Arts/Entertainment/Special Projects Editor-Time.com (New York)
Time.com
http://www.time.com
Assistant Professor, Video Production
Department of Communication Arts
University of Washington-Madison
Campaign Manager
Director of Special Events
Institute of Contemporary Art Boston
http://www.icaboston.org
Media Educator (New York)
Global Action Project, Inc.
New Music / Video Opportunity
Vox Novus
Rights and Reproduction Administrator
Seattle Art Museum
CALL FOR ENTRY
11th Cine Las Americas International Film Festival
Deadline: December 21, 2007
RESIDENCY
2008 Around the Coyote Spring Artist-in-Residence Program
Around the Coyote
Deadline: November 1, 2007
Demetrius Oliver is the hotness. The Studio Museum of Harlem knows this. His work was just taken down yesterday after the closing of he and his fellow artists in residence's exhibit, 'Midnight’s Daydream' on display since July. If you are one of those Yale kids who listens to your dean, Robert Storr, curator of 'Making Do', you probably checked for Oliver while he generated live shots in person from the October 15-22 at Yale's Green Hall Gallery. Oliver is one of five artists selected by the School of Art to create art "while making do with a given material of their choice". Perhaps you slept on him in favor of focusing on your mid-terms,you little Yaleys you,or simply were not in the area, fear not. Oliver's photography is still on display at Yale University's School of Art in New Haven until November 7.
What is Demetrius Oliver's work about? Think of his shots as if peering through Captain Nemo's telescopes on the Nautilus. Or maybe its what is under one of Frankenstein's microscopes? That is the thing with Oliver's images, half the time is spent deciphering the subject of the image and the latter identifying how to feel about the subject, image or sentiment in general. No, Oliver's work is not abstract, disconnected or intentionally meandering, but rather complex. And as a result, compelling. Light bulbs on a jacket considered art? Yes, bling of course. Thus the reason why it is difficult to look away? Words from art aficionados note that although the press failed to warm to Oliver's work at the Studio Museum of Harlem as they did to Wardell Milan's own personal Jesus-a must-respected and received piece-we are hoping the Yale community will provide more acknowledgement. For more of Oliver's complexities, check here and when you have finished pondering the five W's and H, check 'Making Do'.
REM sleep or Stage 5 sleep, is usually associated with dreaming-beautifully bizarre, random, or startlingly human-it produces a creative feed for granting it a second thought or a perhaps, a daydream. And a daydream is what swims to mind when viewing “Midnight’s Daydream”, an exhibit showcasing the Artists-in-Residence at the Studio Museum of Harlem.
Titus Kaphar’s works paints and conjures history while modeling after classic eighteen-century portraitist. Wardell Milan II cuts and pastes; using digital C-prints, magazine cutouts, as well as charcoal drawings, his work evokes a sentiment of yesterday-tomorrow and then today. Demetrius Oliver time travels using photography, sculpture as well as science, in relation to his objects and materials. Or yes, bacon and a tea kettle in “Almanac”.
All three artists’ recurrent dreams address and reflect upon history, race and the delicate notion of time and place. The three artists’ creation growth or expression is demonstrated in twenty-five works in drawing, mixed media, painting, photography and sculpture. “Midnight’s Daydream is at the Studio Museum of Harlem in New York through October 28.
Assistant Professor, African Art History & Visual Culture
Michigan State University
Assistant Professor, Video/Media Production
Program in Film and Media Culture
Middlebury College
Events Coordinator
Seattle Art Museum
Administrative Assistant
The Boston Museum
Web Designer
Center for History and New Media ( Washington DC)
Communications Coordinator
Whitney Museum of American Art
Education Program Coordinator
Museum of the African Diaspora (San Francisco)
Research Assistant
The Museum of Modern Art
FELLOWSHIP
MacDowell Fellowship
Deadline: See website for more information
CALL FOR ENTRIES
2008 Langston Hughes African American Film Festival
EMPLOYERS: Send you FREE job listings to: info (at) codezonline (dot) com.
In Britain, October is more than the ninth month of the year, but boasts the opening exhibit for the Turner Prize finalists short-listed for the award. For the first time in its 23-year, the four selected artists- Zarina Bhimji, Nathan Coley, Mike Nelson and Mark Wallinger- will have their work showcased in Liverpool, versus London. Conversely, the Tate Britain with host a retrospective exhibit of past Tate winners in London. This year architecture, film and photography are the highlighted mediums where influential judges will select a rising architect, filmmaker or photographer while nominees’ works reflect or predict the state of art in Britain.
The Turner Prize, an annual prize presented to a British artist, is organized by the Tate Gallery and has evolved into the Britain’s most prestigiously-publicized award. In addition to the prestige and £40,000 cash award, potential awardees' works are oftentimes subversive, testing the boundaries and raising the question of what is art and who decides. The 2007 deciders include Thelma Golden, Director and Chief Curator of the Studio Museum, Harlem; Fiona Bradley, Director of the Fruitmarket Gallery, Edinburgh; Michael Bracewell, critic and writer and Miranda Sawyer, writer and broadcaster.
Nominees, such as Zarina Bhimji, a Ugandan photographer and filmmaker, draw particular attention to the conversation of what is British art. Bhimji’s 'Out of Blue', documents images of Uganda’s lush greenery and splendor coupled with its history of expulsion and exile as a background. Bhimji’s film and other works address political and social strife, in the form of emotions, or lack of. Her work is expressive and melancholic, including ambitious themes of redemption for self and society. As a Tate nominee, Bhimji’s historical context and imagery meld appropriately within Britain’s historical and social fabric, as many expelled Ugandans immigrated to Britain in the early 1970s. With or without the award, artists and judges alike gain substantial attention and recognition on the strength of their involvement in the process.
Spaces and places and exploration exist in more than Jazzanova cuts and the musings of Dr. Seuss tales, but also surface when surveying the architecture of David Adjaye. Adjaye, a Ghananian architect and advocate of public space for collective consumption and appreciation, is one of Britain's freshest starchitects, prompting the world of architecture to make room for his force, ideas and topology. The Studio Museum of Harlem hosts several of Adjaye's samplings during his first solo exhibit in the United States, "Making Public Buildings". The exhibit introduces American audiences to Royal College of Art–trained architect most recent commissions and completed works like the The Idea Store in the London and Nobel Peace Center in Oslo, but also initiates the discussion, or at least the acknowledgement, of scant diversity seen in major architecture.
"Making Public Buildings" invites the American audiences to experience several of Adjaye's works from concept to conception through full-scale schematic models and renderings, noting how he draws inspiration from African architecture and capital cities as platforms, or sentiments for public space. Adjaye's models, often accompanied by an analogous African image, model or sculpture, demonstrate reference points for his buildings-simple at the initial glance, but continuous and dimensional upon further examination. Adjaye’s ability to translate a client’s concept from idea to institution, while working within the environmental context is the force that deems him a desirable candidate for public commissions exhibited within the exhibit, as well as private homes and studios.
The exhibit displays recent projects like the Bernie Grant Arts Centre in Tottenham, Rivington Place in London and the Stephen Lawrence Centre in Deptford, noting a shift in Britain honors diversity. All three highlighted structures possess an African-British component explicit within its purpose, mission and even architect-Daid Adjaye. Although Adjaye refuses to allow his recently acquired commissions to pigeonhole him into tokenism, the lack of competition merits acknowledging the absence of diversity and evaluating how diversity can be demonstrated within public space.
“Making Public Buildings” continues at the Studio Museum of Harlem through October 28. Adjaye’s first American public space, the Museum of Contemporary Art Denver is open for the public on October 28.
Along with being a playwright, an actor, and a director, Danny Hoch is a hip hop idealist. “I kinda feel about it [hip hop] the same way I feel about the Cuban revolution,” he explains in a New York-tinged deep voice that would startle anyone familiar with his brief role as whiteboy fashion designer send-up Timmy Hillnigger in Spike Lee’s Bamboozled. “I believe in its ideals and I believe in what it sort of set out to do at the beginning but I feel that a lot of it is still holding on to pages of its own book that are early in the book. If it’s gonna have any success it needs to keep turning pages.”
Hearing this adds a new level of understanding to his new play, Till the Break of Dawn (playing through Oct. 21st at the Abrons Art Center in Manhattan). On the surface, Till the Break of Dawn is the story of six activists from different walks of life who go to Cuba for an international hip hop conference and meet up with a fugitive former Panther; but looking even deeper, Till the Break of Dawn is a complex analysis of the issues facing activists today. “As an artist and an activist myself,” he says “I had done a fair amount of organizing with friends of mine from the 90s moving into this decade, and there was a lot of dissatisfaction and contradiction coming up that I felt were all at once powerful, indescribable, and worth addressing.”
Hoch addresses these issues insightfully, presenting his characters with an enthusiasm that is as genuine as it proves to be naïve. As these characters find themselves struggling to navigate their way through a Cuba that fails to live up to their utopian expectations, they seem to find that their entire notion of activism and revolution is flawed. Or is it? While the “dissatisfaction and contradiction” within the characters revolutionary inclinations provide a difficult foil for their initial plans, Hoch’s message is a positive one; eventually the group starts to turn pages and everything falls into place.
Assistant/Associate Professor, Creative Arts in Learning
Graduate School of Arts & Social Sciences (Cambridge, MA)
Lesley University
Curatorial Assistant
New Museum of Contemporary Art (New York)
Development/Admin Associate
Black Women Playwright's Group (Washington, DC)
Development Director
The Shunpike (Seattle)
Digital Arts Program Manager
Pearson Foundation (Boston)
Events Manager
Exit Art (New York)
Executive Director
Flushing Town Hall (Queens)
Folklore and Public Culture Program Professor (tenure-track)
Department of Anthropology
University of Texas, Austin
Full-time position with e-flux
e-flux (New York)
Volunteer Program Manager
Arts & Business Council of Chicago
Youth Arts Education Coordinator
Inquilinos Boricuas en Accion (Boston)
FELLOWSHIP
JNBC Fellowship Program, John Nicholas Brown Center
Brown University
Deadline: See website
FUNDING
Global Perspectives Project (For independent filmmakers)
Independent Television Service
Deadline: January 11, 2008
RESIDENCY
2008 Master Artists-in-Residence Program
Atlantic Center for the Arts
Deadline: Ranges from October 19, 2007 to May 23, 2008
EMPLOYERS: Send your FREE job listings to: info (at) codezonline (dot) com.
