The Madonna of the Future: Essays in a Pluralistic Art World (review)

2002 ◽  
Vol 9 (1) ◽  
pp. 198-200
Author(s):  
Paul Reitter
Keyword(s):  
Art World ◽  
The Future

scholarly journals “Living big in a loft”

2019 ◽  
Author(s):  
Alex Hoyos Twomey
Keyword(s):  
Cast Iron ◽  
Art World ◽  
Life Magazine ◽  
Collaborative Practices ◽  
The Future ◽  
Lower Manhattan ◽  
Jazz Musician ◽  
Alternative Art ◽  
The 1960S ◽  
Artistic Communities

In the early 1960s, the cast-iron loft district below Houston Street in Lower Manhattan was on the verge of demolition. Artists seeking large, inexpensive spaces to live and work in began moving into vacant industrial lofts, developing a community and new collaborative sites of performance and display that offered an alternative to the mainstream art world. By the end of the 1970s, the neighbourhood now known as “SoHo” was home to an increasingly affluent population living in co-operatively owned loft buildings, while alternative art spaces were closing to make way for commercial galleries and upscale boutiques. This paper explores the dramatic, artist-led transformation of SoHo by focusing on three texts from 1970: the inaugural show at the influential alternative art space 112 Greene Street; an LP recorded by jazz musician Ornette Coleman in his Prince Street loft; and an article from Life magazine that introduced loft living to a wider audience. 1970 is significant as the year in which the underground community of the 1960s became increasingly visible and professional, in an effort to secure the future of the neighbourhood for artists. By exploring the ways in which the space of the loft is articulated in each text, I attempt to understand the contradictory role played by artists in the development of SoHo, who were complicit in the rapid gentrification of the neighbourhood, while simultaneously conceptualising a swathe of genuinely radical collaborative practices that continue to be inspirational to artistic communities today.  

Untimely Futures

2016 ◽  
Author(s):  
Tarek Elhaik
Keyword(s):  
Art World ◽  
Form Of Life ◽  
The Future

This chapter speculates on the future of contemporary anthropological ‘installations’ by reappropriating the very term ‘installation’ beyond its traditional home in the art world. Such reappropriation — indeed theft — invites the reader to sense the incurable-image as a form of life that harbors and struggles with a futurist mode of care. This symptomatology enables a renewed encounter between the conceptual personae composing this book's assemblage — curator, anthropologist, artist. The personae they repeat are ‘not just a matter of diagnosis. Signs imply ways of living, possibilities of existence, they're the symptoms of life gushing forth and draining away’. Ultimately, these incurable-images and iterative assemblages begin to release untimely futures in which the artists, anthropologists, and curators use inter-media experimentation as part of a demanding ethics of immanence to endure our states of curation.

The Sounds of Revolution?

2016 ◽  
Author(s):  
Lisa Jakelski
Keyword(s):  
October Revolution ◽  
The Political ◽  
Art World ◽  
Music Festival ◽  
Cultural Contact ◽  
Political Upheaval ◽  
The Arts ◽  
The Future ◽  
State Investment

This chapter makes a case study of the Warsaw Autumn’s founding and first season. It argues that the 1956 concerts, which coincided with the political upheaval of the Polish October Revolution, offered a first answer to the question of what it would mean for a music festival in socialist Poland to be “contemporary” as well as “international” during the Thaw. As they crafted the 1956 Warsaw Autumn, festival participants were constructing an institutional paradigm that still depended on interwar patterns of cultural contact and Stalinist-era practices of state investment in the arts, but also transformed the art world in which elite Polish composers worked. The moves the Warsaw Autumn’s first participants made not only reflected what was possible in mid-1950s Poland: these actions also created a framework for the future.

scholarly journals Non-fungible tokens and the future of art

2021 ◽  
Vol 64 (9) ◽  
pp. 19-20
Author(s):  
Logan Kugler
Keyword(s):  
Art World ◽  
Asset Ownership ◽  
The Future

A new blockchain-based technology is changing how the art world works, and changing how we think about asset ownership in the process.

International determination of the total motion of the pole

1961 ◽  
Vol 13 ◽  
pp. 29-41
Author(s):  
Wm. Markowitz
Keyword(s):  
Secular Motion ◽  
The Future

A symposium on the future of the International Latitude Service (I. L. S.) is to be held in Helsinki in July 1960. My report for the symposium consists of two parts. Part I, denoded (Mk I) was published [1] earlier in 1960 under the title “Latitude and Longitude, and the Secular Motion of the Pole”. Part II is the present paper, denoded (Mk II).

Status of the Lick Proper Motion Program

1978 ◽  
Vol 48 ◽  
pp. 387-388
Author(s):  
A. R. Klemola
Keyword(s):  
Proper Motion ◽  
The Future

Second-epoch photographs have now been obtained for nearly 850 of the 1246 fields of the proper motion program with centers at declination -20° and northwards. For the sky at 0° and northward only 130 fields remain to be taken in the next year or two. The 270 southern fields with centers at -5° to -20° remain for the future.

Some Structural Features of Metaphase Chromosomes of Mice and Men

1967 ◽  
Vol 25 ◽  
pp. 190-191
Author(s):  
Godfrey C. Hoskins ◽  
Betty B. Hoskins
Keyword(s):  
Electron Microscopy ◽  
Electron Micrographs ◽  
Structural Features ◽  
Metaphase Chromosomes ◽  
The Future ◽  
Of Mice And Men ◽  
Mouse Cells ◽  
Human And Mouse

Metaphase chromosomes from human and mouse cells in vitro are isolated by micrurgy, fixed, and placed on grids for electron microscopy. Interpretations of electron micrographs by current methods indicate the following structural features.Chromosomal spindle fibrils about 200Å thick form fascicles about 600Å thick, wrapped by dense spiraling fibrils (DSF) less than 100Å thick as they near the kinomere. Such a fascicle joins the future daughter kinomere of each metaphase chromatid with those of adjacent non-homologous chromatids to either side. Thus, four fascicles (SF, 1-4) attach to each metaphase kinomere (K). It is thought that fascicles extend from the kinomere poleward, fray out to let chromosomal fibrils act as traction fibrils against polar fibrils, then regroup to join the adjacent kinomere.

Freeze-fracture cytochemistry: A goal set by Russell Steere in 1957

1993 ◽  
Vol 51 ◽  
pp. 60-61
Author(s):  
Nicholas J Severs
Keyword(s):  
Chemical Nature ◽  
Biological Systems ◽  
Freeze Fracture ◽  
Structural Components ◽  
Major Goal ◽  
Membrane Biology ◽  
Routine Application ◽  
The Future ◽  
Freeze Etching

In his pioneering demonstration of the potential of freeze-etching in biological systems, Russell Steere assessed the future promise and limitations of the technique with remarkable foresight. Item 2 in his list of inherent difficulties as they then stood stated “The chemical nature of the objects seen in the replica cannot be determined”. This defined a major goal for practitioners of freeze-fracture which, for more than a decade, seemed unattainable. It was not until the introduction of the label-fracture-etch technique in the early 1970s that the mould was broken, and not until the following decade that the full scope of modern freeze-fracture cytochemistry took shape. The culmination of these developments in the 1990s now equips the researcher with a set of effective techniques for routine application in cell and membrane biology.Freeze-fracture cytochemical techniques are all designed to provide information on the chemical nature of structural components revealed by freeze-fracture, but differ in how this is achieved, in precisely what type of information is obtained, and in which types of specimen can be studied.

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