4/20/2023 0 Comments Goban salon![]() I love as well how the salon has given voice to scholars of different generations and different national traditions, while revealing commonalities that have traversed our intellectual communities despite language barriers. But the video also gave me the opportunity to listen repeatedly to the provocations and to ponder how I might respond in my own work. So while listening to Mona reiterate the challenges that the body offers us as historians of education, I also hear those drumbeats, as well as hundreds of strands of conversations about bodies in schools, disabled bodies, the hysterical bodies of women, or the techniques of disciplining bodies. For those who attended the opening ceremony in Chicago, you all undoubtedly remember how that ceremony brought all of our bodies into movement as we danced around the room to the songs and drumbeats of an American Indian welcome ceremony. ![]() I love the sweeping analytic gaze and the defense of the longue durée that Georges offers us and then the transition to Mona Gleason’s series of provocations that echo those she proposed at greater length at the outset of the ISCHE 38 conference in Chicago. I really love the movement I heard, from Georges Vigarello speaking about what has become such a classic text for Francophone scholars –– Le corps redressé, histoire d’un pouvoir pédagogique (1978)–– to Pieter Verstraete’s video that leads us to query our own physicality as historians of education, who spend so much time now clacking away on keyboards. I would like to begin though by offering my “reading of” or “listening to” these four videos (that mobilize a range of sensory experiences, as we tap on our keyboards, watch the computer screen, and listen to voices speaking in French, English and Spanish). ![]() And yet, when I think back, schoolgirl bodies are present in all of my writings since my dissertation, without my making a conscious effort to think more seriously about how I could use this to offer new perspectives, explore new sources or develop new theories, as Mona Gleason urges us to do in her video. Le corps saisi (blog post from Rebecca Rogers)Īs the organizer of this first History of education salon, I thought it might be interesting to comment on what this experience offered me, as an historian of education who hasn’t paid a great deal of attention to the body in her own scholarship.
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It is believed that the son of the dragon king walked in the clouds and could not head downward. This is apparently to attract more prosperity and absorbing the essence of heaven and earth Pixiu. I thought to briefly mention for those who have Pixiu dragon pendants, make sure its head is upward i.e. ![]() So, if you wear the bracelet on your left hand, ensure the Pixiu head points to the left, which is then outward. Well, the thumb direction is inward, while the little pinkie finger is outward. So, how do you tell the outward and the inward? ![]() When wearing a Pixiu dragon bracelet make sure its head is outward to draw money from all Directions. ![]() ![]() Do not reveal it to others if you wear it as a necklace with 2 Pixius. That said, without the Pixiu dragon, Obsidian is a special material that can be worn on either left or right hand.Ģ. Then you will attract that kind of energy to you. 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You should only pay if you want to get rid of it.” The exhibition was slated to travel to the Brooklyn Museum in 2012, but was recently cancelled due to financial constraints.īanksy’s stained glass window (2011) via LA Timesīanksy with Students from City of Angels School, Los Angeles, Stained Window, detail (2011) Bansky is quoted as saying, “I don’t think you should have to pay to look at graffiti. Both in spite of and because of these debates, the show has sparked a discourse that is significant for both artists and audience- since the show has opened, Banksy, one of the artists included in the exhibit, has begun sponsoring free admission on Mondays to pull in even more viewers to an already record-breaking show. The mural was painted over after Deitch deemed it insensitive given its location near a veteran’s memorial. Even before the opening, MOCA Director, Jeffrey Deitch, drew criticism for the museum’s censorship of Italian street artist Blu’s mural depicting coffins covered with dollar bills. As with any survey show, there have been many objections relating to both the inclusion and exclusion of certain artists. Indeed, the area surrounding Geffen Contemporary saw a spike in graffiti following the opening of ‘Art in the Streets’ in mid-April. The show has come under fire for its glorification of what many perceive as vandalism. Located at MOCA’s Geffen Contemporary in Los Angeles’s Little Tokyo, the massive space includes the work of around 50 artists in a range of media including murals, photography, installations, graffitied vehicles, and re-created cityscapes. MOCA’s exhibition, ‘Art in the Streets’ has proven to be a hugely popular, if not highly contentious, addition to L.A.’s summer arts scene. Zabrodski for Art Observed, unless otherwise stated. Please use the contact section on this site for more details.André, Love Graffiti: Annabelle (2011). Three Weeks in May exists as a printed map and an archive of ephemera and photographs documenting the project. It was framed by time and the geography and strategically used the mass media to further reach an expanded audience.ĭuring the same year as the MOCA exhibition, Lacy created Three Weeks in January, a contemporary exploration of Three Weeks in May and the anti-rape movement 40 years later.Ģ007, Kiss Kiss Bang Bang, Museo del Bilbao, Bilbao, SpainĢ008, Making It Together: Women’s Collaborative Art and Community, Bronx Museum of Art, Bronx, NY Working from a model provided by her mentor, Allan Kaprow, Lacy conceptualized this piece as an “extended” performance, one made up of many different life-like activities: speeches by politicians, radio interviews with hotline activists, news releases, self defense demonstrations, speak outs, and art performances. Three Weeks in May (1977) exposed the extent of reported rapes in Los Angeles during a three week-long performance in May, 1977. The dystopian atmosphere of the 1970s created an artistic milieu that seemed to include everything under the sun.” According to the show’s curator, Paul Schimmel, “during this period, the California Dream and the hippie optimism of the late 1960s had been eclipsed by a sense of disillusionment during the post-Watergate, post-Vietnam era. ![]() This major survey exhibition examined the rise of pluralistic art practices across the state. In 2011, Three Weeks in May was displayed as part of Under the Big Black Sun: California Art 1974-1981, at MOCA’s The Geffen Contemporary in Los Angeles, CA. |
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