"Decorative Contemporary" by Emily Warner

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Pattern and Decoration has been called the last modernist movement and the first postmodern, a final hurrah in the chapters of avant-garde rebellion and a new front in the pluralist free-for-all of the 1970s. Certainly the movement was multiple, divergent, even contradictory in its manifestations: under its umbrella it gathered abstraction, figurative flourishes, gridded designs, riotous arabesques.

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"The Insistent Eye/I: On the Work of Michelle Dizon" by Annie Buckley

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It was Spring 1992 and I was six months into my new job as a third grade teacher. The school where I was assigned was a mere ten-minute drive from the ranch house where I grew up, but in Los Angeles, proximity does not equal similarity. While I had been raised in relative privilege, my students were living in poverty; my parents had come to California from the East Coast, and my students were the children of immigrants from Mexico and Central America. One morning that April, as our class met, the city outside learned that the four white Los Angeles police officers who had been caught on tape beating a black man, Rodney King, would be acquitted of any wrongdoing. Within the walls of the school, the students recited the date, "Hoy es miercoles, el veintinueve de abril, mil novecientos noventa y dos," unaware of the news, and the morning passed calmly enough. But walking to class after recess, the sky was dark. "Huele humo," the students said, "It smells like smoke." We peered over the balcony to see smoke blossoming in dark clouds from buildings around the perimeter of the school.

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"Call and Response: Tom Greenwood's The Salem Singers" by John Motley

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Tom Greenwood's practices as a musician and visual artist are so assiduously entwined that drawing any clearly defined boundary between the two is impossible. Scanning the walls and shelves of his stuffed apartment in Southwest Portland, Oregon, one can see how, for Greenwood, sound and image share a symbiotic relationship. There are paintings made for the albums he issues with his band, Jackie-O Motherfucker, and then there are paintings made directly on the surfaces of used LPs. There are posters promoting gigs for the band; tambourines screen-printed with overlaid pinwheels and starbursts; and yellowing pages from ancient issues of Rolling Stone, which Greenwood has singed into lacy, latticed patterns with burning incense sticks.

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"Raul Guerrero's 'Oaxaca Series'" by Lesley Ma

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On the southbound Interstate 5 past Downtown San Diego en route to Raul Guerrero's studio in National City, signs start to count down the mileage in the twenty-mile stretch to the United States-Mexico border. National City, one of the oldest cities in San Diego County and primarily an immigrant community, hosts the largest naval base on the West Coast, along with the Mile of Cars, one of the first auto malls in the world. After being greeted by the row of shiny car dealerships right off the highway exit, one arrives at a plain, adobe-colored industrial and warehouse complex, where the artist's studio is located.

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"Carrie Olson: Fear as Commodity" by Christopher A. Yates

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Fear is contagious and seductive. Every day the news and entertainment media bombard us with disasters both real and imagined. TV shows like Law and Order and CSI present a new horror every week. Our politicians pander with promises to get tough on crime or to protect our borders. Author and medical doctor Marc Siegel explains in False Alarm: the Truth about the Epidemic of Fear, "Statistically, the industrialized world has never been safer. Nevertheless, we live in fear of worst-case scenarios."[1] As a biological function, fear protects us from danger, yet in today's political and cultural climate it can lead to debilitating anxiety and hysteria, opening the door for individuals, companies, organizations and governments to step in with ill-conceived solutions or coercive measures of all sorts. We consistently act in response to fear. It is a potent drug.

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