March 1st, 2008

Chris Keeley

Action Alert: Vilnai's Threat On Friday, Israeli Deputy Defense Minister Matan Vilnai threatened a

Action Alert: Vilnai's Threat


On Friday, Israeli Deputy Defense Minister Matan Vilnai threatened a "shoah" on Gaza in response to qassam rocket fire directed at the Israeli settlement Ashkelon. "Shoah" is a Hebrew term for "big disaster" and is often used to describe the Holocaust.

Israeli leaders have been put under pressure to launch a full-scale invasion of Gaza. Vilnai commented on the situation to Israeli Army Radio:

"The more Qassam fire intensifies and the rockets reach a longer range, [the Palestinians] will bring upon themselves a bigger holocaust because we will use all our might to defend ourselves."

The humanitarian crisis continues within the Gaza Strip, where almost 1.5 million Palestinians remain trapped and without basic needs. The Council for the National Interest joins the Palestine Center, Electronic Intifada and other organizations in calling for the security of Palestinians inside the Gaza Strip. Look for a full report on Israeli action from CNI next week.

Chris Keeley

FEAR COULD BE THE KEY TO MIDDLE EAST PEACE

Dear Ed,
 
In light of your contribution to the Nader/Obama debate, please note the bolded phrase in the overly hopeful article below.
 
Kind regards,
John Whitbeck
 
*****************************************
 
PUBLICATIONS OF THIS ARTICLE:
 
October 2, 2001 -- Jordan Times (Amman)
October 5 -- Jerusalem Times
October 7 -- Al-Quds (Jerusalem)
October 7 -- Sunday Mail (Nicosia)
October 11 -- Daily Star (Beirut)
October 14 -- Arab News (Jeddah)
October 25 -- Al-Ahram Weekly (Cairo)
November 2001 -- Le Dossier Euro-Arabe (Paris)
December 2001 -- Washington Report on Middle East Affairs

      
FEAR COULD BE THE KEY TO MIDDLE EAST PEACE
 
By John V. Whitbeck
 
 
The hijacked aircraft which crashed in Pennsylvania on September 11 may well have had the U.S. Capitol, seat of the U.S. Congress, as its target. While we may never know for certain, if members of Congress suspect this to be true, their natural human response may provide the best hope in decades for actually achieving peace with some measure of justice in the Middle East.
 
It is widely believed that the same terrorist organization responsible for bringing down the World Trade Center was also behind the earlier bomb attack on it. It seems that the twin towers were "unfinished business". If the U.S. Congress views itself as "unfinished business" for terrorists who are filled with anti-American rage, determined, highly competent and suicidal (and who, if and when they try again, will almost certainly use a method not tried before and perhaps not even imagined yet), what is a rational member of Congress to do? Finally doing the right and decent thing in terms of U.S. Middle East policy should no longer be ruled out.
 
Foreign affairs experts outside the United States have long pounded their heads against walls trying to discern the American national interest served by the U.S. government's unconditional support for Israel's defiance of international law and UN resolutions through its continuing occupation of Arab lands conquered in 1967. This fruitless search for an explanation has been based on two false premises -- that the United States has "national interests" (as opposed to simply the particular interests of particular special interest groups) and that American politicians genuinely care about "American national interests". Prior to September 11, when diminishing the risk of further massive terrorist attacks on American targets became a clear "national interest", there was little evidence to support either premise. America's Middle East policies have been based purely on the calculations of American politicians as to their personal self-interest.
 
American politicians are (with a few honorable exceptions) among the most selfish and self-interested people in one of the world's most selfish and self-interested countries. When it comes to Israel and Palestine, they are motivated overwhelmingly by fear -- knee-knocking, sweaty-palmed, incontinent fear that the Israel-First Lobby will destroy their careers if they manifest anything less than total and abject subservience.
 
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Chris Keeley

The Fantastical World of Max Ernst on Display March 2–September 6, 2008, at the National Gallery of

The Fantastical World of Max Ernst on Display March 2–September 6, 2008,
at the National Gallery of Art



Max Ernst
Les malheurs des immortels, 1922
National Gallery of Art Library, Washington
David K. E. Bruce Fund

Washington, DC–The mysterious, species-bending creatures invented by German surrealist Max Ernst (1891–1976) during the 1920s and 1930s will be highlighted in the focus exhibition Max Ernst: Illustrated Books, on view at the National Gallery of Art from March 2 through September 6, 2008, in the West Building, Ground Floor, Gallery G21. Drawn from the Gallery’s rare book collection, the 19 works include pages from Ernst’s collage novels La Femme 100 têtes (1929), Rêve d’une petite fille qui voulut entrer au Carmel (1930), and Une Semaine de bonté (1934).

Ernst’s works on display were made from separate images which he combined to form imaginative and ambiguous narratives. The prints run the gamut from supernatural and whimsical to sinister and dramatic. Many of Ernst’s collages reference childhood experiences and Freudian psychoanalysis and challenge the established rules of Western academic art.

The exhibition will also feature works in Histoire naturelle (1926) that were created by rubbing a pencil over different textures and surfaces in order to produce surprising plant and animal-like forms. Ernst was fond of this technique, called frottage. Some of Ernst’s collaborations with other writers and artists such as Jean Arp, Leonora Carrington, and Paul Éluard are also on view.
Chris Keeley

pluk magazine

http://www.plukmagazine.com/

Exhibition Previews
Click here for full previews
Alfredo Jarr • Vanity Fair Portraits: Photographs 1913-2008 • Sebastião Salgado: GENESIS • Larry Clark: Los Angeles 2003-2006 • Sarah Beddington: Places of Laughter and of Crying • Alexander Rodchenko: Revolution in Photography • Good Morning, Mr Nam June Paik: His Life, Friends and Art • Darren Almond: Fire under Snow • Darren Almond: Moons of the Iapetus Ocean • Albert Watson: Miss Behayving • Tod Papageorge: Passing through Eden • Sarah Jones: Photographs • Bill Owens: Suburbia Revisited • Joanna Kane: The Somnambulists: Photographic Portraits from Before Photography • Lee Friedlander: A Ramble in Olmstead Parks • Juergen Teller: Ukraine • Albrecht Fuchs: Portraits • The Collections of Barbara Bloom • Thomas Struth: Family Life • Saul Leiter



http://www.plukmagazine.com/

The Collections of Barbara Bloom • Thomas Struth: Family Life • Saul Leiter
Chris Keeley

Larry Clark: Los Angeles 2003-2006 Simon Lee Gallery, London (5 February - 14 March) Los Angeles 200

Larry Clark: Los Angeles 2003-2006
Simon Lee Gallery, London (5 February - 14 March)
Los Angeles 2003-2006, a new series of photographs by the often controversial, American filmmaker and photographer, Larry Clark, mirrors his continuing engagement with contemporary youth's mores in popular but marginal urban environments. Successive images taken over a four-year period follow the physical transformation of Jonathan Velasquez, a teenager living in South Central Los Angeles whom Clark encountered by chance, throughout his adolescent years. This boy also inspired Clark to write and direct the film Wassup Rockers. Through his obsessive photographic chronicle of Jonathan's life we can follow the unfolding narrative of a succession of portraits, giving a closer reading to this particular teenager's personal life story, immersed in a specific social milieu currently shared by many urban youth subcultures. As in Clark's stills from his previous series: Tulsa, Teenage Lust, 1992, the Perfect Childhood, and punk Picasso; or in his provocative films - Kids, Bully, Ken Park and Wassup Rockers - this new series continues to probe - with a gaze of equal intensity and unabashed honesty - the subtle or striking changes that boys like Jonathan all go through in their teenage years. Close-ups, full-length frontal views and images of him and his friends, reveal both vulnerability and the growing signs of newfound individuality, vitality and an independent life. These colourful, large-scale pigment prints mark a new departure from the stark, documentary sensibility of Clark's earlier work, allowing a more tender and evocative exploration of his subject. A monograph featuring the en
Chris Keeley

Bob Richardson (Hardcover) by Terry Richardson (Editor), Bob Richardson (Photographer)

Bob Richardson (Hardcover)
by Terry Richardson (Editor), Bob Richardson (Photographer)
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Fashion photographer Bob Richardson (1928-2005) first began to publish his powerful, transgressive and emotionally charged black-and-white images in the high-fashion press of the 1960s, highlighting the new freedoms and attendant disillusions of the era in a distinctive, maverick style that matched his own edgy way of life. According to Cathy Horyn of The New York Times, ""Mr. Richardson's pictures were radical because, more than showing youthful fashion in a liberated way, they sought to expose the life dramas that were then consuming young people."" They were dark and conflicted, abject and suggestive, fleeting, broken, knowing and yearning. Always a cult photographer (and widely credited with influencing such peers as Peter Lindbergh, Steven Meisel and Bruce Weber), Richardson was also plagued by schizophrenia, and he lived hard-experimenting freely with sex and drugs throughout a life of extreme highs and lows. For example, he is perhaps most famous for the profoundly compelling portraits he made of his then-partner and muse Angelica Houston in the 1970s, while the 1980s found him homeless and living on the streets of Los Angeles. This highly-anticipated, beautifully-produced volume is the first ever dedicated to Richardson's oeuvre. Put together by his son, the equally renowned photographer Terry Richardson, it collects what remains of the original work, much of which was destroyed over the course of Richardson's unpredictable career.

# Hardcover: 352 pages
# Publisher: Damiani (September 1, 2007)
# Language: English
# ISBN-10: 8889431938
# ISBN-13: 978-8889431931