BLACK PANTHER: The Revolutionary Art of Emory Douglas

Black Panther: The Revolutionary Art of Emory Douglas traces the searing graphic art made by Emory Douglas (b. 1943) while he worked as Minister of Culture for the Black Panther Party from 1967 until its discontinuation in the early 1980s. The Black Panthers cultivated a strong graphic identity for their group and their politics during this period, bringing their concerns to the public through newspapers, posters, and pamphlets that can often be described as angry, militant, and incendiary.

“The graphic production of Douglas reveals an unmistakable humanism, representing a populace that had been denied access to the American dream but who were emerging from segregation and proudly fighting to assert their rights to the American dream of equality for all. Douglas’s work gave potent visual form to the plight of urban mothers and to the humanitarian work undertaken by the Black Panthers to bring social services to their communities.

“The graphic work that Douglas created for print can also be seen within the context of Bay Area visual production from this period, revealing a kinship at times to work by artists such as Peter Saul or R. Crumb, while also serving as a stark antidote to the hedonism embodied in the posters promoting psychedelic rock across the Bay….

“Organized by artist and MOCA Ahmanson Curatorial Fellow Sam Durant with MOCA Chief Curator Paul Schimmel, this compelling exhibition presents approximately 150 of Emory Douglas’s most influential works. In place of a catalogue, the exhibition will be accompanied by a monographic book on the work of Emory Douglas, edited by Sam Durant and published in February 2007 by Rizzoli.”

Sunday, Oct 21 3pm:
“Emory Douglas will discuss the graphic art that he created for the Black Panther Party during the late 1960s through the early ’80s. Following his talk, Douglas will sign copies of the exhibition’s accompanying publication at MOCA Pacific Design Center.”

Los Angeles
Exhibition at the MOCA Pacific Design Center
10.21.07 – 01.20.08

Alan Moore, Michael Moorcock and Iain Sinclair – LIVE in London

FRIDAY 26 OCTOBER BISHOPSGATE INSTITUTE

“London Lip”: a celebration of the paperback publication of London: City of Disappearances. Witness a rare urban excursion from the legendary Northampton magus of the graphic novel Alan Moore and the Texas-exiled creator of the multiverse, author of Mother London, Michael Moorcock. A conversation refereed by the book’s editor, Iain Sinclair [see below]. Plus Brian Catling and Kirsten Norrie.

Tickets £10 from Wegottickets.com or £12 on the door. This event starts promptly at 6.30pm.
Promoted by Penned in the Margins
www.pennedinthemargins.co.uk
020 7375 0258 for information

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On the road

The son of a Welsh GP, IAIN SINCLAIR studied in Dublin before moving to London with his wife. His early work was self-published, and he worked as a teacher and labourer while researching occult aspects of the city’s past. Fiercely critical of plans to regenerate the capital, he has written a new novel about the ‘semi-celestial’ A13, and talks of leaving Hackney for good.

Stuart Jeffries
Saturday April 24, 2004
The Guardian

Near the outset of Iain Sinclair’s new novel, Dining on Stones, a visionary poet is teased by a young woman for embarking on a seemingly miserable walk along the cursed A13 out of London to research a book. “You love this shit,” the woman tells the poet as they walk. “Trading horror stories. Without Blair and Livingstone, Conran and Foster, the landscape rippers, you’d wind up sharing a couch in an old folks’ home, plaid rug over the knees watching reruns of Fools and Horses.”

Given that the hack is a thinly veiled if unreliable version of Sinclair, the reader would be forgiven for thinking that hers is a jibe at the expense of the writer and everything he stands for.

The poet’s journey will take him past plague pits, over sewers and burial mounds, under the howling skies produced by City Airport; across the occult vortices of Hawksmoor churches, Ripper landmarks and gangland haunts; onward to Dagenham’s Ford car plant, Rainham Marshes, the full-on estuarial blight of oil refineries and warehouses.

It’s a walk devoid of bucolic heritage idylls, one the narrator conceives of as subverting Blair’s bad alchemists as they strive self-defeatingly to redeem the unlucky A13, rebrand east London’s epic badlands as Thames Gateway and fill it with spirit-crushing Barratt-style homes. Without these wannabe Baron Haussmans bent on erasing London’s mystically cursed landscape, though, Sinclair would have to find another muse to justify his punishing schedule of walking and writing.

Perhaps, then, Sinclair does love the exasperating, cursed tangle of his churned-up city? “Yes, I do,” he says over coffee in his unexpectedly genteel sitting room in Hackney. “The A13 is this lovely corridor of blight which feeds the imagination. But the Thames Gateway notion involves sweeping away everything that’s unsightly and messy in favour of a heritage experiment. That all started with Michael Heseltine’s corporatist vision of Docklands redevelopment – a vision taken up by John Prescott and New Labour. They want to transform that other corridor of blight, the Lee Valley, too; swallow it up with Olympic sites. In my work, the pains of the past need to be appeased – or they will come back.”

In Dining on Stones, the poet conceives of his A13 “as a semi-celestial highway, a Blakean transit to a higher mythology, through a landscape of sacred mounds and memories”. Ever since Margaret Thatcher came on the scene with what he regards as her “demonic vision”, Sinclair has been walking London’s semi-celestial highways, and then writing them up so he can pit his higher mythology of ley lines, mounds and primeval forces against government-inspired makeovers and speculative developments.

“As a symbolic manoeuvre to respond to political forces, I’m very happy with what Iain does,” says Patrick Wright, friend and rival literary pathologist of east London during the Thatcher era. Sinclair’s invocation of a mythologised London is no mere “manoeuvre”, however. He believes there are occult forces at work in east London and that they can be mapped by considering the alignments of Nicholas Hawksmoor’s post-Great Fire churches. “I don’t care about Iain’s hokey-pokey malevolent stuff,” says Wright, “but what was and is fascinating for me is that these systems of geometry and meaning are brought up by Iain just when the city is coming to the end of the enlightenment project, when the welfare state is being destroyed and the dream of London’s municipal socialism is being crushed by Thatcher.”
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Americans just don't give a shit.

The ‘Good Germans’ Among Us

By FRANK RICH
Published: October 14, 2007 New York Times

“BUSH lies” doesn’t cut it anymore. It’s time to confront the darker reality that we are lying to ourselves.

Ten days ago The Times unearthed yet another round of secret Department of Justice memos countenancing torture. President Bush gave his standard response: “This government does not torture people.” Of course, it all depends on what the meaning of “torture” is. The whole point of these memos is to repeatedly recalibrate the definition so Mr. Bush can keep pleading innocent.

By any legal standards except those rubber-stamped by Alberto Gonzales, we are practicing torture, and we have known we are doing so ever since photographic proof emerged from Abu Ghraib more than three years ago. As Andrew Sullivan, once a Bush cheerleader, observed last weekend in The Sunday Times of London, America’s “enhanced interrogation” techniques have a grotesque provenance: “Verschärfte Vernehmung, enhanced or intensified interrogation, was the exact term innovated by the Gestapo to describe what became known as the ‘third degree.’ It left no marks. It included hypothermia, stress positions and long-time sleep deprivation.”

Still, the drill remains the same. The administration gives its alibi (Abu Ghraib was just a few bad apples). A few members of Congress squawk. The debate is labeled “politics.” We turn the page.

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Farewell Sri Chinmoy

Sri Chinmoy, Athletic Spiritual Leader, Dies at 76

By COREY KILGANNON
Published: October 13, 2007 New York Times

Sri Chinmoy, the genial Indian-born spiritual leader who used strenuous exercise and art to spread his message of world harmony and inner peace, died Thursday at his home in Jamaica, Queens, where he ran a meditation center. He was 76.

The cause was a heart attack, said representatives of his organization, the Sri Chinmoy Center.

Mr. Chinmoy spread his philosophy through his own way of life, exercising and creating art and music. He drew attention by power-lifting pickup trucks and public figures like Muhammad Ali and Sting. He said he had drawn 16 million “peace birds.”

He slept only 90 minutes a day, he said, and when he was not traveling to perform in concerts and spread his message, spent the rest of the time meditating, playing music, exercising and making art.

His followers said he had written 1,500 books, 115,000 poems and 20,000 songs, created 200,000 paintings and had given almost 800 peace concerts.

Drawing upon Hindu principles, Mr. Chinmoy advocated a spiritual path to God through prayer and meditation. He emphasized “love, devotion and surrender” and recommended that his disciples nurture their spirituality by taking on seemingly impossible physical challenges.

“His life was all about challenging yourself and being the best you can be,” said Carl Lewis, the Olympic sprinter, a friend of Mr. Chinmoy’s. “He told his disciples to go out and meet a challenge you don’t think you can do.”

“He’s the reason I plan on running the New York marathon when I’m 50,” Mr. Lewis said in a telephone interview yesterday.

In the 1970’s, Mr. Chinmoy was a guru to several prominent musicians, including the guitarist John McLaughlin, who for a time ran the Mahavishnu Orchestra, a name given it by Mr. Chinmoy, as well as the bandleader Carlos Santana, the singer Roberta Flack and the saxophonist Clarence Clemons.

Mr. Chinmoy gathered with his disciples at a private clay tennis court off 164th Street that doubled as a verdant meditation site known as Aspiration Ground. He built a worldwide network of meditation centers and had more than 7,000 disciples.

Yesterday at the compound, Mr. Chinmoy’s followers — dressed in their traditional white attire — lined up at an altar where he lay in an open coffin. Memorial services are planned throughout the weekend.

Sri Chinmoy Kumar Ghose was born a Hindu in 1931 in what is now Bangladesh. From the age of 12, he lived in an ashram. He said he idolized the track star Jesse Owens.

Mr. Chinmoy immigrated to New York in 1964 to work as a clerk at the Indian Consulate. He opened a meditation center in Queens with a philosophy of celibacy, vegetarianism and meditation and attracted hundreds of followers, many settling near his two-story home on 149th Street.

To achieve spiritual enlightenment, he advocated extreme physical activity, including weight lifting, distance running and swimming.

Disciples put his philosophy of self-transcendence into practice by undertaking challenges like swimming the English Channel or running ultra-marathons, including an annual 3,100-mile race run every year over a two-month period in Queens.

After a knee injury ended his own running, in his 60s, Mr. Chinmoy began lifting weights and within several years could shoulder-press more than 7,000 pounds on a special lifting apparatus. He publicly lifted heavy objects including airplanes, schoolhouses and pickup trucks, to help increase awareness of the need for humanitarian aid.

He also lifted more than 8,000 people since 1988, including world peace figures like Nelson Mandela and Desmond Tutu. He hoisted the Rev. Jesse Jackson, Eddie Murphy, Susan Sarandon, Yoko Ono and Richard Gere. Mr. Chinmoy lifted 20 Nobel laureates and a team of sumo wrestlers. He lifted Sid Caesar and a (reformed) headhunter from Borneo, and picked up Representative Gary L. Ackerman, a Democrat, and Representative Benjamin Gilman, a Republican at the same time.

“I thought it was some magician’s trick, but it wasn’t,” Mr. Ackerman said yesterday. “He was running extreme marathons before people even knew what extreme sports were. When you were around him, you had the sudden realization you were in the presence of somebody very, very holy and very devout.”

Yesterday, hundreds of his disciples gathered at the tennis court. Many, like Mr. Lewis, had flown in from places around the world. There were condolence letters faxed from world figures, including former Vice President Al Gore and Mikhail Gorbachev, the last Soviet leader, who met and corresponded with Mr. Chinmoy frequently.

Mr. Gorbachev wrote that Mr. Chinmoy’s passing was “a loss for the whole world” and that “in our hearts, he will forever remain a man who dedicated his whole life to peace.”

Making a Home: Japanese Contemporary Artists in New York


ON megumi Akiyoshi’s FLOWER gallery (2007).
Photo: Richard P. Goodbody. Image courtesy of Japan Society.

Making a Home: Japanese Contemporary Artists in New York

To celebrate the strong and historic cultural links between Japan and New York, Japan Society presents this large-scale group exhibition featuring the work of 33 contemporary Japanese artists who call New York City home, including Yoko Ono, Ushio Shinohara, Kunie Sugiura, Yuken Teruya, and Aya Uekawa.

The show comprises a broad range of media—from painting and sculpture to video and photography—and covers diverse age groups, identities, experiences, and styles that will show the breadth and depth of contemporary Japanese art as developed, practiced, and presented in New York. Visitors will go on a conceptual journey through multifaceted “homes” installed throughout the Society, illuminating the ways in which Japanese artists have made their homes and careers here since the 1950s, often bringing with them and maintaining aesthetic vocabularies that reveal their Japanese roots. Making a Home is curated by Eric C. Shiner, an independent curator specializing in contemporary Japanese art.

Artists featured in Making a Home are: ON megumi Akiyoshi, Noriko Ambe, Ei Arakawa, Satoru Eguchi, Ayakoh Furukawa, Toru Hayashi, Noritoshi Hirakawa, Yoshiaki Kaihatsu, Takahiro Kaneyama, Emiko Kasahara, Misaki Kawai, Miwa Koizumi, Yumi Kori, Nobuho Nagasawa, Hiroyuki Nakamura, Yoko Ono, Hiroki Otsuka, Katsuhiro Saiki, Kyoko Sera, Noriko Shinohara, Ushio Shinohara, Go Sugimoto, Kunie Sugiura, Hiroshi Sunairi, Mayumi Terada, Yuken Teruya, Yasunao Tone, Momoyo Torimitsu, United Bamboo, Aya Uekawa, Junko Yoda, Toshihisa Yoda and Yoichiro Yoda.


On megumi Akiyoshi, On gallery-at the Statue of Liberty, 2002. Photo © Oliver Irwin. Courtesy of the artist.


Momoyo Torimitsu, Miyata Jiro Performance in NY, 1996. Polyester resin, motor, business suits, nurse costume; 2 x 5.6 x 2.3′ (60 x 170 x 70 cm). Dikeou Collection, Peter Norton Family Foundation. Photo © Michael Dames.

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"Greensulate"

Mushrooms Become Source for Eco-Building

By JESSICA M. PASKO Associated Press Writer

June 25,2007 | TROY, N.Y. — Eben Bayer grew up on a farm in Vermont learning the intricacies of mushroom harvesting with his father. Now the Rensselaer Polytechnic Institute graduate is using that experience to create an organic insulation made from mushrooms.

More at home on a pizza, mushrooms certainly aren’t a typical building material, but Bayer thought they just might work when given the assignment two years to create a sustainable insulation.

Combining his agricultural knowledge with colleague Gavin McIntyre’s interest in sustainable technology, the two created their patented “Greensulate” formula, an organic, fire-retardant board made of water, flour, oyster mushroom spores and perlite, a mineral blend found in potting soil. They’re hoping the invention will soon be part of the growing market for eco-friendly products.

Bringing the insulation to market is still at least a year away though, said McIntyre, and will require much more research and work, not to mention more sophisticated equipment and a better work space.

“We’ve been growing the material under our beds,” said McIntyre, adding that they’ve applied for a grant from the National Collegiate Inventors and Innovators Alliance.

The two young developers — Bayer is 21, McIntyre 22 — graduated in May from RPI with dual majors in mechanical engineering and product design and innovation.

“I think it has a lot of potential, and it could make a big difference in people’s lives,” said RPI Professor Burt Swersy, whose Inventor’s Studio course inspired the product’s creation. “It’s sustainable, and enviro-friendly, it’s not based on petrochemicals and doesn’t require much energy or cost to make it.”
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