Modern lovers

Modern Lovers was a survey show of contemporary art practices in dialogue with modernism, bringing together established and emerging artists based in London and international artists from Berlin, Jerusalem and Zagreb. The show features video, film, installation, sculpture, music and performance work that addresses the legacy of the avant garde and the survival of its aesthetics within contemporary culture. In 1976, as punk rock was busy smashing the cultural rubble left behind by the second world war and rejecting the consumer society that had emerged from the ruins, one band bravely announced that it wanted no part in this destruction. Jonathan Richman's Modern Lovers sang about how they still loved the old world. Neither parents nor girlfriends could understand, but the decaying inner city with its false promises of progress still held a fascination for Richman, who claimed he wanted to keep his place in this arcane landscape. Punk's assault on culture was the logical conclusion of modernism's linear narrative of art as a force of innovation that must reject preceding artistic movements to establish new ones. Echoing the negations of Dada, it set out to put an end to this narrative, an end to culture. It is partly because of this inherently destructive and totalising side of Modernism that it has come under harsh critique in the post modern era. Nevertheless, we are still caught up in the same dialectic of progress, revolution and destruction. Post modernism has failed to unseat our desire for the revolutionary moment, even as it has been co-opted to the degree of meaninglessness by the discourses of marketing and Capitalism. But, like Jonathan Richman, the artists in the exhibition "Modern Lovers" keep returning to modernism for something else. Instead of taking it at its word when it proffers revolution, they turn to it in search of reform. Still loving the old world and desiring a dialogue with the past, perhaps as an antidote to the eternal present of Capitalism, they are willing to engage with its aesthetics and ideas on equal ground. Leaving behind the ironic deconstructions of post modernism, they find perspectives worth salvaging and juxtapose them with contemporary visual productions. Trading in the grand narratives of modernity for a more personal approach, they don't seek the purity of form that drove the avant garde movements that inspire them but rather revel in adulteration, dilution and contamination of the past by the present". A live performance by sala-manca was sponsored by the British Council and took place May 26th, 19:00. MODERN LOVERS was accompanied by a catalogue (14.80 cm x 14.80 cm) including essays by Avi Pitchon, the sala-manca group and the curators. A discussion panel about the exhibition themes, as well as the catalogue launch,took place at Goldsmiths College's cinema on the 27th of May at 14:00, chaired by Dr. Suhail Malik (Senior Lecturer & Course Leader Postgraduate Fine Art Critical Studies at Goldsmiths College) and with the participation of Tom Morton (curator, Cubitt Gallery, and regular contributor to Frieze magazine), sala-manca (artist group), Dr. Amanda Beech (artist, curator and senior lecturer at the Wimbledon School of Art), Matthew Poole (course director of MA Gallery Studies, dept. of Art History and Theory at the University of Essex).

Protein structure prediction servers at University College London

A number of state-of-the-art protein structure prediction servers have been developed by researchers working in the Bioinformatics Unit at University College London. The popular PSIPRED server allows users to perform secondary structure prediction, transmembrane topology prediction and protein fold recognition. More recent servers include DISOPRED for the prediction of protein dynamic disorder and DomPred for domain boundary prediction.

An Examination of the factors that shape the subjectivities of female art students in Initial Teacher Training

The school subject of Art and the profession of the primary school teacher are gendered female and both are considered low status within the field of Education and other professional areas of society. A number of sociological studies have examined the impact of gendered socialisation and habitus on females’ career choices and various educational initiatives have been put in place over the years to encourage females to select subjects and/or pursue career paths normally associated with males. Yet Art and primary school teaching continue to be a popular choice with middle class girls. Based on a critical ethnographic study of female BAED Art students, who are training to be primary school teachers, this study is an examination of the many factors, historically and contemporaneously that have shaped and continue to shape the subjectivities of females and frame their aspirations and ambitions. Within this discourse significant aspects of the history of Art and Art Education that have contributed to and influenced the construction of the female artist, and their consequent impact on artistically talented females’ personal identity as artists, are also examined.

Parallel editing, multi-positionality and maximalism: cosmopolitan effects as explored in some art works by Melanie Jackson and Vivienne Dick

Garfield produces a critique of neo-minimalist art practice by demonstrating how the artist Melanie Jackson’s Some things you are not allowed to send around the world (2003 and 2006) and the experimental film-maker Vivienne Dick’s Liberty’s booty (1980) – neither of which can be said to be about feeling ‘at home’ in the world, be it as a resident or as a nomad – examine global humanity through multi-positionality, excess and contingency, and thereby begin to articulate a new cosmopolitan relationship with the local – or, rather, with many different localities – in one and the same maximalist sweep of the work. ‘Maximalism’ in Garfield’s coinage signifies an excessive overloading (through editing, collage, and the sheer density of the range of the material) that enables the viewer to insert themselves into the narrative of the work. In the art of both Jackson and Dick Garfield detects a refusal to know or to judge the world; instead, there is an attempt to incorporate the complexities of its full range into the singular vision of the work, challenging the viewer to identify what is at stake.

November 2000: Habent Sua Fata Libelli; Or, the Fine Art of DeselectionSeptember 2000: Dacus Moves

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A arte não esquece a arte: aproximação : apropriação e citação em arte

Pós-graduação em Artes - IA

Identifique-se: Exposição de Mail Art, uma poética compartilhada

This work refers to a cut of my artistic creation path with some reflections on the subject other. Mail Art has been an alternative trend of art / avant-garde, where communication between artists networks is the goal to be achieved, therefore, from this statement, was approached some historical and particular aspects regarding the post and its contingencies in the art / forefront. Share this moment of academic completion with a postcard exhibition that will take place through the agency of other participating artists. To do so, were invited artists from the theme IDENTIFY UP to send work in postcard size with the exclusive use of the Post Office. The exhibition event will take place in the Gallery of the Art Institute. Participant of other similar projects, I believe I experienced a new role: who calls, organizes and rules.

Book Review of Discovering North American Rock Art Edited by Lawrence L. Loendorf, Christopher Chippindale, and David S. Whitley

If readers of Great Plains Research are seeking a window on rock art research in North America, this book provides a few clear panes, a few that are hazy, and a few muddy ones. Like many edited volumes, the weaker contributions and lack of a consistent style limit the book's usefulness. Some authors target a general readership; others clearly are addressing colleagues. The book has two stated themes: the history of rock art research in North America and recent approaches to rock art analysis. Articles by Julie Francis and (jointly) David Whitley and Jean Clottes explore why rock art research has long been marginalized in North America. Unfortunately, both of these otherwise observant essays slip into advocacy of shamanism as a unifying or primary explanation for rock art, an interpretive model by no means universally accepted by today's rock art specialists.