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The last wild men of Borneo : a true story of death and treasure /
\"Two modern adventurers sought a treasure possessed by the legendary 'Wild Men of Borneo.' One found riches. The other vanished forever into an endless jungle. Had he shed civilization--or lost his mind? Global headlines suspected murder. Lured by these mysteries, New York Times bestselling author Carl Hoffman journeyed to find the truth, discovering that nothing is as it seems in the worlds last Eden, where the lines between sinner and saint blur into one\"--Amazon.com.
Book
Art Museums for and by Sex Workers: The Potential of Sex Workers’ Art Museums in China
There has been a global push since the 1990s to destigmatize sex workers. Even though there is much art generated for and by sex workers in China, there is no museum dedicated to them, and there is only a limited amount of research on their art. In order to fill this research vacuum, this article explores sex workers’ art museums and Chinese sex workers’ art through an integrated lens. It draws on an interdisciplinary study of social justice education in art, museum studies, sex work movement materials, and the art history of sex workers in China. Because there is no case study in China to refer to, this project uses the Dumas Brothel, an art museum in the United States where sex work is not legal as it is in China. The goal is to present the lives and stories of actual sex workers in the agency of an art museum while avoiding the overgeneralization of sex workers. This article identifies the potential role of Chinese sex workers’ museums in destigmatizing sex workers in China.
Journal Article
The tea-garden journal
Based on the worker's union movement in the tea gardens of Bengal in mid-1930s.
Book
Collecting the New
Collecting the Newis the first book on the questions and challenges that museums face in acquiring and preserving contemporary art. Because such art has not yet withstood the test of time, it defies the traditional understanding of the art museum as an institution that collects and displays works of long-established aesthetic and historical value. By acquiring such art, museums gamble on the future. In addition, new technologies and alternative conceptions of the artwork have created special problems of conservation, while social, political, and aesthetic changes have generated new categories of works to be collected.
Following Bruce Altshuler's introduction on the European and American history of museum collecting of art by living artists, the book comprises newly commissioned essays by twelve distinguished curators representing a wide range of museums. First considered are general issues including the acquisition process, and collecting by universal survey museums and museums that focus on modern and contemporary art. Following are groups of essays that address collecting in particular media, including prints and drawings, new (digital) media, and film and video; and national- and ethnic-specific collecting (contemporary art from Asia, Africa, and Latin America, and African-American art). The closing essay examines the conservation problems created by contemporary works--for example, what is to be done when deterioration is the artist's intent?
The contributors are Christophe Cherix, Vishakha N. Desai, Steve Dietz, Howard N. Fox, Chrissie Iles and Henriette Huldisch, Pamela McClusky, Gabriel Pérez-Barreiro, Lowery Stokes Sims, Robert Storr, Jeffrey Weiss, and Glenn Wharton.
eBook
Time, Discipline and Subjectivity: Performing Arts Worker Mobilisations in Italy during the Pandemic
Based on the results of a qualitative study, this article aims to contribute to the debate on collective mobilisations, using the example of the labour struggles of Italian artists during the Covid-19 pandemic. The conditions typical to performing arts workers, such as precariousness, self-employment, individualisation, self-exploitation, social fragmentation, and geographical dispersion, have long been associated with low probabilities of collective mobilisation. In Italy, however, in the context of the numerous labour-related conflicts that emerged during the pandemic, mobilisations by performing arts workers were some of the most intense, widespread, and sustained. Addressing this counterintuitive finding and drawing on mobilisation theory, this article aims to identify the sources of conflict and antagonism of this mobilisation, and to investigate the factors and circumstances underlying it. We argue that the collective action of artists was motivated by a number of factors: a simultaneous mass experience of economic vulnerability and social insecurity; the breakdown of disciplinary mechanisms in artistic work; and the greater availability of “free time”. The findings shed new light on the mobilisation of precarious workers in work contexts characterised by disciplinary regimes based on subjective participation, self-exploitation and consensus.
Journal Article
Art Is Work
In September of 2019, I was in an open-air market in Berlin having a small crisis about the state of my career. I’d just met a dancer who had been employed by a government-funded dance company in Sweden. Like all dancers in the company, he’d had a contract that lasted until age 45 — for dancers, a lifetime and then some. At that point he’d retired, pension in hand, to an island in the Mediterranean. I, too, was a dancer. I was in Berlin to perform with the company I worked for in New York City. Ours was also a government-funded company, somewhat. It got money from the National Endowment for the Arts (NEA) and the New York State Council on the Arts. The State Department had sent us on a five-week tour abroad. But public funding was a tiny fraction of the company’s income. Like all American arts organizations, the bulk came from private sources, which brought strings attached — one premiere had featured a donor who’d bid for a walk-on role.
Journal Article
Colombia 1971: Trabajadores del Arte Revolucionario y movimiento estudiantil
La emergencia del Frente Cultural (FC) del Movimiento Obrero Independiente Revolucionario (MOIR) fue un espacio para prácticas artísticas con vocación partidaria, volcadas en propaganda, agitación social y militancia política. Cruzando historia, historia del arte y estudios visuales, reconstruimos formas de imaginación política que permitieron proyectar prácticas artísticas y culturales con una vocación por intervenir y transformar la realidad que abrazó el MOIR, en el contexto de las nuevas izquierdas en Colombia y la consolidación de un movimiento estudiantil en la década del setenta. Consideramos que ese nicho, contextualizado e interdisciplinar, propició una performatividad de imágenes en la cultura visual del MOIR que hoy funcionan como un lugar de la memoria para reconsiderar aquel momento y su super-vivencia. The emergence of the Cultural Front (FC) of the Movimiento Obrero Independiente Revolucionario (MOIR) was a space for artistic practices with a partisan vocation focused on propaganda, social unrest and political militancy. Crossing history, art history and visual studies, we reconstruct the forms of political imagination that allowed them to project artistic and cultural practices with a vocation to intervene and transform the reality that MOIR embraced, in the context of the new left in Colombia and the consolidation of a student movement in 1971. We consider that this niche, contextualized and interdisciplinary, fostered the performativity of images in MOIR’s visual culture that today function as a place of memory to reconsider that moment and its survival. O surgimento do Frente Cultural (FC) do Movimento Obreiro Independente Revolucionário (MOIR) foi um espaço para práticas artísticas com vocação partidária, com ênfase em fazer propaganda política, agitação social e militância. Com aproximações da história, da história da arte e dos estudos visuais, fizemos uma reconstrução de formas de imaginação política que permitiramnos projetar práticas artísticas e culturais de vocação interventora e transforadora da realidade que impulsionou o MOIR, no contexto das novas esquerdas em Colômbia e a consolidação de um movimento estudantil na década dos anos setenta. Consideramos que esse nicho, contextualizado e interdisciplinar, incentivou uma performatividade de imagens da cultura visual do MOIR que até hoje funciona como local da memória e de consideração desse momento e a sua supervivência.
Journal Article
We Wanted to Open Up
This chapter focuses on the Drawn Together project, which studied the contracts that artists sign with arts institutions, agreements understood to be shaped by an unequal balance of power. Seeking to discover how that disparity operated, and wondering if contract law could come to the aid of artists, the project interviewed creatives about their interactions with arts institutions. The interviews with art workers revealed a community confounded by low pay, lack of power, an absence of choices, and almost no access to institutional support. Simultaneously, these art workers manifested resilience, fury, humor, and bountiful insights and innovations that could help repair this broken system. However, the resulting project, Drawn Together, struggled to reform art workers' experiences with forming and fulfilling contracts with arts institutions.
Book Chapter
A Place for Us
This chapter discusses the rise and practice of alternative art spaces for the Puerto Rican/Nuyorican artists living and working in New York City from the mid‐1960s through the mid‐1980s.
Book Chapter