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Death and bomb threats over an art exhibition! A major battle with the mayor of New York City and the New York Times! Looking back, Arnold Lehman, director of the Brooklyn Museum, and his colleagues were not prepared for what was to happen. No one could have anticipated that SENSATION: Young British Artists from the Saatchi Collection would become the biggest art story in the history of art history. It has taken him two decades to fully absorb and clearly reflect on what happened at the Brooklyn Museum in 1999-2000. The intense controversy swept the exhibition, the museum, and Chris Ofili's The Holy Virgin Mary painting to international attention for six months. While 175,000 people saw the exhibition and millions read and heard about it daily, they never knew of the threats and challenges that kept the museum staff awake at night. Mayor Rudy Giuliani, who never saw the painting, focused his rage at The Holy Virgin Mary; rescinded the museum's municipal funding to force it to close the exhibition; and attempted to evict it from its hundred-year-old landmark. The city's most conservative media and ultra-religious groups inflamed the conflict. SENSATION, selected from controversial collector Charles Saatchi's contemporary British art collection, was first shown at London's Royal Academy in 1997, to an outcry over the portrait of child murderer Myra Hindley. Its opening at the Brooklyn Museum in 1999 drew tabloid headlines such as "B'klyn gallery of horror―Gruesome museum show," and "Butchered animals, a dung-smeared Mary and giant genitalia." The New York Times accused the museum of wrongdoing in high-profile but often false and inaccurate investigative reports, most dismissed earlier by the court. In a story as gripping as a fictional thriller, the mayor and city eventually settled with the museum, awarding it a permanent injunction, the restoration of city money, and substantial funds for its new entrance.
Item discusses the controversy surrounding "Sensation : young British artists from the Saatchi collection" when it was shown at the Brooklyn Museum of art, Fall 1999.
"Step into the expansive sci-fi universe of Mass Effect with Dark Horse's oversized collection of twenty high-quality art prints from the smash-hit video game series!"--Darkhorse.com.
Hoarding has largely been approached from a psychological and universal perspective, and decluttering from an aesthetic and ecological one, while little work has been done to think about the cultural and global economic aspects of these phenomena. Of Hoarding and Housekeeping provides an anthropological, global, and comparative angle to the understanding of hoarding and decluttering using cases from a variety of countries including US, Japan, India, Cameroon, and Argentina. Focusing on the house, with careful attention to material flows in and out, this book examines practices of accumulation, storage, decluttering, and waste as practices of kinship and the objects themselves as material kin.
"What corporations fear most are consumers who ask questions. Naomi Klein offers us the arguments with which to take on the superbrands." Billy Bragg from the bookjacket.
Journalists face constant intimidation. Whether it takes the extreme form of beheadings, death threats, government censorship or simply political correctness—it casts a shadow over their ability to tell a story. When the Danish newspaper Jyllands-Posten published the cartoons of the prophet Muhammad nine years ago, Denmark found itself at the center of a global battle about the freedom of speech. The paper's culture editor, Flemming Rose, defended the decision to print the 12 drawings, and he quickly came to play a central part in the debate about the limitations to freedom of speech in the 21st century. In The Tyranny of Silence, Flemming Rose writes about the people and experiences that have influenced his understanding of the crisis, including meetings with dissidents from the former Soviet Union and ex-Muslims living in Europe. He provides a personal account of an event that has shaped the debate about what it means to be a citizen in a democracy and how to coexist in a world that is increasingly multicultural, multireligious, and multiethnic.
These days artists like Damien Hirst and Tracey Emin are major celebrities. But Gregor Muir knew them at the start; his unique memoir chronicles the birth of Young British Art. Muir, YBA’s ‘embedded journalist’, happened to be in Shoreditch and Hoxton before Jay Jopling arrived with his White Cube Gallery, when this was still a semi-derelict landscape of grotty pubs and squats. There he witnessed, amid a whirl of drunkenness, scrapes and riotous hedonism, the coming-together of a remarkable array of young artists – Hirst, the Chapman brothers, Rachel Whiteread, Sam Taylor-Wood, Angus Fairhurst - who went on to produce a fresh, irreverent, often notorious form of art - Hirst’s shark, Sarah Lucas’s two fried eggs and a kebab. By the time of the seminal Sensation show at the Royal Academy YBA had changed the art world for ever.
The still-rousing (if increasingly gray-haired) story of the first baby-boomer civil protest, the progenitor of the antiwar and civil rights movements, the catalyst of 60s activism. Tells how it changed the university and ultimately the nation as its leaders became instigators of social change throu
In this pathbreaking book, a well-known feminist and sociologist--who is also the Founding Editor of Gender & Society--challenges our most basic assumptions about gender. Judith Lorber views gender as wholly a product of socialization subject to human agency, organization, and interpretation. In her new paradigm, gender is an institution comparable to the economy, the family, and religion in its significance and consequences. Drawing on many schools of feminist scholarship and on research from anthropology, history, sociology, social psychology, sociolinguistics, and cultural studies, Lorber explores different paradoxes of gender: --why we speak of only two "opposite sexes" when there is such a variety of sexual behaviors and relationships; --why transvestites, transsexuals, and hermaphrodites do not affect the conceptualization of two genders and two sexes in Western societies; --why most of our cultural images of women are the way men see them and not the way women see themselves; --why all women in modern society are expected to have children and be the primary caretaker; --why domestic work is almost always the sole responsibility of wives, even when they earn more than half the family income; --why there are so few women in positions of authority, when women can be found in substantial numbers in many occupations and professions; --why women have not benefited from major social revolutions. Lorber argues that the whole point of the gender system today is to maintain structured gender inequality--to produce a subordinate class (women) that can be exploited as workers, sexual partners, childbearers, and emotional nurturers. Calling into question the inevitability and necessity of gender, she envisions a society structured for equality, where no gender, racial ethnic, or social class group is allowed to monopolize economic, educational, and cultural resources or the positions of power.