new york political art

Ai Weiwei, “Good Fences Make Good Neighbors.”

“The fence has always been a tool in the vocabulary of political landscaping and evokes associations with words like ‘border,’ ‘security,’ and ‘neighbor,’ which are connected to the current global political environment,” 

“But what’s important to remember is that while barriers have been used to divide us, as humans we are all the same. Some are more privileged than others, but with that privilege comes a responsibility to do more,”

New York Public Art Fund  40th Anniversary Celebrations.

Good Fences Make Good Neighbors will be on view October 12, 2017 – February 11, 2018 at sites throughout New York City.

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Keith Haring painting a mural on The Berlin Wall. October 23, 1986. Photos by Tseng Kwong Chi.

Keith Haring had been invited by the Director of the Checkpoint Charlie Museum to paint the mural. He began shortly after 10 A.M., Since the first six feet of land on the Western side belong to the East, he was not just defacing property of the East German Government, he was entering that country without a visa. A West Berlin policeman used a megaphone to warn him of the fact. But Haring continued, sporadically leaping back onto Western soil when East German border guards looked as if they were about to arrest him.

After 90 minutes, he had completed a third of his mural. He painted an interlocking chain of red and black human forms on a bright yellow background. The colors were those of the East and West German flags.

The artist gave interviews to West German television and radio reporters as he worked and signed autographs. “It’s a humanistic gesture, more than anything else,” said Haring, who called his work “a political and subversive act - an attempt to psychologically destroy the wall by painting it.’‘Asked whether the event was merely a publicity stunt to draw attention to himself, he said, ’'The main objective here is that it is not an insignificant act that goes unnoticed. The entire world should know that it happened, reinforcing its political significance.”

Haring completed the mural shortly after 4 P.M., He denied that it was aimed specifically against East Germany. “It’s for people and it doesn’t matter which side of the wall they’re on. It’s about both sides coming together.”

By the next day, however, someone painted large sections of the mural grey and quickly, other artists painted graffiti on the hundred-metre section that Haring had used. Within months there was very little left to see.  

(Source: New York Times)

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two. 

You said goodbye to John, giving him a quick kiss before hopping out quickly. You headed up to the front doors of the office and slipped inside. 

The business of the office used to make you nervous at first, but you found your way with ease after your first couple weeks. Now, you knew this place like the back of your hand. You headed to the elevators, looking at your phone as you walked up. You had no new emails and thankfully, no deadlines that you were aware of. Surely, you’d get something to do. It was a little slower at work as the political world was quieter. Major elections and campaigning were over.

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Sunan Ibn Majah, The Book of the Adhan and the Sunnah Regarding It, Hadith 25

Narrated ‘It was narrated that Anas said:
“Bilal was commanded to say the phrases of the Adhan twice and the phrases of the Iqamah once.” (Sahih)

Sunan Ibn Majah, The Book of the Adhan and the Sunnah Regarding It, Hadith 25/29

When people keep talking about racism, when people keep talking about inequity, when people keep talking about debt — when conversations come around without you bringing it up — you realize: These are the ideas!
—  2017 Biennial co-curator Mia Locks talks about some of the exhibition’s themes to The New York Times.

The Dying Art of Disagreement

By Bret Stephens

Let me begin with thanks to the Lowy Institute for bringing me all the way to Sydney and doing me the honor of hosting me here this evening.

I’m aware of the controversy that has gone with my selection as your speaker. I respect the wishes of the Colvin family and join in honoring Mark Colvin’s memory as a courageous foreign correspondent and an extraordinary writer and broadcaster. And I’d particularly like to thank Michael Fullilove for not rescinding the invitation.

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Sunan Ibn Majah, Prayer Book 2, Hadith 29

Narrated ‘It was narrated that Anas bin Malik said:
'The Prophet was asked about a man who forgets prayer or sleeps and misses it. He said: 'he performs it when he remembers it.’“ (Sahih)

Sunan Ibn Majah, Prayer Book 2, Hadith 29/39

Stuart Davis created New York Mural in response to a 1932 invitation from the Museum of Modern Art to design a work on the theme of post–World War I life for an exhibition of American mural designs. In his painting, Davis adapted the flat, bold style of advertising to depict images associated with New York politics—specifically those related to Alfred Smith, New York’s four-term governor and the 1928 Democratic presidential candidate, whose opposition to Prohibition Davis applauded. Visible here are Smith’s trademark brown derby hat and bow tie; the Empire State Building, for which the governor served as publicist; a banana, alluding to his campaign’s adaptation of the popular tune “Yes! We Have No Bananas”; an upturned champagne glass, referencing his support for Prohibition’s repeal; and a tiger’s head and tail, symbols of New York’s Democratic Tammany Hall political machine, with which Smith was affiliated.

Explore more works from Stuart Davis: In Full Swing

Stuart Davis (1892–1964), New York Mural, 1932. Oil on canvas, 84 × 48 in. (213.4 × 122 cm). Norton Museum of Art, West Palm Beach, Florida; purchase, R. H. Norton Trust. © Estate of Stuart Davis/Licensed by VAGA, New York

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¡PRESENTE! The Young Lords in New York
On view July 22, 2015 – October 17, 2015

¡PRESENTE! The Young Lords in New York explores the legacy of the Young Lords in East Harlem, the Bronx and the Lower East Side, focusing on specific political events that the Young Lords organized in these locations.

El Museo’s exhibition draws from works in the museum’s own collection including copies of the Young Lords weekly newspaper, Palante. It also explores the legacy of the Young Lords and the relationship between art and activism. Images by photographer Hiram Maristany that feature the Young Lords’ Garbage Offensive, their take over of the First Spanish Methodist Church of East Harlem (later renamed by the Young Lords as The People’s Church), their free morning breakfast program, the rerouting of a TB-testing truck and the funeral of Julio Roldán will all be highlighted in the exhibition.
Paintings and political prints (Antonio Martorell, Domingo García, and Marcos Dimas) from El Museo’s permanent collection will be on display. Works commissioned specifically for this exhibition by Coco Lopez, JC lenochan, Miguel Luciano, and Shellyne Rodriguez are also featured.

¡Presente! The Young Lords in New York will be exhibited at The Bronx Museum of the Arts (July 2 – October 15, 2015), El Museo del Barrio (July 22-October 17, 2015), and Loisaida Inc. (July 30 – October 10, 2015). The exhibition is co-organized by all three institutions. 

At El Museo del Barrio the exhibition is made possible with Public Support from Speaker Melissa Mark-Viverito and the New York City Council.