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Curator David Brafman describes the Getty Graffiti Black Book, a compendium of street art inspired by David Brafman | August 13, | 5 min read Getty Voices concluded in February called LA Liber Amicorum, more popularly known as the Getty Graffiti Black Book. More important, the volume simply works.
Table of contents
Companies and other organizations have attempted their own solutions, too. Packmee, a program in Germany and the Netherlands, allows citizens to ship their old clothes for free to textile recyclers. In the U. This patchwork approach might be the solution to capturing more of America's unwanted clothes, for now. In a place like New York City, where depositing clothing might mean getting on the subway with a heavy bag of last year's faux-leather leggings and crop tops, it's enticing to just throw old clothes away. Or to just plunk them into your local mystery clothing bin that says it's charitable, when it's not.
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Elizabeth Cline is a journalist based in New York City. In the account that follows Calle describes her life in the train compartment with a 68 year-old Russian man called Anatoli. To his annoyance she is also unable to play chess and he tries, unsuccessfully, to swap her for another passenger. He drinks vodka and snores profusely. Yet they establish a routine; they look after one another. Apparently insurmountable barriers disappear through their mutual acts of civility. Her journey is not described in scenic terms; rather it is a wry account of how mutual incomprehension evolves towards an unexpectedly nuanced relationship.
The photographs of Anatoli and their brief encounter are unframed and arranged on a table where the visitor is invited to sit and sift through them. Calle invites her viewer to act as witness: to the private language of a love letter, to a personal encounter in a train carriage and to translate these personal relations into the public sphere. Her writings are characterized by a comic detachment, observing rather than interpreting. Driving her work is a desire to find a connection between people and to identify a locus of aspiration that is essentially utopian.
This often evolves through the process of a journey. From the expedition to the road movie, this is a narrative form that presupposes a quest, the search for Mandalay, El Dorado, Shangri-la, Hollywood. Los Angeles reiterates the strategy she evolved in The Bronx. Where the Bronx is synonymous with fear of the ghetto, Los Angeles symbolizes a form of Occidentalism, and its concomitant association with pioneering. He decides instead to send her instructions to be carried out on the streets of New York. These involve smiling at and talking to strangers, helping beggars and homeless people and cultivating a spot.
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In , on the streets of Manhattan, Calle sets to work. These range from appreciation to abuse.
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The project is an act, a work of fiction and an anthropological experiment. But the mission is broadly successful. Art is not instrumentalized, rather its instrumentalization becomes the subject of the work of art. In she embarked on the third of her psychogeographic city tours titled The Detachment. I asked passers-by to describe the objects that once filled these empty spaces.
Despite their confidence in recollecting shape, material or colour, they are often visually inaccurate. The absence of the symbols that once defined the public realm in ideological terms, also elicits sadness, annoyance and relief — few are indifferent. The monuments and signs that are part of the fabric of the city and that become invisible with familiarity are, paradoxically brought sharply into focus by their absence.
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Calle elicits reflections from the citizens of East Berlin on how ideology shaped not only their urban environment but also their sense of identity. With the removal of the propagandist symbols of the state, history appears to have been erased. Calle relocates it within the memories of her subjects. The unreliability of their visual recall makes this history a subjective one, giving it a veracity and a complexity that transforms it into a narrative of lived experience. In the new dawn of unification, there is no illusion about the triumph of capitalism.
As traces. A work where her subjects were unable to talk back generated a fifteen year crisis in its making. In , invited by an American bank to make a project, the artist gained access to the surveillance films taken by hidden cameras, of clients using cash machines. Years pass. Calle interviews tellers, she photographs money, she talks to security agents and policemen. In she asks Jean Baudrillard to help out. She visits a hypnotist.
Still nothing. Unfinished is another journey, towards the elusive act of creation itself. The epic Take Care of Yourself takes as its muse a former lover. On receiving his email ending their relationship she takes literally his suggestion that she should take care of herself, by asking for professional assistance. Making the letter the transitional object for the locus of anger and loss, she commissioned over women whose jobs touch on human relations, to give their professional response to it.
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