Jordan Casteel is an American painter who was born in 1989 in Denver, Colorado. In 2011, she obtained her Bachelor’s Degree in studio art from Agnes Scott College in Decatur, GA and in 2014, she got a Master’s in painting and printmaking from Yale. She worked as a teacher in Colorado before deciding to move to New York and become a full time artist. Today, she lives in Harlem, NY and is a full time painter.

Jordan is very passionate about social justice and equality which is also the message of her artwork. She wants to challenge the stereotypical ideas of black masculinity through her paintings. She started off by painting family members, friends, and boyfriends in hopes of people changing their perceptions of African American stereotypes and what people think a man has to be. She takes over 200 photos of her subjects to use as references in her portraits, and now, most of her subjects are people that she meets on the streets in her neighborhood of Harlem. Her works show the men in bright colors to depict them in a happy, inviting way. She also often paints them nude and in more vulnerable positions.

“I needed to find a way to combine my desire to create a sense of visibility around my family and my brothers that was feeling absent at the time.”

Casteel has had artist residencies at many museums including the Studio Museum of Harlem and in February of this year she will have a solo exhibition at the Denver Art Museum in Colorado.

Barbershop, 72 x 54 in, oil on canvas, 2015.

Devan, oil on canvas, 74 x 54 in, 2014.

Elijah, oil on canvas, 52 x 72 in, 2013.

Ato, oil on canvas, 72 x 54 in, 2014.

Sterling, oil on canvas, 54 x 72 in, 2014.

Maria Arroyo!

Mark

Art

October 8th 

Ellen Gallagher was born in Providence,rhode island,in 1965,but she also lives and works in New York and rotterdam,Holland. Gallagher attended oberlin college of the art museum program of fine arts,in 130ston. She likes to do a lot of animation stuff but she will have to break it down in moving parts. You think that you  are seeing one thing and you are akshully seeing another thing instead. The oseday worm travels thru the bones. Matter is not fixed it is always moving. The bird she does she has to make them abstract to be able to get it to ten what she wants it to tell.   Cutting the image was to give it the life like but when she did that she got a lot of bubbles and that made her mad but she did not let that stop her from doing what she loves to do. She likes to show other people her prugeshens because she loves them so much. And that was The only time she could take boys up into her room to show them her prugecshins that she loves sometimes she just throw some of that way. She likes to finde different ways to ink press. And she is abul to discover different  things  All of the things she does she tries to do it all different and original. Some of her work is both textual and sexual. Ellen loves to get in two her work and get stuff dun. She loves to decorate she in the uk for coral cities. She loves different styles of art. It is an airplane modul of a school painting. Drawing paintings from the artist. Gallagher had made wig ladies and i loved how she made the wallfullds wig I think she nailed it. She made 8 different wal full wigs that is amazing. And she was in New York. I think Ellen is an creative artist and she has made creative art and it draws my attention to it because i like looking at different art styles. When I seen her watery ecstatic i thought it was beautiful but at first I thought it was an jellyfish but that is not what it was it turns out to be well I still don’t know but it is ok. Because it’s amarvilas I would like to interview her and find out more information about some of her artwork.To be able to understand why she did some of the art and her insperashin and the way she plans on drawing it and what led her to draw it. Gallagher loves to do interviews and she has been to a lot of thiem. The reason I think why is because she wanted to enter some of her art in the art museum. To have other people be able to see her artwork that she has dun. Some of her day to day activities that she does is an influence in her artwork and that is unik. Gallagher is an amazing person and I would like to meet her in person to get more information out of both her art and her artlife i can even understand her life more then what I do by just reading about it. An Ellen is interested in signs not as static but as moving.And I think that is amazing. Some of her artwork is personnel in her life but she wanted to be able to express that in her art. And to me i think she nailed it in her art. The reason i like her is because I like the art that she had and it was different. I count my eye of the style of it I loved and enjoyd dowing an book report on her. I now know more about Ellen Gallagher. Thank you! 

Maria Arroyo
Mr.Mcleod
Art
September 25,2018
Richard Tuttle was born July 12, 1941, and he is 77 years old. Richard is an American post minimalist artist and was born in Rahway, N.J. Richard Tuttle was known for his work. Richard does drawings but he also does sculpture, painting, printmaking and artists books. He also installs insulation and makes furniture. He got a degree in New York. When Richard practices he was able to define grand heroic gestures and he was able to use materials. Those include steel, marble and bronze. And he was also able to use materials such as paper, rope, string, cloth, wire, twigs, cardboard, bubble wrap, nails, styrofoam and plywood. He had received A National Endowment for the Fellowship of Art at the Philadelphia Museum of Modern Art. So for sculptures Richard had a one person exhibition at one of the museums of modern art. He had suites of water colors of the loose leaf notebook drawings that he had done. He had to do a few strokes at a time to be able to get it where it needed to be but he had done it on loose leaf paper. Richard’s first major museum exhibition was around 1975 and it was recognized by Whitney Museum in New York. After that he went around the world to visit art museums exhibitions. Richard is married to the poet Mei-Mei Berssenbrugge. They had Steven Holl to design a 1,300 square foot guest cottage, built between 2001 and 2005. He likes a lot of his work to not be easy but a challenge; he likes to push himself to do art. Richard likes to give you an illusion of overlapping things in his art but most of his work is not an illusion.He does some of his artwork based on his personality. He has some nerusoricall things. He has made some of his from his personality through his work. His favorite artist is Yeng Wunite. Richard Tuttle said “You have to harmonize it and the beauty of the work that you do,you have to really focus on it too.” He draws a pitchers by what he has set up but he does not look at the paper he is drawing on. What is more permanent than the invisible? You get a fluency of the art.The sculpter is cemeting to help you fill in the space in art and to give you some ideas that are new that you may not of thought about before. Drawing where you can’t see rather than being able to see it. Richard other people’s careers. Interest of keeping the art contiprutiff. The work itself once you do it, it is almost impossible to repeat it again exactly like the last one. Think about art making art. His last exhibition was January 2015 at London. The invisible world Richard had made had two major presentations of his American artist’s work in London.Voluminous at the tate the artist’s own his own poetic texts that helped out with his art and they had been in a exhibited objects. He enjoyed drawing his church of Whitechapel. He loves his different styles of art and he will continue to make more art until he is dead.

Contemporary Performance Art

     Contemporary performance art pushes the boundaries of what art can be by interweaving the artist’s own body and other media into a performance piece. Performance artists realized that art was supposed to invoke an experience for the audience and that could not be done through the structured fine arts techniques that they were used to; they needed to push further to eliminate the space between the artist and the spectator. Performance artists use all means to make their audience feel a certain way, whether that be feelings of happiness, love, depression, pain, friendship, discomfort, etc. Performance artists also include their audiences by making them question a certain idea or belief that is portrayed during the performance. “They questioned the accepted premises of art and attempted to re-define (sic) its meaning and function”(Goldberg 152). Performance art usually asks the audience to think about a grander idea and question themselves about these deep topics. The parameters of what is considered performance art is vast with many different styles and ideologies present. The most engaging thing about performance art is that it is so openly abstract that even, “…the proof of one’s own existence, and the entire sphere of everything “private” are used as repertory material”(Vergine 15). Contemporary performance art as a whole is a broad topic, but highlighting the origins as well as some pivotal artists should articulate the key components of what contemporary performance art truly is.

     The birthplace of the essential ideas of performance art was at Black Mountain College, located in a small mountain town in North Carolina. The size of the college itself and the number of students was terribly limited, but what was not limited was the faculty’s ability to push their students through experimental ways of study. Black Mountain College was, “Founded in 1933 by scholar John A. Rice…” and the college was not like other schools in that, “…the school was a reaction to the more traditional schools of the time” (The Artist of Black Mountain College). Most movements in art occurred because of what was happening in that historical time period and performance art is no exception. Artists want to portray the world around them and how it makes them feel, so most art reflects what is happening in the world during a specific time period. The emergence of performance art was a response, “…to the existential threat posed by the Holocaust and the atomic age…” (Stiles and Selz 798). This connection between performance art and the Holocaust is apparent in Black Mountain college because of Josef Albers and others like him, who were over the art program at the college. He fled from Nazi Germany with many other artists after Nazis shut down the German art school called Bauhaus (Kino). The experimental avant-garde styles of Black Mountain College became very popular and spread like wildfire. As these ideas spread throughout the U.S., Europe, and Japan, various terms were being coined, “… to describe their performance works, including happenings, Fluxus, actions, rituals, demonstrations, destructions, and events… among others” (Stiles and Selz 798). In the end, all of these specific terms are combined in order to fit into and represent the singular movement of performance art. Black Mountain College is also “…the site of what some regard as the first happening, mounted in 1952 by the composer John Cage,” who worked there for a time (Kino). While no one knows exactly what took place during the first happening, we do know that John Cage helped organize this performance along with other artists, which influenced performance art and the art world as a whole. The first happening and other works that were spreading throughout the U.S., Europe, and Japan opened the door for other artists, such as Marina Abramovic and Ulay, to question themselves about what art could be and the meaning behind art.

     Marina Abramovic and Ulay were both performance artists who started doing performance art in the 1970s. Marina and Ulay’s devoted friendship and passionate love for each other created the circumstances for powerful collaborative works that explored the aspects of their relationship. They were both artists before they met and started collaborating. One of Abramovic’s most significant pieces, before they met, was a performance called Rhythm O. During this performance, she stood in front of the audience completely passive, the audience could do anything to her, she never gave in and exerted her own will. “Abramovic’s work relentlessly and systematically tested the limits of the body” (Warr).

     By the end of the performance which lasted about six hours, her clothes had been cut off from her body with razor blades, someone sucked blood from a cut on her neck, and several different sexual assaults were performed on her body. The performance eventually came to an end because a gun was thrust into her mouth which caused a fight to break out within the audience. In the above image, her eyes are filled with tears, but her will to keep going was unwavering. The purpose of the piece was “…the expression of a life-or-death commitment to a process out of one’s own control, the substitution of the artist’s person for his or her work…” (McEvilley 39). Around the time of Marina’s Rhythm O, Ulay was also exploring the controversial side of performance art. One of Ulay’s controversial performance pieces was him challenging his own heritage as a German in a post-war society. He did so by stealing Adolf Hitler’s favorite painting, Spitzweg’s Der Arme Poet, and running down the streets of Berlin while holding the painting. Neither Marina Abramovic or Ulay were afraid of the controversy their artwork brought and together they would explore what art is further, pushing the boundaries as they went. McEvilley speaking about Marina and Ulay, “They were fugitives or desperadoes when they met, and each responded with passionate recognition to the desperation in the other”(69). Some of Marina and Ulay’s collaborative work include: Rest-Energy, which involved Marina holding a bow and Ulay holding an arrow pointed at her heart, and Relation in Time, which involved the two artists sitting back to back with their hair braided together for 16 hours straight.

     Their collaborative work explored love and friendship and this can clearly be seen in Rest-Energy. The viewer can see how much trust Marina puts into Ulay’s hands during this performance piece. It also explores the, “…intensity of the male-female relationship…” (McEvilley 42). I believe that Relation in Time truly shows how Marina and Ulay’s lives were woven into one another, almost as if you could not have one without the other. “Each one of them rediscovered himself in the other and took refuge in the other’s containment” (McEvilley 69). Marina Abramovic and Ulay made performance art their own and continued to push boundaries in art throughout their careers, especially when they parted ways on the Great Wall of China in their last collaborative performance piece.

     Some artists took performance art a step further, exploring the radical limits a body can withstand pain for the purpose of art or exploring the act of making their audiences feel discomfort through their performance pieces. Chris Burden was intrigued by the reality of pain and how his audience might find discomfort in his own pain. Burden’s most famous works were actually only viewed by a few people and became popular afterwards. He is famous for his more violent works such as Shoot and Through the Night Softly. In Shoot, Burden asks someone to shoot him from fifteen feet away with a .22 rifle. If this performance was to go as planned, the bullet would have only nicked his arm, but to his surprise and the distress of his audience the bullet went straight through his arm.

     In Through the Night Softly, Burden crawls through a LA street riddled with broken glass, while wearing only underwear with his hands behind his back. The broken glass easily rips through his skin. I can imagine people passing by cringing at the bloody site. Chris Burden was not trying to kill himself, but he was trying to pose a question to his audience. Burden said, “Art doesn’t have a purpose… I don’t think my pieces provide answers, they just ask questions…”(Stiles and Selz 899).

     Another artist that aimed to make his audience feel discomfort was Vito Acconci. Unlike Burden, Acconci did not rely only on making his viewers uncomfortable with his own pain, but used odd fantasies to make the viewer feel intense discomfort at times. Acconci is a body artist that is known to follow people, burn his body hair off, bite himself until he draws blood, use videography to record himself explaining odd fantasies in detail, and masturbation in some of his performance pieces. In Vito Acconci’s Undertone, Acconci sits at a table with his hands below the table on his knees. You can see him rubbing his own legs up and down while he describes a fantasy of a woman under the table rubbing his legs. He uses repetitive lines as the fantasy gets more and more intense. Some viewers often start to feel a tingling sensation in their own legs as if they were able to feel his fantasy too.

     Vito Acconci wanted his performance art to escape the limits of a gallery and explore the outside world, one way of doing so was his work titled Following Piece. During this work Acconci followed random passerbyers on the streets of New York City. He would follow them until they went inside a private area which he could not enter. Sometimes his pursuits were only 2-3 minutes, other times he could be following them for hours.

     Contemporary performance art has a vast amount of artists with a vast amount of ideas being covered in their work from making the audience feel trust to making the audience feel immensely uncomfortable and everything in between, it is all up to the artist. Each performance artist that has been discussed, while their works are dramatically different, have the same goal of including their audience in an experience that makes them question themselves or an idea. Each artist felt that the traditional fine art means of producing artwork was not enough and had to push through the boundaries of controversy in order to produce their works.

Works Cited

Goldberg, RoseLee. Performance Art: from Futurism to the Present. Revised and Expanded ed., Thames & Hudson, 2001.

Kino, Carol. “In the Spirit of Black Mountain College, an Avant-Garde Incubator.” The New York Times, The New York Times, 16 Mar. 2015, www.nytimes.com/2015/03/19/arts/artsspecial/in-the-spirit-of-black-mountain-college-an-avant-garde-incubator.html.

McEvilley. Art, Love, Friendship: Marina Abramovic and Ulay, Together & Apart. McPherson & Company, 2010.

Stiles, Kristine, and Peter Selz. Theories and Documents of Contemporary Art: a Sourcebook of Artists’ Writings. Univ. of California Press, 2012.

“The Artists of Black Mountain College.” PBS, Public Broadcasting Service, 16 Oct. 2015, www.pbs.org/wnet/americanmasters/artists-black-mountain-college/5719/.

Vergine, Lea. Body Art and Performance: the Body as Language. Skira, 2000.

Warr, Tracey. “To rupture is to find: Tracey Warr takes us through the history of Marina Abramovic.” Women’s Art Magazine, May-June 1995, p. 11+. Academic OneFile, http://link.galegroup.com/apps/doc/A262690875/AONE?u=tel_a_clscc&sid=AONE&xid=9618c91a. Accessed 28 Sept. 2018.

     

The Shift from Traditional to Contemporary Art in Japan

     Defining contemporary art is not an easy feat, however, in Japanese culture mean contemporary art: “Japanese Spirit and Western knowledge” and  “Japanese Spirit and Japanese knowledge”. “Japanese Spirit and Western knowledge” refers to an original work made in Japan being subsumed by western art and not mistaking Japanistic for true Japanese-ness (Munroe 307). “Japanese Spirit and Japanese knowledge” refers to a more postmodernism contemporary art style combined with nationalism. Neither of those contemporary art styles are an exact definition of that particular movement in Japan. While contemporary art can loosely be defined as a unique style of art that for the most part has never seen done before, each piece has some power, emotion, or idea behind it that may not be so apparent at first glance. The artists’ feeling in their work are molded to create a feeling for the viewer and the abstract is the language they use to get their point across. Before the rise of contemporary art, which later became the majority of the Japanese art world, Japan was known for its traditional art style. The traditional art style culture of Japan was shattered by the support from the Gutai Group which led to today’s Japanese modern contemporary arts.

     Before the 1860s Japan was hesitant to interact with Western Society. As per a few, the meaning of Japanese human advancement begins unexpectedly with the Meiji reclamation of 1868 (Munroe 20). This day and age is the point at which a dynamic gathering of, administering inside the system, over the finish of the Imperial government broke Japan out of around 250 years of willful segregation (Munroe 20). These statesmen embraced a thorough program of modernization after Western models (Munroe 20). While they remove themselves from total western isolation, Japan did not begin to accept western culture until much later. Most artists before the 1940s that used western culture in their works were met with negativity from Japan. Toward the beginning of the chain between World War I and World War II, Japan was in a condition of wartime confinement. Nonetheless, after the finish of World War II in 1945, numerous specialists started dealing with works of art got from the worldwide scene, moving far from neighborhood imaginative improvements into the standard universe of as (Lumen). The emotions felt after the loss of WWII and the effects of the bombing through traditional art. This sudden cultural shift, brought about by the World War, allowed for experimental movements like the Gutai Group to gain influence.

     The first appearance of the Gutai Group was in the summer of 1955 with an experimental event of different art styles with the intent to create original works under the Japanese art umbrella.  The “Experimental Outdoor Exhibition of Modern Art to Challenge the Mid-Summer Sun” was the first exhibition of the Gutai Art Association. “In June of 1956, the Gutai Group staged an art show in Ashiya Pine Forest (Hyōgo Prefecture), effectively kicking off Japan’s contemporary art era” (JAPAN HOUSE). The Gutai Art Association was founded in December of 1954 by Yoshihara Jiro. Jiro was born to a prosperous merchant family with the family’s expectations for him to run the family business. Jiro had other things in mind as he had planned to pursue art from an early age. During his early 20s, he had two well-known painters, Kamiyama Jiro and Fujita Tsuguharu, as guides through his art journey. The motto “Do not imitate others” said by Fujita stuck out to Yoshihara and was later used as a core motto for the Gutai Group. The motto even shapes Yoshihara’s view of art which is apparent in Yoshihara’s push for original artwork and for Japanese artists to do something that has never been done before. Yoshihara goes as far to call traditional art forms “hoaxes” and “monsters” and goes as far to say “Lock up these corpses in the graveyard”(New York). Yoshihara’s attack on the validity of the traditional Japanese art along with his rising influence greatly decreases the demand for traditional art. These statements even appeared in the Gutai Group Manifesto, which Yoshihara wrote. The Gutai Group, illustrated below, was one of the most influential groups involved in the acceptance of the west and the development of Japanese contemporary art. The contemporary art of today is the living testament to the Gutai Group’s work before their disbandment, after the death of Yoshihara in 1972.

Gutai group in Osaka, 1959. Photo by Christo Coetzee, courtesy of Wikipedia Saburo Murakami. Image used for illustrative purposes only.

     Today the exchange of culture between Japan and the West comes mostly from the Japan Foundation. “The Japan Foundation is Japan’s only institution dedicated to carrying out comprehensive international cultural exchange programs throughout the world” (Japan Foundation). Since 1972, the Japan Foundation has been working with other countries for traveling exhibitions, cultural education, strengthening artist relationships, funding the creation of books, and supporting research on Japanese artistic culture. Some of the Japan Foundation’s traveling exhibitions included Gutai Group artwork.

     Today, New York is one of core locations for Japanese and Western arts to come together. Famous contemporary artists such Yayoi Kusama was often in New York for exhibitions, schooling, and interviews. One piece by Kusama, illustrated below, called, With All My Love for the Tulips, I Pray Forever. It was presented in New York’s David Zwirner Gallery on 19th Street. The piece shows Kusama’s obsession with dots. Kusama’s art shows a genuine look into contemporary art not only for Japan, but also the world as a whole.

Yayoi Kusama ,With All My Love for the Tulips, I Pray Forever, 2011. David Zwirner Gallery on 19th Street

Other artists like Takesada Matsutani, a former Gutai Group member known for his a mixture of painting and adding textures with bubbles, drippings, and bumps. While some like Takashi Murakami focus on popping colors and comic styles. The artists can use their artistic freedom to compliment their talents however they want. The expression of the freedom of the creative mind shows a genuine representation of contemporary art.

     The traditional art style of Japan was broken with support from the Gutai Group which led to today’s Japanese modern contemporary arts. The contemporary art styles of Japan include “Japanese Spirit and Western knowledge” and  “Japanese Spirit and Japanese knowledge”. The shift from traditional to contemporary art styles took specific turns and events to start gaining momentum. The Gutai Group is one of the core elements in Japanese art history and the nation’s contemporary art as a whole. Japanese contemporary art has come a long way and it has made its mark on the world. Japanese contemporary art is a major part of contemporary art worldwide and it may bring a revival of art to come in later years.

Works Cited

Gutai: Splendid Playground – The Solomon R. Guggenheim Museum, web.guggenheim.org/exhibitions/gutai/.

“About the Japan Foundation.” The Japan Foundation – About the Japan Foundation, www.jpf.go.jp/e/about/outline/about_01.html.

Boundless. “Boundless Art History.” Lumen, courses.lumenlearning.com/boundless-arthistory/chapter/the-modern-period/.

“In New York, the Guggenheim Goes Gutai.” The Japan Times, www.japantimes.co.jp/culture/2013/02/28/arts/in-new-york-the-guggenheim-goes-gutai/#.W9tNpGhKhD8.

“Introduction to Japanese Contemporary Art.” JAPAN HOUSE(Los Angeles), www.japanhouse.jp/losangeles/articles/intro-to-japanese-contemporary-art.html.

Munroe, Alexandra. Japanese Art after 1945: Scream against the Sky. H.N. Abrams, 1994.

Masochism and Vulnerability in Performance Art

What is performance art? What does it aim to do? A gorgeous definition of this style of art is “an interdisciplinary art form that brings together elements of time, space, bodies, and audiences” (“What Is Performance Art?”). To further break that down, performance art aims to make a collaboration of the artist, the audience, and all the elements surrounding them. This collaboration explores the line between the artist and the audience. That exploration and that relationship, both which require vulnerability from both ends, encapsulates the essence of performance art. This raises two questions: “What does an artist gain from putting themselves in dangerous positions?” and “Why do the artists allow themselves to be vulnerable in the eyes of strangers?”

To gain a better perspective, artists like Marina Abramović are a great place to start. She is, arguably, one of the better-known performance artists of this time period. Abramović’s performance Rhythm 0 is one of her most iconic performances.  

Within this performance, the audience was called to do anything they wanted to Abromavic, she even provided a table of tools for them to use. This freedom induced acts of violence. There were passersby, looking on without doing anything, but there were also people there cutting her clothes off her body, sticking thorns in her stomach, and aiming a gun to her head (Wood). This performance allowed for Abramović to push her limits while also exploring the relationship between artist and audience. Going back to the questions asked in the introduction, one can begin to answer those questions by asking more. For example, asking “What is masochism?” can help clear up why an artist would want to put themselves in a dangerous situation.

Masochism, in its original meaning, is about deriving sexual pleasure from pain (“Masochism”). This could very well relate to more extreme performance art pieces, however, digging deeper into another meaning can provide an umbrella for most performances artists to gather under. In day to day life, someone may call another person a masochist for enjoying something that most people would absolutely hate doing. Maybe enjoying math can earn someone the title of “masochist”. It could be the simplest, yet mostly despised act, that can get that term rolling out of someone’s mouth.

Going back to the original meaning of the word, performance artist Bob Flanagan takes masochism to the extreme within his performances. His career was heavily influenced by BDSM. His performance in the Nine Inch Nails music video for “Happiness in Slavery” might be one of the most explicit performances he has done. In his performance, he is worshipping a machine, then things get sexual with said machine. The title of the song explains it all. Flanagan is seen with expressions of pleasure and pain on his face throughout his time on screen (Reiss). This perfectly encapsulates what masochism is within the realm of performance art.

To further explain why masochism can be used to describe pure agony in performance art, without the gain of sexual pleasure, we can look to Ron Athey’s Self Obliteration.

In this performance, Athey is alone, surrounded by glass walls. He places a wig, with needles inside, on his head and begins to brush the wig, causing blood to splatter on the walls around him. When asked about this performance, Athey said there is no true meaning behind the performance, other than the needles underneath the wig representing him turning fifty. Athey is gaining pleasure and satisfaction within his work by expressing who he is and who he is, is a man “working through his own experience-the experience of outliving your friends in an epidemic, and not quite understanding why you’re alive” (Abraham).

            Art gives the artist a chance to fully express themselves within their work and the performance art world is no exception to that freedom. In fact, it enhances that experience for the artist. Once they present themselves to a group of people, there is nothing they can do but lay everything out in the public eye. This is where extreme vulnerability comes into play. Participating in performance art is one of the most vulnerable things an artist can do. There is no room for messing up within that moment. A loose tie between masochism and vulnerability can be made. Vulnerability, both emotional and physical displays of it, is undesirable to most people. As humans, we do need to unleash our vulnerable side, however, most are not inclined to do so. There are restraints placed upon us by society. For women, there is the fear of being seen as crazy and irrational when displaying emotional vulnerability. When it comes to physical vulnerability, it all seems sexual when placing women in that position. Which, in turn, will have society deem a woman as promiscuous. For men, emotional vulnerability takes away anyand all forms of stereotypical masculinity. On the other hand, physical vulnerabilitycan portray a man as more masculine. Women do not win on either side and menonly win on one side.

            One man who can win the vulnerability war is Chris Burden. Burden’s performances allowed him to teeter between the lines of emotional vulnerability and physical vulnerability, yet still achieve his groundbreaking success as an artist. Burden is an essential artist to the conceptual art movement within performance art of the 1970s. Like Abramović, Burden was an artist who let his audience decide whether or not they would step in and put an end to his self-induced suffering. Other times, they had no choice but to let him carry on with his performance.

            Perhaps the most iconic Burden performance is Shoot, where he convinced his friend to shoot him in the upper arm with a .22 rifle in 1971. When asked about the performance, Burden said, “I had an intuitive sense that being shot is as American as apple pie. We see people being shot on TV, we read about it in the newspaper. Everybody has wondered what it’s like. So, I did it.” It is important to mention that, during this performance, the Vietnam War was being publicly broadcasted on televisions across the United States. Burden was bringing the reality of pain to an audience that was already desensitized and detached from the horrors their troops were facing every day. He also used this performance to solidify his seriousness as an artist (DiTolla). Being shot proved to the audience around him that Burden was keen to take risks within his art, risks that induced physical damage upon himself. Though the performance did not carry out as planned, the bullet ended up going through his arm instead of slightly grazing it, Burden still
carried out what he aimed to do, make his audience fear pain again.

            Through the Night Softly (1973), is a performance that is simultaneously emasculating and masculinizing for Burden. In this performance, Burden is slithering across a floor covered in broken glass. Like Shoot, Burden is willingly putting himself through pain within his art. Once again, he wants to make his audience realize that pain is real and not just something to be viewed on television or read about in the paper. This performance was also broadcasted on local television stations in Los Angeles, due to Burden buying commercial time just to display his work. The two pieces are challenging the audience. Will they react? If not within the time that they witness the performance, will they react to pain and violence outside of it? By submerging himself into the art, Burden is taking away the separation of art and artist, as well as artist, art, and audience. There is no reason for the audience to not react now, for he is inviting them to become just as apart of it as he is.

            The most controversial piece Burden carried out in his artistic career was Trans-fixed. By placing himself on a Volkswagen, imitating Christ on the cross, Burden put himself, and his audience, in an uncomfortable position. The audience was expected to be transfixed by the performance, as the title suggests, but also expected to step in and take action, like with his two previous performances (Burden). This performance was so iconic and frequently talked about, that David Bowie alluded to it in his song “Joe the Lion”. In the song, Bowie talks about a man, Joe, who claimed to be a fortune teller. Bowie sings, “He was a fortune teller. He said, ‘Nail me to my car and I’ll tell you who you are.’” You know you have truly done something groundbreaking when Bowie mentions your performance in a song.

            Within these three performances, Burden is begging the audience around him to wake up and become re-sensitized to the pain that exists in the Vietnam world around them. He is aiming to remind them that pain is closer than we think. It is not just in Vietnam with the troops, it is at home, it is beside us, and it is within us. All while conveying that message, he is placing himself in dangerous and vulnerable environments. Not all men in art were doing this at the same level that Burden was. He pushed boundaries and allowed for more men to step up, become vulnerable, and take way the space between an artist and his audience. When you submerge yourself and your audience in the same situation, it creates a space for discussions that need to be made. The performances are uncomfortable, but that is the point. Once you push people over the edge of comfortability, you get the discussion out of them and you get the action out of them.

            Performance art is not just an excuse for people to get hurt for entertainment, it is an art medium that opens up the floor for a discussion that begs the question, “What is art?” Art is anything that makes the audience feel something. Whether that lets them get out their sadistic side, like Rhythm 0 or gets them to remember that pain is within us all, like Shoot, art is no longer just about the piece of art itself. It is about the artist that creates it and the audience that consumes it. Performance art launched art into that realm.

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Works Cited

Dewey, Richard and Timothy Marrinan, directors. Burden. Magnolia Films, 2016.

DiTolla, Tracy. “Chris Burden.” The Art Story, The Art Story Contributors, www.theartstory.org/artist-burden-chris.htm.

“Masochism.” Merriam-Webster, Merriam-Webster, www.merriam-webster.com/dictionary/masochism.

“What Is Performance Art?” Khan Academy, Khan Academy, www.khanacademy.org/partner-content/tate/participation-performance/performance/a/what-is-performance-art.

Reiss, John. “Happiness in Slavery”. DailyMotion. 1992. https://www.dailymotion.com/video/xlkkw

Wood, Catherine. “’Rhythm 0′, Marina Abramovic, 1974.” Tate, Mar. 2010, www.tate.org.uk/art/artworks/abramovic-rhythm-0-t14875.

The Movement to Social Media Art

            With the growing fascination with social media and being in the now is there any wonder a somewhat new movement of art is emerging?  As human beings we are naturally curious, this curiosity to know everything we are one of the driving forces of social media.  With social media’s many filters, platforms, and growing popularity, the use of social media as a way to produce and showcase works of art was bound to happen.  Social media is having a profound effect on the art world of today, not only can art be produced on social media it is as well a way for today’s artist to get their work out there without going through avenues of the past, such as having to get their work into a museum.      

            Social media art may be new, but its roots can be traced back to a digital art form started in the 1990’s when the internet kicked off-net art.  Some may ask what does social media art, and net art have to do with one another?  Like with many movements in the art world the present are movements are based on the ones that came before, and net art with its base in computer programs and it use of the internet would be the parent of social media art.  Even today net art looks pretty radical to most critics just as social media art does.  “Taking to heart early net artist Heath Bunting‘s credo “do something different,” net artists took advantage of suddenly ubiquitous personal computers and the first user-friendly web browsers to evoke a de-physicalized existence with infinite possibilities.”(Kerr)  Net art used the internet as its primary medium with the pieces being created by using search engines, online tools, scripts, web browsing, and developer codes.  Social media art does this today, using the internet as its primary medium, creating images with the many filters, tools, and different platforms in which to post on.  Many of these pieces have vanished, lost to us due to the technology they used being replaced with the next generation of that technology, yet others have been digitally preserved and/or upgraded to newer technology.

“Hong Kong gallery owner and critic John Batten say: “Andy Warhol demonstrated that anything could be art – the use of the internet is just an extension of that idea.” (Burrows)  Art in its rawest form is about expression, be it an idea, emotion, politics, relationships and creating a body of work is the release of those ideas and emotions.  Is this not what happens on social media every moment of every day?  Individuals connect with those images created just as they would with any artwork.  Pilkington said, “Social media is artistic expression because it is expressing your humanity.”  Is this not what has been said about art movements such as humanism?  Social media is all about self-expression than in that is it not itself art?  Asking the question what art is is something that has been asked for as long as we have had art, and it is still not an easy question to answer.       

With social media, there are so many questions that may be hard to answer:  Who has ownership of what one could consider art once it is posted to say Instagram, Snapchat, Facebook, Pinterest, Tumbler, and even deviant art?  What defines social media art at its core?  Answering the question, what is social media at its core, maybe the easiest of all.  Social media art is not art posted on social media, yet work created using social media, this means that the medium (social media) must be integrated with the artwork itself.  Artwork posted to social media, including photographs, posting a video on YouTube, paintings, drawings, etc. the list goes on, is not social media art.   “A social media artwork can have collective authorship,” says American artist An Xiao Mina” (Burrows),  An Xiao Mina made this statement while participating in the Hyperallergic roundtable discussion over social media art.  During this discussion three other characteristics where decided upon for social media art; there must be an audience involved in some form or another as it is the what social media is all about, it must remain conceptually rich and accessible outside of what one would consider a “typical” audience for a work of art, and as always, art is about the intent of the artist, thus it must be judged this way.  It would seem judging social media art is just as complex as the art itself in that the influence a piece of art has on the audience and alter the work itself.   Social media art is shifting in its fluidity and can be tricky to pin down; it can be made up of many artists or only one.  Burrows reported that “social media art can have collective authorship,” for example memes.  Memes, now known as the street art of the internet, are a growing trend that almost everyone has seen.  The image below is one example of a meme, and it represents an incident that occurred when a policeman attacked a seated protester with pepper spray.  This meme is but one covering this incident, the policeman here has been photoshopped into Guernica, Picasso’s anti-war painting. 

            With all that is becoming art in the social media realm of things one must as well consider is there ownership to social media art?  Richard Prince is a name that most individuals know when dealing with ownership of social media medium and posts.  Prince is a popular visual artist who began selling images he printed out from his Instagram feed, these where not images he himself posted and this is where the controversy began.  Images such as the one below are what caused the lawsuits that would follow.    

Prince has made so much money off of other individuals posts, one printed image sold for around $90K, all due to something called Fair use.   “Fair use requires consideration of the difficult-to-define “purpose” and “nature” of the work, the amount of copyrighted material used, and the effect the appropriation might have on the market value of the original work.”(Plaugic)  This has allowed Prince to sell images of other’s works for years; now those works include social media art and images.  There are also contracts that every individual had agreed to when they signed up for their social media account, each of which haes their bylaws.  There are sites out there that protect an artist’s ownership and allows for the easier sell of their works, Patron being one of them. 

There are over 60 different social media platforms in 2018, such as Facebook, Twitter, Instagram, Pinterest, and Tumblr, all proving a platform to socialize and share.  All have the niche that draws its users in and allows them to do their thing, and all have their terms of service.  One thing is for sure all platforms are being used by an artist to either get their work out there and/or to produce works of art.  In the age of selfies and instant sharing the world has grown smaller with social media, creating movements such as FOMO (fear of mission out).  Jennifer Sokolowsky, of The Seattle Times, addressed this very thing in an article when she was referring to Yayoi Kusama’s “Infinity Mirrors” show in Seattle, calling it the FOMO visual-art event of the summer.  Individuals seem to find it more compelling at times to see something when their friends are saying this is great you must see it.    

 Tumblr one of the platforms used for social media art; it is a place for sharing photos, music, quick texts, links, and videos, pretty much anything quickly.  Broken down simply, Tumblr is across between say Facebook or Twitter (networking sites) and a blog.   On Tumbler there seems to be a community of curator(individual), fans, then followers.  It would seem this type of relationship had been built to protect the individual works.  The fans support the individual and followers boost the number and popularity while keeping an eye on the reblogging verses reposting of images.  Reblogging images and posts seem to be the thing to do, whereas reposting without giving credit to the original is not.  Tumblr terms of service under community guidelines addresses reblogging and giving credit, Tumblr.  One would wonder if there is a way to watermark/claim one’s social media art.   

Social media art is still in its infancy and such there is not much out there to define what it is, but it for sure a new art movement of the current generation.  If the explosion of social media itself has taught the world one thing, it is how fast paced the world of social media is.  One can expect social media art to run rampant across the screens of every phone, television, computer, and tablet growing an exponentially over the next few years.   Be it social media art, the sharing of art, or the promotion of art, social media has and will continue to have a dramatic impact on the art world. 

Work Cited

Burrows, Victoria.When it comes to art on social media, the medium needs to be integrated into the work. Style Magazine, 5 April 2013 https://www.scmp.com/magazines/style/article/1201034/change-art Accessed 30 October 2018

Kerr, Dylan. The Early Disruptors: 7 Masterpieces of 90’sNet Art Everyone Should know about. 
ARTSpace, 2015 https://www.artspace.com/magazine/art_101/art-tech/90s-net-art-52704 Accessed 27 September 2018

Miranda, Carolina. Social Media have become a vital tool for Artist but are they good for art. Los Angeles Times,2016 www.latimes.com/entertainment/arts/miranda/la-et-cam-is-social-media-good-for-art-20160517-snap-htmlstory.html#

Plaugic, Lizzie. The Story of Richard Prince and his $100,000Instagram Art. www.theverge.com/2015/5/30/8691257/richard-prince-instagram-photos-copyright-law-fair-use . Accessed 27 September 2018

Soklowsky, Jennifer. Art in the Instagram age:  How Social media is shaping art and how you experience it. The Seattle Times, 16 November 2017. https://www.seattletimes.com/entertainment/visual-arts/art-in-the-instagram-age-how-social-media-is-shaping-art-and-how-you-experience-it/ Accessed 27 November 2018

Tumblr. Terms of Service. https://www.tumblr.com/policy/en/terms-of-service

U.S. Copywright Office Fair Use Index, https://copyright.gov/fair-use/more-info.html Accessed 30 October 2018

Art in Computer Programming

History

The practice of creating art using computer programming has been around since the 1960s. This is still a time where most people did not have access to computers and the technology was still in its early days, so possibilities were limited. One of the first computer artists was Frieder Nake, who used a computer and plotter to create the piece Hommageà Paul Klee 13/9/65 Nr.2. The plotter was one of the most popular methods of computer output, and this device was essentially a machine that held a pen and could follow commands from a computer. Nake wrote an algorithm that created a plotter drawing that paid homage to the painting Highroads and Byroads by artist Paul Klee.

The number of people using computers to make art grew throughout the following decades, one milestone taking place when the Slade School of Art introduced it into the curriculum in the early 1970s along with the introduction of the home computer in the 1980s. What makes the use of programming in art so significant is the possibilities for art installations that are more interactive than ever before.

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Interactive Installations

One installation that exemplifies the idea of an interactive exhibit is Dance Floor as Wilderness, an interactive audiovisual performance by Morgan Jenks and Jinsil Hwaryoung Seo. Inspired by an electronic music concert held out in the forest, these artists wanted to allow people to experience the natural world using technology. Their answer was to use the Microsoft Kinect and a dance floor to bring this idea to life. The music used in their performances is a blend of  instruments, organic vocals, and digital sounds, and audiences are urged to dance along while watching and listening to the art as it responds to them. A custom developed software takes the audience’s movements captured by the Kinect and translates that in real time to a visual output with images of plants and nature. This exhibit is a reminder of how technology can be used to remember the natural world and connect with both the organic and inorganic simultaneously, a unique effect that was achieved through Jenks and Seo’s custom software.

A company that specializes in interactive exhibits is YesYesNo, an organization that has created numerous unique installations, some even in conjunction with companies such as Google and Nike. One of their projects, titled Night Lights, is very similar in concept to Dance Floor as Wilderness. In this installation, audience movements captured through various means are processed through a custom software and projected onto the Auckland Ferry Building in New Zealand. There were six visual options shown, each allowing the participating public to interact in new ways, creating what the creators describe as “an interactive playground”.

Zach Lieberman, one of the artists involved in Night Lights, created a installation titled Drawn. It consisted of live performances as well as an installation as people kept asking to try the software themselves. This project allows a person to interact with their ink and paper drawings. The user takes a brush and draws whatever they want on their sheet of paper while the image is also being projected onto a screen. When the user interacts with the drawing with their hands, the components of the image will respond on-screen accompanied by sound effects. Lieberman’s software detects the inked shapes and hand movements and translates the movements into the visuals seen by the audience.

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Coding With Visuals: Processing

There are numerous different programming languages, each with their own uses and specialties, but one that focuses on the creation of visual effects is Processing. Processing was originally created with the intent to help new programmers learn necessary concepts using the visual arts. However, many artists use the language for their works, one key example being Raven Kwok. Kwok makes animations and music videos, many of which use a method called “procedurally generative animation”. This animation technique is seen in a large amount of today’s media. It is not hand drawn animation, but rather uses a computer, mathematics, and physics to create visuals that respond to either other visuals models or music. We see this in CGI animation through the digitally generated movement of hair, clothes, liquid, etc. Kwok uses this concept along with Processing to create a program that generates video footage that responds to music. A select few of his works that use this are CB2D, 1194D, EDFo, and Zero One.

Processing is not limited to on-screen outputs. Several of its users use it to power robotic art installations. One of these works, titled Random Access Memory, is a functional data storage device that uses sand to store digital data. Created by Ralf Baecker, this machine consists of a rotating circular platform with a bar holding a robotic arm above it. This arm can move from side to side across the bar and pick up the grains of sand. The arm places the singular grains of sand one by one in binary patterns until the program terminates, and this process used creates interesting and mesmerizing patterns.  The artist describes the purpose of the machine when he says, “[Random Access Memory] investigates the contrast of a ‘pure’ mathematical process (algorithm) and its ‘impure’ material implementation into the world.” The machine is not a perfect storage device and would never be used as an actual product due to the inherent nature of it (the sand can move, and this causes errors). However, it is still a beautiful interpretation and visual of something that people use every day, but do not understand what the concept looks like.

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Programming and art are most often seen together through interactive exhibits and generated content, and they can be used together to create experiences that would otherwise be impossible. The process and final products of developing a custom software for an art project can be likened to the printmaking process. The creation of the program or print is a laborious process, taking a long time to do, but, generally, the final products can be used to create their pieces of work multiple times in a much smaller time frame.With printmaking, you press the inked etching onto and paper and then you have your final print, and with programming, you capture the user’s input and output it. The biggest difference between the two besides one being digital is the fact that with programming, the final product can be different for each user, making the experience more unique and magical for the individual. Those unique experiences are what drives this medium, and it will continue to grow as technology improves and becomes more and more accessible. The future is in computer technology, and artists are already using it in their projects, and this trend will only continue as the world becomes more digital.

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Works Cited

“A History of Computer Art.” Victoria and Albert Museum, Victoria and Albert Museum, London, www.vam.ac.uk/content/articles/a/computer-art-history/.

Baeker, Ralf. “Random Access Memory.” Ralf Baecker, 2016, www.rlfbckr.org/work/random-access-memory/.

“Drawn.” Thesystemis, thesystemis.com/projects/drawn/.

Foundation, Processing. “Overview. A Short Introduction to the Processing Software and Projects from the Community.” Processing, Processing Foundation, processing.org/overview/.

Jenks, Morgan, and Jinsil Hwaryoung Seo. “Dance Floor as Wilderness: Audiovisual Performance Towards a Regard for the Non-Man-Made.” The Journal of Digital Media Arts and Practice, iDMAa Conference Journal 2015, 23 Nov. 2015.

Kitagawa, Midori. “Procedural Animation.” Procedural Animation, The University of Texas at Dallas, www.utdallas.edu/atec/midori/Handouts/procedural_animation.htm.

Kwok, Raven. “Reel 10-14.” Raven Kwok, ravenkwok.com/reel/.

Lieberman, Zach, director. Drawn (Installation). Vimeo, 19 May 2009, vimeo.com/4732884.

Nake, Frieder. “Hommage àPaul Klee 13/9/65 Nr.2.” Victoria and Albert Museum, Victoria and AlbertMuseum, London, 1965, Victoria and Albert Museum, London,www.vam.ac.uk/content/articles/a/computer-art-history/.

“Night Lights.” YesYesNo Interactive Projects,www.yesyesno.com/night-lights/.

Street art is making an impact on society by spurring a movement that is creating social change in the world. The artists involved use street art as a forum to express themselves and make a statement about political, social, and economic issues to open society’s eyes. With the advent of the twenty-first century, street art has become popular and newsworthy with artists such Banksy who want to take their art to the next level. Street art began as rebellious acts, but now it has developed into a much bigger movement. Today, there are still controversial questions that revolve around the differences between street art and gallery art. To many it is evident that street art is considered art and not vandalism because of the history of the uprising of street art and the techniques and messages that street artists portray.

The Start of Street Art

Street art began as disobedient and defiant acts, but currently, it has developed into a prominent cultural movement. Street art began with gangs spraying graffiti on trains and walls, also referred to as guerrilla art, in New York City during the 1920s and 1930s. The popular way to use graffiti during this time was called “tagging”, which is when an artist would cipher their name onto a building or train cars. The use of the technique is a misconception since “tagging” is commonly known as vandalism. However, it allows artists to claim their ownership of their art. Soon people started using street art as an approach to have a voice, create social change, and sow the beginnings of a groundbreaking movement in history. During the 1970s and 1980s, street art started to make an impact on society and became sensational. Even though graffiti was an illegal activity, street art was viewed by some as true art.

Water Light Graffiti

Jean-Michel Basquiat

Another artist who is well-known in the street art world is Jean-Michel Basquiat, who created his first works of art under the name “SAMO.” Basquiat began creating graffiti street art in New York City during the 1970s by “tagging” buildings and subway trains. He was a Neo-Expressionist artist who became popular because he embraced pop culture with the use of vivid colors, interesting objects, and eye-catching motifs. Basquiat’s family was from Haiti and his mother suffered from a mental illness. Tragically, he was a heroin addict and died of an overdose at the age of twenty-seven years old. Through Basquiat’s art, it is visible that his life struggles relate to his artwork, especially questioning his identity through his ethnicity and drug addiction. The artwork of Basquiat can be examined differently by the viewer when aware of his struggles in life. Waldemar Januszcak states, “… it took five hundred years for a black artist to make an indelible mark on the international art world. I find it even more shocking that in order to make that mark Jean-Michel Basquiat had to be cast as a rambling neo-tribalist primitive.” Studying the work of various street artists like Basquiat allows people to become aware of how modern ideas have been used to create an awareness for desired societal changes.

The Art World vs. Street Art

In the art world, there are many issues pertaining to the controversy of street art and whether it should be viewed and valued the same as art in a gallery. Many people continue to debate if street art is true art or merely vandalism, and whether street art should accrue the same value as that of gallery art. The subject of street art is contentious, but there is evidence that street art is becoming as equally important as other types of art. For instance, street art can be used to publicly reveal social and political factors because other types of art do not have the viewership and impact to showcase relevant issues. The divide between street art and gallery art to some people is that artists who show artwork in galleries and museums have had years of training, while street artists are not educated in the arts. However, some street artists are against having their art displayed in galleries and museums and state that the purpose of their art is to be on the streets. On the other hand, some street artists have allowed their art to be shown publicly and sold at auctions. For example, Banksy uses his anonymity and radical attitude to illustrate his political artwork as a strategy to enhance pop culture. Recently, Banksy’s Girl with a Balloon was sold at an auction for $1.4 million, and within minutes of being sold, a device in the frame shredded the street art. Banksy used the long thought-out scheme as a way to advocate that he is against the selling of works of art. According to Scott Reyburn from the New York Times, “The prank was a brilliant comment on the art market…It’s a part of art history.” As seen throughout the past century and continuing into the 21^st century, street art is a constantly evolving movement that is making an impression on how the world views the meaning of art.

Conclusion

Street art has made an impact throughout the world today because it is an avenue for artists to attract the public’s attention and inform them about topics that affect everyone. The initial viewpoint of street art was that it was an eyesore, but it has now flourished into a type of art that is as equally important as other forms of art. The artists and their techniques have expanded their ideas by creating new technology and methods to implement focus on social and political ideas. The history and growth of the street art movement provide evidence that it is not vandalism but a true form of art.

Sources:

“Banksy Film to Debut at Sundance.” BBC News, BBC, 21 Jan. 2010, news.bbc.co.uk/2/hi/entertainment/arts_and_culture/8471145.stm.

Basquiat, Jean-Michel. “Scull, 1981 – Jean-Michel Basquiat.” Www.wikiart.org, 1 Jan. 1981, www.wikiart.org/en/jean-michel-basquiat/head.

Digitalarti, director. YouTube. YouTube, YouTube, 7 Sept. 2012, www.youtube.com/watch?v=CcUOrySBAH4.

Edition, Inside, director. YouTube. YouTube, YouTube, 7 Oct. 2018, www.youtube.com/watch?v=eXKE0nAMmg4.

Graffiti: Art through Vandalism, iml.jou.ufl.edu/projects/fall07/Sanchez/art.html.

“Martha Cooper.” Steven Kasher Gallery, www.stevenkasher.com/exhibitions/martha-cooper.

Reyburn, Scott. “The Price Of aBanksy, Now Shredded, May Soar.” New York Times, 8 Oct. 2018, p.C1(L). Academic OneFile, http://link.galegroup.com.cmsmir.clevelandstatecc.edu/apps/doc/A557280660/AONE?u=tel_a_clscc&sid=AONE&xid=32d9c05a.Accessed 2 Nov. 2018.

“The Evolution of Street Art.” Invaluable, 20 July 2017, www.invaluable.com/blog/the-evolution-of-street-art/.

“The History of Street Art.” Widewalls, www.widewalls.ch/the-history-of-street-art/.

“The Most Expensive Banksy Artworks Sold at Auctions.” Widewalls, www.widewalls.ch/10-most-expensive-banksy-artworks-at-auctions/

“View from the gallery: New York exotic – Jean-Michel Basquiat died of a drug overdose two years ago, aged 27. Waldemar Januszczak celebrates the short life of a black artist who shook the world of fashionable Manhattan galleries.” Guardian [London, England] 17 Nov. 1990: 24. Business Insights: Essentials. Web. 2 Nov. 2018.

Wekselman, Kathryn. “Jean-Michel Basquiat.” Library Journal, 15 Sept. 1999, p. 76. Literature Resource Center, http://link.galegroup.com.cmsmir.clevelandstatecc.edu/apps/doc/A56459231/LitRC?u=tel_a_clscc&sid=LitRC&xid=b7ed6a64. Accessed 2 Nov. 2018.