they come. Gustav Möller’s dark, spare thriller opens in an emergency dispatch center and never leaves the premises. Most of the action takes place on the phone as Asger Holm (Jakob Cedergren), a cop demoted to desk duty, tries desperately to save a life. It’s a testament to Möller’s abilities that this claustrophobic, no-frills film never loses steam, but continues to grip the viewer throughout its 85-minute runtime.
Right from the start, the focus is tight on Asger as he gruffly handles mundane, almost amusing, emergency calls—someone freaking out on drugs, a guy who was mugged by a prostitute. Just when the bored cop begins to space out, there's a call from a woman in distress. As he quickly ascertains that she is being held in a moving car against her will, the film’s tension immediately ratchets up.
The woman pretends she's speaking with her child as Asger asks a series of questions to figure out her location. His mind spinning with possibilities, he embarks on a series of frantic calls, which include sending a patrol car to a location indicated by her phone’s GPS. He also calls the woman’s home and speaks to her panicked six-year-old, promising the girl that he’ll protect her mother. Keeping his calm at first, Asger skillfully unravels the situation while constantly being told by various entities that it’s not his job. There’s talk about a big case coming up the next d[...]
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6 years ago
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Art for Progress (AFP) is thrilled and honored to present a night of empowering original music, created for a special evening to benefit AFP’s art education programs. Music for Progress will take place on Friday November 30th at NYC’s quintessential listening room, Rockwood Music Hall (stage 2) and feature psychedelic world-jam group Toubab Krewe, Brooklyn power trio Bad Faces, and 3Bridge Records and Flemcy Music recording artist and DJ, Gatto. Get your tickets [HERE]
Blending American and West African influences into a sound all its own, Toubab Krewe has set "a new standard for fusions of rock 'n' roll and West African music" (Afro pop Worldwide). Since forming in 2005, the magnetic Asheville, NC based quintet has won a diverse and devoted following while performing everywhere from Bonnaroo to the Festival of the Desert in Essakane, Mali. Mixing American rock with the musical traditions the band fell in love with on their travels to Africa, their sound also nods to surf and zydeco. This fusion of sound is what the Village Voice describes as "a futuristic, psychedelic, neo-griot frenzy" and Honest Tune hails as "one of the most innovative voices in music today."
Bad Faces are a Brooklyn power trio as deeply rooted in American traditional music as they are reaching for new stratospheric heights in their improvisational explorations. Led by singer/guitarist Barry Komitor, a fixture in New York's vibrant folk and bluegrass scene, the group has amassed a strong local foll[...]
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6 years ago
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Tina La Porta opens her first solo exhibition, Side Effects in South Florida on September 29th in the FAR Gallery at FATVillage Projects. The presentation is a candid oeuvre on La Porta's encounter with mental illness and her skilled approach to creating a pharmaceutical, candy-like frenzy to the viewer's eye and psyche.
Far Gallery is a long corridor of two walls facing North and South to the main entrance, making the task for any curator or artist challenging to organize works within the space without it becoming predictable. Nonetheless, La Porta and curators Vee Carallo and Leah Brown strategized the area by assembling the wall sculptures in a non-linear format, concentrating on colors, geometric designs within the works and by the story of each prescription pill.
Although La Porta is open about her way of life and how her functionality depends on the suppression her pills provide, she also comments in Indian Summer (2003) on the comfortable accessibility people have to order any prescription online. With its deceiving romantic shades of pink and old rose, Indian Summer 2003 exudes an ill feeling to a morning-after pill, direct from India without any proper instructions or what damaging side effects one is to expect from it.
From La Porta's grueling process to crush each pill, comes the construction of a larger disk or shape resembling a small tablet filled with an array of smaller capsules sprinkled in vibrant colors and delicious enough to want to bite. The scu[...]
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6 years ago
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Two very worthwhile documentaries open this week in New York City: Sasha Waters Freyer's Garry Winogrand: All Things Are Photographable is a portrait of the groundbreaking photographer responsible for some of the most memorable images of the 1950s through '70s; Dan Habib’s Intelligent Lives follows three young adults who are challenging old ideas of what is achievable for those with intellectual disabilities.
Most of us have been intrigued by least one Garry Winogrand photo; perhaps “New York World’s Fair, 1964," featuring several white women and one African-American man on a park bench; or the untitled image of a man upside down in midair on a city street. Winogrand's photos, which capture nuance a well as overt movement, and the man “who turned street photography on its head” himself are both examined in All Things Are Photographable, an enjoyable doc full of images famous and lesser known. Along with testimonials from fellow photographers, museum curators and Mad Men creator Matthew Weiner, Freyer includes interview snippets with the late Winogrand himself, a gruff, outspoken Bronx native who often resisted analyzing his photographs, insisting that “all a photograph does is describe light on surface.” But Winogrand also admitted that a powerful image “makes you question what you think you know," an apt description of his work.
New York Times photo editor Jeffrey Henson Scales likens Winogrand's images to choreography because “everyone is dancing” in them; ano[...]
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6 years ago
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This summer, thanks to a grant from the Matisse Foundation, I had the great pleasure of teaching the music portion of the Art for Progress Summer Arts & Music Program for high school students and young adults interested in pursuing creative careers. Consisting of series of four workshops held on Sunday mornings during July and August at the Clemente Soto Velez Cultural and Educational Center, the program was designed to explore the many real-world considerations inherent to careers in the arts and music. The focus was to look at some of the dynamics at play in the music and art worlds, and to provide support in the development of specific skills in the various media. Each week, a professional working in the arts was invited as a guest speaker and to host a short discussion. The speakers were happy to answer questions and were very informative and animated as they enlightened the group about the day-to-day life of a working artist. Everyone seemed to have a great time and to get a better sense of how to approach their work professionally going forward. On a personal note…I had the fantastic opportunity to study visual art in Paris while in college, and later jazz theory and improvisation, so it was auspicious to me to be able to work with the foundation representing French painter Henri Matisse, a personal favorite and early influence. Matisse was known to love American jazz music, and that added to my special sense of personal investment in this project. We at AFP are[...]
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6 years ago
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By Evan Jake Goldstein
August 30, 2018
It's hard to believe that nearly eight years have gone by since House of Vans Brooklyn first opened their doors, promising free concerts, art installations, and curated events for all to attend. Originally intended as a pop-up spot for Vans to showcase their signature skate style shoes, the repurposed Brooklyn warehouse became a major hot spot for skaters, hipsters, punks, and music connoisseurs alike. The first come, first serve, RSVP ticketing system for their free summer concerts offers equal opportunity for anyone to attend their events. You can't buy your way inside if you miss the sign-up period or are late to line up at the door. There are no $8 water bottles or VIP bathrooms, no balcony seating or members-only presales.
House of Vans feels like a magical place where beers are free for anyone of age willing to wait on line, and t-shirts, tote bags and posters are given away to attendees upon arrival and departure as souvenirs. Hispanic teenagers from the Bronx mosh with the middle-aged white businessmen of Manhattan, their mutual love for the music binding them. They book artists spanning all genres, decades,and levels of fame. The well-curated shows typically feature a headliner, a supporting act of the lead’s choice, and an unsigned opener. The penultimate show at House of Vans Brooklyn featured Deerhunter, Circuit des Yeux, and Standing on the Corner.
Post-post-genre openers Standing on the Corner were the first to hi[...]
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