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6 years ago
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Milly Cardoso was born and raised in Miami, Florida and is the Director and Curator for the University of Miami Gallery in the Wynwood Art District. Prior to joining University of Miami, she worked for the Miami Art Museum (Pérez Art Museum, Miami) and the Mitchell Wolfson, Jr. Private Collection.
Milly is currently organizing an all-female group exhibition titled " Yes, I'm a Witch" to be presented at FATVillage Projects on September 24 – October 28, 2018, strongly supporting the works of local artists residing in South Florida.
I decided to chat with Milly about America's obsession with the topic, what or who determines a witch and the '' mass hysteria" ( of sorts) we still face today.
Interview with Milly Cardoso:
BB: From my understanding, it's been stated, you title the exhibitions you curate after songs? Why is that?
MC: Not for every exhibition, but yes, I’m very inspired by music. Lyrics inspire me. I hear a great lyric and think “that would make a fantastic exhibition.” I like every genre; I feel sorry for people who only listen to one form of music. They don’t know what they’re missing.
BB: What song, in particular, has most personally affected an exhibition? How so?
It’s difficult to pick a favorite, but it would have to be Clang, Boom, Steam. It’s an exhibition I curated in 2013 with male artists that focused on the state of masculinity in contemporary art. Clang, Boom, Steam is a song by Tom Waits. It’s only 52 seconds long, but it delive[...]
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6 years ago
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Jeremiah Zagar wasn’t the first filmmaker to approach novelist Justin Torres about adapting the latter’s 2011 coming-of-age tale We the Animals to screen. But the others were “too Hollywood,” according to Torres, and wanted to change his semi-autobiographical story into something else. (“Breaking Bad meets Malcolm in the Middle,” suggested one would-be suitor.) Torres was having none of it. Then Zagar contacted him. The director, a documentary maker (In a Dream, Captivated: The Trials of Pamela Smart) who’d never helmed a fiction film before, had picked up the book in McNally Jackson in Soho and couldn’t put it down. “It had one of the best first pages I’d ever read,” he says.
Torres and Zagar were discussing the making of We the Animals during a post-screening Q&A, one of several the pair have conducted while promoting the film. The project is something they’re clearly proud of and passionate about.
The book is a raw, pulsating, first-person account of three brothers and their volatile parents loving and fighting each other in an upstate New York town, as told by the youngest boy. It’s based on Torres’ own life and family, including the fact that his father is Puerto Rican and his mom of Irish-Italian descent. Though it was very different from Zagar’s own hippie-esque upbringing, he understood the “epic family mythology” of Torres’ book, the insular experience of a strong family dynamic. “We spoke the same language,” agree both writer and filmmaker. Torres wa[...]
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6 years ago
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Humanities Preparatory Academy, our flagship music education program, suffered a budget cut of $130,000 this year. As a result, they have to eliminate half of the music classes AFP has been providing for the past 6 years. The school is located in Chelsea, but it’s mostly attended by students from under-served communities in Harlem and the Lower East Side. AFP’s music program is the only music program at the school. With each year, there are more students that want to take music classes than we can accommodate.
As we've seen time and again, music and art classes are the first to go when cuts like this happen. Our goal is to raise $10,000 to supplement the budget and fund the program for the upcoming school year. If we can raise the necessary funds, we can continue to serve as many kids as possible and maintain the vital music and arts presence that has become a signature of the school's culture. Our mission is to provide creative arts programs for all New York City public school students. Every child should have the opportunity to learn creative skills and problem solving.
Please make a donation right now to help us fulfill our mission. We have some exciting gifts that we're offering to exceptional contributors as an added incentive, including artwork and private music performances and lessons. Thank you in advance for your help!
Please watch this short video from AFP's Director, Frank Jackson and Educator, Barry Komitor.
Take a look at the suggested donation le[...]
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6 years ago
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So many exciting things have been going on in the world of Art for Progress’ Arts and Music Education Program. We have been helping young people throughout the city to cultivate their artistic expression and proudly watching that effort bear fruit. Our continuing school and after school programs provide opportunities for students to learn skills and form friendships and alliances while our community efforts give those students and others real life experience through performing, showing work, and recording music. We are honored to have received two grants this spring, as well, which will help our ongoing mission to make sure arts stay in public schools despite consistent budget cuts.
This has been a landmark year for Art for Progress’ Arts and Music Education Programs. Our music programs at Humanities Preparatory Academy, The James Baldwin School, and Hudson High School for Learning Technologies have been developing astonishing talent; and our visual arts programs at Forsyth Satellite Academy and Essex Street Academy continue to expose students to new perspectives on fine arts and design.
We’re especially proud of the work we’ve done developing the bands in the AFP Young Adult Music Enrichment and Recording Program. Statik Vision is now a staple on the NYC rmusic scene, and their album release was featured in a photo essay in the New York Times’ Lens section showcasing the Bronx punk art scene. Big Sweater and Bad Faces got to play alongside musical heavyweights Nels[...]
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6 years ago
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A raw, unconventional film about the last years of iconic German musician/muse Nico, Susanna Nicchiarelli’s Nico, 1988 portrays its subject as an earthy, unglamorous woman and an uncompromising artist. It’s a far cry from the popular image of the icily mysterious chanteuse who performed with the Velvet Underground in the late 1960s, and that’s a big part of the movie’s fascination. As embodied with fierce intensity by Danish actor/singer Trine Dyrholm, Christa Päffgen (Nico’s real name) in her late 40s was as dismissive of her younger incarnation as Warhol figurine and rock star paramour as she was passionate about reconnecting with her troubled son, Ari. Nico, 1988 is a refreshingly unromantic portrait of a heavily romanticized persona.
Nicchiarelli based her loose, impressionistic film on actual events, including interviews with Nico that are recreated throughout. There are also hazy flashbacks, actual footage of the Velvet Underground and the young Nico, provided by filmmaker Jonas Mekas. In casting Dyrholm, who bears no physical resemblance to Päffgen, Nicchiarelli opts to create her own character for this story, which may not sit well with some diehard fans. Truer to history is the film's sound, and Dyrholm, an impressive musician in her own right, nails Nico’s deep, stark vocals. (Dyrholm performs all songs in the film, including "These Days" and "All Tomorrow's Parties.")
Nico, 1988 begins in 1986, with the singer giving an interview in Manchester, Englan[...]
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6 years ago
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Art For Progress sits down with creative mastermind Alfie Rustom to learn more about his debut novel: The Bioman™ Chronicles: #2084 (Book 1). Learn more at www.thebiomanchronicles.com
Do you see yourself in this imaginary character?
Yes, I see myself in this character. But, I also see every other post-modern human in this character, too. Culturally, we have forgotten our connection to nature. Bioman is designed to help us reconnect with our own miraculous biology and remember our intimate connection and oneness with nature.
What are Bioman’s best traits as a super hero?
At first glance, Bioman can appear serious, formal, and proper. He loves traditions and old-school values that uphold patience, hard work, honor, and social and cultural responsibility.
In #2084 story, he begins as a 'norm' who has been programmed to dislikes difference but then slowly loosens up and learns to embrace and celebrate his 'anomalous' self and diversity in others. Although, this is a constant struggle for him.
Does Bioman fit in with the other marvel comic superheros or is Bioman standing alone in his quest?
Bioman offers an alternative to Marvel/DC’s duopoly on superheroes designed for needs of the last century. Bioman is designed specifically for the concerns/aspirations of the 21st century.
Millennials, in particular, know they have inherited an eco-system and political economy that was created by the excesses and eco-ignorance of baby boomers. They are seeing th[...]
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6 years ago
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One of the things I used to detest so much as a child was watching the Spanish actress Charo shaking her ass and screaming out “cuchi, cuchi!" on stage. Her famous act would make my blood boil. Please, Charo, forgive me (for we are both Spanish, Latin women) but you're capitalizing on broken English and the need to be sexy all the time, and I wonder if you helped shape the brand, image for Latin women.
There is more to my personal history with Charo's legacy than growing up watching her on television: my paternal grandmother was a performer too and there was a crossing of paths between these influential Latin women. Seeing such a beautiful Latin woman depicted in Charo’s characteristic way was beyond me. I questioned this image constantly, wondering about the advantages of being famously sexy and vulnerable. As opposed to all the women in my family who were immigrants and championed higher education. They worked as professionals, speaking fluent English, and every single one of them was extraordinarily attractive.
On one hand, I saw Charo as a brilliant entrepreneur. She seized the opportunity to commoditize a stereotype and hence became a star with a net worth of twelve billion dollars. In a society where money is synonymous with power, that is a ton of power.
In contrast to Charo's sexy Latina character, Panamanian artist Sandra Eleta tapped into another Latin female stereotype by photographing housemaids, albeit, with a much different attitude depicted in her su[...]
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6 years ago
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The life of an independent artist can be both very rewarding and very trying. On the one hand, if you pursue this path it’s likely you’re doing so to chase a passion, and few things can be quite as enriching. Yes, you’ll see plenty of even successful artists bemoaning the lifestyle and recommending young artists find other employment - but deep down, they’re doing what they love to do. It’s just that it isn’t easy. On the other hand though, particularly when you’re starting out, finding reliable, paid work as an independent artist is far easier said than done.
There is no formula for earning money as an artist. It takes talent, initiative, and a little bit of luck. However, we have a few ideas for some modern outlets that the independent artist in 2018 can at least explore for potential income opportunities.
Patreon
For those who haven’t looked into it yet, Patreon is an innovative modern platform designed to help artistic people get funding. Basically, it’s similar to crowdfunding sites, but built for private artists. You post your work, or access to it, and “patrons” can pay to support it. The main idea is financing, but Patreon is also a fantastic way to gain exposure. If your work is good and you’re strategic about your use of the platform, you can build a legitimate following through this service.
Online Courses
If you do have any sort of following - through Patreon, social media exposure, previous sales, or whatever else - you can always explore the avenu[...]
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6 years ago
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Long known for billing top grade, sophisticated acts that cover indie, jazz, electronic and everything in-between. West Village staple Le Poisson Rouge hosted a special event on Sunday, ‘I Feel Pride.’ The heated dance party was not only dedicated to NYC Gay Pride, but also the 10th anniversary of the music venue.
Aptly named LPR X, the yearlong event series presents an eclectic roster of headlining acts – both previous and new to the venue. Considered the founder of disco, Italian producer Giorgio Moroder hosted and headlined the night.
Moroder is considered key to Donna Summer’s rise to fame, producing “Love to Love You Baby” and “I Feel Love.” He is also responsible for the timeless movie soundtrack tunes “Take My Breath Away” (“Top Gun”), Irene Cara’s “Flashdance … What a Feeling” and Blondie’s “Call Me” (American Gigolo). Moroder wrote compositions for “Superman III,” “Rambo III,” “Beverly Hills Cop II,” and “Scarface.” Over the course of 50 years he has not stopped his output, working with premier acts including Barbra Streisand, Elton John, David Bowie, Lady Gaga, Eurythmics and Daft Punk, et al.
The night was truly standout due to the caliber of artists, who bought a heavy arsenal of quality music. The crowd also contributed, as gays, straights and people of all persuasions convened on the darkened dancefloor for opening act Holy Ghost. The duo played an uplifting, funky set of electro and disco house, seamlessly mixing and building up their set. The room was[...]
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6 years ago
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Art for Progress is pleased to announce a summer music & arts program for NYC high school students. The program is designed for students who are interested in a career in the arts and music.
Workshops in music and visual arts will be offered over four dates between mid-July and mid-August. These 4 hour workshops will include guest speakers, professionals in both the visual arts and music. The guest speakers will share their knowledge, guidance and experience as professionals in the art world.
The main objective of the program is to provide continued instruction over the summer months for students who are considering a future career in the arts. Students can also be graduates who are looking for additional instruction before heading off to college or art school.
The planned student to teacher ratio will be 10-15 students with a total of 40-50 students for each date. Space will be limited, and will be on a first come first serve basis. Students can choose to attend one or more workshops, but we suggest you attend all four. Please sign up as soon as possible to secure your place. The specific dates, location (Manhattan) and times will be available soon.
These are the dates for the workshops:
Workshop 1- Sunday, July 22nd- 10:30am - 2:30pm (lunch provided)
Workshop 2- Sunday, July 29th- 10:30am - 2:30pm (lunch provided)
Workshop 3- Sunday, August 5th- 10:30am - 2:30pm (lunch provided)
Workshop 4- Sunday, August 12th- 10:30am - 2:30pm (lunch provided)
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6 years ago
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It was the industrial revolution that first attempted to record sound “as a medium for preservation," activating the phenomena of noise as an integral source when documenting history. Thomas Edison received notoriety for the phonograph in 1877, but it was really Edouard-Lèon Scott de Martinsville who invented the phonautograph in 1857, the first recording device. The device was specifically created to study frequency found in sounds, an intention much different from the phonograph invented by Edison which was to play and “reproduce the recorded sound… originally recorded onto a tinfoil”. As per historical reference ( author unknown ), “The phonograph revolutionized the art of music. Performances were recorded and people could listen to them at their leisure. It also made music and communication more public. The invention signaled the birth of a new form of entertainment and an entirely new field of business that fed the demand for the new invention, the music industry”- hence both inventions put an end to the masses' naiveté to the sense of hearing, and introduced the start of audio’s sensational future possibilities.
When we fast forward through the history of music and sound, we could say that the underground rave music scene (which famously erupted somewhere in between Chicago and the UK during the late 80’s), had a lot of thanking to give the founding fathers of sound, more so Edison’s phonograph. It was the phonograph that gathered groups of people before a speake[...]
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6 years ago
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Westwood: Punk, Icon, Activist, Lorna Tucker’s documentary on iconoclastic British designer Vivienne Westwood, has a trim runtime of 80 minutes. Maybe that’s why it feels like there’s a lot missing. How do you encompass the life and work of someone who 1) is half responsible for inventing British punk, 2) has evolved from an anti-establishment outsider into a revered fashion designer and beloved British subject, and 3) has had a fascinating personal life as well? This could have been a documentary series.
With the short shrift given various aspects of Westwood’s life and work, this nonlinear, nonchronological film yields more questions than answers. (Thank goodness for Wikipedia.) So it’s probably best to experience the interviews, archival photos, video clips and stock footage representing Westwood’s 77 years on earth as an impressionistic wash of information and fantastical visuals. In some ways, it’s a fitting framework for a wildly unconventional artist who has never done anything neatly or predictably.
The film begins with current-day Westwood looking overwhelmed as she asks crankily, “Do we have to cover every bit of it? So boring…” She's reassuringly punk from the get-go.
Tucker largely lets her subject narrate her own story, with input from husband, sons, employees and various others who have known her. We learn that she began making clothes at 11 or 12, around the same time that a painting of the crucifixion instilled the desire to save people and "preve[...]
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