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Art Gangs explores the work of artists groups in New York City after 1968. From the Art Workers Coalition through Art & Language, Colab and Group Material in the 1980s, in Soho and the Lower East Side, these collectives built the postmodern art world. This is the key background story of today s politicized international art world with its constellations of collectives, a scholarly text written in an accessible style -- Back cover.
Author : Susan A. Phillips Publisher : University of Chicago Press Page : 56 pages File Size : 14,33 MB Release : 1999-07-15 Category : Art ISBN : 9780226667720
"Wallbangin'" offers an unprecedented, in-depth look at the phenomenon of graffiti as it is embodied in the neighborhoods of one of its epicenters, Los Angeles. 13 color plates. 104 halftones.
This book examines art crimes and the hunt to find the thieves, such as the "Mona Lisa," "The Scream," the Millennium theft from the Ashmolean Museum, and the Isabella Stewart Gardner Museum heist.
The graphic details of gang wars and racism is mentioned on a wide world aspect designed to vindicate the minds of the youth whom are involved in gangs, my views are intense and genuine facts, some methods of gang prevention applied can increase life expectancy of gang members seeking to exit before an untimely demise result of being murdered in gang wars. I have discussed many topics relating to gang wars how gang wars are initiated due to many diverse reasons. I truly disagree that there are many books that exist that describe in vivid constructive details of gang war. The very broad story told millions of times but never before with so much intel so exclusively with real people living in the battle zone of the concrete jungles with genuine full fl edge up front exposure. Police offi cers would agree that these views are very enlightening and expressive with vital concepts that are identical to a vet whom have endured many tours of confl ict. The dark side of Watts exposure of the riots of 1965 and 1992 the vague topic of racism that people dodge frequently dropping the ball of unwanted troubles. The truth to combat gangs you must combat racism. Long ago the black panther were groups that evolved to decrease racial confl icts. Today those groups are called gangs. The panthers are where it begin gangs are where it stands now!
The Iron Garters are an "art gang" that masquerades, disseminates and performs as your archetypal "criminals," "outcasts" "mystics," "losers" and "lunatics": in short, a vital and necessary social surplus. Their antics have been traced back to Jean Genet's novel The Thief's Journal, the films of Kenneth Anger, as well as the Dada poems of Baroness Elsa and Hugo Ball. Yet still other Garters have been nourished on the Vienna Actionists, Genesis P-Orridge, Diamanda Galas, Gilles Deleuze, Samuel Delany, and the dulcet sounds of The Cramps. With a critical and aesthetic arsenal salvaged from underground "kulchurs" and academia's collective libido, the Iron Garters are not afraid to demand excitement along with analysis, frenzy coupled to resistance, and fashion inseparable from infiltration. Founded in San Francisco on a full moon night after a "deathpunk" show, the original members grew adversely impacted by the economic invasions reducing a once great city to a tepid monoculture. Fueled by queer, antinomian, heretical and radical traditions, the Garters pilgrimaged into various trans-continental sanctuaries and beachheads, leaving behind them radiant paper trails of provocation and sedition. This volume is one such radiant paper trail.Despite its many hiatuses, the Garters archive has grown more fertile, thanks in part to its endurance in imaginary/speculative realms. Currently, the Garters are remobilizing as a "crime art collective," with cells operating in cities most in need of "crime-art," while also re-asserting itself as an ongoing "transmedia" project. This present archive is a small fraction of the decade's worth of Garter experiments, epistles, stories and communiqués. In a political epoch when risk and anxiety seem to predicate our every move, and when being poor, different, "unskilled" or "a failure" (as judged by the demigods of Profit, Fear, Reason & Security) means that you are essentially criminalized, then it becomes imperative for art (wedded to theory and style) to celebrate its own "criminal," "dangerous" and "unassimiliable" nature. So let the Garters initiate you into the mysteries that are already yours, once you rid yourself of fear, anxiety and the need to be respectable.
The definitive story of the greatest art theft in history. In a secret meeting in 1981, a low-level Boston thief gave career gangster Ralph Rossetti the tip of a lifetime: the Isabella Stewart Gardner Museum was a big score waiting to happen. Though its collections included priceless artworks by Rembrandt, Vermeer, Degas, and others, its security was cheap, mismanaged, and out of date. And now, it seemed, the whole Boston criminal underworld knew it. Nearly a decade passed before the Museum museum was finally hit. But when it finally happened, the theft quickly became one of the most infamous art heists in history: thirteen works of art valued at up to $500 million, by some of the most famous artists in the world, were taken. The Boston FBI took control of the investigation, but twenty-five years later the case is still unsolved and the artwork is still missing. Stephen Kurkjian, one of the top investigative reporters in the country, has been working this case for over nearly twenty years. In Master Thieves, he sheds new light on some of the Gardner’s most abiding mysteries. Why would someone steal these paintings, only to leave them hidden for twenty-five years? And why, if one of the top crime bosses in the city knew about this score in 1981, did the theft happen in 1990? What happened in those intervening years? And what might all this have to do with Boston’s notorious gang wars of the 1980s? Kurkjian’s reporting is already responsible for some of the biggest breaks in this story, including a meticulous reconstruction of what happened at the Museum museum that fateful night. Now Master Thieves will reveal the identities of those he believes plotted the heist, the motive for the crime, and the details that the FBI has refused to discuss. Taking you on a journey deep into the gangs of Boston, Kurkjian emerges with the most complete and compelling version of this story ever told.
Based on original research, Compliments of Chicagohoodz analyzes the unique visual language and graphics of Chicago's gangs, drawing upon decades of inter- views, documentation, and collecting of memorabilia, and featuring commentary from gang members and Chicago artists.The practice of creating and distributing gang business ("compliment") cards was popular in Chicago for over fifty years. These displayed the organization and branch, its active and fallen members, and rivalries. This book tells the stories behind the names, bringing the reader closer to the individuals who created, owned, and added their personal touches to the card as it passed from hand to hand.James "Jinx" O'Connor's photographic documentation of gang graffiti and members captures a lost era of large-scale color promotional murals and an extraordinary style distinct within street art. The book also explores other forms of representation including varsity-style sweaters, patches, and drawings.Through these images, Chicagohoodz traces the development and consolidation of the neighborhood street organization from doo-wop to hip-hop, from greasers to gangster rap, from dances, bands, and softball teams to racketeering, narcotics trafficking, and domestic terror.
The first major biography of the pathbreaking, perpetually influential surrealist artist and iconoclast whose inspiration can be seen in everyone from Jasper Johns to Beyoncé—by the celebrated biographer of Cézanne and Braque In this thought-provoking life of René Magritte (1898-1967), Alex Danchev makes a compelling case for Magritte as the single most significant purveyor of images to the modern world. Magritte’s surreal sensibility, deadpan melodrama, and fine-tuned outrageousness have become an inescapable part of our visual landscape, through such legendary works as The Treachery of Images (Ceci n’est pas une pipe) and his celebrated iterations of Man in a Bowler Hat. Danchev explores the path of this highly unconventional artist from his middle-class Belgian beginnings to the years during which he led a small, brilliant band of surrealists (and famously clashed with André Breton) to his first major retrospective, which traveled to the United States in 1965 and gave rise to his international reputation. Using 50 color images and more than 160 black-and-white illustrations, Danchev delves deeply into Magritte’s artistic development and the profound questions he raised in his work about the very nature of authenticity. This is a vital biography for our time that plumbs the mystery of an iconoclast whose influence can be seen in everyone from Jasper Johns to Beyoncé.