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DTSTART;TZID=America/Halifax:20181128T180000
DTEND;TZID=America/Halifax:20181128T200000
DTSTAMP:20180817T123032Z
CREATED:20180817T123032Z
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UID:10006320-1543428000-1543435200@marxedproject.org
SUMMARY:Degenerate Art and The State
DESCRIPTION:Part Ii: Notes of Discord \nAn 8-week study with Jeramy Turner and Jack Shneidman \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.\n—Arnold Blanch\, First American Artists Congress\, 1936 \nArt can become an alternative form of revolt that both deepens our consciousness and inspires resistance. We will explore selected pieces of music\, visual art\, and including two exemplary\, radical films: Soleil O (dir. Mel Hondo\, France/Mauritania\, 1967)\, a scathing attack on colonialism and capitalism; and Council of the Gods\, (dir. Kurt Maetzig\, East Germany\, 1950) a fictional film linking Monsanto\, Rockefeller\, and Hitler. Music selections will include works by John Coltrane (1926-1967)\, American jazz saxophonist\, composer\, and civil rights activist; Charles Haden (1938-2014) of the Charlie Haden Liberation Music Orchestra\, American jazz bassist and composer\, also engaged in anti-war and anti-imperialist movements; and Frederic Rzewski (1938-  )\, American composer and pianist\, engaged in anti-prison industrial complex activity\, as well as being an anti-fascist agitator. Among visual art considered will be work by German muralist Werner Tuebke (1929-2004)\, including Peasant Wars panorama; Josep Renau (1907-1982) Spanish Civil War Communist\, with photomontages of great power and beauty; and Edward Keinholz (1927-1994)\, American anti-imperialist\, anti-U.S. sculptor from the 1960s. \nJACK SHNEIDMAN earned a BFA from SUNY Purchase\, and an MA from the City College of New York in music composition and jazz performance\, respectively. He is the author of the instructional book\, 1001 Jazz Licks published by the Cherry Lane Music Company (2000). He has led jazz ensembles in the New York area\, and has also performed in Japan and London. He lectured at LaGuardia Community College for seven years. \nJERAMY TURNER’s primary concern for many years has been the appropriation of visual art and film for the purpose of countering ruling class hegemony. From 1975-1992\, 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 University). 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-2/2018-11-28/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2018/08/MuralForDegenArtSite.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20181114T180000
DTEND;TZID=America/Halifax:20181114T200000
DTSTAMP:20180817T123032Z
CREATED:20180817T123032Z
LAST-MODIFIED:20180817T123032Z
UID:10006319-1542218400-1542225600@marxedproject.org
SUMMARY:Degenerate Art and The State
DESCRIPTION:Part Ii: Notes of Discord \nAn 8-week study with Jeramy Turner and Jack Shneidman \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.\n—Arnold Blanch\, First American Artists Congress\, 1936 \nArt can become an alternative form of revolt that both deepens our consciousness and inspires resistance. We will explore selected pieces of music\, visual art\, and including two exemplary\, radical films: Soleil O (dir. Mel Hondo\, France/Mauritania\, 1967)\, a scathing attack on colonialism and capitalism; and Council of the Gods\, (dir. Kurt Maetzig\, East Germany\, 1950) a fictional film linking Monsanto\, Rockefeller\, and Hitler. Music selections will include works by John Coltrane (1926-1967)\, American jazz saxophonist\, composer\, and civil rights activist; Charles Haden (1938-2014) of the Charlie Haden Liberation Music Orchestra\, American jazz bassist and composer\, also engaged in anti-war and anti-imperialist movements; and Frederic Rzewski (1938-  )\, American composer and pianist\, engaged in anti-prison industrial complex activity\, as well as being an anti-fascist agitator. Among visual art considered will be work by German muralist Werner Tuebke (1929-2004)\, including Peasant Wars panorama; Josep Renau (1907-1982) Spanish Civil War Communist\, with photomontages of great power and beauty; and Edward Keinholz (1927-1994)\, American anti-imperialist\, anti-U.S. sculptor from the 1960s. \nJACK SHNEIDMAN earned a BFA from SUNY Purchase\, and an MA from the City College of New York in music composition and jazz performance\, respectively. He is the author of the instructional book\, 1001 Jazz Licks published by the Cherry Lane Music Company (2000). He has led jazz ensembles in the New York area\, and has also performed in Japan and London. He lectured at LaGuardia Community College for seven years. \nJERAMY TURNER’s primary concern for many years has been the appropriation of visual art and film for the purpose of countering ruling class hegemony. From 1975-1992\, 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 University). 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-2/2018-11-14/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2018/08/MuralForDegenArtSite.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20181107T180000
DTEND;TZID=America/Halifax:20181107T200000
DTSTAMP:20180817T123032Z
CREATED:20180817T123032Z
LAST-MODIFIED:20180817T123032Z
UID:10006318-1541613600-1541620800@marxedproject.org
SUMMARY:Degenerate Art and The State
DESCRIPTION:Part Ii: Notes of Discord \nAn 8-week study with Jeramy Turner and Jack Shneidman \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.\n—Arnold Blanch\, First American Artists Congress\, 1936 \nArt can become an alternative form of revolt that both deepens our consciousness and inspires resistance. We will explore selected pieces of music\, visual art\, and including two exemplary\, radical films: Soleil O (dir. Mel Hondo\, France/Mauritania\, 1967)\, a scathing attack on colonialism and capitalism; and Council of the Gods\, (dir. Kurt Maetzig\, East Germany\, 1950) a fictional film linking Monsanto\, Rockefeller\, and Hitler. Music selections will include works by John Coltrane (1926-1967)\, American jazz saxophonist\, composer\, and civil rights activist; Charles Haden (1938-2014) of the Charlie Haden Liberation Music Orchestra\, American jazz bassist and composer\, also engaged in anti-war and anti-imperialist movements; and Frederic Rzewski (1938-  )\, American composer and pianist\, engaged in anti-prison industrial complex activity\, as well as being an anti-fascist agitator. Among visual art considered will be work by German muralist Werner Tuebke (1929-2004)\, including Peasant Wars panorama; Josep Renau (1907-1982) Spanish Civil War Communist\, with photomontages of great power and beauty; and Edward Keinholz (1927-1994)\, American anti-imperialist\, anti-U.S. sculptor from the 1960s. \nJACK SHNEIDMAN earned a BFA from SUNY Purchase\, and an MA from the City College of New York in music composition and jazz performance\, respectively. He is the author of the instructional book\, 1001 Jazz Licks published by the Cherry Lane Music Company (2000). He has led jazz ensembles in the New York area\, and has also performed in Japan and London. He lectured at LaGuardia Community College for seven years. \nJERAMY TURNER’s primary concern for many years has been the appropriation of visual art and film for the purpose of countering ruling class hegemony. From 1975-1992\, 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 University). 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-2/2018-11-07/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2018/08/MuralForDegenArtSite.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20181031T180000
DTEND;TZID=America/Halifax:20181031T200000
DTSTAMP:20180817T123032Z
CREATED:20180817T123032Z
LAST-MODIFIED:20180817T123032Z
UID:10006317-1541008800-1541016000@marxedproject.org
SUMMARY:Degenerate Art and The State
DESCRIPTION:Part Ii: Notes of Discord \nAn 8-week study with Jeramy Turner and Jack Shneidman \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.\n—Arnold Blanch\, First American Artists Congress\, 1936 \nArt can become an alternative form of revolt that both deepens our consciousness and inspires resistance. We will explore selected pieces of music\, visual art\, and including two exemplary\, radical films: Soleil O (dir. Mel Hondo\, France/Mauritania\, 1967)\, a scathing attack on colonialism and capitalism; and Council of the Gods\, (dir. Kurt Maetzig\, East Germany\, 1950) a fictional film linking Monsanto\, Rockefeller\, and Hitler. Music selections will include works by John Coltrane (1926-1967)\, American jazz saxophonist\, composer\, and civil rights activist; Charles Haden (1938-2014) of the Charlie Haden Liberation Music Orchestra\, American jazz bassist and composer\, also engaged in anti-war and anti-imperialist movements; and Frederic Rzewski (1938-  )\, American composer and pianist\, engaged in anti-prison industrial complex activity\, as well as being an anti-fascist agitator. Among visual art considered will be work by German muralist Werner Tuebke (1929-2004)\, including Peasant Wars panorama; Josep Renau (1907-1982) Spanish Civil War Communist\, with photomontages of great power and beauty; and Edward Keinholz (1927-1994)\, American anti-imperialist\, anti-U.S. sculptor from the 1960s. \nJACK SHNEIDMAN earned a BFA from SUNY Purchase\, and an MA from the City College of New York in music composition and jazz performance\, respectively. He is the author of the instructional book\, 1001 Jazz Licks published by the Cherry Lane Music Company (2000). He has led jazz ensembles in the New York area\, and has also performed in Japan and London. He lectured at LaGuardia Community College for seven years. \nJERAMY TURNER’s primary concern for many years has been the appropriation of visual art and film for the purpose of countering ruling class hegemony. From 1975-1992\, 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 University). 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-2/2018-10-31/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2018/08/MuralForDegenArtSite.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20181024T180000
DTEND;TZID=America/Halifax:20181024T200000
DTSTAMP:20180817T123032Z
CREATED:20180817T123032Z
LAST-MODIFIED:20180817T123032Z
UID:10006316-1540404000-1540411200@marxedproject.org
SUMMARY:Degenerate Art and The State
DESCRIPTION:Part Ii: Notes of Discord \nAn 8-week study with Jeramy Turner and Jack Shneidman \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.\n—Arnold Blanch\, First American Artists Congress\, 1936 \nArt can become an alternative form of revolt that both deepens our consciousness and inspires resistance. We will explore selected pieces of music\, visual art\, and including two exemplary\, radical films: Soleil O (dir. Mel Hondo\, France/Mauritania\, 1967)\, a scathing attack on colonialism and capitalism; and Council of the Gods\, (dir. Kurt Maetzig\, East Germany\, 1950) a fictional film linking Monsanto\, Rockefeller\, and Hitler. Music selections will include works by John Coltrane (1926-1967)\, American jazz saxophonist\, composer\, and civil rights activist; Charles Haden (1938-2014) of the Charlie Haden Liberation Music Orchestra\, American jazz bassist and composer\, also engaged in anti-war and anti-imperialist movements; and Frederic Rzewski (1938-  )\, American composer and pianist\, engaged in anti-prison industrial complex activity\, as well as being an anti-fascist agitator. Among visual art considered will be work by German muralist Werner Tuebke (1929-2004)\, including Peasant Wars panorama; Josep Renau (1907-1982) Spanish Civil War Communist\, with photomontages of great power and beauty; and Edward Keinholz (1927-1994)\, American anti-imperialist\, anti-U.S. sculptor from the 1960s. \nJACK SHNEIDMAN earned a BFA from SUNY Purchase\, and an MA from the City College of New York in music composition and jazz performance\, respectively. He is the author of the instructional book\, 1001 Jazz Licks published by the Cherry Lane Music Company (2000). He has led jazz ensembles in the New York area\, and has also performed in Japan and London. He lectured at LaGuardia Community College for seven years. \nJERAMY TURNER’s primary concern for many years has been the appropriation of visual art and film for the purpose of countering ruling class hegemony. From 1975-1992\, 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 University). 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-2/2018-10-24/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2018/08/MuralForDegenArtSite.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20181017T190000
DTEND;TZID=America/Halifax:20181017T210000
DTSTAMP:20180823T025826Z
CREATED:20180823T025622Z
LAST-MODIFIED:20180823T025826Z
UID:10006352-1539802800-1539810000@marxedproject.org
SUMMARY:Music\, Rebellion\, Repression
DESCRIPTION:Two authors and a DJ \nFolksingers and the FBI by Aaron Leonard\nSome of the most prominent folk singers of the 20th Century\, Woody Guthrie\, ‘Sis Cunningham\, Pete Seeger\, Burl Ives\, etc.\, were also political activists with various associations with the American Communist Party. As a consequence the FBI\, kept meticulous files running many thousands of pages on them. Using music\, video selections\, news clippings\, and records from extensive Freedom of Information Act filings — including never before released material — this presentation will bring to life these artists and the systematic way  \nThe Explosion of Deferred Dreams by Mat Callahan\nThe book’s impassioned arguments both expose and reframe the political and social context for the San Francisco Sound and the vibrant subcultural uprisings with which it is associated. Using dozens of original interviews\, primary sources\, and personal experiences\, Callahan shows how the intense interplay of artistic and political movements put San Francisco\, briefly\, in the forefront of a worldwide revolutionary upsurge. A must-read for anyone who “was there” (or longed to have been). \nwith DJ Dennis O’Neil  \nMAT CALLAHAN is a musician and author. Most recently he re-published Songs of Freedom by James Connolly and launched the Songs of Slavery and Emancipation project. He is the author of five books including in 2017 The Explosion of Deferred Dreams and A Critical Guide to Intellectual Property. Callahan resides in Bern Switzerland.  \nAARON LEONARD is author of Heavy Radicals: The FBI’s Secret War on America’s Maoists\, and A Threat of the First Magnitude—FBI Counterintelligence & Infiltration: From the Communist Party to the Revolutionary Union. A regular contributor to Truthout and HNN.us\, he lives in Los Angeles.
URL:https://marxedproject.org/event/music-rebellion-repression/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2018/08/MusicRebelRepress_Site.jpg
ORGANIZER;CN="Left CoLab":MAILTO:revsgroup@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20181017T180000
DTEND;TZID=America/Halifax:20181017T200000
DTSTAMP:20180817T123032Z
CREATED:20180817T123032Z
LAST-MODIFIED:20180817T123032Z
UID:10006315-1539799200-1539806400@marxedproject.org
SUMMARY:Degenerate Art and The State
DESCRIPTION:Part Ii: Notes of Discord \nAn 8-week study with Jeramy Turner and Jack Shneidman \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.\n—Arnold Blanch\, First American Artists Congress\, 1936 \nArt can become an alternative form of revolt that both deepens our consciousness and inspires resistance. We will explore selected pieces of music\, visual art\, and including two exemplary\, radical films: Soleil O (dir. Mel Hondo\, France/Mauritania\, 1967)\, a scathing attack on colonialism and capitalism; and Council of the Gods\, (dir. Kurt Maetzig\, East Germany\, 1950) a fictional film linking Monsanto\, Rockefeller\, and Hitler. Music selections will include works by John Coltrane (1926-1967)\, American jazz saxophonist\, composer\, and civil rights activist; Charles Haden (1938-2014) of the Charlie Haden Liberation Music Orchestra\, American jazz bassist and composer\, also engaged in anti-war and anti-imperialist movements; and Frederic Rzewski (1938-  )\, American composer and pianist\, engaged in anti-prison industrial complex activity\, as well as being an anti-fascist agitator. Among visual art considered will be work by German muralist Werner Tuebke (1929-2004)\, including Peasant Wars panorama; Josep Renau (1907-1982) Spanish Civil War Communist\, with photomontages of great power and beauty; and Edward Keinholz (1927-1994)\, American anti-imperialist\, anti-U.S. sculptor from the 1960s. \nJACK SHNEIDMAN earned a BFA from SUNY Purchase\, and an MA from the City College of New York in music composition and jazz performance\, respectively. He is the author of the instructional book\, 1001 Jazz Licks published by the Cherry Lane Music Company (2000). He has led jazz ensembles in the New York area\, and has also performed in Japan and London. He lectured at LaGuardia Community College for seven years. \nJERAMY TURNER’s primary concern for many years has been the appropriation of visual art and film for the purpose of countering ruling class hegemony. From 1975-1992\, 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 University). 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-2/2018-10-17/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2018/08/MuralForDegenArtSite.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20181010T180000
DTEND;TZID=America/Halifax:20181010T200000
DTSTAMP:20180817T123032Z
CREATED:20180817T123032Z
LAST-MODIFIED:20180817T123032Z
UID:10006314-1539194400-1539201600@marxedproject.org
SUMMARY:Degenerate Art and The State
DESCRIPTION:Part Ii: Notes of Discord \nAn 8-week study with Jeramy Turner and Jack Shneidman \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.\n—Arnold Blanch\, First American Artists Congress\, 1936 \nArt can become an alternative form of revolt that both deepens our consciousness and inspires resistance. We will explore selected pieces of music\, visual art\, and including two exemplary\, radical films: Soleil O (dir. Mel Hondo\, France/Mauritania\, 1967)\, a scathing attack on colonialism and capitalism; and Council of the Gods\, (dir. Kurt Maetzig\, East Germany\, 1950) a fictional film linking Monsanto\, Rockefeller\, and Hitler. Music selections will include works by John Coltrane (1926-1967)\, American jazz saxophonist\, composer\, and civil rights activist; Charles Haden (1938-2014) of the Charlie Haden Liberation Music Orchestra\, American jazz bassist and composer\, also engaged in anti-war and anti-imperialist movements; and Frederic Rzewski (1938-  )\, American composer and pianist\, engaged in anti-prison industrial complex activity\, as well as being an anti-fascist agitator. Among visual art considered will be work by German muralist Werner Tuebke (1929-2004)\, including Peasant Wars panorama; Josep Renau (1907-1982) Spanish Civil War Communist\, with photomontages of great power and beauty; and Edward Keinholz (1927-1994)\, American anti-imperialist\, anti-U.S. sculptor from the 1960s. \nJACK SHNEIDMAN earned a BFA from SUNY Purchase\, and an MA from the City College of New York in music composition and jazz performance\, respectively. He is the author of the instructional book\, 1001 Jazz Licks published by the Cherry Lane Music Company (2000). He has led jazz ensembles in the New York area\, and has also performed in Japan and London. He lectured at LaGuardia Community College for seven years. \nJERAMY TURNER’s primary concern for many years has been the appropriation of visual art and film for the purpose of countering ruling class hegemony. From 1975-1992\, 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 University). 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-2/2018-10-10/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2018/08/MuralForDegenArtSite.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20181003T180000
DTEND;TZID=America/Halifax:20181003T200000
DTSTAMP:20180817T123032Z
CREATED:20180817T123032Z
LAST-MODIFIED:20180817T123032Z
UID:10006313-1538589600-1538596800@marxedproject.org
SUMMARY:Degenerate Art and The State
DESCRIPTION:Part Ii: Notes of Discord \nAn 8-week study with Jeramy Turner and Jack Shneidman \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.\n—Arnold Blanch\, First American Artists Congress\, 1936 \nArt can become an alternative form of revolt that both deepens our consciousness and inspires resistance. We will explore selected pieces of music\, visual art\, and including two exemplary\, radical films: Soleil O (dir. Mel Hondo\, France/Mauritania\, 1967)\, a scathing attack on colonialism and capitalism; and Council of the Gods\, (dir. Kurt Maetzig\, East Germany\, 1950) a fictional film linking Monsanto\, Rockefeller\, and Hitler. Music selections will include works by John Coltrane (1926-1967)\, American jazz saxophonist\, composer\, and civil rights activist; Charles Haden (1938-2014) of the Charlie Haden Liberation Music Orchestra\, American jazz bassist and composer\, also engaged in anti-war and anti-imperialist movements; and Frederic Rzewski (1938-  )\, American composer and pianist\, engaged in anti-prison industrial complex activity\, as well as being an anti-fascist agitator. Among visual art considered will be work by German muralist Werner Tuebke (1929-2004)\, including Peasant Wars panorama; Josep Renau (1907-1982) Spanish Civil War Communist\, with photomontages of great power and beauty; and Edward Keinholz (1927-1994)\, American anti-imperialist\, anti-U.S. sculptor from the 1960s. \nJACK SHNEIDMAN earned a BFA from SUNY Purchase\, and an MA from the City College of New York in music composition and jazz performance\, respectively. He is the author of the instructional book\, 1001 Jazz Licks published by the Cherry Lane Music Company (2000). He has led jazz ensembles in the New York area\, and has also performed in Japan and London. He lectured at LaGuardia Community College for seven years. \nJERAMY TURNER’s primary concern for many years has been the appropriation of visual art and film for the purpose of countering ruling class hegemony. From 1975-1992\, 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 University). 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-2/2018-10-03/
LOCATION:NY\, United States
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DTSTART;TZID=America/Halifax:20160520T193000
DTEND;TZID=America/Halifax:20160520T220000
DTSTAMP:20160502T000005Z
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LAST-MODIFIED:20160502T000005Z
UID:10006004-1463772600-1463781600@marxedproject.org
SUMMARY:James Connolly Songs of Freedom
DESCRIPTION:PM Press\, The Brooklyn Commons and The Marxist Education Project present\nMat Callahan and Yvonne Moore \nThe 100 Year Commemoration of the 1916 Easter Rising Tour \nCome celebrate James Connolly and the 100th anniversary of the Easter Rising with Mat Callahan and Yvonne Moore.\n\nThis year marks the 100th anniversary of Ireland’s Easter Rising. But what could a failed uprising of a hundred years ago have to tell us now? Three major themes\, arising again in contemporary struggles\, give the Easter Rising\, and especially James Connolly’s leadership\, urgency and relevance today.  \n1. National liberation and popular sovereignty: who are the people and how will the people be united?\nThe Easter Rising was a harbinger of all that was to follow in the 20th Century-most significantly\, the wave of decolonization that began after World War II and continued throughout the 1960s and 70s including the Chinese\, Cuban and Vietnamese revolutions. It need hardly be mentioned that these struggles are far from resolved\, hardly a corner of the globe remaining unscathed by the violent convulsions they manifest.\n2. Armed struggle\, the popular will\, and the legitimacy of the state: what conditions must prevail for non-violent\, civil disobedience to give way to insurrection?\nThe Easter Rising confronted the monopoly of violence on the part of the state in a context framed by the rebels-not parliamentary representatives. The Rising proclaimed in word and deed the illegitimacy of British authority\, laying bare the irreconcilable conflict between that authority and liberty or democracy of any conceivable kind. This furthermore exposed the deeper rifts in Irish society itself giving voice to the demands of the oppressed against the deeply entrenched reaction of the church and landed aristocracy.\n3. Leadership\, Socialism\, Connolly.\nThe role of James Connolly is pivotal. Not only did Connolly tirelessly battle for a Workers’ Republic of public ownership under workers’ direction\, but he made the analysis and took the practical steps to ensure the historic moment offered by Easter 1916 was not lost. It was Connolly and his Irish Citizen Army that dispelled all uncertainty on the part of various rebel factions\, to make insurrection the means through which history would speak.  That the Easter Rising would be followed a year later by the Russian Revolution gives a perspective on the world-historic moment presented by first imperialist world war.\nHistory does not exactly repeat itself but certain crucial features of our current dilemma more closely resemble those preceding WW I than those prevailing in the Sixties\, the last great revolutionary upsurge. In particular\, inter-imperialist conflict dwarfs and drowns out popular attempts to resist. Factions and sectarian squabbling characterize a battered and demoralized Left. Similar conditions faced revolutionaries in 1916. We can learn from their example.  \nFrom the publication of Songs of Freedom in 1907 to the declaration of the Irish Republic on the steps of the General Post Office in Dublin 1916\, Connolly’s vision was a beacon in the struggle for liberation. Using Connolly’s own songs along with others made famous in Ireland’s fight for independence\, Callahan and Moore perform a spirited tribute to the rebels of Easter Week and the leadership of James Connolly. \nhttp://secure.pmpress.org/index.php?l=product_detail&p=596
URL:https://marxedproject.org/event/james-connolly-songs-of-freedom/
LOCATION:NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2016/05/SongsFreedom_ForSite.jpg
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