Vote Issues Not Image - Anita Dillman. was censored for "depicting guns, violence and weaponry", this print was one of four artworks censored by the City of Berkeley-run Addison Street Windows Gallery.
Thursday, March 25, 2010
Wednesday, March 17, 2010
Censorship in American Culture
http://hubpages.com/hub/Censorship-In-America
This website explains how american culture has been affected by censorship ever since we were declared a country.
This website explains how american culture has been affected by censorship ever since we were declared a country.
Language
http://linguisticmystic.com/2006/08/08/automated-censorship-b/
This website shows the effects of censorhip on not only american language but even other countries. It explains how here in america we censor things because they are thought to be vulgar or inappropriate while in other countries they are not. Also it explains how the american language can change meanings of words without even noticeing it.
This website shows the effects of censorhip on not only american language but even other countries. It explains how here in america we censor things because they are thought to be vulgar or inappropriate while in other countries they are not. Also it explains how the american language can change meanings of words without even noticeing it.
Education
http://www.caslon.com.au/censorshipguide22.htm
This website holds information about censorship and how it affects students in a more negative way than positive because it is sheltering them from the real world. Censorship infects everything from school curriculums to the teachers.
This website holds information about censorship and how it affects students in a more negative way than positive because it is sheltering them from the real world. Censorship infects everything from school curriculums to the teachers.
Monday, March 15, 2010
Science
http://ncacblog.wordpress.com/tag/evolution/
This is another blog website that is against censorship entirely it explains how a school in texas just passed a bill on the teaching of evolution. This has been frowned upon for years because of religious beliefs and in many ways has been censored from students because the teachers often loose thier jobs for teaching it.
This is another blog website that is against censorship entirely it explains how a school in texas just passed a bill on the teaching of evolution. This has been frowned upon for years because of religious beliefs and in many ways has been censored from students because the teachers often loose thier jobs for teaching it.
Location
http://cpj.org/reports/2006/05/10-most-censored-countries.php
This website includes the world's top 10 most censored countries. It gives an overview of countries that are known for censorship and explain what the do to make the people follow thier leaders blindly. The top 5 countries are North Korea, Burma,Turkmenistan,Equitorial Guinea, and Libya.
This website includes the world's top 10 most censored countries. It gives an overview of countries that are known for censorship and explain what the do to make the people follow thier leaders blindly. The top 5 countries are North Korea, Burma,Turkmenistan,Equitorial Guinea, and Libya.
Psychology
http://www.brocku.ca/MeadProject/Young/1930/1930_26.html
This website explains how censorship is used in psychology to control peoples opinions and thoughts about certain things. It explains how we all use censorship in our lives to block out certain things we do not want to see or hear, it also states that censorship is commonly used for negative reason and is a type of repression cause by our fear of consequence.
This website explains how censorship is used in psychology to control peoples opinions and thoughts about certain things. It explains how we all use censorship in our lives to block out certain things we do not want to see or hear, it also states that censorship is commonly used for negative reason and is a type of repression cause by our fear of consequence.
History
http://www.serendipity.li/cda.html
This website relates to censorship in history because it lists events that have taken place where the governments not only of the US but of many other countries censor things from their people. Things they have censored include literature,films,music,news and media stories and also the internet.
This website relates to censorship in history because it lists events that have taken place where the governments not only of the US but of many other countries censor things from their people. Things they have censored include literature,films,music,news and media stories and also the internet.
Thursday, March 11, 2010
Song
Mosh By Eminem
I pledge allegiance to the flag of the United States of AmericaAnd to the Republic for which it standsOne nation under God Indivisible with liberty and justice for all...It feels so good to be back..I scrutinize every word, memorize every line I spit it once, refuel, re-energize and rewind I give sight to the blind, my insight through the mind I exercise my right to express when I feel it's timeIt's just all in your mind, what you interpret it asI say to fight, you take it as I'mma whip someone's assIf you don't understand, don't even bother to ask A father who has grown up with a fatherless past Who has blown up now to rap phenomenon that has Or at least shows no difficulty multi-taskAnd in juggling both perhaps mastered his craftSlash entrepreneur who has helped launch a few more rap actsWho's had a few obstacles thrown his way through the last halfOf his career typical manure moving past thatMr. kisses ass crack, he's a class actRubber band man, yea he just snaps back[Chorus:]Come along follow me as I lead through the darknessAs I provide just enough spark that we need to proceedCarry on, give me hope, give me strengthCome with me and I won't steer you wrongPut your faith and your trust as I guide us through the fogTo the light at the end of the tunnelWe gonna fight, we gonna charge, we gonna stomp, we gonna marchThrough the swamp, we gonna mosh through the marshTake us right through the doors (c'mon)All the people up top on the side and the middleCome together lets all bomb and swamp just a littleJust let it gradually build from the front to the backAll you can see is a sea of people some white and some blackDon't matter what color, all that matters we gathered togetherTo celebrate for the same cause don't matter the weatherIf it rains let it rain, yea the wetter the betterThey ain't gonna stop us they can't, we stronger now more than everThey tell us no we say yea, they tell us stop we say goRebel with a rebel yell, raise hell we gonna let em knowStomp, push, shove, mush, F*** Bush, until they bring our troops home (c'mon)[Chorus]Imagine it pouring, it's raining down on usMosh pits outside the oval officeSomeone's tryina tell us something,Maybe this is God just sayin' we're responsibleFor this monster, this coward,That we have empoweredThis is Bin Laden, look at his head noddin'How could we allow something like this without pumping our fistsNow this is our final hourLet me be the voice in your strength and your choiceLet me simplify the rhyme just to amplify the noiseTry to amplify the times it, and multiply by six...Teen million people, Are equal at this high pitchMaybe we can reach alqueda through my speechLet the president answer a higher anarchyStrap him with an Ak-47, let him go, fight his own warLet him impress daddy that wayNo more blood for oil, we got our own battles to fight on our own soilNo more psychological warfare, to trick us to thinking that we ain't loyalIf we don't serve our own country, we're patronizing a heroLook in his eyes its all liesThe stars and stripes, they've been swiped, washed out and wipedAnd replaced with his own face, Mosh now or dieIf I get sniped tonight you know why,Cause I told you to fight.[Chorus]And as we proceed,To Mosh through this desert storm,In these closing statements, if they should argueLet us beg to differAs we set aside our differencesAnd assemble our own armyTo disarm this Weapon of Mass DestructionThat we call our President, for the presentAnd Mosh for the future of our next generationTo speak and be heardMr. President, Mr. SenatorDo you guy's hear us...hear us
Poem
Censorship by The Factologist- Censorship would be a good thing if it was used to ban lies, deceit, fraud and theist preaching; but sadly it's only ever used to ban truth, honesty, facts and atheist teaching.
Barbara Kruger, (1945 - )
Barbara Kruger was born on January 26, 1945, in Newark, New Jersey. She spent a year at Syracuse University in 1964 and a semester at Parsons School of Design in New York in 1965, where she studied with Diane Arbus and graphic designer Marvin Israel. In 1966, she took a job with Condé Nast, working in the design department of Mademoiselle. She was named that magazine’s head designer a year later. For the next decade, Kruger supported herself doing graphic design for magazines, book jacket designs, and freelance picture editing. In the late 1960s, she also developed an interest in poetry, attending readings and writing.
Kruger’s earliest artworks date to 1969. Large woven wall hangings of yarn, beads, sequins, feathers, and ribbons, they exemplify the feminist recuperation of craft during this period. Despite her inclusion in the Whitney Biennial in 1973 and solo exhibitions at Artists Space and Fischbach Gallery, both in New York, the following two years, she was dissatisfied with her output and its detachment from her growing social and political concerns. In the fall of 1976, Kruger abandoned art making and moved to Berkeley, California, where she taught at the University of California for four years and steeped herself in the writings of Walter Benjamin and Roland Barthes. She took up photography in 1977, producing a series of black-and-white details of architectural exteriors paired with her own textual ruminations on the lives of those living inside. Published as an artist’s book, Picture/Readings (1979) foreshadows the aesthetic vocabulary Kruger developed in her mature work.
By 1979, Kruger stopped taking photographs and began to employ found images in her art, mostly from mid-century American print-media sources, with words collaged directly over them. Untitled (Perfect) (1980) portrays the torso of a woman, hands clasped in prayer, evoking the Virgin Mary, the embodiment of submissive femininity; the word “perfect” is emblazoned along the lower edge of the image. These early collages, in which Kruger deployed techniques she had perfected as a graphic designer, inaugurated the artist’s ongoing political, social, and especially feminist provocations and commentaries on religion, sexuality, racial and gender stereotypes, consumerism, corporate greed, and power.
During the early 1980s, Kruger perfected a signature agitprop style, using cropped, large-scale, black-and-white photographic images juxtaposed with raucous, pithy, and often ironic aphorisms, printed in Futura Bold typeface against black, white, or deep red text bars. The inclusion of personal pronouns in works like Untitled (Your Gaze Hits the Side of My Face) (1981) and Untitled (I Shop Therefore I Am) (1987) implicates viewers by confounding any clear notion of who is speaking. These rigorously composed mature works function successfully on any scale. Their wide distribution—under the artist’s supervision—in the form of umbrellas, tote bags, postcards, mugs, T-shirts, posters, and so on, confuses the boundaries between art and commerce and calls attention to the role of the advertising in public debate.
In recent years, Kruger has extended her aesthetic project, creating public installations of her work in galleries, museums, municipal buildings, train stations, and parks, as well as on buses and billboards around the world. Walls, floors, and ceilings are covered with images and texts, which engulf and even assault the viewer. Since the late 1990s, Kruger has incorporated sculpture into her ongoing critique of modern American culture. Justice (1997), in white-painted fiberglass, depicts J. Edgar Hoover and Roy Cohn—two right-wing public figures who hid their homosexuality—in partial drag, kissing one another. In this kitsch send-up of commemorative statuary, Kruger highlights the conspiracy of silence that enabled these two men to accrue social and political power.
Major solo exhibitions of Kruger’s work have been organized by the Institute of Contemporary Arts in London (1983), Museum of Contemporary Art in Los Angeles (1999), and Palazzo delle Papesse Centro Arte Contemporanea in Siena (2002). She represented the United States at the Venice Biennale in 1982. Kruger lives and works in New York and Los Angeles.
http://www.rogallery.com/Kruger_Barbara/kruger-biography.html
Barbara Kruger was born on January 26, 1945, in Newark, New Jersey. She spent a year at Syracuse University in 1964 and a semester at Parsons School of Design in New York in 1965, where she studied with Diane Arbus and graphic designer Marvin Israel. In 1966, she took a job with Condé Nast, working in the design department of Mademoiselle. She was named that magazine’s head designer a year later. For the next decade, Kruger supported herself doing graphic design for magazines, book jacket designs, and freelance picture editing. In the late 1960s, she also developed an interest in poetry, attending readings and writing.
Kruger’s earliest artworks date to 1969. Large woven wall hangings of yarn, beads, sequins, feathers, and ribbons, they exemplify the feminist recuperation of craft during this period. Despite her inclusion in the Whitney Biennial in 1973 and solo exhibitions at Artists Space and Fischbach Gallery, both in New York, the following two years, she was dissatisfied with her output and its detachment from her growing social and political concerns. In the fall of 1976, Kruger abandoned art making and moved to Berkeley, California, where she taught at the University of California for four years and steeped herself in the writings of Walter Benjamin and Roland Barthes. She took up photography in 1977, producing a series of black-and-white details of architectural exteriors paired with her own textual ruminations on the lives of those living inside. Published as an artist’s book, Picture/Readings (1979) foreshadows the aesthetic vocabulary Kruger developed in her mature work.
By 1979, Kruger stopped taking photographs and began to employ found images in her art, mostly from mid-century American print-media sources, with words collaged directly over them. Untitled (Perfect) (1980) portrays the torso of a woman, hands clasped in prayer, evoking the Virgin Mary, the embodiment of submissive femininity; the word “perfect” is emblazoned along the lower edge of the image. These early collages, in which Kruger deployed techniques she had perfected as a graphic designer, inaugurated the artist’s ongoing political, social, and especially feminist provocations and commentaries on religion, sexuality, racial and gender stereotypes, consumerism, corporate greed, and power.
During the early 1980s, Kruger perfected a signature agitprop style, using cropped, large-scale, black-and-white photographic images juxtaposed with raucous, pithy, and often ironic aphorisms, printed in Futura Bold typeface against black, white, or deep red text bars. The inclusion of personal pronouns in works like Untitled (Your Gaze Hits the Side of My Face) (1981) and Untitled (I Shop Therefore I Am) (1987) implicates viewers by confounding any clear notion of who is speaking. These rigorously composed mature works function successfully on any scale. Their wide distribution—under the artist’s supervision—in the form of umbrellas, tote bags, postcards, mugs, T-shirts, posters, and so on, confuses the boundaries between art and commerce and calls attention to the role of the advertising in public debate.
In recent years, Kruger has extended her aesthetic project, creating public installations of her work in galleries, museums, municipal buildings, train stations, and parks, as well as on buses and billboards around the world. Walls, floors, and ceilings are covered with images and texts, which engulf and even assault the viewer. Since the late 1990s, Kruger has incorporated sculpture into her ongoing critique of modern American culture. Justice (1997), in white-painted fiberglass, depicts J. Edgar Hoover and Roy Cohn—two right-wing public figures who hid their homosexuality—in partial drag, kissing one another. In this kitsch send-up of commemorative statuary, Kruger highlights the conspiracy of silence that enabled these two men to accrue social and political power.
Major solo exhibitions of Kruger’s work have been organized by the Institute of Contemporary Arts in London (1983), Museum of Contemporary Art in Los Angeles (1999), and Palazzo delle Papesse Centro Arte Contemporanea in Siena (2002). She represented the United States at the Venice Biennale in 1982. Kruger lives and works in New York and Los Angeles.
http://www.rogallery.com/Kruger_Barbara/kruger-biography.html
Friday, March 5, 2010
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