Greater Boston Video: Father Of Modern Iranian Sculpture's First US Show At Wellesley
Legendary Iranian sculptor Parviz Tanavoli had never had a museum show in the United States before the Davis Museum at Wellesley College came out with a retrospective of the 77-year-old artist's work.
Why Did One Museum Remove Immigrant Artwork?
Wellesley College's Davis Museum in Massachusetts has removed or covered dozens of artworks produced by immigrant artists or donated by foreign-born collectors to show their contribution to culture in the United States. The Art-Less project has removed or covered 120 works of art. Museum Director Lisa Fischman says the project demonstrates the loss society would experience without the gifts of immigrant artists and collectors. One Museum visitor said the project is also a protest sending a message that contribution from immigrants has made the U.S. the desirable nation it is today.
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Odd half-naked statue pops up at Wellesley College in the US
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A statue of a sleepwalking man in his underwear is causing a stir at Wellesley College in Massachusetts. The statue is part of a new exhibition at the women's college's Davis Museum. While some people enjoyed its presence, one student started an online petition to remove the sculpture, calling it inappropriate and uncomfortable. The museum director posted a response online, saying art provokes dialogue. Double-takes and debate have been rampant this week on campus. The statue - titled Sleepwalker - is part of a solo show called New Gravity, featuring sculptures that explore how objects can be reversed, upended, or atomised. Report by Mark Morris.
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Creepy sleepwalker statue in underwear triggers controversy at US women's college
A statue of a sleepwalking man in his underwear is causing a stir at Wellesley College in Massachusetts on Thursday (February 6).
The statue is part of a new exhibition at the women's college's Davis Museum.
While some people enjoyed its presence, one student started an online petition to remove the sculpture,calling it inappropriate and uncomfortable. And, hundreds of outragedstudents signed a petition asking administrators to remove it.
The museum director posted a response online, saying art provokes dialogue.
Double-takes and debate have been rampant this week on campus.
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Tuesday Evenings at the Modern - Hrair Sarkissian
Syrian artist Hrair Sarkissian discusses his art in conjunction with his first major solo exhibition in the United States, FOCUS: Hrair Sarkissian. His work explores the hidden tensions that engulf humanity in an era of global crisis, addressing memory, trauma, and landscape and the complexities of capturing these through photography, especially analog photography in a digital age. The artist is joined by exhibition curator Dr. Omar Kholeif for a Q&A following the presentation.
Hrair Sarkissian, born in Damascus and currently living in London and The Hague, earned a BFA in photography at the Gerrit Rietveld Academie, Amsterdam, in 2010. His work has been featured in solo exhibitions around the world, including at the Davis Museum, Wellesley College, Massachusetts; Sursock Museum, Beirut; KADIST, San Francisco; Fondazione Carispezia, La Spezia, Italy; SALT Beyoğlu, Istanbul; and the Museum of Photography Thessaloniki, Greece. He has been in group shows at Tate Modern, London; New Museum, New York; Darat Al Funun, Amman; Mori Art Museum, Tokyo; Sharjah Biennial; Istanbul Biennial; and Asia Pacific Triennial, Brisbane; among others. Sarkissian won the Abraaj Group Art Prize in 2013.
Dr. Omar Kholeif, FRSA, is a writer and curator who has organized more than 100 exhibitions, special projects, and commissions globally. He is currently Director of Collections and Senior Curator at the Sharjah Art Foundation.
Tony Matelli · Sleepwalker
Tony Matelli's art provokes dialogue. His most controversial piece Sleepwalker has come to the High Line in NYC. In this interview Matelli talks about the piece and the controversy it has created.
Tony Matelli is an American sculptor perhaps best known for his work Sleepwalker.
Most of the sculptor's notoriety has arisen from his work Sleepwalker and the placement of the work therein. First publicly installed outside Wellesley College - an all women's school - the sculpture came under attack both in words and deed.
Some students reaction to the work which was first created for display at the institute of higher learning in time with his solo exhibition at Wellesley's Davis Museum, titled New Gravity was similar to that of some people's to Anthony Gormley's figure placed near a ledge on the Empire State Building being called in to emergency services as a jumper; they thought it was a stumbling invasive drunk or otherwise a perpetrator.
A petition was then started to demand removal of the work and, as reported by the New York Times, garnered over five hundred signatures, with the organizers stating that it had become “a source of apprehension, fear, and triggering thoughts regarding sexual assault for some members of our campus community.” Matelli responded stating..If you have bad feelings toward this and it’s triggering you, you need to seek sympathy, you need to seek help....”. In the end the sculpture stayed for the course of the exhibition and the boisterous debate continued online, ending in over one thousand signatures asking for the work's removal on change.org. Also during the sculpture's tenure at the seven sister school a bucket of yellow paint was dumped over it and it was described in the press as a crime scene.
During the spring and summer of 2016 the sculpture is being exhibited along New York City's High Line Park with continued debate and the great interest of onlookers who group around it sometimes in crowds.
Tony Matelli was born in 1971 in Chicago, IL. He received his BFA in 1993 from the Milwaukee Institute
of Art and Design, and an MFA at the Cranbrook Academy of Art in 1995. Recent solo exhibitions include Tony Matelli, New Gravity, The Davis Museum at Wellesley College, Wellesley, MA (2014); Tony
Matelli: A HUMAN ECHO, Bergen Kunstmuseum, Bergen Norway (2013); Windows, Walls and Mirrors, Leo Koenig Inc, New York, NY (2012). Recent group exhibitions include EAGLES II, Galeria Marlborough, Madrid, Spain (2015); Broadway Morey Boogie, Marlborough Chelsea, New York, NY (2014); Baroque,
Kulturhuset Stadsteatern, Stockholm, Sweden (2014).
Matelli lives and works in New York City. He is represented by the Marlborough Gallery.
CREDITS
Tony Matelli | filmed by Out of Sync | NYC May 2015
Interview | Jesper Bundgaard
Camera and edit | Per Henriksen
Producer | Out of Sync
Artworks courtesy | Tony Matelli
© Out of Sync 2016
Wellesley College Commencement 2016 Addresses
Wellesley College celebrated its 138th Commencement on Friday, May 27, 2016.
Invocation by Tiffany Steinwert, Dean of Religious and Spiritual Life
Welcome by President H. Kim Bottomly
Student Address by Grace Park '16
Presentation of the Pinanski Prize for Excellence in Teaching
Commencement Address by Lulu Chow Wang '66
Charge to the Class of 2016 by President H. Kim Bottomly
View the entire Commencement here:
Wellesley STORIES: B.O.W. for Sustainability
Meet Randelle and Margo, two Wellesley students from the foundational course for the Three College Collaboration's Sustainability Certificate, where Babson, .
Wellesley students pack more than studying into their schedules. Transfer student Leah Clement '12 strikes a balance between competitive running and .
What do the American Museum of Natural History, MoMa, and Wellesley College's Davis Museum have in common? Besides great art, they all have iPhone .
Wellesley College Commencement 2016 ( Full-Length)
Wellesley College celebrated its 138th Commencement on Friday, May 27, 2016.
Invocation by Tiffany Steinwert, Dean of Religious and Spiritual Life
Welcome by President H. Kim Bottomly
Student Address by Grace Park '16
Presentation of the Pinanski Prize for Excellence in Teaching
Commencement Address by Lulu Chow Wang '66
Charge to the Class of 2016 by President H. Kim Bottomly
What's up with this creepy statue of a nearly naked man walking across campus?
The Sleepwalker statue of a nearly naked man walking across the campus of an all-women's college has sparked cries of protest.
The statue is part of an exhibition of a sculptor's work at the Wellesley College Museum in Massachusetts.
Some students have demanded the statue be taken down. They said it triggered thoughts of sex assault.
More than 500 people have signed a change.org petition to have the statue removed.
The sculpture of the nearly naked man on the Wellesley College campus is an inappropriate and potentially harmful addition to our community that we, as members of the student body, would like removed from outdoor space immediately, and placed inside the Davis Museum. There, students may see the installation of their own volition, the petition stated.
The museum director said the goal of the exhibition is to provoke discussion.
Delirious: Art at the Limits of Reason, 1950–1980, Modern and Contemporary Art | Met Exhibitions
Watch a video preview of the exhibition Delirious: Art at the Limits of Reason, 1950–1980, on view at The Met Breuer from September 13, 2017, through January 14, 2018.
Featuring Kelly Baum, Cynthia Hazen Polsky and Leon Polsky Curator of Contemporary Art, The Met
Delirious times demand delirious art, or so this exhibition will propose. The years between 1950 and 1980 were beset by upheaval. Around the globe, military conflict proliferated and social and political unrest flared. Disenchantment with an oppressive rationalism mounted, as did a corollary interest in fantastic, hallucinatory experiences. Artists responded to these developments by incorporating absurdity, disorder, nonsense, disorientation, and repetition into their work. In the process, they destabilize space and perception, give form to extreme mental, emotional, and physical states, and derange otherwise logical structures and techniques. Delirious will explore the embrace of irrationality among American, Latin American, and European artists.
#DeliriousMet
#MetBreuer
Credits:
Director: Kate Farrell
Producer: Melissa Bell
Editor: Stephanie Wuertz
Camera: Sarah Cowan, Stephanie Wuertz
Lighting: Dia Felix
Production Coordinator: Kaelan Burkett
Original Music: Austin Fisher
Artwork and photographs courtesy of:
Art © Jasper Johns/Licensed by VAGA, New York, NY
© 2017 Bruce Nauman / Artists Rights Society (ARS), New York; Courtesy Electronic Arts Intermix (EAI)
© The Estate of Wallace Berman and Kohn Gallery. © Nicole Klagsburn Gallery, New York, NY
Art © Holt-Smithson Foundation/Licensed by VAGA, New York, NY
© Howardena Pindell
© 2017 Andy Warhol Foundation/Artists Rights Society (ARS) New York
Presented by the Friends of the Tate Gallery 2000. © Tate, London 2016
© The Estate of Eva Hesse. Courtesy Hauser & Wirth. Detroit Institute of Arts, USA/Bridgeman Images
© FALFAA –CELS Fundacion Augusto y León Ferrari Arte Acervo - Centro de Estudios Legales y Sociales; Courtesy of Sicardi Gallery; Presented by the American Fund for the Tate Gallery 2009; © Tate, London 2016
© Claes Oldenburg (1929-) Albright-Knox Art Gallery / Art Resource, NY
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
Collection of Diane and Bruce Halle, Phoenix, Arizona
Photo by Martha Holmes/The LIFE Images Collection/Getty Images
Courtesy the artist and Hauser & Wirth; © Anna Maria Maiolino; photo by Max Nauenberg
Photo by Rick Hall
Private collection, courtesy Peter Freeman Inc., New York / Paris
© The Estate of Lee Lozano; Courtesy Hauser & Wirth; photo by Stefan Altenburger Photography Zürich
Courtesy of Carolee Schneemann and Electronic Arts Intermix (EAI)
Distributed by The New American Cinema Group, Inc. / The Film-Makers' Cooperative
© The Estate of Martin Wong and P•P•O•W
© Estate of Edna Andrade
Courtesy of Martha Wilson and P•P•O•W, New York
The Art Institute of Chicago / Art Resource, NY
Art © The Nancy Spero and Leon Golub Foundation for the Arts/Licensed by VAGA, New York, NY; Photo by Davis Museum at Wellesley College, Wellesley, MA
© 2017 Artists Rights Society (ARS), New York / ADAGP, Paris. Digital Image © 2017 Museum Associates / LACMA. Licensed by Art Resource, NY
Courtesy of Tony Conrad Estate and Greene Naftali, New York
© The Estate of Philip Guston, courtesy Hauser & Wirth
© Ana Mendieta (1948-1985), photo by Princeton University Art Museum / Art Resource
© Yayoi Kusama; Des Moines Art Center Permanent Collections; Gift of Hanford Yang, New York; Photo by Rich Sanders, Des Moines
© 2017 The LeWitt Estate / Artists Rights Society (ARS), New York
Courtesy of Dara Birnbaum and Electronic Arts Intermix (EAI)
Courtesy of Lynda Benglis and Electronic Arts Intermix (EAI)
© 2017 The Metropolitan Museum of Art
2017 Alumnae Achievement Awards Ceremony
The Achievement Awards, which have been presented annually since 1970, are the highest honor given to Wellesley alumnae. On October 13, 2017, the WCAA presented this year's Alumnae Achievement Awards to the following three recipients.
Elyse Cherry is chief executive officer of Boston Community Capital (BCC), a nonprofit community-development institution that focuses on building healthy communities where low-income people live and work. As a member of BCC’s original board of directors, Cherry helped found the organization in 1984, and she has been integrally involved in its development and growth from a start-up to a national model that has invested more than $1 billion in underserved communities. More...
Kwan Kew Lai, M.D., D.M.D., is an infectious disease specialist who has volunteered her medical services all over the world. In 2004, after the Indian Ocean earthquake and tsunami, she spent three weeks in India, caring for survivors. She soon left her position as a full-time Professor of Medicine in Infectious Diseases and Internal Medicine at UMass Memorial Medical Center and created a half-time position as a clinician, dedicating the other half of her time to humanitarian work. More...
Lorraine O’Grady is a conceptual artist and cultural critic whose installations, performances, and texts address issues of diaspora, hybridity, and black female subjectivity. In 2007, Mlle Bourgeoise Noire, her landmark 1980 performance, was made an entry point to the touring exhibit “WACK! Art and the Feminist Revolution.” Since then, O’Grady’s career has expanded exponentially—with inclusions in such significant group shows as the Whitney Biennial (2010); the Paris Triennale (2012); “This Will have Been: Art Love and Politics in the 1980s” (MCA Chicago, 2012); “Radical Presence: Black Performance in Contemporary Art” (CAM Houston, 2012); “En Mas’: Carnival and Performance Art of the Caribbean” (CAC New Orleans, 2015); “We Wanted a Revolution: Black Radical Women, 1965-85” (Brooklyn Museum, 2017); and “Soul of a Nation: Art in the Age of Black Power, 1963-1983” (Tate Modern, London, 2017).
Connections: An Alumnae Panel
Wellesley women present a range of their lived experiences of feminism: What is each alumna’s perspective on feminism? How does she define feminism? Would she call herself a feminist? What are the challenges that feminists (and all women) still face? Where are the opportunities to be found?
Hosted by the Wellesley College Alumnae Association, this panel was moderated by Desiree Rogers ’81 and featured Laila Alawa ’12, Vanessa Bennett ’98, Charlotte Hayes ’75, Anne Shen Chao ’74, and Janet Diederichs ’50.
Black in Design Day 1
10/09/2015
This conference has been organized to address social justice from the perspective of design, emphasizing the importance of compassion in the design ethos, and with the goal of recognizing the contributions of African descendants to the design field and, by so doing, to broaden the definition of the designer. A series of conversations including students, faculty, and invited guests will consider design at the scale of the building, neighborhood, city, region, and globe.
Organized by the Harvard GSD African American Student Union with support from the Joint Center for Housing Studies, Hutchins Center for African and African American Research, Loeb Fellowship at Harvard GSD, the Dean's Diversity Initiative at Harvard GSD, and H-OAP
Additional information and complete conference schedule available here.
The list of confirmed participants includes:
Amber N. Wiley, Skidmore College, Saratoga Springs, NY
Brent Leggs, National Trust for Historic Preservation, Washington, DC
Bryan Mason, AphroChic, New York, NY
Craig L. Wilkins, University of Michigan Taubman College of Architecture and Urban Planning, Ann Arbor, MI
Deanna Van Buren, FOURM, Chicago
Euneika Rogers-Sipp, Harvard GSD Loeb Fellowship, Cambridge, MA
Frank Christopher Lee, Johnson & Lee, Ltd., Chicago, IL
Fred Opie, Babson College, Wellesley, MA
Jeanine Hays, AphroChic, New York, NY
Justin Garrett Moore, NYC Department of City Planning, New York, NY
K. Michael Hays, Harvard Graduate School of Design, Cambridge, MA
Kimberly C. Driggins, Harvard GSD Loeb Fellowship, Cambridge, MA
Liz Ogbu, Studio O, Berkeley, CA
Maurice Cox, City of Detroit Planning Director, Detroit, MI
Mitch McEwen, McEwen Studio, New York, NY
Phil Freelon, Perkins+Will, The Freelon Group, Raleigh-Duram, NC
USA: Nearly naked statue of man shocks women's college
A statue of a sleepwalking man clad only in his underwear has launched debate at the all-womens Wellesley College in Wellesley, Massachusetts, with students and passers-by flocking to check out the lifelike art piece on Thursday.
A group of several students have launched a petition on change.org, asking college president H. Kim Bottomly to remove the statue of a semi-nude man from the all-female campus. The petition says the statue has become a source of apprehension, fear, and triggering thoughts regarding sexual assault for some members of our campus community.
The statue was installed on Monday as part of a new exhibit at the Davis Museum. Titled Sleepwalker, the statue is part of sculptor Tony Matelli's solo show New Gravity.
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Alexey Titarenko - Magic of St. Petersburg (1991-2009) - Photography
Alexey Titarenko was born in Leningrad in 1962.
Black and White Magic of St. Petersburg Series ...Once, I came across a book, which for some reason slipped my attention in the past. It was Fjodor Dostoevsky early stories. . . I opened the book at random; the story White Nights captivated me so fully that I kept reading it over and over again. Dostoevsky seemed to have read my thoughts. Deeply inspired by this piece, I decided to make a new series of photographs based on the story. For the epigraph, I took the following citation from the story: There are, Nastenka, though you may not know it, strange nooks in Petersburg. It seems as though the same sun that shines for all Petersburg people does not peep into those spots, but some other different, new one, as if bespoken expressly for those nooks, and it throws a different light on everything. In these corners, dear Nastenka, a quite a different life is lived, quite unlike the life that is surging round us. But such as perhaps exists in some unknown realm, not among us in our serious, overserious, time. Well, that life is a mixture of something purely fantastic, feverently ideal, with something (alas! Nastenka) dingly prosaic and ordinary, not to say incredibly vulgar・Listen Nastenka. Let me tell you that in these corners live strange people ・dreamers.*
Yet another source of my inspiration was Brahm`s Violin Concerto.
From the interview for SHOTS magazine, 2005
* Translated from Russian by Constance Garnett. In: Dostoevsky, Fyodor. White Nights. London: Heinemann, 1970, p. 15
At age 15, he became the youngest member of the independent photo club Zerkalo (Mirror). He graduated from the Department of Cinematic and Photographic Art at Leningrad's Institute of Culture in 1983. His series of collages and photomontages Nomenklatura of Signs (first exhibited in 1988 in Leningrad) is a commentary on the Communist regime as an oppressive system hat converts citizens into mere signs. In 1989, Nomenklatura of Signs was included in Photostroyka, a major show of new Soviet photography that toured the US.
After the collapse of the Soviet Union in 1991 he produced several series of photographs about the human condition of the Russian people during this time and the suffering they endured throughout the twentieth century. To illustrate links between the present and the past, he created powerful metaphors by introducing long exposure and intentional camera movement into street photography. The most well known series of this period is City of Shadows. In some images urban landscapes reiterate the Odessa Steps (also known as the Potemkin Stairs) scene from Sergei Eisenstein's film The Battleship Potemkin. Inspired by the music of Dmitri Shostakovich and the novels of Fyodor Dostoevsky, he also translated Dostoevsky's version of the Russian soul into sometimes poetic, sometimes dramatic pictures of his native city, Saint Petersburg.
Titarenko's St. Petersburg body of work from the 1990s won him worldwide recognition. In 2002 the International Photography Festival at Arles, France presented this work at the Reattu Museum in the exhibition, Les quatres mouvements de St. Petersburg curated by Gabriel Bauret. In 2005, the French-German TV Channel Arte produced a 30-minute documentary about Titarenko entitled Alexey Titarenko: Art et la Maniere.
Titarenko's prints are subtly crafted in the darkroom. Bleaching and toning add depth to his nuanced palette of grays, rendering each print a unique interpretation of his experience and imbuing his work with a personal and emotive visual character. This particular beauty was recently emphasized during the exhibition of his prints from his Havana series at the Getty Museum (Los Angeles, May-October 2011).
His works are in the collections of major European and American museums, including The State Russian Museum (St. Petersburg); The Getty Museum (Los Angeles); the Philadelphia Museum of Fine Art; George Eastman House (Rochester, N.Y.); the Museum of Fine Arts (Boston); The Museum of Fine Arts (Columbus, Ohio); the Museum of Fine Arts (Houston); the Museum of Photographic Arts (San Diego); the Davis Museum and Cultural Center at Wellesley College (Mass.); the European House of Photography (Paris); the Southeast Museum of Photography (Daytona Beach, Fla.); the Santa Barbara Museum of Fin Arts (Cal.); the Jane Voorhees Zimmerli Art Museum at Rutgers University (N.J.); the Reattu Museum of Fine Arts (Arles); and the Musee de l'Elysee Museum for Photography (Lausanne).
Music; Ulver - Darling didn't we kill you
Sizzle and Chill
Rakuko Naito and Tadaaki Kuwayama were born and raised in Japan. They studied nihonga in art school, the traditional form of Japanese painting on paper or silk using natural pigments. They married and moved to the United States in 1958, which is when other notable Japanese artists, such as Yayoi Kusama and Yoko Ono, also moved to the US.
Living and working in New York, Naito and Kuwayama moved away from traditional Japanese painting and the gestural Abstract Expressionist painting that dominated the art world at that time. In the 1960s, both artists went in similar, yet distinct directions with respect to their art making practices. Initially using oil paints and then later acrylic, metallic and spray paints with tape and hard edges, Naito removed the artist's hand to create flat, optical paintings that explored visual perception. These paintings were vibrating and eye-popping with bold colors, crisp edges and dizzying patterns. Tadaaki also used acrylic paints and removed the artist's hand from his painting, but his work was more reductive and explored large geometric blocks of brightly colored paints. Later, he began to divide the canvas into squares and rectangles that were framed with aluminum and industrial materials and reassembled into a single structure. His surfaces were pristine and the shapes were repeated perfectly like building blocks. There was and continued to be a cool, reductive and serene quality to his artwork.
Rakuko Naito’s work is held in the Miami-Dade Community College, Miami, Florida; Kemper Art Collection, Chicago; Roland Gibson Art Foundation, State University of New York at Potsdam, New York; and Davis Museum and Cultural Center, Wellesley College, Massachusetts. She was an artist in Residence at the Josef and Anni Albers Foundation in 2003. She continues to explore the possibilities of different materials, and in her recent works she frequently uses Japanese paper.
Kuwayama has been the subject of numerous solo exhibitions at venues such as Green Gallery (1965, 1966); Tokyo Gallery (1967); Galerie Bischofberger, Zurich (1967); Museum Folkwang, Essen, West Germany (1974); Institute of Contemporary Art, Tokyo (1976); Akira Ikeda Gallery, Nagoya, Japan (1980, 1981, 1983, 1984, 1988); Nagoya City Art Museum (1989, 2006, 2010); Museum für Konkrete Kunst, Ingolstadt, Germany (1997); and National Museum of Art, Osaka (2011). His work has been presented in such group exhibitions as Systemic Painting, Guggenheim Museum (1966); Constructivism and the Geometric Tradition, Albright-Knox Art Gallery, Buffalo, New York (1979), which traveled to the San Francisco Museum of Modern Art (1980), Pittsburgh’s Carnegie Institute (1981), and Kansas City’s Nelson-Atkins Museum of Art (1981); and The Third Mind: American Artists Contemplate Asia, 1860–1989, Guggenheim Museum (2009). He won a National Endowment for the Arts grant (1969) and an Adolph and Esther Gottlieb Foundation grant (1986).
Mexican Pyramids on American Walls: Revivals, Restorations, Reinventions
THE MANTON FOUNDATION OROZCO LECTURE
James Oles, Senior Lecturer, Art Department, and Adjunct Curator of Latin American Art, Davis Museum, Wellesley College
In 1921, Mexican painter David Alfaro Siqueiros called on his fellow artists to absorb the synthetic energy of pre-Columbian civilizations while avoiding lamentable archaeological reconstructions. This lecture explores the diverse ways that muralists envisioned the architecture of ancient American cities in several murals created in the United States in the 1930s, including Orozco's celebrated frescoes at Dartmouth.
Individual Targeted, Directed Energy Weapon Awareness (Microwaved) Bill Clinton
Since Bill Clinton admitted and apologized for Government non-consensual human experimentation. I decided Raising Awareness about Citizens being used for Directed Energy Weaponry non-consensual human experimentation in his presence is the best idea. Secret Service specifically told the media do not report the story or post the pictures of me.
Here's a news article mentioning me as a silent protester and the sign.
What am I supposed to do when I can't tell the truth or get help for the atrocity committed against me and you?
I designed and wore the Targeted Individual t-shirt because when I first found other victims of Directed Energy Weapon attacks that was the name they’d given to themselves and it made sense to me since we are individuals being targeted.
What I’ve learned about most people who are considering themselves as a Targeted Individual is disappointing to me because they feel everyone from their neighbors to police and ambulances are in on their targeting and factually that isn’t true, the reasons they believe this are either because they’re too dumb to use deductive reasoning or they’re mind controlled to not see the reality of their attacks, I mean after a former CIA engineer tells you no microchip implants are needed for you to be attacked with this technology at what point do you believe him and stop theorizing, it seems most are full of misconceptions and unable to accept and change their theories.
I thought if I led by example more TI’s would see the importance of raising awareness with facts about the dangerous capabilities of the weapon system, backing any claims by using information from an accredited Whistleblower Dr. Robert Duncan, instead all I got was criticism for raising awareness about the motives of Aaron Alexis and Myron May’s mass shootings.
Meet the Poet: Edward Hirsch
Edward Hirsch gives a lecture on his passion and his his lifelong art: poetry.
Hirsch teaches us to read poetry (his own and that of others) as if all of history depended on it. And maybe it does. His theory of responsive reading implies that poems contain deeply embedded messages that have been almost mystically in conversation with one another from Homeric times forward. Hirsch leads the curious on a hunt for these messages and for the quiet, personal spaces in our lives where poetry can uncoil.
strongEdward Hirsch/strong has published six books of poems and three prose books, including the national bestseller, citeHow to Read a Poem and Fall in Love with Poetry/cite. He writes a weekly column on poetry for the citeWashington Post Book World/cite and has received the Prix de Rome, a Guggenheim Fellowship, the American Academy of Arts and Letters Award for literature, and a MacArthur fellowship. He taught for 18 years at the University of Houston and is now the fourth president of the John Simon Guggenheim Memorial Foundation
The event is sponsored by Wellesley College's Spanish Department, the Writing Program, and the Davis Museum and Cultural Center.