Words With Letters Chiner

Words With Letters Chiner – Is a three-way dialogue in the form of an exhibition. The version that accompanies this brochure is expanded from the original exhibition that took place at the Wadsworth Athenaeum in Hartford, Connecticut in 1997. Sister Corita, later known simply as Corita, was a Catholic nun who lived and worked in Los Angeles for thirty years. She reaches a wide audience with her popular silk screen prints and engaging style to express her views on faith, art and society. Donald Moffett is a New York City-based artist who emerged in the context of the AIDS crisis. As an activist artist and designer, Moffett has contributed widely to the gay liberation and AIDS activist movement. Moffett works in many media and uses different distribution modes to engage different audiences. My background as an artist was essentially in collaborative processes of making the exhibition, which deals with interrelations between culture and politics. My role in this project is the organization

. I see the conceptualization of the structure of the exhibition and the design of its aesthetic atmosphere as an artistic practice, the exhibition as a medium.

Words With Letters Chiner

Power Up: Sister Corita and Donald Moffett, Interlocking Installation View, Museum, Los Angeles, February 6 – April 2, 2000.

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Frances Elizabeth Kent was born in Iowa in 1918 to an Irish Catholic family that moved to Los Angeles five years later. After completing her Catholic education, Frances entered the Immaculate Heart of Mary Religious Community and took the name Sister Mary Corita. Between 1938 and 1968, Sister Corita lived and worked in the convent, communal environment of the Immaculate Heart Community.

In 1962, Pope John XXIII. The IHC, like many Catholic institutions, has been thrown into conflict as previously accepted traditions are revised in practice. The nuns mainly favored a progressive reading of Vatican II. Dramatic conflicts – sufficiently covered in the media – arose between the nuns and the relatively conservative, local archdiocese over the interpretation of the decree. By 1969, the conflict led to an ultimatum from Archbishop James McIntyre to the community: either conform to his authority or seek dispensation of vows. By 1970, IHC members chose the second option and established an independent entity that exists to this day. They kept their name and the structure of the organization, but were themselves supervised by the Catholic Church.

The Immaculate Heart Community was (in)famous for its liberal orientation in the 1960s, as was the IHC College Art Department for its progressive creative environment. Corita’s celebrity seems to be running on a parallel track. In her art, in her capacity as teacher and chairwoman of the College Art Department from 1964 to 1968, she embodied the modern nun.

For Corita, a broad distribution was a populist and Christian principle that determined her choice of artistic medium. She learned serigraphy in 1951 and considered printmaking to be “a very democratic form because it enables me to produce a quantity of original art for those who cannot afford to buy high quality art.” Although she was committed to making her work accessible, Corita did not define accessibility based on an imagined lowest general level of visual literacy. Rather, the forms she used—serigraphs, greeting cards, publications, posters—and the venues through which she disseminated her work—churches, community centers, galleries, fairs, and corporations—made her art accessible to a wide range of audiences. made accessible.

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Corita introduced words into her paintings around 1954 and gradually increased their use and scale until the word became image. This inclination can be linked to a growing interest in their immediate urban environment and its sign systems. Although one does not usually associate the religious principles of the Catholic Church with supermarkets and the sign environment of city streets, for Corita such vernacular culture was a source of inspiration and raw material. From 1962, Corita quoted advertising slogans and mimicked package design motifs. She appropriated the colors of the marketplace and the aesthetics of promotional culture to ground her religious and political messages in contemporary urban life. Corita’s cultural references and her palette and pictorial treatment have become more and more pop. Until 1964, their iconography was mainly derived from urban environments and the new booming media environment. In a 1968 essay titled “Art and Beauty in the Life of a Sister,” Corita described this period: “Our time is a time to erase the lines that have neatly divided things. Today find we all the superlatives and the infinite fulfillment man is hungry for. not only depicted in fairy tales or poems, but also in posters and magazines ads and TV commercials. We do an old thing in new media. But if we learn (or learn) how to take fairy tales and myths and parables must also learn (or learn) how to take billboards and magazine ads and TV commercials. In a sense, this is simply taking signs as signs. Thank God for city scapes – they have signs. Thank you God for magazines – they have ads. This sign language is infinitely rich.”

Between 1965 and 1969, Corita’s works compose the pictorial space as a forum, in which a carefully orchestrated dialogue between voices is typographically expressed. The work quotes, combines, extracts, highlights, and layers elements from a wide range of cultural sources including advertising slogans, street and grocery store signs, poetry, scripture, newspapers and magazines, theological criticism, and song lyrics. Although authority is conferred on certain types of speech that are easily preserved in public records and historical archives, vernacular speech such as ad phraseology comes and disappears quickly from circulation. Corita’s work does not reproduce the hierarchies common to such categorization systems of information. In Corita’s art, the fleeting elements of ephemeral culture are given permanence. Many rules of legibility central to the formalism of modernist design principles are broken in Corita’s 1960s work. Language is cut out, dismantled, reassembled, recontextualized. The typography is distorted, upside down and backwards. Letter shapes are ungrounded, floating, and interlock.

In the culture of protest that typified the late 1960s, posters and graphic materials were important tools that carried information and galvanized people. Declaring in 1967: “I admire people who march. I admire people who go to jail. I don’t have the guts to do that. So I do what I can,” Corita turned her attention to racism and poverty , US military committed brutalities. in Vietnam, and the conflicts between radical and conservative positions in the Catholic Church. Corita’s prints, made between 1967 and 1969, combine almost fluorescent colors to achieve dynamic effects. They have a visual affinity with political graphics and psychedelic concert posters from the time. Compositions are formed by dense layers of textual fragments and pictorial documentary material, resulting in compelling statements about the then-current political landscape. These visual dialogues are emblematic of the debate on social and political issues that defined the time.

From the late 1950s to 1968, Corita maintained a grueling teaching, lecturing and exhibition schedule that allowed only a two-week summer vacation each year, while – with a burst of energy and support from fellow nuns and students – she left her imprint done Despite what appeared to be her enthusiastic participation in public life, by 1968 she was seriously tired. Beleaguered also by frequent censorship of the Archdiocese, Corita decided to leave the order and move to Boston to pursue a less limited personal life and concentrate on her art. Deprived of their influential contexts of many years, the critical force and formal innovation of Corita’s previous work has disappeared. Her artwork grew more sentimental and increasingly reliant on platitudes and splashes of color. Nevertheless, she remained a popular artist. Distribution to a wide audience continued to be important and Corita accepted many corporate commissions. In 1985, the US Postal Authority published their “Love” stamp in an edition of 700 million. Corita died the following year.

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Proposed a symbolic template for blurring the boundaries between art and design, aesthetics and politics, and for decentralizing authority – be it monolithic or monological – in the larger context of then-current struggles over the restructuring of society.

Donald Moffett was born in Texas in 1955. In 1978, Moffett moved to New York City, where he continues to live and work as an artist and designer. He began showing his work publicly at the height of the Regan/Bush era and at the same time became involved in political activism within ACT UP (AIDS Coalition To Unleash Power). Moffett was a founding member of Gran Fury (1987–1993), the collaboration that effectively uses critical media strategies and video to raise awareness of the AIDS health crisis. He also works at the interdisciplinary design firm Bureau (NY), which he co-founded in 1989 with Marlene McCarty.

Mainly employs mounted photographic images. He also worked with light boxes, painting, large prints of maps and posters, and sculpture. There is a free flow between each of Moffett’s distinct ways of working, with the artist moving from gallery to street with incredible dexterity.

As part of the 1991 congressional debates on the effectiveness of the National Endowment for the Arts, Moffett explained his perspective at a hearing on government operations.

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