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SUMMARY:Degenerate!: Art and the State
DESCRIPTION:An 8-week study with Jeramy Turner \nIt is not our fellow artist who is the enemy\, but those who have made art the booty of exploitation\, and who use it as a deodorant for war and fascism.  —Arnold Blanch\, First American Artists Congress\, 1936 \nThe idea of this course is to reveal the state’s entrenchment in determining the direction and limitations of the visual art world in capital’s domination of society. We will be examining the extent to which the power structure will go to control our cultural imagination. For example\, the CIA and other governmental agencies energetically promoted abstract expressionism as an art movement that pointed to the limitless freedoms capitalism signified\, especially in its American form. \nThe course would begin with a free screening of Architecture of Doom (dir. Peter Cohen\, 1989\, 119 min\,)—a vivid documentary which presents the Nazi use of overt state control over visual art\, with the premise that art had political and ideological functions. This film showing will occur at the Jefferson Market Branch of the New York Public Library on Saturday\, January 20\, 2:30 pm. For the Nazis\, modernist\, socialist\, Jewish artists were necessarily entartete (degenerate).  In Munich in 1937\, an enormous exhibition of Entartete Kunst was launched to express degeneracy and madness. Over 3 million people attended. We will project art from some of these designated artists such as Otto Dix\, Georg Grosz\, Max Beckmann in order to deepen an understanding of what was at stake. \nFrom here we travel to postwar America\, where the elites also held that art should fulfill an ideological (if not overtly political) function\, but were politically compelled to denigrate both Nazi and now Soviet control over culture. The CIA worked alongside corporations to install “corporate” non-partisan\, inoffensive art that celebrated the individual (i.e. capitalist and not communist) and denigrated anything containing possible\, even hinted at\, socialist leanings. Abstraction\, particularly Abstract Expressionism became their rallying cry. \nWe will discuss the trajectory of this upsurge upon museums and galleries\, and upon the artists themselves\, and its relevancy today. What is the underlying nature of political art today?  Who is funding it\, and why?  Has there been a radical reversal in art’s function since the postwar years?  Who owns the museums? Are they meant to inspire or to intimidate?  And\, most essentially: why are these questions important to society in general\, at this point in time? \nThere is a tremendous amount of material and resources\, opinions and visual sources that pertain to this subject. The course will not be a series of lectures\, but rather a guided discussion group\, accessible to political thinkers\, artists\, and art lovers. A multitude of opinions will only enrich our understanding. \nReadings: \n1. How New York Stole the Idea of Modern Art\, by Serge Guilbaut\, University of Chicago\, 1983\n2. Who Paid the Piper?  The CIA and the Cultural Cold War a.k.a. The Cultural Cold War: The CIA and the World of Arts and Letters by Frances Stoner Saunders\, New Press\, 1999\n3. American Expressionism: Art and Social Change 1920 -1950\, by Bram Dijkstra\, Abrams Press 2003 \nJeramy Turner’s primary concern has been for many years the appropriation of visual art and film for the purpose of ruling class hegemony. from 1975 through 1992 she directed alternative movie theaters in Chicago and Minneapolis\, and edited the cinema journal\, “Shattering Screen”. In 1986 she taught herself oil painting so as to visually depict the vulnerability of capitalism\, and has been painting in this mode ever since.  She established the radical feminist art collective\, Sister Serpents in 1989\, which Jesse Helmes decried as a “hate group” against unborn children. She has taught and lectured on the conjuncture of political involvement in art and feminism at numerous universities and institutions in the US (Chicago\, Boulder\, Jersey City\, Cornell).  Her work has been exhibited in London\, Berlin\, Vienna\, Stockholm\, Hamburg\, Bergen\, Norway\, and at many alternative and university galleries throughout the US. She lives in Brooklyn and Aigen\, Austria. Her paintings can be seen at www.jeramyturner.com.
URL:https://marxedproject.org/event/degenerate-art-and-the-state/2018-03-12/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2017/11/RockyAndFellas_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20180305T180000
DTEND;TZID=America/Halifax:20180305T193000
DTSTAMP:20260416T124803
CREATED:20171107T061109Z
LAST-MODIFIED:20171107T061109Z
UID:10006253-1520272800-1520278200@marxedproject.org
SUMMARY:Degenerate!: Art and the State
DESCRIPTION:An 8-week study with Jeramy Turner \nIt is not our fellow artist who is the enemy\, but those who have made art the booty of exploitation\, and who use it as a deodorant for war and fascism.  —Arnold Blanch\, First American Artists Congress\, 1936 \nThe idea of this course is to reveal the state’s entrenchment in determining the direction and limitations of the visual art world in capital’s domination of society. We will be examining the extent to which the power structure will go to control our cultural imagination. For example\, the CIA and other governmental agencies energetically promoted abstract expressionism as an art movement that pointed to the limitless freedoms capitalism signified\, especially in its American form. \nThe course would begin with a free screening of Architecture of Doom (dir. Peter Cohen\, 1989\, 119 min\,)—a vivid documentary which presents the Nazi use of overt state control over visual art\, with the premise that art had political and ideological functions. This film showing will occur at the Jefferson Market Branch of the New York Public Library on Saturday\, January 20\, 2:30 pm. For the Nazis\, modernist\, socialist\, Jewish artists were necessarily entartete (degenerate).  In Munich in 1937\, an enormous exhibition of Entartete Kunst was launched to express degeneracy and madness. Over 3 million people attended. We will project art from some of these designated artists such as Otto Dix\, Georg Grosz\, Max Beckmann in order to deepen an understanding of what was at stake. \nFrom here we travel to postwar America\, where the elites also held that art should fulfill an ideological (if not overtly political) function\, but were politically compelled to denigrate both Nazi and now Soviet control over culture. The CIA worked alongside corporations to install “corporate” non-partisan\, inoffensive art that celebrated the individual (i.e. capitalist and not communist) and denigrated anything containing possible\, even hinted at\, socialist leanings. Abstraction\, particularly Abstract Expressionism became their rallying cry. \nWe will discuss the trajectory of this upsurge upon museums and galleries\, and upon the artists themselves\, and its relevancy today. What is the underlying nature of political art today?  Who is funding it\, and why?  Has there been a radical reversal in art’s function since the postwar years?  Who owns the museums? Are they meant to inspire or to intimidate?  And\, most essentially: why are these questions important to society in general\, at this point in time? \nThere is a tremendous amount of material and resources\, opinions and visual sources that pertain to this subject. The course will not be a series of lectures\, but rather a guided discussion group\, accessible to political thinkers\, artists\, and art lovers. A multitude of opinions will only enrich our understanding. \nReadings: \n1. How New York Stole the Idea of Modern Art\, by Serge Guilbaut\, University of Chicago\, 1983\n2. Who Paid the Piper?  The CIA and the Cultural Cold War a.k.a. The Cultural Cold War: The CIA and the World of Arts and Letters by Frances Stoner Saunders\, New Press\, 1999\n3. American Expressionism: Art and Social Change 1920 -1950\, by Bram Dijkstra\, Abrams Press 2003 \nJeramy Turner’s primary concern has been for many years the appropriation of visual art and film for the purpose of ruling class hegemony. from 1975 through 1992 she directed alternative movie theaters in Chicago and Minneapolis\, and edited the cinema journal\, “Shattering Screen”. In 1986 she taught herself oil painting so as to visually depict the vulnerability of capitalism\, and has been painting in this mode ever since.  She established the radical feminist art collective\, Sister Serpents in 1989\, which Jesse Helmes decried as a “hate group” against unborn children. She has taught and lectured on the conjuncture of political involvement in art and feminism at numerous universities and institutions in the US (Chicago\, Boulder\, Jersey City\, Cornell).  Her work has been exhibited in London\, Berlin\, Vienna\, Stockholm\, Hamburg\, Bergen\, Norway\, and at many alternative and university galleries throughout the US. She lives in Brooklyn and Aigen\, Austria. Her paintings can be seen at www.jeramyturner.com.
URL:https://marxedproject.org/event/degenerate-art-and-the-state/2018-03-05/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2017/11/RockyAndFellas_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20180226T180000
DTEND;TZID=America/Halifax:20180226T193000
DTSTAMP:20260416T124803
CREATED:20171107T061109Z
LAST-MODIFIED:20171107T061109Z
UID:10006252-1519668000-1519673400@marxedproject.org
SUMMARY:Degenerate!: Art and the State
DESCRIPTION:An 8-week study with Jeramy Turner \nIt is not our fellow artist who is the enemy\, but those who have made art the booty of exploitation\, and who use it as a deodorant for war and fascism.  —Arnold Blanch\, First American Artists Congress\, 1936 \nThe idea of this course is to reveal the state’s entrenchment in determining the direction and limitations of the visual art world in capital’s domination of society. We will be examining the extent to which the power structure will go to control our cultural imagination. For example\, the CIA and other governmental agencies energetically promoted abstract expressionism as an art movement that pointed to the limitless freedoms capitalism signified\, especially in its American form. \nThe course would begin with a free screening of Architecture of Doom (dir. Peter Cohen\, 1989\, 119 min\,)—a vivid documentary which presents the Nazi use of overt state control over visual art\, with the premise that art had political and ideological functions. This film showing will occur at the Jefferson Market Branch of the New York Public Library on Saturday\, January 20\, 2:30 pm. For the Nazis\, modernist\, socialist\, Jewish artists were necessarily entartete (degenerate).  In Munich in 1937\, an enormous exhibition of Entartete Kunst was launched to express degeneracy and madness. Over 3 million people attended. We will project art from some of these designated artists such as Otto Dix\, Georg Grosz\, Max Beckmann in order to deepen an understanding of what was at stake. \nFrom here we travel to postwar America\, where the elites also held that art should fulfill an ideological (if not overtly political) function\, but were politically compelled to denigrate both Nazi and now Soviet control over culture. The CIA worked alongside corporations to install “corporate” non-partisan\, inoffensive art that celebrated the individual (i.e. capitalist and not communist) and denigrated anything containing possible\, even hinted at\, socialist leanings. Abstraction\, particularly Abstract Expressionism became their rallying cry. \nWe will discuss the trajectory of this upsurge upon museums and galleries\, and upon the artists themselves\, and its relevancy today. What is the underlying nature of political art today?  Who is funding it\, and why?  Has there been a radical reversal in art’s function since the postwar years?  Who owns the museums? Are they meant to inspire or to intimidate?  And\, most essentially: why are these questions important to society in general\, at this point in time? \nThere is a tremendous amount of material and resources\, opinions and visual sources that pertain to this subject. The course will not be a series of lectures\, but rather a guided discussion group\, accessible to political thinkers\, artists\, and art lovers. A multitude of opinions will only enrich our understanding. \nReadings: \n1. How New York Stole the Idea of Modern Art\, by Serge Guilbaut\, University of Chicago\, 1983\n2. Who Paid the Piper?  The CIA and the Cultural Cold War a.k.a. The Cultural Cold War: The CIA and the World of Arts and Letters by Frances Stoner Saunders\, New Press\, 1999\n3. American Expressionism: Art and Social Change 1920 -1950\, by Bram Dijkstra\, Abrams Press 2003 \nJeramy Turner’s primary concern has been for many years the appropriation of visual art and film for the purpose of ruling class hegemony. from 1975 through 1992 she directed alternative movie theaters in Chicago and Minneapolis\, and edited the cinema journal\, “Shattering Screen”. In 1986 she taught herself oil painting so as to visually depict the vulnerability of capitalism\, and has been painting in this mode ever since.  She established the radical feminist art collective\, Sister Serpents in 1989\, which Jesse Helmes decried as a “hate group” against unborn children. She has taught and lectured on the conjuncture of political involvement in art and feminism at numerous universities and institutions in the US (Chicago\, Boulder\, Jersey City\, Cornell).  Her work has been exhibited in London\, Berlin\, Vienna\, Stockholm\, Hamburg\, Bergen\, Norway\, and at many alternative and university galleries throughout the US. She lives in Brooklyn and Aigen\, Austria. Her paintings can be seen at www.jeramyturner.com.
URL:https://marxedproject.org/event/degenerate-art-and-the-state/2018-02-26/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2017/11/RockyAndFellas_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20180219T180000
DTEND;TZID=America/Halifax:20180219T193000
DTSTAMP:20260416T124803
CREATED:20171107T061109Z
LAST-MODIFIED:20171107T061109Z
UID:10006251-1519063200-1519068600@marxedproject.org
SUMMARY:Degenerate!: Art and the State
DESCRIPTION:An 8-week study with Jeramy Turner \nIt is not our fellow artist who is the enemy\, but those who have made art the booty of exploitation\, and who use it as a deodorant for war and fascism.  —Arnold Blanch\, First American Artists Congress\, 1936 \nThe idea of this course is to reveal the state’s entrenchment in determining the direction and limitations of the visual art world in capital’s domination of society. We will be examining the extent to which the power structure will go to control our cultural imagination. For example\, the CIA and other governmental agencies energetically promoted abstract expressionism as an art movement that pointed to the limitless freedoms capitalism signified\, especially in its American form. \nThe course would begin with a free screening of Architecture of Doom (dir. Peter Cohen\, 1989\, 119 min\,)—a vivid documentary which presents the Nazi use of overt state control over visual art\, with the premise that art had political and ideological functions. This film showing will occur at the Jefferson Market Branch of the New York Public Library on Saturday\, January 20\, 2:30 pm. For the Nazis\, modernist\, socialist\, Jewish artists were necessarily entartete (degenerate).  In Munich in 1937\, an enormous exhibition of Entartete Kunst was launched to express degeneracy and madness. Over 3 million people attended. We will project art from some of these designated artists such as Otto Dix\, Georg Grosz\, Max Beckmann in order to deepen an understanding of what was at stake. \nFrom here we travel to postwar America\, where the elites also held that art should fulfill an ideological (if not overtly political) function\, but were politically compelled to denigrate both Nazi and now Soviet control over culture. The CIA worked alongside corporations to install “corporate” non-partisan\, inoffensive art that celebrated the individual (i.e. capitalist and not communist) and denigrated anything containing possible\, even hinted at\, socialist leanings. Abstraction\, particularly Abstract Expressionism became their rallying cry. \nWe will discuss the trajectory of this upsurge upon museums and galleries\, and upon the artists themselves\, and its relevancy today. What is the underlying nature of political art today?  Who is funding it\, and why?  Has there been a radical reversal in art’s function since the postwar years?  Who owns the museums? Are they meant to inspire or to intimidate?  And\, most essentially: why are these questions important to society in general\, at this point in time? \nThere is a tremendous amount of material and resources\, opinions and visual sources that pertain to this subject. The course will not be a series of lectures\, but rather a guided discussion group\, accessible to political thinkers\, artists\, and art lovers. A multitude of opinions will only enrich our understanding. \nReadings: \n1. How New York Stole the Idea of Modern Art\, by Serge Guilbaut\, University of Chicago\, 1983\n2. Who Paid the Piper?  The CIA and the Cultural Cold War a.k.a. The Cultural Cold War: The CIA and the World of Arts and Letters by Frances Stoner Saunders\, New Press\, 1999\n3. American Expressionism: Art and Social Change 1920 -1950\, by Bram Dijkstra\, Abrams Press 2003 \nJeramy Turner’s primary concern has been for many years the appropriation of visual art and film for the purpose of ruling class hegemony. from 1975 through 1992 she directed alternative movie theaters in Chicago and Minneapolis\, and edited the cinema journal\, “Shattering Screen”. In 1986 she taught herself oil painting so as to visually depict the vulnerability of capitalism\, and has been painting in this mode ever since.  She established the radical feminist art collective\, Sister Serpents in 1989\, which Jesse Helmes decried as a “hate group” against unborn children. She has taught and lectured on the conjuncture of political involvement in art and feminism at numerous universities and institutions in the US (Chicago\, Boulder\, Jersey City\, Cornell).  Her work has been exhibited in London\, Berlin\, Vienna\, Stockholm\, Hamburg\, Bergen\, Norway\, and at many alternative and university galleries throughout the US. She lives in Brooklyn and Aigen\, Austria. Her paintings can be seen at www.jeramyturner.com.
URL:https://marxedproject.org/event/degenerate-art-and-the-state/2018-02-19/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2017/11/RockyAndFellas_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20180212T180000
DTEND;TZID=America/Halifax:20180212T193000
DTSTAMP:20260416T124803
CREATED:20171107T061109Z
LAST-MODIFIED:20171107T061109Z
UID:10006250-1518458400-1518463800@marxedproject.org
SUMMARY:Degenerate!: Art and the State
DESCRIPTION:An 8-week study with Jeramy Turner \nIt is not our fellow artist who is the enemy\, but those who have made art the booty of exploitation\, and who use it as a deodorant for war and fascism.  —Arnold Blanch\, First American Artists Congress\, 1936 \nThe idea of this course is to reveal the state’s entrenchment in determining the direction and limitations of the visual art world in capital’s domination of society. We will be examining the extent to which the power structure will go to control our cultural imagination. For example\, the CIA and other governmental agencies energetically promoted abstract expressionism as an art movement that pointed to the limitless freedoms capitalism signified\, especially in its American form. \nThe course would begin with a free screening of Architecture of Doom (dir. Peter Cohen\, 1989\, 119 min\,)—a vivid documentary which presents the Nazi use of overt state control over visual art\, with the premise that art had political and ideological functions. This film showing will occur at the Jefferson Market Branch of the New York Public Library on Saturday\, January 20\, 2:30 pm. For the Nazis\, modernist\, socialist\, Jewish artists were necessarily entartete (degenerate).  In Munich in 1937\, an enormous exhibition of Entartete Kunst was launched to express degeneracy and madness. Over 3 million people attended. We will project art from some of these designated artists such as Otto Dix\, Georg Grosz\, Max Beckmann in order to deepen an understanding of what was at stake. \nFrom here we travel to postwar America\, where the elites also held that art should fulfill an ideological (if not overtly political) function\, but were politically compelled to denigrate both Nazi and now Soviet control over culture. The CIA worked alongside corporations to install “corporate” non-partisan\, inoffensive art that celebrated the individual (i.e. capitalist and not communist) and denigrated anything containing possible\, even hinted at\, socialist leanings. Abstraction\, particularly Abstract Expressionism became their rallying cry. \nWe will discuss the trajectory of this upsurge upon museums and galleries\, and upon the artists themselves\, and its relevancy today. What is the underlying nature of political art today?  Who is funding it\, and why?  Has there been a radical reversal in art’s function since the postwar years?  Who owns the museums? Are they meant to inspire or to intimidate?  And\, most essentially: why are these questions important to society in general\, at this point in time? \nThere is a tremendous amount of material and resources\, opinions and visual sources that pertain to this subject. The course will not be a series of lectures\, but rather a guided discussion group\, accessible to political thinkers\, artists\, and art lovers. A multitude of opinions will only enrich our understanding. \nReadings: \n1. How New York Stole the Idea of Modern Art\, by Serge Guilbaut\, University of Chicago\, 1983\n2. Who Paid the Piper?  The CIA and the Cultural Cold War a.k.a. The Cultural Cold War: The CIA and the World of Arts and Letters by Frances Stoner Saunders\, New Press\, 1999\n3. American Expressionism: Art and Social Change 1920 -1950\, by Bram Dijkstra\, Abrams Press 2003 \nJeramy Turner’s primary concern has been for many years the appropriation of visual art and film for the purpose of ruling class hegemony. from 1975 through 1992 she directed alternative movie theaters in Chicago and Minneapolis\, and edited the cinema journal\, “Shattering Screen”. In 1986 she taught herself oil painting so as to visually depict the vulnerability of capitalism\, and has been painting in this mode ever since.  She established the radical feminist art collective\, Sister Serpents in 1989\, which Jesse Helmes decried as a “hate group” against unborn children. She has taught and lectured on the conjuncture of political involvement in art and feminism at numerous universities and institutions in the US (Chicago\, Boulder\, Jersey City\, Cornell).  Her work has been exhibited in London\, Berlin\, Vienna\, Stockholm\, Hamburg\, Bergen\, Norway\, and at many alternative and university galleries throughout the US. She lives in Brooklyn and Aigen\, Austria. Her paintings can be seen at www.jeramyturner.com.
URL:https://marxedproject.org/event/degenerate-art-and-the-state/2018-02-12/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2017/11/RockyAndFellas_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20180205T180000
DTEND;TZID=America/Halifax:20180205T193000
DTSTAMP:20260416T124803
CREATED:20171107T061109Z
LAST-MODIFIED:20171107T061109Z
UID:10006249-1517853600-1517859000@marxedproject.org
SUMMARY:Degenerate!: Art and the State
DESCRIPTION:An 8-week study with Jeramy Turner \nIt is not our fellow artist who is the enemy\, but those who have made art the booty of exploitation\, and who use it as a deodorant for war and fascism.  —Arnold Blanch\, First American Artists Congress\, 1936 \nThe idea of this course is to reveal the state’s entrenchment in determining the direction and limitations of the visual art world in capital’s domination of society. We will be examining the extent to which the power structure will go to control our cultural imagination. For example\, the CIA and other governmental agencies energetically promoted abstract expressionism as an art movement that pointed to the limitless freedoms capitalism signified\, especially in its American form. \nThe course would begin with a free screening of Architecture of Doom (dir. Peter Cohen\, 1989\, 119 min\,)—a vivid documentary which presents the Nazi use of overt state control over visual art\, with the premise that art had political and ideological functions. This film showing will occur at the Jefferson Market Branch of the New York Public Library on Saturday\, January 20\, 2:30 pm. For the Nazis\, modernist\, socialist\, Jewish artists were necessarily entartete (degenerate).  In Munich in 1937\, an enormous exhibition of Entartete Kunst was launched to express degeneracy and madness. Over 3 million people attended. We will project art from some of these designated artists such as Otto Dix\, Georg Grosz\, Max Beckmann in order to deepen an understanding of what was at stake. \nFrom here we travel to postwar America\, where the elites also held that art should fulfill an ideological (if not overtly political) function\, but were politically compelled to denigrate both Nazi and now Soviet control over culture. The CIA worked alongside corporations to install “corporate” non-partisan\, inoffensive art that celebrated the individual (i.e. capitalist and not communist) and denigrated anything containing possible\, even hinted at\, socialist leanings. Abstraction\, particularly Abstract Expressionism became their rallying cry. \nWe will discuss the trajectory of this upsurge upon museums and galleries\, and upon the artists themselves\, and its relevancy today. What is the underlying nature of political art today?  Who is funding it\, and why?  Has there been a radical reversal in art’s function since the postwar years?  Who owns the museums? Are they meant to inspire or to intimidate?  And\, most essentially: why are these questions important to society in general\, at this point in time? \nThere is a tremendous amount of material and resources\, opinions and visual sources that pertain to this subject. The course will not be a series of lectures\, but rather a guided discussion group\, accessible to political thinkers\, artists\, and art lovers. A multitude of opinions will only enrich our understanding. \nReadings: \n1. How New York Stole the Idea of Modern Art\, by Serge Guilbaut\, University of Chicago\, 1983\n2. Who Paid the Piper?  The CIA and the Cultural Cold War a.k.a. The Cultural Cold War: The CIA and the World of Arts and Letters by Frances Stoner Saunders\, New Press\, 1999\n3. American Expressionism: Art and Social Change 1920 -1950\, by Bram Dijkstra\, Abrams Press 2003 \nJeramy Turner’s primary concern has been for many years the appropriation of visual art and film for the purpose of ruling class hegemony. from 1975 through 1992 she directed alternative movie theaters in Chicago and Minneapolis\, and edited the cinema journal\, “Shattering Screen”. In 1986 she taught herself oil painting so as to visually depict the vulnerability of capitalism\, and has been painting in this mode ever since.  She established the radical feminist art collective\, Sister Serpents in 1989\, which Jesse Helmes decried as a “hate group” against unborn children. She has taught and lectured on the conjuncture of political involvement in art and feminism at numerous universities and institutions in the US (Chicago\, Boulder\, Jersey City\, Cornell).  Her work has been exhibited in London\, Berlin\, Vienna\, Stockholm\, Hamburg\, Bergen\, Norway\, and at many alternative and university galleries throughout the US. She lives in Brooklyn and Aigen\, Austria. Her paintings can be seen at www.jeramyturner.com.
URL:https://marxedproject.org/event/degenerate-art-and-the-state/2018-02-05/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2017/11/RockyAndFellas_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20180129T180000
DTEND;TZID=America/Halifax:20180129T193000
DTSTAMP:20260416T124803
CREATED:20171107T061109Z
LAST-MODIFIED:20171107T061109Z
UID:10006248-1517248800-1517254200@marxedproject.org
SUMMARY:Degenerate!: Art and the State
DESCRIPTION:An 8-week study with Jeramy Turner \nIt is not our fellow artist who is the enemy\, but those who have made art the booty of exploitation\, and who use it as a deodorant for war and fascism.  —Arnold Blanch\, First American Artists Congress\, 1936 \nThe idea of this course is to reveal the state’s entrenchment in determining the direction and limitations of the visual art world in capital’s domination of society. We will be examining the extent to which the power structure will go to control our cultural imagination. For example\, the CIA and other governmental agencies energetically promoted abstract expressionism as an art movement that pointed to the limitless freedoms capitalism signified\, especially in its American form. \nThe course would begin with a free screening of Architecture of Doom (dir. Peter Cohen\, 1989\, 119 min\,)—a vivid documentary which presents the Nazi use of overt state control over visual art\, with the premise that art had political and ideological functions. This film showing will occur at the Jefferson Market Branch of the New York Public Library on Saturday\, January 20\, 2:30 pm. For the Nazis\, modernist\, socialist\, Jewish artists were necessarily entartete (degenerate).  In Munich in 1937\, an enormous exhibition of Entartete Kunst was launched to express degeneracy and madness. Over 3 million people attended. We will project art from some of these designated artists such as Otto Dix\, Georg Grosz\, Max Beckmann in order to deepen an understanding of what was at stake. \nFrom here we travel to postwar America\, where the elites also held that art should fulfill an ideological (if not overtly political) function\, but were politically compelled to denigrate both Nazi and now Soviet control over culture. The CIA worked alongside corporations to install “corporate” non-partisan\, inoffensive art that celebrated the individual (i.e. capitalist and not communist) and denigrated anything containing possible\, even hinted at\, socialist leanings. Abstraction\, particularly Abstract Expressionism became their rallying cry. \nWe will discuss the trajectory of this upsurge upon museums and galleries\, and upon the artists themselves\, and its relevancy today. What is the underlying nature of political art today?  Who is funding it\, and why?  Has there been a radical reversal in art’s function since the postwar years?  Who owns the museums? Are they meant to inspire or to intimidate?  And\, most essentially: why are these questions important to society in general\, at this point in time? \nThere is a tremendous amount of material and resources\, opinions and visual sources that pertain to this subject. The course will not be a series of lectures\, but rather a guided discussion group\, accessible to political thinkers\, artists\, and art lovers. A multitude of opinions will only enrich our understanding. \nReadings: \n1. How New York Stole the Idea of Modern Art\, by Serge Guilbaut\, University of Chicago\, 1983\n2. Who Paid the Piper?  The CIA and the Cultural Cold War a.k.a. The Cultural Cold War: The CIA and the World of Arts and Letters by Frances Stoner Saunders\, New Press\, 1999\n3. American Expressionism: Art and Social Change 1920 -1950\, by Bram Dijkstra\, Abrams Press 2003 \nJeramy Turner’s primary concern has been for many years the appropriation of visual art and film for the purpose of ruling class hegemony. from 1975 through 1992 she directed alternative movie theaters in Chicago and Minneapolis\, and edited the cinema journal\, “Shattering Screen”. In 1986 she taught herself oil painting so as to visually depict the vulnerability of capitalism\, and has been painting in this mode ever since.  She established the radical feminist art collective\, Sister Serpents in 1989\, which Jesse Helmes decried as a “hate group” against unborn children. She has taught and lectured on the conjuncture of political involvement in art and feminism at numerous universities and institutions in the US (Chicago\, Boulder\, Jersey City\, Cornell).  Her work has been exhibited in London\, Berlin\, Vienna\, Stockholm\, Hamburg\, Bergen\, Norway\, and at many alternative and university galleries throughout the US. She lives in Brooklyn and Aigen\, Austria. Her paintings can be seen at www.jeramyturner.com.
URL:https://marxedproject.org/event/degenerate-art-and-the-state/2018-01-29/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2017/11/RockyAndFellas_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20180122T180000
DTEND;TZID=America/Halifax:20180122T193000
DTSTAMP:20260416T124803
CREATED:20171107T061109Z
LAST-MODIFIED:20171107T061109Z
UID:10006247-1516644000-1516649400@marxedproject.org
SUMMARY:Degenerate!: Art and the State
DESCRIPTION:An 8-week study with Jeramy Turner \nIt is not our fellow artist who is the enemy\, but those who have made art the booty of exploitation\, and who use it as a deodorant for war and fascism.  —Arnold Blanch\, First American Artists Congress\, 1936 \nThe idea of this course is to reveal the state’s entrenchment in determining the direction and limitations of the visual art world in capital’s domination of society. We will be examining the extent to which the power structure will go to control our cultural imagination. For example\, the CIA and other governmental agencies energetically promoted abstract expressionism as an art movement that pointed to the limitless freedoms capitalism signified\, especially in its American form. \nThe course would begin with a free screening of Architecture of Doom (dir. Peter Cohen\, 1989\, 119 min\,)—a vivid documentary which presents the Nazi use of overt state control over visual art\, with the premise that art had political and ideological functions. This film showing will occur at the Jefferson Market Branch of the New York Public Library on Saturday\, January 20\, 2:30 pm. For the Nazis\, modernist\, socialist\, Jewish artists were necessarily entartete (degenerate).  In Munich in 1937\, an enormous exhibition of Entartete Kunst was launched to express degeneracy and madness. Over 3 million people attended. We will project art from some of these designated artists such as Otto Dix\, Georg Grosz\, Max Beckmann in order to deepen an understanding of what was at stake. \nFrom here we travel to postwar America\, where the elites also held that art should fulfill an ideological (if not overtly political) function\, but were politically compelled to denigrate both Nazi and now Soviet control over culture. The CIA worked alongside corporations to install “corporate” non-partisan\, inoffensive art that celebrated the individual (i.e. capitalist and not communist) and denigrated anything containing possible\, even hinted at\, socialist leanings. Abstraction\, particularly Abstract Expressionism became their rallying cry. \nWe will discuss the trajectory of this upsurge upon museums and galleries\, and upon the artists themselves\, and its relevancy today. What is the underlying nature of political art today?  Who is funding it\, and why?  Has there been a radical reversal in art’s function since the postwar years?  Who owns the museums? Are they meant to inspire or to intimidate?  And\, most essentially: why are these questions important to society in general\, at this point in time? \nThere is a tremendous amount of material and resources\, opinions and visual sources that pertain to this subject. The course will not be a series of lectures\, but rather a guided discussion group\, accessible to political thinkers\, artists\, and art lovers. A multitude of opinions will only enrich our understanding. \nReadings: \n1. How New York Stole the Idea of Modern Art\, by Serge Guilbaut\, University of Chicago\, 1983\n2. Who Paid the Piper?  The CIA and the Cultural Cold War a.k.a. The Cultural Cold War: The CIA and the World of Arts and Letters by Frances Stoner Saunders\, New Press\, 1999\n3. American Expressionism: Art and Social Change 1920 -1950\, by Bram Dijkstra\, Abrams Press 2003 \nJeramy Turner’s primary concern has been for many years the appropriation of visual art and film for the purpose of ruling class hegemony. from 1975 through 1992 she directed alternative movie theaters in Chicago and Minneapolis\, and edited the cinema journal\, “Shattering Screen”. In 1986 she taught herself oil painting so as to visually depict the vulnerability of capitalism\, and has been painting in this mode ever since.  She established the radical feminist art collective\, Sister Serpents in 1989\, which Jesse Helmes decried as a “hate group” against unborn children. She has taught and lectured on the conjuncture of political involvement in art and feminism at numerous universities and institutions in the US (Chicago\, Boulder\, Jersey City\, Cornell).  Her work has been exhibited in London\, Berlin\, Vienna\, Stockholm\, Hamburg\, Bergen\, Norway\, and at many alternative and university galleries throughout the US. She lives in Brooklyn and Aigen\, Austria. Her paintings can be seen at www.jeramyturner.com.
URL:https://marxedproject.org/event/degenerate-art-and-the-state/2018-01-22/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2017/11/RockyAndFellas_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20160426T193000
DTEND;TZID=America/Halifax:20160426T213000
DTSTAMP:20260416T124803
CREATED:20160128T063438Z
LAST-MODIFIED:20160221T233159Z
UID:10003971-1461699000-1461706200@marxedproject.org
SUMMARY:Abe and Julia: Honor and Survival During Hoover’s Reign
DESCRIPTION:A celebration of the lives of Abe and Julia Kotelchuck\nAn evening with David Kotelchuck\, author of a new book on his parents just published by Blue Thread\, an imprint of Jewish Currents \nAbe and Julia Kotelchuck were pursued as Communist Party activists by J. Edgar Hoover’s FBI with a relentless vindictiveness that reached deep into their work and family lives for well over two decades. This thoroughly researched memoir by their adult son\, Dr. David Kotelchuck\, uses 2\,200 pages of Abe’s and Julia’s FBI files\, interviews with family members\, news articles (particularly by the great independent journalist\, I.F. Stone)\, books by historians of the McCarthy Era\, and personal memory to create a portrait of resistance to government repression that is at once chilling and heartwarming.  \nKotelchuck reveals his parents as “persons of great moral courage” who “refused to change their views in the face of governmental persecution.” He also reveals Hoover’s FBI as using dirty tricks\, forgeries\, illegal wiretaps\, and intimidation while “hounding . . . domestic opponents of U.S. policies during the Cold War period\, often illegally\, without prior evidence of or subsequent findings of wrong-doing\,” a pattern that “deserves public attention as our country continues to this day to struggle with individual citizens’ rights to dissent from and organize against governmental policies on the one hand\, and the nation’s right to investigate and protect itself from potential domestic and foreign threats on the other.” \nYou can order the book from Jewish Currents as follows: http://jewishcurrents.bigcartel.com/product/abe-and-julia-honor-and-survival-during-hoover-s-reign-by-david-kotelchuck \nDr. David Kotelchuck is Professor Emeritus of Occupational and Environmental Health at the Hunter College School of Health Sciences\, City University of New York. His Ph.D. is in high-energy physics from Cornell University\, and he holds an MPH in Occupational Health from Harvard School of Public Health. Dr. Kotelchuck has worked as director of health and safety for the United Electrical Workers union and was a founder of the Center for Occupational and Environmental Health at Hunter. He has a long record of civil rights\, labor\, environmental\, and public health activism\, and has worked closely with several unions on worker safety issues. He and his wife Ronda\, who has had a distinguished career in preventive and primary-care medical delivery\, have two children and six grandchildren.
URL:https://marxedproject.org/event/abe-and-julia-honor-and-survival-during-hoovers-reign/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2016/01/AbeJulia_ForSite.jpg
END:VEVENT
END:VCALENDAR