DEFINITION OF FASHION INDUSTRY - DEFINITION OF
Definition of fashion industry - Taylor momsen gossip girl fashion - Military fashion 2011
Definition Of Fashion Industry
- apparel industry: makers and sellers of fashionable clothing
A conspiratorial organization that is hell bent on forcing women of size to wear frumpy clothing, and to promote anorexia by utilizing uber-skinny models.
Fashion, a general term for the style and custom prevalent at a given time, in its most common usage refers to costume or clothing style.
- An exact statement or description of the nature, scope, or meaning of something
- (define) specify: determine the essential quality of
- A statement of the exact meaning of a word, esp. in a dictionary
- The action or process of defining something
- a concise explanation of the meaning of a word or phrase or symbol
- clarity of outline; "exercise had given his muscles superior definition"
THE PROGRESSIVES/MARXISTS/SOCIALISTS WILL DEFINE YOU ------JUST ASK 'EM
One of the most striking things about this year's political discourse (as if name-calling and wild accusations can be dignified with such a term) is that what used to be considered traditional and commonplace thinking is now labeled as extremism and bigotry. A few examples:
If you believe that the U.S. Constitution means only what it actually says, you are an extremist who ought to be wearing a powdered wig.
If you believe that marriage is exclusively the union of one man and one woman, you are a homophobe and a bigot.
If you think people should not be allowed to break into our country illegally, then get free education, health care and jobs and to march in our streets to protest the violation of their "rights," you are a racist, a xenophobe, and your state should be boycotted.
If you have misgivings about the morality of abortion, or any doubts about the absolute right of a mother to kill her unborn child, you are a religious fanatic, an anti-feminist, and probably a right-wing Catholic.
If you admit to having some queasy feeling when boarding an airplane with people dressed in Muslim garb -- you are not only a bigot but you are FIRED -- if you work for National Public Radio (or probably any other institution aligned with the cultural/political Left in this country.)
If you watch Fox News, you are a freakin' @#XX!&**mf2!!!
If you doubt any of the above is true, a close look at the TV commercials being run by the likes of Sen. Harry Reid, Barbara Boxer, Patty Murray or many of the other endangered Democratic incumbents running scared this election year will prove my point. Anyone who does not totally buy into the "progressive" agenda and orthodoxy of politically correct, left-leaning Democratic Party is, by definition, "extreme" if not outright bigoted or "crazy" (as Reid has labeled his opponent, Sharron Angle).
The point of all this is not simply to bemoan what's happened to political debate in this country, but to point out how successful the Left has been in redefining the terms of that debate. Over the last 30 years, liberals, through their dominance in the media, the universities, the public school systems and major cultural institutions, including television and Hollywood, have redefined what is acceptable and unacceptable in American society. And the docile, largely silent majority of ordinary Americans, who don't relish confrontation and controversy, have allowed these institutional forces to have their way in changing American culture. Up to now.
People who still cling to "traditional" views of family, marriage, morality, and personal responsibility probably still constitute a majority in this country, but they have been cowed into submission by the institutional forces dominated by liberal "progressives" who are intent on redefining America, reshaping everything from the economy and the educational system, marriage, the family, the meaning of citizenship and the role of government. They are in a position to do this because over the last 30 years they have gradually taken over the institutions of power and influence -- all the elite universities, the mainstream media, the film and television industry, most of the big-name foundations and cultural institutions, the arts and fashion, and many of the mainstream Protestant religious denominations.
The people who adhere to traditional American values -- which means everything that defined what America was and what it meant, up to the late 1960s -- have largely stood on the sidelines watching this takeover, too busy going to work, raising their kids, tending to the suburban home, paying their bills (even their mortgages!) to do anything about it. And anyway, they were the kind of nice, non-confrontational people who didn't want to raise a fuss and didn't want to get into conflict with their university-educated children (who were now shacking up, living off welfare, marching in "gay pride" parades or protesting at the World Bank) and who thought that all this politically-correct stuff was a fad that would pass in time, when everyone came to their senses.
Memo to the naive majority: It ain't gonna pass, it's only going to get worse, because this is a Movement -- a lifelong battle being waged by dedicated, determined, unscrupulous people because it is the only thing they have left to believe in, having abandoned religion as a superstition, patriotism as a joke, and morality as a strait-jacket. This is their religion, their family, their purpose in being, and they need to succeed in this life because at the end there is only Darkness.
Did you ever see the movie All the King's Men? It's a classic made in 1949 starring Broderick Crawford as Willie Stark, a country boy who turns to politics to run for governor -- a portrait based on the life of Louisiana's populist governor and U.S. Senator, Huey P. Long.
In a powerful scene that is the turning point in the story, the politi
theartwire.com - ALTERNATIVE HISTORIES
Announcing Alternative Histories, a history of NYC alternative spaces since the 1960s
Announcing
ALTERNATIVE HISTORIES
a history of New York City alternative art spaces since the 1960s
ALTERNATIVE HISTORIES
September 24 - November 24, 2010
Opening Friday, September 24, 7-9pm
NEW YORK – Alternative Histories is a history of New York City alternative art spaces and projects since the 1960s. Through audio interviews with founders and key staff, a reading room of magazines and publications, documentation, ephemera and narrative descriptions, the exhibition will tell the story of pioneering spaces – like P.S.1, Artists Space, Fashion Moda, Taller Boricua, ABC No Rio, The Kitchen, Franklin Furnace, Exit Art, 112 Greene Street/White Columns, Creative Time, Electronic Arts Intermix, Anthology Film Archives, Storefront for Art and Architecture, Just Above Midtown, and many more – as well as document a new generation of alternative projects such as Live With Animals, Fake Estate, Apartment Show, Pocket Utopia, Cleopatra’s, English Kills Art Gallery, Triple Candie, Esopus, and others.
Over 130 spaces are represented in the show, which elaborates on the significant contributions these organizations made to the cultural fabric of New York City. They gave visibility and inclusion to otherwise excluded artists and ideas. The idealism of the founders, the hard work and dedication of everyone involved in sustaining these histories, against all odds, illustrates the dynamic purposes that propel the artistic scene in New York. “Imagination is an alternative to reality, creating options that never end,” says curator Papo Colo.
The exhibition incorporates a broad definition of the term “alternative space,” and includes significant publications and artist collectives to cover a broad arc of this history – bridging neighborhoods, decades and themes. In the development and organization of this exhibition, the curatorial team viewed dozens of archives and personal collections – selecting critical materials from the histories of the spaces and projects – and interviewed founders and early staff members, when possible, to construct a narrative about the alternative space movement in New York and its continuing impact on the city’s cultural and artistic landscape.
FEATURED SPACES / PROJECTS
106 Green
112 Greene Street / 112 Workshop
179 Canal
255 Canal
98 Greene Street
A Gathering of the Tribes
A.I.R. Gallery
ABC No Rio
Abrons Arts Center
Ad Hoc Art
American Indian Community House
Anthology Film Archives
Apartment Show
Apex Art
Apple
Art in General
Artists Space
Asian American Arts Centre
Art Workers’ Coalition
Avalanche
Bidoun
Black & White Gallery and Project Space
BOMB
BRIC Rotunda Gallery
Bronx Blue Bedroom Project
Bronx River Art Center
Bullet Space
Cabinet
Camel Art Space
Camel Collective
Capricious
Cave
Cinders Gallery
Clayton Gallery & Outlaw Art Museum
Cleopatra’s
Colab
Collapsable Hole
Collective for Living Cinema
Creative Time
Cuchifritos
Daily Operation
Dumbo Arts Center
El Museo del Barrio
Electronic Arts Intermix
Elwa Productions
English Kills Art Gallery
Esopus
Eventos
Exit Art
Eyebeam
EyeLevel BQE
Factory Fresh
Fake Estate
Famous Accountants
Fashion Moda
Film-makers’ Cooperative
FiveMyles
Flux Factory
FOOD
Forever & Today
Four Walls
Franklin Furnace
GAle GAtes
Gigantic Artspace
Glowlab
Gran Fury
Group Material
Harvestworks
HKJB
INTAR Latin American Gallery
Jamaica Center for Arts and Learning
Judson Memorial Church
Just Above Midtown
Kenkeleba House
Kentler International Drawing Space
La MaMa
Light Industry
Live With Animals
Local Project
Location One
Longwood Arts Project
Lower East Side Print Shop
Millennium Film Workshop
Minor Injury
Momenta Art
MUSEUM: A Project of Living Artists
New Museum of Contemporary Art
Norte Maar
Not An Alternative
NURTUREart
Nuyorican Poets Cafe
Orchard
Political Art Documentation / Distribution
Paper
P.S.1 Contemporary Art Center
P.S.122
Parlour
Parlour Projects
PARTICIPANT INC
Pocket Utopia
Printed Matter
Rhizome
SculptureCenter
Secret Project Robot
The Kitchen
The Studio Museum in Harlem
Thread Waxing Space
Triple Candie
Triple Canopy
White Box
White Columns
World War III
X-Initiative
FEATURED INTERVIEWS
Bill Aguado, Longwood Arts Project
John Ahearn, artist
Jacki Apple, Apple
Alyson Baker and Ivana Mestrovic, Socrates Sculpture Park
Mike Ballou, Four Walls
Shelly Bancroft and Peter Nesbett, Triple Candie
Jackie Battenfield, BRIC Rotunda Gallery
John Bauch, MUSEUM: A Project of Living Artists
Bill Beckley, artist
Steve Cannon, Gathering of the Tribes
Rhys Chatham, The Kitchen
Papo Colo and Jeanette Ingberman, Exit Art
Anita Contini, Creative Time
Michael Counts, GAle GAtes
Peter Cramer and Jack Waters, ABC No Rio
Marcos Dimas, Taller Boricua
Stefan Eins, Fashion Moda
Elizabeth Ferrer, BRIC Rotunda Gallery
Lia Gangitano, PARTICIPANT INC
Kathleen Gilrain, Smack Mellon
Tina Girouard, FOOD
Caroline Goodden, FOOD
Joseph Grima, Storefront for Art and Architec
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