Tuesday, January 28, 2014

Evansville, Indiana, United States — This past week marked the opening night of an Andy Warhol exhibit at the University of Southern Indiana. USI’s art gallery, like 189 other educational galleries and museums around the country, is a recipient of a major Warhol donor program, and this program is cultivating new interest in Warhol’s photographic legacy. Wikinews reporters attended the opening and spoke to donors, exhibit organizers and patrons.

The USI art gallery celebrated the Thursday opening with its display of Warhol’s Polaroids, gelatin silver prints and several colored screen prints. USI’s exhibit, which is located in Evansville, Indiana, is to run from January 23 through March 9.

The McCutchan Art Center/Pace Galleries at USI bases its exhibit around roughly 100 Polaroids selected from its collection. The Polaroids were all donated by the Andy Warhol Photographic Legacy Program, according to Kristen Wilkins, assistant professor of photography and curator of the exhibit. The Andy Warhol Foundation for the Visual Arts made two donations to USI Art Collections, in 2007 and a second recently.

Kathryn Waters, director of the gallery, expressed interest in further donations from the foundation in the future.

Since 2007 the Andy Warhol Photographic Legacy Program has seeded university art galleries throughout the United States with over 28,000 Andy Warhol photographs and other artifacts. The program takes a decentralized approach to Warhol’s photography collection and encourages university art galleries to regularly disseminate and educate audiences about Warhol’s artistic vision, especially in the area of photography.

Wikinews provides additional video, audio and photographs so our readers may learn more.

Wilkins observed that the 2007 starting date of the donation program, which is part of the Andy Warhol Foundation for the Visual Arts, coincided with the 20th anniversary of Andy Warhol’s death in 1987. USI was not alone in receiving a donation.

K.C. Maurer, chief financial officer and treasurer at the Andy Warhol Foundation, said 500 institutions received the initial invitation and currently 190 universities have accepted one or more donations. Institutional recipients, said Mauer, are required to exhibit their donated Warhol photographs every ten years as one stipulation.

While USI is holding its exhibit, there are also Warhol Polaroid exhibits at the Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs, New York and an Edward Steichen and Andy Warhol exhibit at the Mary & Leigh Block Museum of Art at Northwestern University in Evanston, Illinois. All have received Polaroids from the foundation.

University exhibits can reach out and attract large audiences. For example, the Weatherspoon Art Museum at the University of North Carolina at Greensboro saw attendance levels reach 11,000 visitors when it exhibited its Warhol collection in 2010, according to curator Elaine Gustafon. That exhibit was part of a collaboration combining the collections from Duke University, located in Durham, North Carolina, and University of North Carolina at Chapel Hill, which also were recipients of donated items from the Andy Warhol Photographic Legacy Program.

Each collection donated by the Andy Warhol Photographic Legacy Program holds Polaroids of well-known celebrities. The successful UNC Greensboro exhibit included Polaroids of author Truman Capote and singer-songwriter Carly Simon.

“I think America’s obsession with celebrity culture is as strong today as it was when Warhol was living”, said Gustafon. “People are still intrigued by how stars live, dress and socialize, since it is so different from most people’s every day lives.”

Wilkins explained Warhol’s obsession with celebrities began when he first collected head shots as a kid and continued as a passion throughout his life. “He’s hanging out with the celebrities, and has kind of become the same sort of celebrity he was interested in documenting earlier in his career”, Wilkins said.

The exhibit at USI includes Polaroids of actor Dennis Hopper; musician Nick Rhodes of Duran Duran; publishers Jann Wenner of Rolling Stone Magazine and Carlo De Benedetti of Italy’s la Repubblica; disco club owner Steve Rubell of Studio 54; photographers Nat Finkelstein, Christopher Makos and Felice Quinto; and athletes Vitas Gerulaitis (tennis) and Jack Nicklaus (golf).

Wikinews observed the USI exhibit identifies and features Polaroids of fashion designer Halston, a former resident of Evansville.

University collections across the United States also include Polaroids of “unknowns” who have not yet had their fifteen minutes of fame. Cynthia Thompson, curator and director of exhibits at the University of Arkansas, Fayetteville, said, “These images serve as documentation of people in his every day life and art — one which many of us enjoy a glimpse into.”

Warhol was close to important touchstones of the 1960s, including art, music, consumer culture, fashion, and celebrity worship, which were all buzzwords and images Wikinews observed at USI’s opening exhibit.

He was also an influential figure in the pop art movement. “Pop art was about what popular American culture really thought was important”, Kathryn Waters said. “That’s why he did the Campbell Soup cans or the Marilyn pictures, these iconic products of American culture whether they be in film, video or actually products we consumed. So even back in the sixties, he was very aware of this part of our culture. Which as we all know in 2014, has only increased probably a thousand fold.”

“I think everybody knows Andy Warhol’s name, even non-art people, that’s a name they might know because he was such a personality”, Water said.

Hilary Braysmith, USI associate professor of art history, said, “I think his photography is equally influential as his graphic works, his more famous pictures of Marilyn. In terms of the evolution of photography and experimentation, like painting on them or the celebrity fascination, I think he was really ground-breaking in that regard.”

The Polaroid format is not what made Warhol famous, however, he is in the company of other well-known photographers who used the camera, such as Ansel Adams, Chuck Close, Walker Evans, Robert Mapplethorpe, and Helmut Newton.

Wilkins said, “[Warhol] liked the way photo booths and the Polaroid’s front flash looked”. She explained how Warhol’s adoption of the Polaroid camera revealed his process. According to Wilkins, Warhol was able to reproduce the Polaroid photograph and create an enlargement of it, which he then could use to commit the image to the silk screen medium by applying paint or manipulating them further. One of the silk screens exhibited at USI this time was the Annie Oakley screen print called “Cowboys and Indians” from 1987.

Wilkins also said Warhol was both an artist and a businessperson. “As a way to commercialize his work, he would make a blue Marilyn and a pink Marilyn and a yellow Marilyn, and then you could pick your favorite color and buy that. It was a very practical salesman approach to his work. He was very prolific but very business minded about that.”

“He wanted to be rich and famous and he made lots of choices to go that way”, Wilkins said.

Kiara Perkins, a second year USI art major, admitted she was willing to skip class Thursday night to attend the opening exhibit but then circumstances allowed for her to attend the exhibit. Why did she so badly want to attend? “It’s Warhol. He is a legend.”

For Kevin Allton, a USI instructor in English, Warhol was also a legend. He said, “Andy Warhol was the center of the Zeitgeist for the 20th century and everything since. He is a post-modern diety.”

Allton said he had only seen the Silver Clouds installation before in film. The Silver Clouds installation were silver balloons blown up with helium, and those balloons filled one of the smaller rooms in the gallery. “I thought that in real life it was really kind of magical,” Allton said. “I smacked them around.”

Elements of the Zeitgeist were also playfully recreated on USI’s opening night. In her opening remarks for attendees, Waters pointed out those features to attendees, noting the touches of the Warhol Factory, or the studio where he worked, that were present around them. She pointed to the refreshment table with Campbell’s Soup served with “electric” Kool Aid and tables adorned with colorful gumball “pills”. The music in the background was from such bands as The Velvet Underground.

The big hit of the evening, Wikinews observed from the long line, was the Polaroid-room where attendees could wear a Warhol-like wig or don crazy glasses and have their own Polaroid taken. The Polaroids were ready in an instant and immediately displayed at the entry of the exhibit. Exhibit goers then became part of the very exhibit they had wanted to attend. In fact, many people Wikinews observed took out their mobiles as they left for the evening and used their own phone cameras to make one further record of the moment — a photo of a photo. Perhaps they had learned an important lesson from the Warhol exhibit that cultural events like these were ripe for use and reuse. We might even call these exit instant snap shots, the self selfie.

Tuesday, February 14, 2006

In response to the Iranian newspaper Hamshari’s announcement of an anti-semitic cartoon contest inspired by the Jyllands Posten Muhammad cartoons controversy, an Israeli group announced its own anti-semitic cartoon contest yesterday, open to Jewish cartoonists only.

From their February 13 release:

Amitai Sandy (29), graphic artist and publisher of Dimona Comix Publishing, from Tel-Aviv, Israel, has followed the unfolding of the “Muhammad cartoon-gate” events in amazement, until finally he came up with the right answer to all this insanity – and so he announced today the launch of a new anti-Semitic cartoons contest – this time drawn by Jews themselves!

Mr. Sandy said, “We’ll show the world we can do the best, sharpest, most offensive Jew hating cartoons ever published!” :said Sandy “No Iranian will beat us on our home turf!”

Already organizers have received mixed responses to their contest and have published a number of them, including the following:

“This is a fantastic idea: A people or religion that can laugh at itself is a confident, strong and self secure. It can show the Islamic world that humor and self deprecation is a healthy psychological exercise. The one who can face his demons can overcome his weaknesses”

Ash, NJ

“I know that unemployment is low in Israel, but does not justify your new venture. This will be my last time visiting your site, and assure you, that this business will not succeed.

the next time you start a new venture, please try to focus on what good will your product deliver to anyone. in your case it only makes me sad to see Israelis like you turn against an entire nation to make an extra buck. You are a LOOSER!”

Not hesitating to set an example, the group has adopted three logos showing three anti-semitic figures. They set a deadline of March 5, 2006 but due to an unexpectedly large response are considering extending it.

Amitai Sandy was interviewed on 16 February 2006 by the National Public Radio program Fresh Air.

Saturday, June 9, 2007

The American National Transportation Safety Board has announced that it will make new airline safety recommendations. This comes a result of its investigation into the Comair Flight 5191 disaster, in which a Bombardier Canadair Regional Jet (CRJ) CRJ-100ER crashed whilst attempting take-off from the wrong runway at Blue Grass Airport, Lexington, killing 49 people and leaving just one survivor. The plane was unable to take off because that runway was too short.

The NTSB has now announced that, on July 26, the date on which the NTSB is to determine the probable cause of the accident, they will issue safety recommendations regarding methods of preventing a recurrence of the disaster.

One of the recommendations will concern developing and implementing a cockpit-based system that will inform pilots when they are in the wrong location. Another will involve rescheduling the workloads of Air Traffic Controllers to ensure they receive more sleep, a request they had previously made in April.

Regarding location warning systems, the FAA has pointed out that they have been working on methods of preventing runway incursions (in which a person, ground vehicle or another aircraft is on the runway when or where it should not be), to which the National Transportation Safety Board chairman Mark Rosenker responded “The FAA is doing a great job testing these systems. The question we have is, when will you finally implement that technology?” FAA Associate Administrator Margaret Gilligan responded by saying that they were currently looking at just such a system, adding “We do have airlines that have committed to put that technology on the flight deck once it’s approved”. The system referred to involves runway signal lights and is currently being tested at Dallas-Fort Worth International Airport.

The NTSB will also look at runway and taxiway markings and the ways they can confuse pilots, as this issue has been identified as a contributing factor in the accident. Rosenker said the NTSB was “very interested” in this area. 140 airports have unclear or confusing markings in the US, but it is not certain if Blue Grass Airport is one of them. However, the Air Line Pilots Association (ALPA) made a submission to the NTSB stating that they had found that the markings at Blue Grass Airport did not match those on the charts the pilots were using. ALPA went on to recommend greater standardisation of airport runway markings.

Blue Grass Airport responded yesterday by saying that there was nothing wrong with their runway markings, with spokesman Brian Ellestad saying “We have had numerous inspections before and after (the Comair crash) and have had no issues… FAA reiterates that we meet all requirements for signage, markings, lighting, runways and taxiways.”

Thursday, June 4, 2009

In a New York press conference at 16:15 UTC, June 1st, Fritz Henderson, the Chief Executive Officer of General Motors, which filed for bankruptcy and Chapter 11 protection from its creditors earlier today, outlined a plan for what he called a “New GM”.

Speaking to the press under safe harbor provisions of U.S. law, Henderson described the events of today as a “defining moment” in the history of General Motors. Speaking to the public he said that “The GM that let you down is history,” and described a “New GM” that he expected to result from the bankruptcy process.

Henderson stated that he envisioned the bankruptcy process would take between 60 and 90 days. He stressed several times his view that the process would be one that is executed quickly, saying that not just a sense of urgency but “pure unadulterated speed” was his expectation of the process. He emphasized that “GM remains open for business” during the bankruptcy period, continuing to sell and to support its products, and that day one motions had been filed in the bankruptcy court in order to allow this.

Regarding the bankruptcy process he said, “We will do it right. And we will do it once.”

He stated that the plan for General Motors had the support of the United Auto Workers union, the Canadian Auto Workers union, the GM VEBA, and a majority of the unsecured bondholders of GM. He also mentioned that GM had already received €1.5 million in bridge financing from the German government.

In response to questions about the possibility of the United States federal government, a majority shareholder in the restructured company, dictating future product development and strategy, such as the sale of more fuel-efficient and green vehicles; he first observed that the federal government had already stated to him that it had “no real interest in running our business” and that he expected that still to be his job. Of the specific hypothetical scenario where the management of GM wants to make one type of car, because it thinks that it is the right thing for the business, and the U.S. government wants to make another type of car, he stated that “I don’t think it’s going to happen.” Expanding on that point he stated that he expected the “New GM” to focus upon “highly fuel-efficient and green technology”, and that operating both in accordance with U.S. environmental laws and in response to customer demand would naturally result in the New GM producing the types of vehicles that the U.S. government would encourage.

The “New GM” he also expected to focus on “four core brands”, and will size its dealership to match that. He stated that GM would offer a “deferred termination” package to dealers, to allow them to cease dealing in GM vehicles in a managed and gradual way.

He stated that the bankruptcy filings did not cover General Motors’ businesses in Latin America, Europe and the Middle East, and Asia and the Pacific. Of GM’s profitable ventures in China, specifically, he stated that they were “a critical part of the New GM”. In response to questions of whether the New GM would import cars from China to the U.S., he stated the formative company’s core principle that “We build where we sell” applied in both directions, with GM building in China to sell in China and building in the U.S. to sell in the U.S., stating that this shortened supply chains.

He declined to predict when the New GM would return to profitability, stating that the goal was rather to lower the break-even EBIT point for the company. He also declined to speculate upon when the U.S. government would sell its stake in the company, saying that that was a question “better addressed to the U.S. Treasury”, and merely saying that he expected it to be “years, not months” when the U.S. Treasury felt it would give “the right return for taxpayers.”

Friday, September 14, 2007

The Kennedy Center announced that its 30th presentation of the Kennedy Center Honors would go to pianist Leon Fleisher, comedian Steve Martin, singer Diana Ross, director Martin Scorsese and musician Brian Wilson. The Center was opened to the public in 1971 and was envisioned as part of the National Cultural Center Act, which mandated that the independent, privately-funded institution would present a wide variety of both classical and contemporary performances, commission the creation of new artistic works, and undertake a variety of educational missions to increase awareness of the arts.

In a statement, Kennedy Center Chairman Stephen A. Schwarzman said that “with their extraordinary talent, creativity and perseverance, the five 2007 honorees have transformed the way we, as Americans, see, hear and feel the performing arts.”

Fleisher, 79, a member of the Peabody Institute‘s music faculty, is a pianist who lost use of his right hand in 1965 due to a neurological condition. He became an accomplished musician and conductor through the use of his left hand. At 67, he regained the use of his right hand. With the advent of Botox therapy, he was once more able to undertake two-hand performances in 2004, his first in four decades. “I’m very gratified by the fact that it’s an apolitical honor,” Fleisher said. “It is given by colleagues and professional people who are aware of what [an artist] has done, so it really is apolitical — and that much more of an honor.”

Martin, 62, a comedian who has written books and essays in addition to his acting and stand-up comedy career, rose to fame during his work on the American television program Saturday Night Live in the 1970’s. Schwarzman praised his work as that of a “renaissance comic whose talents wipe out the boundaries between artistic disciplines.” Martin responded to the honor saying, “I am grateful to the Kennedy Center for finally alleviating in me years of covetousness and trophy envy.”

Ross, 63, was a product of Detroit‘s Brewster-Douglass Projects when as a teeager she and friends Mary Wilson and Florence Ballardis formed The Supremes, a ground-breaking Motown act. She portrayed singer Billie Holiday in the 1972 film Lady Sings the Blues, which earned her an Oscar nomination and a Golden Globe award. “Diana Ross’ singular, instantly recognizable voice has spread romance and joy throughout the world,” said Schwarzman. Ross said she was “taken aback. It is a huge, huge honor and I am excited to be in this class of people.”

Scorsese, 64, is one of the most accomplished directors the United States ever produced, whose work includes Mean Streets, Taxi Driver, GoodFellas, Cape Fear, The Last Temptation of Christ and The Departed, for which he won a 2006 Academy Award for Best Director after being nominated eight times. Scorsese said, “I’m very honored to be receiving this recognition from the Kennedy Center and proud to be joining the company of the very distinguished individuals who have received this honor in years past.”

Wilson, 65, along with his brothers Dennis and Carl, formed the Beach Boys in 1961. They had a series of hits that included “Surfin’ U.S.A.” and “Wouldn’t It Be Nice.” Their 1966 album Pet Sounds is considered one of the most influential recordings in American music. “This is something so unexpected and I feel extremely fortunate to be in the company of such great artists,” said Wilson, who is currently on tour.

The Kennedy Center’s board of trustees is responsible for selecting honorees for “lifetime contributions to American culture through the performing arts.” Previous honorees, including Elton John and Steven Spielberg, also submitted recommendations. A wide variety of people were under consideration, including Emanuel Ax, Evgeny Kissin, Renee Fleming, Laurence Fishburne, Francis Ford Coppola, Melissa Etheridge and Kenny Chesney.

President Bush and first lady Laura Bush will attend the center’s presentation at its opera house on December 2, 2007, which will broadcast on December 26 on CBS.

Sunday, December 4, 2016

A fire broke out at a record release party in Oakland, California late on Friday night. Nine were confirmed dead the following morning with the death toll rising to 24 the next day.

The warehouse, known as Ghost Ship, was hosting a party for the release of the newest album by Joel “Golden Donna” Shanahan. It is in Oakland’s Fruitvale neighborhood, a mix of commercial and residential buildings nestled together. The structure is one block away from Fire Station No. 13 and at least 55 firefighters spent four hours containing and stopping the fire which began at approximately 11:30 p.m.

Firefighters and police cordoned off the block to spectators. The two-story, mixed-use structure also housed the artist collective Satya Yuga who hosted the show and is being searched by firefighters. Out of approximately 50 attendees, at least 25 were declared missing. Shanahan was among the survivors.

Efforts to rescue partygoers were compounded by the roof caving in during the inferno as well as the stacks of furniture, art pieces, and supplies which turned into obstacles for first responders.

Oakland mayor Libby Schaaf:

The structure is owned by Chor N. Ng, who is also the proprietor of several other buildings in the East Bay. On November 13 Ng was cited by the city for having stacks of garbage in and around the warehouse. Most fatalities were reported to have occurred in the upstairs portion of the building where escape was hampered by unstable stairs and miscellaneous art pieces lying in the way. The building lacked any smoke detectors and sprinklers; fire extinguishers were found outside of the premises.

Sunday, August 26, 2007 Miami Dade Fire Rescue, Urban Search and Rescue Florida Task Force 1 Members were on the scene since last night. Search dogs worked the scene all night.

According to current reports, sometime early this morning, an apartment building in Brittons Hill, Barbados fell into a cave below.

Five family members are known to be trapped in the collapse, although reports have not be made as to whether these are the only individuals involved. Rescue workers, as well as several prominent politicians are currently on the scene; two cranes have been deployed to remove debris. Evacuation has occurred, with an extension of this area being discussed.

Miami Dade Police arrived on the scene late Sunday night and are now in a joint effort with the Barbados Defence Force, Barbados Fire Service and Royal Barbados Police Force to rescue possible survivors. Prime Minister Owen Arthur also stated that surveys are currently being conducted to determine the stability of the surrounding area, and only after these reports have been compiled will residents know whether they will be able to return to their homes.

A cadaver dog was sent into the cavern and has identified two areas where there are possible dead bodies. Sadly it is no longer a rescue mission but recovery one.

Sunday, October 7, 2007

There are two things one can expect on a trip to see Michael Musto at the offices of the Village Voice: a 20-minute round-trip wait for the elevator and rapid fire answers from one of the most recognizable gossip columnists in the United States. Musto, in addition to his appearances on Countdown with Keith Olbermann and the E! network, has been writing his column for the Voice since 1984. He has recently compiled the best of them in a book released this year titled, La Dolce Musto: Writings by the World’s Most Outrageous Columnist. He was Carrie Bradshaw, replete with a prodigious use of puns, before Sex in the City was a thought. His column is a romp through his life, spats and opinions on socio-political issues. As David Thigpen of the Chicago Tribune wrote, Musto is “a funny and caustic satirist who masquerades as a gossip and nightlife columnist.”

Musto, a Columbia University graduate, is a rarity in today’s celebrity world: he is accessible. He often corresponds with his readers and his public functions are a mix of parties, nightclubs, academic lectures, university panels and film premieres.

He is friendly and frank, and he welcomes people to join him in his world (“I just got a message that Michael Lucas died!” he says staring wide-eyed at his phone; the message turned out to be false). Wikinews reporter David Shankbone spoke with Musto about his life and his relationship to the world of celebrity journalism. And he did not hold back.