FOR IMMEDIATE RELEASE: Over 130 Artists Call for Guggenheim Boycott over Migrant Worker Exploitation « Who's Building the Guggenheim Abu Dhabi?
Over 130 Artists Call for Guggenheim Boycott over Migrant Worker Exploitation
(New York, March 16, 2011) A group of leading artists, curators, writers, and others launched a boycott of Guggenheim Abu Dhabi today over the exploitation of foreign migrant workers building the museum on Saadiyat Island, the United Arab Emirates.
More than 130 international artists, curators, writers and others have signed a boycott to end all cooperation with the Guggenheim Abu Dhabi and are demanding that the Guggenheim Foundation and its Abu Dhabi partner take immediate and meaningful steps to safeguard the rights of the workers constructing the new branch museum on Saadiyat Island. Some of the artists who have signed the appeal have also decided to boycott other Guggenheim locations around the world until this issue is resolved.
“Artists should not be asked to exhibit their work in buildings built on the backs of exploited workers,” said Walid Raad, one of the artists boycotting the Guggenheim. “Those working with bricks and mortar deserve the same kind of respect as those working with cameras and brushes.”
In two extensive reports on the UAE, Human Rights Watch has documented a cycle of abuse that leaves migrant workers deeply indebted, poorly paid, and unable to defend their rights or even quit their jobs. The UAE authorities responsible for developing Saadiyat Island have failed to tackle the root causes of abuse: unlawful recruiting fees, broken promises of wages, and a sponsorship system that gives employers virtually unlimited power over workers.
After mounting criticism, the Guggenheim finally made a public commitment in September 2010 to protect the rights of laborers constructing its new branch. However the institution and, its Abu Dhabi partner, the Tourism Development and Investment Company (TDIC) have still not taken sufficient steps to better the conditions of workers.
On March 10, 2011, TDIC announced that it “is broadening its existing independent monitoring programme
Friday, March 25, 2011
Monday, January 24, 2011
Emily Carr,and the pantheist movement in modern art
back to VISA 3720 course outline
Mankind is always searching for a universal "truth". Religion often becomes a path to that truth. Spirituality becomes a factor in dealing with the mystery of our past, especially our unrecorded past. We know that rituals occurred with our ancestors from the artifacts we've found, but we have only enough information to determine that they did occur, not why necessarily, or how. So legends are created, myths are born. Picasso studied the monolithic sculptures of his Iberian peninsula's past, as well as primitive African masks, and out of this came his "Madamoiselles d'Avignon". Paul Gaugin traveled to Tahiti and painted the "primitive" people that he saw there. In his art he stripped away the world and showed them as a new, clean, innocent kind of humanity, adding a spiritual quality to their lives in paint. Emily saw the mystic attraction in the local native totem poles and villages that she visited and wrote about and painted. The difference with her was that she did not accompany, or influence, or become influenced by other artists in her daily work. Hers was a lonely path. Other than her visits from Lawren Harris or J.E.H. McDonald, and one or two native artists she was quite alone in her development.
Mankind is always searching for a universal "truth". Religion often becomes a path to that truth. Spirituality becomes a factor in dealing with the mystery of our past, especially our unrecorded past. We know that rituals occurred with our ancestors from the artifacts we've found, but we have only enough information to determine that they did occur, not why necessarily, or how. So legends are created, myths are born. Picasso studied the monolithic sculptures of his Iberian peninsula's past, as well as primitive African masks, and out of this came his "Madamoiselles d'Avignon". Paul Gaugin traveled to Tahiti and painted the "primitive" people that he saw there. In his art he stripped away the world and showed them as a new, clean, innocent kind of humanity, adding a spiritual quality to their lives in paint. Emily saw the mystic attraction in the local native totem poles and villages that she visited and wrote about and painted. The difference with her was that she did not accompany, or influence, or become influenced by other artists in her daily work. Hers was a lonely path. Other than her visits from Lawren Harris or J.E.H. McDonald, and one or two native artists she was quite alone in her development.
Tuesday, September 28, 2010
Friday, April 30, 2010
Wyeth rented studio space in that house.
Wyeth used his upstairs studio for 30 years, and featured the house in many paintings and lithographs. He captured stark rooms, austere mantels, and somber rooftop views.
Everyone knows that old houses take on the personalities of their owners, but Wyeth knew something more. "In the portraits of that house, the windows are eyes or pieces of the soul, almost," he said years later. "To me, each window is a different part of Christina's life."
Christina Olson died in 1969. She had lived in the house her entire life. Neighbors say she had no idea that her small world had become famous.
Over the next twenty years, the house changed hands several times. For awhile there was nervous speculation that it would become yet another bed and breakfast inn. One owner, movie mogul Joseph Levine, brought in Hollywood set builders to "authenticate" the place by spraying its rooms with fake cobwebs and weathering the facade so it resembled the building Wyeth painted. Finally, the house sold to John Sculley, former CEO of Apple Computer Inc., and Lee Adams Sculley. In 1991 they gave it to the Farnsworth Art Museum in nearby Rockland.
Everyone knows that old houses take on the personalities of their owners, but Wyeth knew something more. "In the portraits of that house, the windows are eyes or pieces of the soul, almost," he said years later. "To me, each window is a different part of Christina's life."
Christina Olson died in 1969. She had lived in the house her entire life. Neighbors say she had no idea that her small world had become famous.
Over the next twenty years, the house changed hands several times. For awhile there was nervous speculation that it would become yet another bed and breakfast inn. One owner, movie mogul Joseph Levine, brought in Hollywood set builders to "authenticate" the place by spraying its rooms with fake cobwebs and weathering the facade so it resembled the building Wyeth painted. Finally, the house sold to John Sculley, former CEO of Apple Computer Inc., and Lee Adams Sculley. In 1991 they gave it to the Farnsworth Art Museum in nearby Rockland.
Subscribe to:
Comments (Atom)
