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2011 Kawasaki Vulcan 1700 Nomad

2011 Kawasaki Vulcan 1700 Nomad Review

2011 Kawasaki Vulcan 1700 Nomad is one motorcycle issued by the manufacturer Kawasaki with Tourbike edition which supported the body design is comfortable to use. 2011 Kawasaki Vulcan 1700 Nomad used Frame Type: Steel, double-cradle with box-section single-tube backbone. For brake front / rear: Dual 300 mm discs, dual twin-piston calipers / Single 300 mm disc, twin-piston caliper. This 2011 Kawasaki Vulcan 1700 Nomad has a engine capacity 1,700 cc with Bore x stroke: 102 x 104mm and with engine type Four-stroke, liquid-cooled, SOHC, four valve per cylinder, 52° V-twin.

2011 Kawasaki Vulcan 1700 Nomad 1

2011 Kawasaki Vulcan 1700 Nomad 2

2011 Kawasaki Vulcan 1700 Nomad 3

2011 Kawasaki Vulcan 1700 Nomad - USA Specifications
MSRP: $13,499 USD

Engine: Four-stroke, liquid-cooled, SOHC, four valve per cylinder, 52° V-twin
Displacement: 1,700cc / 103.7ci
Bore x Stroke: 102 x 104mm
Compression ratio: 9.5:1
Maximum Torque: 108 lb-ft @ 2,750rpm
Cooling System: Liquid, plus cooling fins
Ignition: TCBI with Digital Advance
Induction: Digital fuel injection, dual 42mm throttle bodies
Final Drive: Belt
Frame Type: Steel, double-cradle with box-section single-tube backbone
Rake/Trail: 30° / 7.0 in.
Front Suspension / wheel travel: 43mm hydraulic fork / 5.5 in.
Rear Suspension / wheel travel: Swingarm with twin air-assisted shocks, with 4-way rebound damping / 3.1 in.
Front Tire Size: 130/90x16
Rear Tire Size: 170/70x16
Brakes, front / rear: Dual 300 mm discs, dual twin-piston calipers / Single 300 mm disc, twin-piston caliper
Overall length: 98.4 in.
Overall width: 40.4 in.
Overall height: 57.7 in.
Seat height: 28.7 in.
Curb weight: 834 lbs.**
Fuel capacity: 5.3 gal.
Wheelbase: 65.6 in.
Color Choices: Candy Neptune Blue / Metallic Phantom Silver, Ebony / Metallic Moondust Grey
Warranty: 24 months
Good Times™ Protection Plan: 12, 24, 36 or 48 months

**Curb weight includes all necessary materials and fluids to operate correctly, full tank of fuel (more than 90-percent capacity) and tool kit (if supplied).



2011 Kawasaki Vulcan 1700 Nomad - Canada Specifications
MSRP: $TBA CDN

Engine
Type Liquid-cooled, 4-stroke V-Twin
Displacement 1,700 cm3
Bore and Stroke 102 x 104 mm
Compression Ratio 9.5:1
Valve System SOHC, 8 valves
Fuel System Fuel injection:?42 mm x 2
Ignition Digital
Starting Electric
Lubrication Forced lubrication, semi-dry sump

Drivetrain
Transmission 6-speed overdrive with positive neutral return
Final Drive Belt
Primary Reduction Ratio 1.515 (50/33)
Gear Ratios: 1st 3.077 (40/13)
2nd 1.900 (38/20)
3rd 1.407 (38/27)
4th 1.143 (32/28)
5th 0.967 (29/30)
6th 0.806 (29/36)
Final Reduction Ratio 2.250 (72/32)
Clutch Wet multi-disc, manual

Frame
Type Double-cradle, steel
Wheel Travel: Front 140 mm
Wheel Travel: Rear 80 mm
Tyre: Front 130/90B16M/C 67H
Tyre: Rear 170/70B16M/C 75H
Caster (Rake) 30º
Trail 177 mm
Steering Angle (Left/Right) 35º / 35º

Suspension
Front: Type 43 mm telescopic fork
Rear: Type Swingarm with twin air-assisted shocks
Rear: Rebound Damping 4-way

Brakes
Front: Type Dual 300 mm discs
Front: Caliper Dual twin-piston
Rear: Type Single 300 mm disc
Rear: Caliper Twin-piston

Dimensions
Overall Length 2,500 mm
Overall Width 955 mm
Overall Height 1,465 mm
Wheelbase 1,665 mm
Ground Clearance 140 mm
Seat Height 730 mm
Curb Mass 378 kg
Fuel Capacity 20 litres
Fuel Consumption 6.5 L/100 km (44 MPG)

Performance
Maximum Power 61 kW {82 PS} / 5,000 rpm
Maximum Torque 146 N·m {14.9 kgƒ·m} / 2,750 rpm

Details
MSRP* TBA
Colours Ebony / Metallic Moondust Grey, Candy Neptune Blue / Metallic Phantom Silver
Warranty 24 months

ADDITIONAL COST OPTIONS
Good Times Protection Plan 24 or 36 months (Kawasaki GTPP coverage begins after the standard limited warranty expires)


* The Manufacturer's Suggested Retail Price does not include freight, pre-delivery inspection or applicable taxes. The final price is at the discretion of the dealer. Prices and Specifications are subject to change without prior notice.

The specifications mentioned here apply to and have been achieved by production models under standard operating conditions. We intend only to give a fair description of the vehicle and its performance capabilities but these specifications may not apply to every machine supplied for sale. Kawasaki Heavy Industries, Ltd. reserves the right to alter specifications without prior notice. Equipment illustrated and specifications may vary to meet individual markets. Available colours may vary by market.

R.M.S. Tressel

The sad voyage of Ohio State coach Jim Tressel



(HT: WLA for the 'copter 'shop)

Time to get new plates, dude

So you're a huge Buckeye fan living in New Jersey.  You get the scarlet Mercedes.  Add a Buckeye license plate holder.  Now, you need just one final thing to make this the ultimate Buckeye mobile: a Tosu-centric vanity plate.

Since you live outside Ohio, you have more choices.  You come up with the perfect one (no, "FUCK MICHIGAN" doesn't fit and isn't acceptable - even in Jersey).  Yes, it's available!

You wait.  And when the plates finally get there, you can't get them on fast enough.

Until today.

Oops.

Now the man's wife and entire family - who went to Michigan - are having the last laugh.

No, this isn't Terrelle Pryor's latest discounted ride

(HT: Andrew)

Untitled (Hey you!), 2009, David Shrigley

link

MZone Exclusive: New Ohio State Logo

In the wake of Tressel's resignation and the ongoing scandal swirling in C-bus, the MZone has learned that Ohio State will be changing their traditional logo - "Ohio State" across a block "O" - to something a little more honest.

2011 Ural T

2011 Ural T Review

2011 Ural T is one motorcycle issued by the manufacturer Ural with Tourbike edition which supported the body design is comfortable to use. 2011 Ural T Dimensions (LxWxH) mm/inches 2580x1700x1100/101.6 x 66.9 x 43.3. For brake is used Front Brakes BREMBO with full floating disk and Rear Brakes Mechanical Drum. This 2011 Ural T has a engine capacity 749 cc with Bore x Stroke: 78 & 78 mm and with engine type OHV Air-cooled, four-stroke, flat twin cylinder.

2011 Ural T 1

2011 Ural T 2

2011 Ural T 3

2011 Ural T 4

2011 Ural T 5

2011 Ural T - Specifications
MSRP - $9,999 USD

Model Number IMZ-8.1037
Dimensions (LxWxH) mm/inches 2580x1700x1100/101.6 x 66.9 x 43.3
Seat Height mm/inches 813/32
Road Clearance mm/inches 125/4.9
Dry Weight Kg/lbs 320/705
Recommended max cruising speed km/h:mph 105/65
Engine OHV Air-cooled, four-stroke, flat twin cylinder
Bore & Stroke 78 & 78 mm
Compression Ratio 8.6:1
Displacement 749 cc
Rated HP @ 5600 RPM 40
Carburetion Twin KEIHIN L 22 AA
Clutch Dry double disk
Rated Torque @ 4600 RPM 52 Nm / 38 ft-lbs
Alternator 55amp, 770 watts
Starting Electric & Kick-Start
Gearbox 4 forward, 1 reverse, shaft drive
Fuel 91 Octane Unleaded
Tank Capacity liters/gallons 19/5.0
Front Brakes BREMBO with full floating disk
Rear Brakes Mechanical Drum
Sidecar Brakes Mechanical Drum
Ignition Electronic
Front Suspension (forks) Leading Link
Rear Suspension SACHS Hydraulic spring shock absorbers
Wheels Size Front, rear, & sidecar 19"
Wheels Type Painted steel, steel spokes, cast alum. hubs
Warranty 2 years parts and labor, unlimited mileage
Fuel Mileage 26-33 mpg/11-14 km/l*
Trunk Volume 2.9 cubic ft/22 gallons

Options you may add Second "tractor" seat or bench seat
Spare Wheel with Tire
Spare Wheel Luggage Rack
Tonneau Cover
Sidecar windscreen
Cylinder Crash Bar
Full Size Tool Kit
And more…


* may vary depending on load, speed, driving style and weather conditions

The Best of Tresselgate

In the wake of Ohio State coach Jim Tressel's quitting before he got fired resignation, we put a few of our favorite posts about the scandal in one convenient place for all your linkage needs.

You're welcome.

Sincerely,

The MZone

SCRIPT O-LIE-O!

TRESSELGATE DOUBLE FEATURE

And back for a special return engagement:

TRESSEL-I-AM

Two weeks ago - before Yahoo! Sports posted a story claiming that Ohio State football coach Jim Tressel knew about Buckeye players trading merchandise for free tattoos more than eight months before the school said it was made aware of the allegations - The Vest was photographed reading Dr. Seuss books to a group of school children in Ohio:

Well, in light of the recent allegations in C-bus, may we suggest the following for The Vest's next reading to the kids:

 An excerpt:

We looked!
Then we saw him step in on the mat!
We looked!
And we saw him!
Terrelle and his tats!
And he said to us,
"Why do you sit there like that?
I know it is wet
And the sun is not sunny.
But we can have lots of fun
Lots of fun with booster money!"


"I know some good bars to go to,"
Said the QB.
"We can drive in the new car
The new car dealer just loaned me!
We will take the car, take the car out for a ride.
My coach
Does not care, so I have nothing to hide!"


Then Sally and I
Did not know what to say.
But Terrelle said Coach Tressel
Would look the other way.


But our fish said, "No! No!
Make Terrelle go away!
Tell that Cat with the Tats
You do NOT want to play.
He should not be here,
He should be on probation!
He should be suspended
With the rest of Buckeye Nation!"


"Now! Now! Have no fear.
Have no fear!" said the QB
"I won't get caught
Since my coach just ignores me.
Why, we can have
Lots of fun doing my thing
With a game that I call
Selling my championship ring!"

An excerpt:

I do not like the game's laws and its rules
I do not like them, they're only for fools
I did not like them during the days of Clarett
I do not like them nor have been busted just yet
I let Terrelle Pryor get his free tats
Then claimed, "Oh, I did not know about that!"
I do not like the rules they have about class
The N-C-A-A can kiss my Vest-wearing ass
I do not like the rules out on the field
And if we get busted, I'll surely appeal
I do not like the rules here in the 'Shoe
And our fans do not care as long as I beat the Blue
I do not like rules here or there
I do not like them ANYWHERE!


REDLINED FIRST DRAFT OF OSU LETTER TO NCAA

Yesterday, we printed in full Ohio State's letter to the NCAA regarding Tresselgate.   Since then, portions of an earlier draft of the letter have been leaked.  Initially, in addition to missing the first two games of the 2011 season and paying a $250,000 fine, Ohio State officials considered banning Coach Jim Tressel from spring practice and summer camps.

And that's not the only shocker.

In the MZone exclusive below, we have obtained a copy of the heavily edited rough draft of the last "Conclusion" paragraph of that letter.  As you'll discover, significant changes were made before it was submitted.

The institution was wondering when the other shoe was gonna fall regarding the charade that is Cheaty McSweaterVest.  How the hell it took this long is beyond us is very surprised and disappointed in Coach Tressel's lack of action in this matter.  His behavior in this situation is par for the course out of character from him and is contrary to his proven history of saying one thing in those bullshit self-righteous books he pawns while doing another behind the scenes of promoting an atmosphere of NCAA compliance within the football program.  Since this shit has been going on ever since his hiring as the head football coach in 2001 (i.e. Maurice Clarett, Troy Smith, etc.), he and his staff have ignored attended the NCAA rules education sessions on a consistent basis, regularly made up sought interpretations, and self-reported an almost laughably huge fuckload of nearly 400 secondary violations.  His lack of truthfulness action in this matter appears to have been the result of thinking he was above the rules and wouldn't get caught as usual indecisiveness regarding the appropriate actions to take in this specific situation in which he was placed if you can even begin to wrap your head around what a huge set of stones it took to even try to pass that nonsense off as a plausible excuse, as opposed to a blatant disregard of NCAA legislation stretching back to his Youngstown State days.  Nevertheless, we recognize that because he wins a lot of games and beats Michigan, we look the other way when we can and offer the insulting slap on the wrist punishment in this letter now  that he should have forwarded this information in some manner to appropriate institutional officials.  With the exception of this mistake that you know about, he is a man  of integrity and high moral standards if you set the bar somewhere between, say, Pete Carroll and the SMU program during the Eric Dickerson years. 

This institution really hopes you'll buy the ginormous load of horse shit in this letter in the same way you shockingly believed the whole 'Cam Newton didn't know' steaming pile appreciates the cooperation of your staff in this inquiry.

Suckers, Sincerely,

Larry Gordon Gee, President

Moe John Bruno, Faculty Athletics Representative

Curly Gene Smith, Director of Athletics

cc: The assclown who tried to fuck with The Game 

    Mr. James E. Delany

Stephen Truax

Untitled, 2011

Untitled, 2011

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Television Personalities: Magnificent dreams

"Execution Changes #27 (CS Q1 LRJ DC Q2 LLJ DC Q3 LRJ DC Q4 URJ DC)," 2011, Julian Hoeber

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RISE, ROSE, RISEN: An exhibition of new works by Harold Ancart and Esther Kläs

Invited by

Emily Harvey Foundation

C L E A R I N G

is pleased to announce

RISE, ROSE, RISEN

An exhibition of new works by Harold Ancart and Esther Kläs

Opening Reception Wednesday June 1, 10am - 2pm

The exhibition will continue from June 1 - June 8, 2011

11am - 7pm

Emily Harvey Foundation

San Polo, 387

30125 Venezia

Italia

Find us

C L E A R I N G

+39 339 1213611

justclearing@gmail.com

c-l-e-a-r-i-n-g.com

We would like to thank Frédéric de Goldschmidt

for his precious help and support

"Luke Perry," 2009, Anthea Hamilton

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"Don't give me money, it's not what I want, from you," 2005/2009, William Hunt

link

"Boat drawing, right," 2010, Paul Sietsema

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Cue the Munchkins

Tressel resigns

"After meeting with university officials, we agreed that it is in the best interest of Ohio State that I resign as head football coach. The appreciation that Ellen and I have for the Buckeye Nation is immeasurable."

Steven Claydon at Kimmerich

Blue Tooth Erased, 2011

Drawing, 2011

The Conveyance of Substrate, 2011

link

Louise Bourgeois at Cheim & Read

UNTITLED, 2006

UNTITLED, 2005

link

"Rigid," 2007-2008, Roe Ethridge

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Impossible Vacation at White Flag Projects, St. Louis

Lin May, Slow Bird, 2011

Scott Olson, Untitled, 2010

John McAllister, Dusk Deserted Field Lights, 2010

Virginia Overton, Untitled (Upended), 2011

link

Car Motor Bike Jeremy EcoMobil

Car or Motor Bike? Jeremy tries out the EcoMobile - Jeremy ...
Car or Motor Bike? Jeremy tries out the EcoMobile - Jeremy Clarkson's Motorworld - BBC. Jeremy Clarkson travels to Switzerland to try out the EcoMobile: a ...
http://www.ecocarthailand.info/clip/car-or-motor-bike-jeremy-tries-out-ecomobile-jeremy-clarksons-motorworld-bbc

http://www.thaihottime.com/hatyai/archives/3755

Car Motor Bike Jeremy EcoMobil. Jeremy Clarkson travels to Switzerland to try out the EcoMobile: a motor bike with a full car body.

Untitled (Red and Blue, Beautiful Wild, Face 41.70), 2011, Mark Grotjahn

link

Cheeseburger: Do You Remember

MAGDALENA KRÖNER interviews JUDITH BERNSTEIN

CONVERSATIONS WITH ARTISTS

JUDITH BERNSTEIN

I HAVE NEVER HEARD ANY GOOD

REASON FOR CENSORSHIP

An Interview by MAGDALENA KRÖNER

Artist Judith Bernstein, born in Newark 1942, lives and works in New York. In 1974, her drawing “Horizontal,” a monumental depiction of a phallic presence, part of the group exhibition “FOCUS: Women’s Work – American Art 1974,” caused a scandal: “Horizontal” was removed from the exhibition for being too sensationalist. The censorship of her work yielded turn intensified the controversy already surrounding her work. After this scandal, Bernstein’s career was virtually over before it had actually begun. Her provocative works were barely exhibited or sold. However, the artist is presently experiencing an extensive rediscovery. In summer of 2010, P.S. 1 showed “Five Panel Vertical,” as part of the group exhibition “Greater New York”, and in October, The New Museum exhibited early political collages such as “Are You Running with Me Jesus?” as part of the exhibition “The Last Newspaper Show”. In November of 2010, The Alex Zachary Gallery, located on New York’s Upper East Side, exhibited a new reconfiguration of Bernstein’s monumental “Signature Piece,” and in 2009, Mara McCarthy’s Gallery “The Box” in Los Angeles installed a retrospective of the artist, spanning four decades.

*** Magdalena Kröner: What was your most important exhibition, and what memories do you have of it?

Judith Bernstein: I had my first exhibition at A.I.R. (Artist in Residence) Gallery in 1973; it was my first individual exhibition. A.I.R. was the first gallery dedicated to promoting and presenting art produced by women on a professional level. Back then critic Lucy Lippard had a file of artwork of women artists. This file served as a resource in choosing women for A.I.R. It was an exciting time; we all were very idealistic, and very young.

What was special about A.I.R., which still exists today?

As a women’s cooperative in New York with a conceptual sensibility, A.I.R. was founded in 1972 to facilitate the entry of women into the art market. Ideally the purpose of A.I.R. was to secure a spot for women in a system dominated by men. Nancy Spero and Ana Mendieta were among the founding and beginning members. That A.I.R. continues to exist today demonstrates the need for professional artistic representation for women.

Which works were exhibited at A.I.R. as a young artist, and how were the reactions?

October 1, 1973, I had the first solo show where I exhibited ‘Horizontal’, ‘Big Horizontal’ and ‘Five Panel Vertical’ – three pieces of work that right from the beginning were met with volatile reactions. Interestingly ‘Horizontal’ would be censored in 1974.

I would like to know more about that. In your opinion, what was it that made those works controversial? –Could you explain the context for censorship?

The exhibition ‘FOCUS: Women’s Work – American Art 1974’ was shown at the Philadelphia Civic Center Museum. It included 170 works by 86 women artists. Notably, five influential women curated the exhibition, among them Marcia Tucker, at the time a curator at The Whitney Museum, Cindy Nemser, writer and publisher of The Feminist Art Journal, Adelyn Breeskin of the National Collection of Fine Arts, Anne D’Harnoncourt of The Philadelphia Museum of Art, and sculptor Lila Katzen. The managing director and curator of The Philadelphia Civic Center Museum, John Pierron and Marian Aguilera implemented the censorship. Furthermore, Frank Rizzo, the then conservative mayor of Philadelphia had a say in it. Irresponsibly they rated my work as dangerous to women and children; consequently denying it of any societal relevance. They used a phraseology frequently applied to pornography, that it was of ‘no redeeming social value’. The good thing was that I received a great deal of support. At the opening, artists and supporters wore buttons saying ‘Where is Bernstein?’ There was also a petition signed by fellow artists, exhibitors and critics that included Dore Ashton, Louise Bourgeois, Clement Greenberg, Lucy Lippard, Alice Neel, Marcia Tucker, and Angela Westwater.

How did you feel about being censored?

It was 1974 and I had just begun following my own path in the art world. I never wanted the exhibition to be closed. I felt it was a shame that ‘Horizontal’ wasn’t included in the FOCUS exhibition, but in a way I was still part of it. Many publications including The New York Times and Artforum framed their critiques in response to the omission of ‘Horizontal’. Overall, it was incredibly important for women artists to be shown, to be noticed, and to receive reviews.

In your opinion, why did this censorship happen?

I believe it has to do with the subconscious content of my work. When viewing ‘Horizontal’, ‘Big Horizontal’ and ‘Five Panel Vertical’, an observer probably will likely internalize these huge phallic presences as no different than a giant cock.

Why does the subject matter of your work continue to be controversial?

The connection between screw and phallus, present in much of my work, touches upon many sensitive aspects that exist in the subconscious. Men especially can feel intimidated by the scale of a work such as ‘Five Panel Vertical’ (15 x 35 feet), a monumental presence which last summer in 2010 was shown for the first time since 1973 as part of that year’s ‘Greater New York’ show at P.S. 1 – something that made me ecstatic. In addition, women and men may disapprove of how I chose to politicize female genitalia as angry and aggressive as in the series ‘Active Cunt.’

Compared to artist Lee Lozano, whose approach is similar to yours in many aspects, people always emphasize the humor in your work. According to those statements, Lee Lozano’s work is ‘terrifyingly dark’, whereas yours shows a ‘scathing cheerfulness,’ as Artforum once put it. What role does humor play in your work?

I LOVE humor. For me, aggression and humor are strongly connected. You see this in ‘Fun Gun’, where the penis has a gun-like trigger, and ‘Supercock,’ a comic figure with huge genitals whom flies whilst ejaculating through the world.

You belong to a generation of female artists, among them Lee Lozano, Mary Heilmann and Marilyn Minter, who have been doing art for decades, and who have gained more presence in the scene recently. How do you explain this, and what does your rediscovery mean to you, also on an institutional level?

I think people are hungry for distinctive voices. I’m thrilled about the recognition of my work.

In what way does the distinctiveness you mentioned apply to your own work?

My work references the subconscious and is a culmination of ideas about scatological graffiti, anti-war movement, sexuality and feminism. It strikes a nerve. For one thing, the US’s ‘War on Terrorism’ has produced military conflicts with no foreseeable end. This is the elephant in the room. My work about Vietnam becomes very contemporary because the anxieties about the current wars have not been sufficiently addressed. There is also interest in the artwork of the seventies and this is where my roots of the phallic presences reside. I’d say the present interest in my work is remarkable. There is a current generation that really supports of the directness of my work.

Why?

In 1966, when I was still studying at Yale, my work had been censored from an outdoor group show curated by Robert Doty. I was even censored by Kodak! – That same year they wrote me, ‘We don’t duplicate this kind of art.’

Has scandal been an obstacle or advantage for you?

Let’s say, there are artists for whom the scandals in which they were involved in paid off big time –like Robert Mapplethorpe or Andres Serrano. But that was art by men, and it evolved in a later time. Perhaps, my work was just too uncomfortable. Critic Jerry Saltz once asked me what sort of people appreciate my art the most: gay men, heterosexual women, lesbian woman… I think everyone likes it for different reasons and those reasons do not necessarily reflect commercial interests. Perhaps, my – let’s say ‘difficult’ – position in the art market also has something to do with the fact that my work is not so easy to categorize. My work was classified as being feminists, but my work does not only address feminist topics; it operates on a much broader realm – it encompasses politics, sexuality, violence, and power. It combines many different psychological aspects which can make it all the more difficult to grasp.

Could this be the reason that your work was not included in Connie Butler’s “Whack – Art and The Feminist Revolution”; a comprehensive feminist exhibition featured at The Museum of Contemporary Art in 2007, and at P.S. 1 in 2008, which included more than 120 female artists from the US and Europe?

I think so. I had a long conversation with Butler and we agreed that feminism probably was the most important artistic movement of the past century. To me, it was important to be part of the feminist movement, however, it was also important to see my work as feminist and dealing with broader issues. However, I’m observing and critiquing men and that view has not always been embraced. ‘Bathroom Graffiti’ supports that critique as well as ‘Sally You Old Fuckhead’, and ‘Vietnam Garden’.

How did you come up with that critique?

Early on, I was inspired by the graffiti I found in the bathrooms at Yale. I looked at the graffiti and realized I could use this idea. This material was a door to the subconscious in men and it was a dialogue for men that women were not privy to. There was no editing of thoughts when men used the bathroom; they let go physically and psychologically with graffiti. The material was more profound than the obvious.

Through all those years, how did you exist at the periphery of the art world?

In 2008, I had my first solo exhibition after 24 years at Mitchell Algus gallery. I was always working and had amassed a large cache. Had I been commercially successful as an artist, I could have had a different life and a different career. Although part-time I was fortunate to be able to teach. The academic world provided a place for me. While my work did not sell very well, academia facilitated the discussion of my work and its contextualization of feminism, political art and censorship. I’d say that it was the contact and exchanges with other artists and intellectuals that helped me the most.

Currently, the censorship of a piece by artist David Wojnarowicz, who died in 1992, has raised international attention. His video “A Fire in My Belly,” which he produced in 1987 after learning of his HIV positive status, contains a 10-second sequence showing a crucifix teeming with ants. After protests by republicans and the influential Catholic League, his work was removed from the group exhibition “Hide/Seek: Difference and Desire in American Portraiture” at The Smithsonian Institution in Washington.

This reminds me once more that I have never heard a good reason for any sort of censorship. There are just poor arguments and lame excuses motivated by fear. Censorship contradicts the First Amendment of our Constitution, which guarantees freedom of speech. It’s important to hear the voices of artists in addition to the voices of others. Censorship has consequences: many artists wanted to remove their works from ‘Hide/Seek.’ The Andy Warhol Foundation decided not to financially support any further projects at The Smithsonian. The Robert Mapplethorpe Foundation also protested the censorship by refusing to honor its financial promise until the video’s reinstatement. Last December, the Calder Foundation removed Wojnarovicz’s work from the National Portrait Gallery and in that same month, The Metropolitan Museum of Art organized a film screening and a panel discussion about the work. The Metropolitan’s response was meaningful because it addressed more complex and relevant issues greater than ants crawling over a cross. Censorship happens and interestingly one of Jeffrey Deitch’s first actions as new director of MOCA LA was to paint over a mural the museum commissioned by Italian Graffiti artist Blu on an outside wall of the museum. Deitch late expressed that he feared the mural depicting a row of coffins draped in dollar bills might offend the feelings of war veterans. To recreate the Blu mural outside or within MOCA would be terrific!

What is your opinion on that?

I think it’s important that voices of power hear voices of dissent – and this is exactly what Blu’s work had done. It is unfortunate that his mural was painted over. Currently I have a mural on Bowery gate across from New Museum that says “Fuck War”, apart of the Art Production Fund and New Museum. In the last ten years, I have continually produced work protesting various wars – and this also includes the culture’s war against women’s equality, and it is a war. If anything, censorship confirms that art is still able to cause an enormous emotional punch.

JUDITH BERNSTEIN

Born 1942 in Newark, lives and works in New York. Studied at Yale University, School of Art, MFA & BFA, 1967.

LINK

Maria Calandra (PENCIL IN THE STUDIO) drops by for a visit...

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200 MPH Motorcycle Crash

200 MPH Motorcycle Crash | It's only road rash.......
wiped out twice while trying to set a world record ron cook: www.pureguts.com.
motorbikevideos.info/featured/200-mph-motorcycle-crash/

http://www.thecarcrash.com/tag/200mph/

200 Mph Motorcycle Crash
200 Mph Motorcycle Crash on WN Network delivers the latest Videos and Editable pages for News & Events, including Entertainment, Music, Sports, ...
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"The Pilgrim," 2011, Uwe Henneken

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"Denominator," 2011, Jamisen Ogg

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"GERMAN GENTLEMAN," 2009, SPENCER SWEENEY

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rolling thunder run

memorial day weekend is always marked around here by the rolling in of thousands of bikes for the annual rolling thunder run. its kind of an awesome event and always nice to have people visit dc and see how nice it is in real life: it really is. there are events scheduled throughout the weekend...watch out for media whore and uninvited guest sarah palin and her brood, though: she might just quit in the middle of the ride.