| Director/producer/camera/editor - Dean Hapeta aka Te Kupu  |
Thursday, 24 May 2012
Ngātahi - Know The Links/ Te Kupu
Power to the People! Emory Douglas
Emory Douglas (born May 24, 1943 in Grand Rapids, Michigan) worked as the Minister of Culture for the Black Panther Party from 1967 until the Party disbanded in the 1980s. His graphic art was featured in most issues of the newspaper The Black Panther (which had a peak circulation of 139,000 per week in 1970)[1] and has become an iconic representation of the struggles of the Party during the 1960s and 1970s. The San Francisco Chronicle reported that Douglas "branded the militant-chic Panther image decades before the concept became commonplace. He used the newspaper's popularity to incite the disenfranchised to action, portraying the poor with genuine empathy, not as victims but as outraged, unapologetic and ready for a fight."
As a teenager, Douglas was incarcerated at the Youth Training School in Ontario, California; during his time there he worked in the prison’s printing shop. He later studied commercial art at San Francisco City College.
Colette Gaiter writes:
| “ | Douglas was the most prolific and persistent graphic agitator in the American Black Power movements. Douglas profoundly understood the power of images in communicating ideas.... Inexpensive printing technologies— including photostats and presstype, textures and patterns —made publishing a two-color heavily illustrated, weekly tabloid newspaper possible. Graphic production values associated with seductive advertising and waste in a decadent society became weapons of the revolution. Technically, Douglas collaged and re-collaged drawings and photographs, performing graphic tricks with little budget and even less time. His distinctive illustration style featured thick black outlines (easier to trap) and resourceful tint and texture combinations. Conceptually, Douglas’s images served two purposes: first, illustrating conditions that made revolution seem necessary; and second, constructing a visual mythology of power for people who felt powerless and victimized. Most popular media represents middle to upper class people as "normal." Douglas was the Norman Rockwell of the ghetto, concentrating on the poor and oppressed. Departing from the WPA/social realist style of portraying poor people, which can be perceived as voyeuristic and patronizing, Douglas’s energetic drawings showed respect and action. He maintained poor people’s dignity while graphically illustrating harsh situations.” |
Wednesday, 23 May 2012
Sunday, 20 May 2012
IntErupt >> on ACT
IntErupt fake taupō festerval
on ACT
/ & another act of Artivism/ an ingenious attention grab for the ACT Party/ gain a dangerous secret following/ further financial offers/ neo what?!?//
The Act Party's largest financial backer in the last election says he gave money to the party to stop the special treatment of Maori, who are disliked by most New Zealanders.
Louis Crimp contributed $125,520 to Act's 2011 electoral campaign.
Crimp says all of the "white New Zealanders" he has spoken to don't like Maori, who are "full of crime and welfare".
Act's president, Chris Simmons, said he disagreed with Mr Crimp on some areas but respected his right to have a view.
He said he saw Maori culture as "part of our culture".
Maori Party co-leader Pita Sharples said he was appalled by the comments made by Mr Crimp, who is "out on his own".
Invercargill-based Mr Crimp said he was inspired by Dr Brash's controversial 2004 speech at Orewa and decided to support Act when the former National Party leader took over as Act's leader in 2011.
Mr Crimp opposes funding of Maori Television and calls spending on revitalising Te Reo Maori (the Maori language) a waste of money.
NZN
disliked by most New Zealanders
"full of crime and welfare"
a waste of money
"out on his own"
AO
George Nuku & Tracey Tawhiao
les sept elements de le lumiere
21 JUIN > 30 SEPTEMBRE 2012
Gallerie Yapa / St Roch Chapel
18 - 24 Ave St Roch
PARIS
IntErupt >> on ACiD
IntErupt fake taupō festerval
on ACiD
The story does sound like an act of Artivism gone wrong - the guy got caught... the only reason they can find him guilty is because he got caught! 
A Taupo retailer used a syringe to spray battery acid between the doors of a rival's shop.
The clothing store owner says pressure drove him to commit an impressive $60,000 act of vandalism.
Describing the attack as a "blur", B Jammin owner Rick Powell says he walked two blocks before spraying the acid through a gap in the doors at a rival [shit] Surf and Scooter store on Heuheu St on a recent Tuesday night.
The acid spray carried 10 metres inside the shop, destroying clothing, units and carpet.
"I can't figure out why I did it ... it's all a bit of a blur," he said.
"I can't rationalise why I would walk across the road to do this."
Mr Powell was snapped on CCTV security cameras spraying the acid through a small gap through the doors of the shop.
He was arrested by police soon after...
"I'm highly embarrassed for my family. It's not something a rational, sane person would do" he said.
"What he has done is wrong. It's irrelevant to say he blacked out," Mr Clark said.
Powell will appeared in the Taupo District Court charged with intentional damage.
"It's not something a rational, sane person would do"
"I can't rationalise why"
"it's all a bit of a blur"
Saturday, 19 May 2012
OUTSIDE IN: The Story of Art in the Streets
OUTSIDE IN is a celebratory and historical look at street art through the lens of the Museum of Contemporary Art's groundbreaking exhibition Art in the Streets. The film features renowned artists Shepard Fairey, Lee Quiñones, Swoon, Futura, Mister Cartoon, Revok, Martha Cooper, Invader to name a few. Director Alex Stapleton (Corman's World: Exploits of a Hollywood Rebel) documents the artist's creative process, their pitfalls with the law, the poetic impermanence of their craft and the artists' evolution from the back seat of a cop car to the walls of a well-respected institution.
ABOUT THE ART IN THE STREETS EXHIBITION The Museum of Contemporary Art presents Art in the Streets, the first major U.S. museum exhibition of the history of graffiti and street art, April 17 through August 8, 2011, at The Geffen Contemporary at MOCA. The exhibition traces the development of graffiti and street art from the 1970s to the global movement it has become today, concentrating on key cities where a unique visual language or attitude has evolved.
Art in the Streets showcases installations by 50 of the most dynamic artists from the graffiti and street art community, including Fab 5 Freddy (New York), Lee Quiñones (New York), Futura (New York), Margaret Kilgallen (San Francisco), Swoon (New York), Shepard Fairey (Los Angeles), Os Gemeos (São Paulo), and JR (Paris). MOCA’s exhibition emphasized Los Angeles’ role in the evolution of graffiti and street art, with special sections dedicated to cholo graffiti and Dogtown skateboard culture. The exhibition featured projects by influential Los Angeles-based artists such as Craig R. Stecyk III, Chaz Bojórquez, Mister Cartoon, RETNA, SABER, REVOK, and RISK.
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