Carl Andre Bibliography
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Notice of Intent – After the Fact
Notice of Intent – After the Fact Massachusetts Wetlands Protection Act (M.G. L. c. 131 §. 40) and City of Haverhill Wetlands Ordinance (Chapter 253) May 18, 2017 Riverine Buffer Restoration Water Street between Shapleigh and Riverside Avenue Haverhill, Massachusetts Applicant: City of Haverhill Department of Public Works 4 Summer Street Haverhill, MA 01830 Submitted To: Haverhill Conservation Commission 4 Summer Street, Room 300 Haverhill, MA 01830 Prepared by: Nover-Armstrong Associates, Inc. 124 Main Street, Unit 2GG Carver, Massachusetts 02330 And Greenman-Pedersen, Inc. 181 Ballardvale Street, Suite 202 Wilmington, MA 01887 1 124 Main Street, Unit 2GG SDO-certified DBE & WBE Carver, Massachusetts 02330 www.noverarmstrong.com Telephone 508.866.8383 Facsimile 508.866.9898 environmental consultants & engineers May 18, 2017 Ms. Cheryl Accardi, Chairperson City of Haverhill Conservation Commission 4 Summer Street Haverhill, MA 01830 Re: After-the-Fact NOI Filing Riverfront Area Restoration Water Street between Shapleigh Avenue and Riverside Avenue Haverhill, Massachusetts File P4282 Ms. Accardi and Commission Members: On behalf of the Haverhill Department of Public Works (DPW), Nover-Armstrong Associates, Inc. and Greenman-Pedersen, Inc. (GPI) are submitting this After-the-Fact Notice of Intent for planting of mostly trees along approximately 3,000 linear feet of riparian buffer to the Merrimack River. This riparian restoration is being conducted to mitigate for the cutting of deciduous trees along the river’s bank and riparian buffer as ordered by the Enforcement Order issued to the DPW on April 20, 2017. The DPW had received a Negative Determination from the Commission for specific and conditioned Invasive Species Management along the Bank in the area. -
Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise. -
Hanne Darboven Abstract Correspondence
1 Hanne Darboven Abstract Correspondence Hanne Darboven Abstract Correspondence Published on the occasion of the exhibition Hanne Darboven, A Survey April 11 - May 24, 2013 Castelli “i can’t describe so i will write”: Hanne Darboven’s Abstract Correspondence Cathleen Chaffee “The simplest thing we could say would be that art—all art, abstract or not— reveals what the subject makes of its condition—the condition of language. It shows what the subject … invents to face the paradox of a condition on which we are dependent but which to a large, definitive extent we cannot control.”1 – Birgit Pelzer For many years, I have had a maxim on composition by Hanne Darboven pinned above my writing desk, a statement she repeated so often it became a kind of manifesto: “I do like to write and I don’t like to read / one plus one is one two.”2 When Darboven was alive, I repeated the adage because it was affirming and even encouraging to know that she was probably sitting at a desk in Harburg, near Hamburg laying words, numbers, and symbols down on the page, diligently completing sheaves of work. The idea that made her pick up a pen each day may opposite page have required research and been difficult to conceptualize, but writing it out, 15/2/74 - 4/3/74. NYC “TODAY”, 1974 giving it symbolic form, was just a matter of time. However, it was not just the Pen and marker on amount of writing Darboven seemed to so fluidly produce that made her inspi- a 32-page notebook 1 3 8 /4 x 5 /4 inches rational as a writer; it was her approach to the reader. -
Strategic Anomalies: Art & Language in the Art School 1969-1979
Strategic Anomalies: Art & Language in the Art School 1969-1979 Dennis, M. Submitted version deposited in Coventry University’s Institutional Repository Original citation: Dennis, M. () Strategic Anomalies: Art & Language in the Art School 1969-1979. Unpublished MSC by Research Thesis. Coventry: Coventry University Copyright © and Moral Rights are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. Some materials have been removed from this thesis due to Third Party Copyright. Pages where material has been removed are clearly marked in the electronic version. The unabridged version of the thesis can be viewed at the Lanchester Library, Coventry University. Strategic Anomalies: Art & Language in the Art School 1969-1979 Mark Dennis A thesis submitted in partial fulfilment of the University’s requirements for the Degree of Master of Philosophy/Master of Research September 2016 Library Declaration and Deposit Agreement Title: Forename: Family Name: Mark Dennis Student ID: Faculty: Award: 4744519 Arts & Humanities PhD Thesis Title: Strategic Anomalies: Art & Language in the Art School 1969-1979 Freedom of Information: Freedom of Information Act 2000 (FOIA) ensures access to any information held by Coventry University, including theses, unless an exception or exceptional circumstances apply. In the interest of scholarship, theses of the University are normally made freely available online in the Institutions Repository, immediately on deposit. -
A Finding Aid to the EC (Eugene) Goossen Papers, Circa 1935
A Finding Aid to the E.C. (Eugene) Goossen Papers, circa 1935-2004, in the Archives of American Art Sarah Mundy 2020/01/22 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical Materials, 1945-2004........................................................... 4 Series 2: Correspondence, 1930s-1990s................................................................. 5 Series 3: Artist Files, circa 1947-1997..................................................................... 7 Series 4: Writing Projects and Notes, circa 1940-circa -
N.Paradoxa Online Issue 4, Aug 1997
n.paradoxa online, issue 4 August 1997 Editor: Katy Deepwell n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issue 4, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue4.pdf August 1997, republished in this form: January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk The following article was republished in Volume 1, n.paradoxa (print version) January 1998: N.Paradoxa Interview with Gisela Breitling, Berlin artist and art historian n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 2 List of Contents Editorial 4 VNS Matrix Bitch Mutant Manifesto 6 Katy Deepwell Documenta X : A Critique 9 Janis Jefferies Autobiographical Patterns 14 Ann Newdigate From Plants to Politics : The Particular History of A Saskatchewan Tapestry 22 Katy Deepwell Reading in Detail: Ndidi Dike Nnadiekwe (Nigeria) 27 N.Paradoxa Interview with Gisela Breitling, Berlin artist and art historian 35 Diary of an Ageing Art Slut 44 n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 3 Editorial, August 1997 The more things change, the more they stay the same or Plus ca change.. -
President's Daily Diary Collection (Box 78) at the Gerald R
Scanned from the President's Daily Diary Collection (Box 78) at the Gerald R. Ford Presidential Library THE WHITE HOUSE THE DAILY DIARY OF PRESIDENT GERALD R. FORD PLACE DAY BEGAN DATE (Mo., Day, Yr.) THE WHITE HOUSE NOVEMBER 7, 1975 WASHINGTON, D.C. TIME DAY 12:01 a.m. FRIDAY TIME "B :.a ~ ~ ACTIVITY r-~In---'--~O-ut--~ I ! 12:01 12:11 P The President talked with the First Lady. 7:42 The President had breakfast. 8:16 The President went to the Oval Office. 9:14 9:17 R The President talked with his son, Steve. 9:18 The President telephoned Congressman John N. Er1enborn (R-I11inois). The call was not completed. 9:22 The President went to the South Grounds of the White House. 9:22 9:30 The President flew by helicopter from the South Grounds to Andrews AFB, Maryland. For a list of passengers, see APPENDIX "A." 9:35 10:45 The President flew by the "Spirit of '76" from Andrews AFB to Westover AFB, Chicopee, Massachusetts. For a list of passengers, see APPENDIX "B." 10:45 The President was greeted by: Col. Billy M. Knowles, Commander of the 439th Tactical Airlift Wing Lt. Col. Jack P. Fergason, Commander of the 439th Combat Support Group Edward P. Ziemba, Mayor of Chicopee, Massachusetts William Sullivan, Mayor of Springfield, Massachusetts Lisa Chabasz, Little Miss Massachusetts 10:55 11:15 The President motored from Westover AFB to the Baystate West Hotel, 1500 Main Street, Springfield, Massachusetts. He was accompanied by: John A. Volpe, Ambassador from the U.S. -
Gender and the Collaborative Artist Couple
Georgia State University ScholarWorks @ Georgia State University Art and Design Theses Ernest G. Welch School of Art and Design Summer 8-12-2014 Gender and the Collaborative Artist Couple Candice M. Greathouse Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/art_design_theses Recommended Citation Greathouse, Candice M., "Gender and the Collaborative Artist Couple." Thesis, Georgia State University, 2014. https://scholarworks.gsu.edu/art_design_theses/168 This Thesis is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. GENDER AND THE COLLABORATIVE ARTIST COUPLE by CANDICE GREATHOUSE Under the Direction of Dr. Susan Richmond ABSTRACT Through description and analysis of the balancing and intersection of gender in the col- laborative artist couples of Marina Abramović and Ulay, John Lennon and Yoko Ono, and Chris- to and Jeanne-Claude, I make evident the separation between their public lives and their pri- vate lives, an element that manifests itself in unique and contrasting ways for each couple. I study the link between gendered negotiations in these heterosexual artist couples and this divi- sion, and correlate this relationship to the evidence of problematic gender dynamics in the art- works and collaborations. INDEX WORDS: -
Bulletin 2002 Art/Pages-Final
School of Art 2002–2003 bulletin of yale university Series 98 Number 1May 10, 2002 Bulletin of Yale University Postmaster: Send address changes to Bulletin of Yale University, PO Box 208227, New Haven ct 06520-8227 PO Box 208230, New Haven ct 06520-8230 Periodicals postage paid at New Haven, Connecticut Issued sixteen times a year: one time a year in May, October, and November; two times a year in June and September; three times a year in July; six times a year in August Managing Editor: Linda Koch Lorimer Editor: David J. Baker Editorial and Publishing Office: 175 Whitney Avenue, New Haven, Connecticut Publication number (usps 078-500) Printed in Canada The closing date for material in this bulletin was April 2, 2002. The University reserves the right to withdraw or modify the courses of instruction or to change the instructors at any time. ©2002 by Yale University. All rights reserved. The material in this bulletin may not be reproduced, in whole or in part, in any form, whether in print or electronic media, without written permission from Yale University. Content Questions regarding the editorial content of this publication may be referred to Patricia Ann DeChiara, Director of Academic Affairs, Yale School of Art. Inquiries All inquiries regarding admission to graduate programs in art and requests for application forms should be addressed to the Office of Academic Affairs, Yale School of Art, 1156 Chapel Street, PO Box 208339, New Haven ct 06520-8339, or telephone 203.432.2600. (School of Art bulletins are mailed through periodicals postage and usually take at least three weeks to reach their destinations. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Alain Kirili with Robert C
Alain Kirili with Robert C. Morgan On the occasion of the current exhibit Te Drawing Show: Lines in Charcoal, Ink, Watercolor, Galvanized Iron and Black Rubber (January 3 – June 30, 2012), the sculptor Alain Kirili and Contributing Editor Robert Morgan paid a visit to the Rail’s headquarters to talk about his life and work. Robert C. Morgan (Rail): What was your motivation in coming to New York City in the ’60s? Alain Kirili: I was born in 1946, so I belong to the frst generation of artists afer the Second World War. In fact, when I reached the age of about 18 or 20 years, I felt that the major artists in France were writers and philosophers. Te milieu that stimulated me the most was really Tel Quel and Roland Barthes, Philippe Sollers, and Julia Kristeva, all of whom became my very close friends. I collaborated with them on many projects, so Paris gave me the best exposure to literature and philosophy. Slowly I became familiar with the American art; I mostly heard about Jackson Pollock. Portrait of the artist. Pencil on paper by Phong Bui. Rail: I know that David Smith was a major infuence on you. Did you ever meet him? Kirili: No, but in 1965 I saw my frst David Smith sculpture at the Musée Rail: And what impressed you the most during those travels? Rodin in Paris. In fact, it was that series of sculptures, Cubi, that made Kirili: Tat it was impossible, at least I felt, to be a French artist if you had me decide to go to the United States. -
The Remarkable Story of a Rebel Artist, Her Mysterious Death And
Observer Culture November 30, 2015 by Guelda Voien The Remarkable Story of a Rebel Artist, Her Mysterious Death and Cult Resurgence Justice, finally, for the works of Cuban-American artist and 1980s rising star Ana Mendieta The first week of December, a mesmerizing body of artwork rarely seen and almost forgotten will go on display in Miami, at the public collection of Rosa de la Cruz, one of the country’s leading Contemporary art collectors. The pieces include images of the mud- smeared body of the artist; other works show her sweating blood from her pores. This dark imagery foretold her demise, some fans of the artist maintain. On the 30-year anniversary of her death, a powerful cult is growing around photographer Ana Mendieta. (Photo: The Estate of Ana Mendieta and filmmaker Ana Mendieta. Famous for Collection LLC, Courtesy Galerie Lelong New York) some years mostly for the way she died, and forgotten for many more, her works are being rediscovered, exhibited around the U.S. and are climbing at auction. In the 1980s, if you could find a Mendieta, it was maybe $2,000, said Phillips auction house Worldwide Co-Head of Contemporary Art August Uribe. Now the median price for a Mendieta is $40,000 to $50,000, he said, and one hit a record of $200,000 at Phillips. So, what’s fueling the rediscovery? In part, “I think that there is a renewed or new interest in the work of women artists [overall],” he said, and some of the new collectors of this work are women, he noted.