Janette Ray Rare and out of Print Books
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Artists' Lives
National Life Stories The British Library 96 Euston Road London NW1 2DB Tel: 020 7412 7404 Email: [email protected] Artists’ Lives C466: Interviews complete and in-progress (at January 2019) Please note: access to each recording is determined by a signed Recording Agreement, agreed by the artist and National Life Stories at the British Library. Some of the recordings are closed – either in full or in part – for a number of years at the request of the artist. For full information on the access to each recording, and to review a detailed summary of a recording’s content, see each individual catalogue entry on the Sound and Moving Image catalogue: http://sami.bl.uk . EILEEN AGAR PATRICK BOURNE ELISABETH COLLINS IVOR ABRAHAMS DENIS BOWEN MICHAEL COMPTON NORMAN ACKROYD FRANK BOWLING ANGELA CONNER NORMAN ADAMS ALAN BOWNESS MILEIN COSMAN ANNA ADAMS SARAH BOWNESS STEPHEN COX CRAIGIE AITCHISON IAN BREAKWELL TONY CRAGG EDWARD ALLINGTON GUY BRETT MICHAEL CRAIG-MARTIN ALEXANDER ANTRIM STUART BRISLEY JOHN CRAXTON RASHEED ARAEEN RALPH BROWN DENNIS CREFFIELD EDWARD ARDIZZONE ANNE BUCHANAN CROSBY KEITH CRITCHLOW DIANA ARMFIELD STEPHEN BUCKLEY VICTORIA CROWE KENNETH ARMITAGE ROD BUGG KEN CURRIE MARIT ASCHAN LAURENCE BURT PENELOPE CURTIS ROY ASCOTT ROSEMARY BUTLER SIMON CUTTS FRANK AVRAY WILSON JOHN BYRNE ALAN DAVIE GILLIAN AYRES SHIRLEY CAMERON DINORA DAVIES-REES WILLIAM BAILLIE KEN CAMPBELL AILIAN DAY PHYLLIDA BARLOW STEVEN CAMPBELL PETER DE FRANCIA WILHELMINA BARNS- CHARLES CAREY ROGER DE GREY GRAHAM NANCY CARLINE JOSEFINA DE WENDY BARON ANTHONY CARO VASCONCELLOS -
Jeffrey Steele
Jeffrey Steele RCM Galerie Jeffrey Steele La structure et le rythme La structure et le rythme : sur l’art de Jeffrey Steele Le peintre britannique Jeffrey Steele a été l’une des figures artistiques les plus en vue au sein de ce grand mouvement qui a animé les années 1960, l’art cinétique. Grâce à un seul tableau, peint en 1964, immédiatement devenu l’archétype de ce qu’un journaliste de Time Magazine désigna sous l’abréviation d’ Op Art pour Optical Art, en prenant bien le soin d’annoncer dans le titre de l’article sa teneur : « Pictures that attack the Eye ». Pour l’Amé- rique, le ton était donné. L’oeuvre intitulée Baroque Experiment - Fred Maddox devint tout de suite emblématique de la grande exposition internationale The Responsive Eye, qui fut organisée l’année suivante au Museum of Modern Art à New York par William C. Seitz et qui connut malgré les réserves d’une partie du public et de la presse en général un grand retentissement. Baroque Experiment - Fred Maddox, le tableau de Jeffrey Steele aujourd’hui chez un col- lectionneur brésilien, est en effet exemplaire de son art : abstrait, géométrique, bi-dimen- sionnel, fortement structuré par un ensemble de rectangles concentriques partant du centre et augmentant vers la périphérie, en même temps déstabilisé par le basculement de ses élé- ments dans un sens et dans l’autre. Les espaces ainsi créés se trouvent entièrement occupés d’une même forme en demi - lune répétée dont la hauteur est proportionnelle à la largeur des espaces. Le noyau central quant à lui est tapissé de cercles pleins. -
National Register of Historic Places Inventory—Nomination Form 1
NPS Form 10-900 OMB No. 1024-OO18 Exp. 10-31-84 United States Department off the Interior National Park Service National Register of Historic Places Inventory—Nomination Form See instructions in How to Complete National Register Forms Type aM entries—complete applicable sections_______________ 1. Name historic n.a. and/or common Main Street Historic District 2. Location 5 street & number___please see map and inventory forms not for publication city, town Fort Atkinson vicinity of state WI code 55 county Jefferson code 055 3. Classification Category Ownership Status Present Use X district public X occupied agriculture museum building(s) private unoccupied _ X_ commercial _X_park structure X both work in progress _ y- educational X private residence __ site Public Acquisition Accessible entertainment religious object in process X yes: restricted X government scientific being considered yes: unrestricted _X_ industrial transportation X not applicable no military other: 4. Owner of Property name please see inventory forms street & number • n.a. city, town n.a. vicinity of state n.a, courthouse, registry of deeds, etc. Jefferson County Courthouse street & number 320 S. Main Street city, town Jefferson state WI 53540, 6. Representation in Existing Surveys Wisconsin Inventory of title Historic Places nas tnis property been determined eligible? __ yes x no date 1975 federal X state __ county __ local depository for survey records State Historical Society of Wisconsin city, town Madison state WI 53706 7. Description Condition Check one Check one excellent deteriorated unaltered X original site _X_good ruins _JL_ altered moved date fair unexposed Describe the present and original (if known) physical appearance Note: The current district has 60 buildings. -
Restaurant Trends App
RESTAURANT TRENDS APP For any restaurant, Understanding the competitive landscape of your trade are is key when making location-based real estate and marketing decision. eSite has partnered with Restaurant Trends to develop a quick and easy to use tool, that allows restaurants to analyze how other restaurants in a study trade area of performing. The tool provides users with sales data and other performance indicators. The tool uses Restaurant Trends data which is the only continuous store-level research effort, tracking all major QSR (Quick Service) and FSR (Full Service) restaurant chains. Restaurant Trends has intelligence on over 190,000 stores in over 500 brands in every market in the United States. APP SPECIFICS: • Input: Select a point on the map or input an address, define the trade area in minute or miles (cannot exceed 3 miles or 6 minutes), and the restaurant • Output: List of chains within that category and trade area. List includes chain name, address, annual sales, market index, and national index. Additionally, a map is provided which displays the trade area and location of the chains within the category and trade area PRICE: • Option 1 – Transaction: $300/Report • Option 2 – Subscription: $15,000/License per year with unlimited reporting SAMPLE OUTPUT: CATEGORIES & BRANDS AVAILABLE: Asian Flame Broiler Chicken Wing Zone Asian honeygrow Chicken Wings To Go Asian Pei Wei Chicken Wingstop Asian Teriyaki Madness Chicken Zaxby's Asian Waba Grill Donuts/Bakery Dunkin' Donuts Chicken Big Chic Donuts/Bakery Tim Horton's Chicken -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Clifton Chronicle
SUMMER 2012 Volume Twenty-Two Number One CA Publicationlifton of Clifton Town Meeting C You Dohronicle It You Write It We Print It Cincinnati, Ohio 45220 Box 20067 P.O. Clifton Chronicle Clifton Home Composite—You will not be touring this home any time soon, made up of the homes on Evanswood Place by Bruce Ryan, former resident and producer of yearly Evanswood block party invitation where this illustration first appeared. Clifton House Tour this Mother’s Day By Eric Clark Every third year on Mother’s are like stepping back in time to the sored them throughout the ‘70s and Day, a group of Clifton homeowners period in which they were built. ‘80s, taking a hiatus between 1988 open their doors to greater Cincinnati Although we do not disclose and 1997. Since the resumption and say, “Come on in and have a look pictures or the addresses of the of the tours, the event has drawn around!” So, mark your calendars for homes until the day of the tour. We people from all over Cincinnati and Mother’s Day, May 13, 2012. are confident that if you have an ap- has been a great way to spend part Clifton Town Meeting has lined preciation for architecture or interior of Mother’s Day. up some great houses for the 2012 design, or if you just enjoy touring Tickets are $17.50 in advance tour and it includes something for beautiful Clifton homes, you will and $22.50 the day of the tour. Tick- everyone with a wide and eclectic NOT be disappointed. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS.......................................................................... -
Public Space: the Management Dimension
INVESTIGATING PUBLIC SPACE MANAGEMENT The north terrace of the square is a heavily used pedestrian thoroughfare. During the day the pervasive presence of street performers adds to the liveliness of the space (Figure 10.6). As the day turns to afternoon and to evening and night the ambience becomes far more alcohol-based as drinks can be seen and smelt all over the square. By late night the area has built up to a raucous feel, which, on occasions, becomes unpleasant and intimidating. The gardens in the centre of the square are typical of London’s 10.6 Portrait artists in Leicester Square Georgian squares today, in that the layout of the square is community- and civil-minded with many benches and low walls for sitting on. Further symbolism is added through the two statues and four busts in the gardens. The Victorian and typically British elements are the grass, tall trees, flowerbeds and serpentine paths, all enclosed by iron railings. The architecture of the surrounding buildings speaks little of the rich history of Leicester Square for, like the gardens, it dates only as far back as the late nineteenth century. Cinema replaced theatre as the main form of entertainment in the 1930s, and still features prominently around the square. The square is dominated by the 1930s art deco Odeon Leicester Square on the east side, and more recently the Alhambra Theatre. On the north side there is the Empire Theatre, which was one of the first cinemas in London in 1896. On the south side is the Odeon West End, dating from the 1920s. -
Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures. -
Tucker Mass and Figure
Tucker Mass and Figure Kosme de Barañano 1 This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao © William Tucker, 2015 © Succession Alberto Giacometti (Fondation Alberto et Annette Giacometti, Paris / ADAGP, Paris), VEGAP, Bilbao, 2015 © Man Ray Trust, VEGAP, Bilbao, 2015 © Sucesión Pablo Picasso, VEGAP, Madrid, 2015 Photography credits © Chapter of Gloucester Cathedral, 2014. Photographer: Steve Russell Studios: p. 38. © Collection Swiss Foundation for Photography: p. 29 (bottom). Courtesy McKee Galerie: pp. 34, 37 (bottom), 39, 46 (top). © Kosme de Barañano: pp. 4, 15, 37 (top), 41, 42, 61, 63. © Photo Scala, Florence - courtesy of the Ministero Beni e Att. Culturali: pp. 52, 53 (top, left). © Photographer Roman März, Courtesy of Buchmann Galerie: p. 46 (abajo). © Tate, London 2015: pp. 9-11. © The artist/Pangolin. Photographer: Steve Russell Studios: p. 57. © The British Council: p. 23. © The Estate of Alberto Giacometti (Fondation Giacometti, Paris and ADAGP, Paris), licensed in the UK by ACS and DACS, London 2015 / Bridgeman Images: p. 31. © The Museum of Modern Art, New York/Scala, Florence: p. -
Tributaries 2012
1 2 A quick note: Months ago, Drew Davis asked an interesting question: What does Tributaries mean to you? It’s a question that has stuck with me. The literal definitions ofTributaries are as follows: 1. Stream feeding larger body of water. 2. Payer of tribute. The first one I knew, the second I had not. And both accurately describe the intention of Tributaries. This magazine, as humble as it is, is a conduit that feeds our larger aspirations as writers. Just like a tiny brook leading to the expansive gulf, our work on Tributaries serves as a first step for those who work with the written word. Yet, as we guide we also pay tribute. Tribute to the authored words printed within. Tribute to those who didn’t make the cut. Tribute to those who read this now. But, most critically, tribute to those who seek the impossibility of becoming a writer. To become implies attainment. Of arrival. Of cessation. Of the culmination of growth. Let this never happen. Let this also serve as a declaration of vigilance. The act of writing is never finite. It is telescopic in its infiniteness. Never, for any reason, be satisfied with what you have written, of the words you have chosen. Keep up the good fight. Z.A. Bishop IUE Writer’s Club President Tributaries Chief Editor 3 Part I: Creative Non-Fiction 055 Don’t Wait Scarlett Alton 06 In Particular Shame Z.A. Bishop 10 I Have No Legs Yet I Must Run Zach Small 21 Crossing Over: An Elegy for Aunt Ruby Holly Walls 23 Part II: Fiction 3211 God Save the Queen, Intro Hillary Cameron 33 God Save the Queen, Chapter 1 Hillary Cameron 34 Coarse Times and Blundering Minds Nick Beattle 42 The Key Cecil Dixon 48 Brushing the Neighbor’s Dog Micheal Gibbs 49 Nipples Micheal Gibbs 52 The Runner Micheal Gibbs 54 Theodore Micheal Gibbs 56 Turtle Shell Micheal Gibbs 57 Eye for an Eye Zach Small 59 Winds of Ice Bridger Hannon 76 Part III: Poetry 7853 Life.. -
Le Cinéma Remoderniste Histoire Et Théorie D'une Esthétique Contemporaine
UNIVERSITÉ SORBONNE NOUVELLE – PARIS III Mémoire final de Master 2 Mention : Études cinématographiques et audiovisuelles Spécialité : Recherche Titre : LE CINÉMA REMODERNISTE HISTOIRE ET THÉORIE D'UNE ESTHÉTIQUE CONTEMPORAINE Auteur : Florian MARICOURT n° 21207254 Mémoire final dirigé par Nicole BRENEZ Soutenu à la session de juin 2014 LE CINÉMA REMODERNISTE HISTOIRE ET THÉORIE D'UNE ESTHÉTIQUE CONTEMPORAINE Florian Maricourt Illustration de couverture : Photogramme extrait de Notre espoir est inconsolable (Florian Maricourt, 2013) Une chanson que braille une fille en brossant l'escalier me bouleverse plus qu'une savante cantate. Chacun son goût. J'aime le peu. J'aime aussi l'embryonnaire, le mal façonné, l'imparfait, le mêlé. J'aime mieux les diamants bruts, dans leur gangue. Et avec crapauds. Jean Dubuffet Prospectus et tous écrits suivants, 1951 En ces temps d'énormité, de films à grand spectacle, de productions à cent millions de dollars, je veux prendre la parole en faveur du petit, des actes invisibles de l’esprit humain, si subtils, si petits qu’ils meurent dès qu’on les place sous les sunlights. Je veux célébrer les petites formes cinématographiques, les formes lyriques, les poèmes, les aquarelles, les études, les esquisses, les cartes postales, les arabesques, les triolets, les bagatelles et les petits chants en 8mm. Jonas Mekas Manifeste contre le centenaire du cinéma, 1996 i am a desperate man who will not bow down to acolayed or success i am a desperate man who loves the simplisity of painting and hates gallarys and white walls and the dealers in art who loves unreasonableness and hot headedness who loves contradiction hates publishing houses and also i am vincent van gough Billy Childish I am the Strange Hero of Hunger, 2005 Je tiens à remercier chaleureusement les cinéastes remodernistes qui ont aimablement répondu à mes questions, en particulier Scott Barley, Heidi Elise Beaver, Dean Kavanagh, Rouzbeh Rashidi, Roy Rezaäli, Jesse Richards et Peter Rinaldi.