Daniel J. Martinez is the Visual Arts recipient of the 2014 Herb Alpert Award.
“Daniel Joseph Martinez is a post-conceptual artist who engages in an interrogation of social, political and cultural mores through artworks that have been described as nonlinear, asymmetrical, multidimensional propositions. His works range from the digital to the analogue, ephemeral to the solid,” the Alpert Foundation today announced.
Martinez is a Professor in the Department of Art at the University of California, Irvine
The Alpert Award in the Arts is an unrestricted prize of $75,000 given annually to five risk-taking mid-career artists working in the fields of dance, film/video, music, theatre and the visual arts. The prize was initiated and funded by the Herb Alpert Foundation and has been administered by California Institute of the Arts since 1994. The Alpert Award honors and supports artists respected for their creativity, ingenuity, and bodies of work, at a moment in their lives when they are poised to propel their art in new and unpredictable directions. The Alpert recognizes experimenters who are making something that matters within and beyond their field.
More information at: http://www.herbalpertawards.org
Madonna lived up to her reputation for courting controversy and fighting for gay rights when she appeared on March 16 in New York City at the 24th annual Gay & Lesbian Alliance Against Defamation (GLAAD) Awards, the first of three events to be held this year to honor the best representations of lesbian, gay, bisexual and transgender (LGBT) people in the media.
Dressed in a Cub Scout uniform, the pop star told the audience, “I wanted to be a Boy Scout but they wouldn’t let me join… I can build a fire. I know how to pitch a tent… Listen, I want to do good for the community. Most importantly, I know how to scout for boys!” Continue reading “Madonna versus the scouts, again”
The Invisible War has done something exceptionally rare. Rather than tackling an issue that’s safely in the past, Kirby Dick and his subjects have confronted an ongoing culture of sexual violence and grotesque indifference in one of the country’s most respected institutions, reports todays Daily Beast.“And instead of being dismissed as Hollywood liberalism, or creating a temporary spike in awareness that dissipates shortly after its release, The Invisible War is helping push forward action in Congress and substantive reform in the military itself.
“It’s one thing for a movie in Oscar contention to get snared in politics, or to seek out political relevance as a way of linking a film to a larger narrative. … Since The Invisible War’s release, federal action on sexual assaults in the military has instead accelerated. On January 23, the House Armed Services Committee held hearings on the investigation into Lackland Air Force Base, the site of the Air Force’s basic training: a staff sergeant stationed there was convicted of rape and sexual assault last summer, and 32 instructors are alleged to have sexually coerced or formed relationships with their students that violate military regulations. The New York Times wrote “that they are doing so is in large part a tribute to” The Invisible War, though Dick said he was frustrated that so many congressmen left the hearing to attend a vote, skipping the part of the program where assault survivors testified about their experiences.”
Full story at: http://www.thedailybeast.com/articles/2013/02/07/the-invisible-war-how-oscar-s-military-rape-documentary-might-change-everything.html
Conventional wisdom has held that the entertainment industry has largely caved in to a teenage market demanding superficial thriller movies of the “chainsaw” variety.
But it seems that award season is painting a different picture.
Not a chainsaw was visible at the Golden Globes. And this year’s Oscar nominations seem to be going the same way. Leading Academy Award contenders like “Lincoln,” “Les Miserables,”and “Life of Pi” represent both a more serious tone and show a refreshing diversity further manifest in leading nominees like “Silver Lining Playbook” and “Amour.” A.O. Scott remarks on this trend in the year’s movies in a recent article briefly excerpted below, observing that “ the Academy’s choices confirmed that 2012 was not just a strong year for movies, but also for precisely the kind of movies that are supposed to be nearly obsolete.” Continue reading “Fewer chainsaws in award season”