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Elina Gertsman
1 Case Western Reserve University, Department of Art History and Art Mather House 317, 11201 Euclid Ave., Cleveland, Ohio 44106-7110 T: (216) 368-4232 • E: [email protected] ELINA GERTSMAN PRESENT APPOINTMENT Professor of Art History, Department of Art History and Art Archbishop Paul J. Hallinan Professor in Catholic Studies II Director of Graduate Studies • Core Faculty, Women's and Gender Studies Program BOOKS Contracted Nothing Is the Matter: Empty Spaces in Late Medieval Art. Forthcoming from Penn State Press. The book explores late medieval concepts of emptiness and void, with a special focus on epistemologically fraught emptiness that inhabits later medieval murals and manuscripts. Supported by the American Council of Learned Societies Fellowship (2016 Fellow). (Editor) Beyond the Ornament: Medieval Abstract Art. Contracted by Amsterdam University Press. This collection interrogates the concept of medieval abstraction from a multitude of perspectives—formal, semiotic, iconographic, material, phenomenological, and epistemological. (Co-editor) Contested Spaces: Crossing Medieval Disciplines. Contracted by Brepols. This collection showcases contributions to the history of medieval literature, drama, theology, and art, demonstrating the fruitfulness of the cross-disciplinary approach that has come to define these fields. Published The Middle Ages in 50 Images (with Barbara H. Rosenwein). New York: Cambridge University Press, 2018. Fifty objects serve to illuminate the long Middle Ages. The chronological range is ca. 300 to ca. 1500; the cultures considered are western European, Byzantine, Jewish, and Islamic; and the topics treated range from notions of sanctity and sin to daily life and confrontations with death. Translated into Italian as Il Medioevo in 50 oggetti (Libreria Editrice Goriziana, 2018). -
Elina Gertsman
1 Case Western Reserve University, Department of Art History and Art Mather House 317, 11201 Euclid Ave., Cleveland, Ohio 44106-7110 T: (216) 368-4232 • E: [email protected] ELINA GERTSMAN PRESENT APPOINTMENT Professor of Art History, Department of Art History and Art, Case Western Reserve University Director of Graduate Studies • Core Faculty, Women's and Gender Studies Program EDUCATION Boston University, Department of Art History: Ph.D., 2004; M.A., 2000. Presidential, Teaching, and Writing Fellow. Dissertation: “Debeo Saltare: Theology, Reception, and Performativity of the Medieval Dance of Death” University of California, San Diego, Visual Arts Department: B.A., 1998 Art History-Criticism: high honors, magna cum laude Centre Parisien d’Études Critiques – La Sorbonne/Paris IV: Critical Studies Program, 1996-97 Coursework in medieval art, modern literature, philosophy of art, and art criticism BOOKS Contracted Nothing Is the Matter: Empty Spaces in Late Medieval Art. Contracted by Penn State Press. The book will explore late medieval concepts of emptiness and void, with a special focus on epistemologically fraught emptiness that inhabits later medieval murals and manuscripts. Supported by the American Council of Learned Societies Fellowship (2016 Fellow). (Editor) Beyond the Ornament: Medieval Abstract Art. Contracted by Amsterdam University Press. This collection interrogates the concept of medieval abstraction from a multitude of perspectives—formal, semiotic, iconographic, material, phenomenological, and epistemological. (Co-editor) Contested Spaces: Crossing Medieval Disciplines. Contracted by Brepols. This collection showcases contributions to the history of medieval literature, drama, theology, and art, demonstrating the fruitfulness of the cross-disciplinary approach that has come to define these fields. -
The Destruction of Art
1 The destruction of art Solvent form examines art and destruction—through objects that have been destroyed (lost in fires, floods, vandalism, or, similarly, those that actively court or represent this destruction, such as Christian Marclay’s Guitar Drag or Chris Burden’s Samson), but also as an undoing process within art that the object challenges through form itself. In this manner, events such as the Momart warehouse fire in 2004 (in which large hold- ings of Young British Artists (YBA) and significant collections of art were destroyed en masse through arson), as well as the events surrounding art thief Stéphane Breitwieser (whose mother destroyed the art he had stolen upon his arrest—putting it down a garbage disposal or dumping it in a nearby canal) are critical events in this book, as they reveal something about art itself. Likewise, it is through these moments of destruction that we might distinguish a solvency within art and discover an operation in which something is made visible at a time when art’s metaphorical undo- ing emerges as oddly literal. Against this overlay, a tendency is mapped whereby individuals attempt to conceptually gather these destroyed or lost objects, to somehow recoup them in their absence. This might be observed through recent projects, such as Jonathan Jones’s Museum of Lost Art, the Tate Modern’s Gallery of Lost Art, or Henri Lefebvre’s text The Missing Pieces; along with exhibitions that position art as destruction, such as Damage Control at the Hirschhorn Museum or Under Destruction by the Swiss Institute in New York. -
Spoils of War
Spoils of War International Newsletter. No. 7. August 2000 Spoils of War. No. 7. August 2000 2 Imprint: Editorial board: István Fodor, Michael M. Franz, Ekaterina Genieva, Wojciech Kowalski, Josefine Leistra, Nicolas Vanhove. Editing: Dr. Michael M. Franz. Technical assistance and Translation: Svea Janner, Yvonne Sommermeyer. Editorial address: Koordinierungsstelle der Länder für die Rückführung von Kulturgütern beim Kultusministerium des Landes Sachsen-Anhalt Turmschanzenstr. 32, 39114 Magdeburg. Phone: 0049 - 391 - 567 38 59/ 567 38 57 Fax: 0049 - 391 - 567 38 56 E-mail: [email protected] or [email protected] Website: http://www.lostart.de ISSN 1435-6325 Addresses of the members of the editorial board: •István Fodor, Magyar Nemzeti Múzeum, Múzeum körni 14-16, 1088 Budapest, Hungary, phone: 36/1/3184259, fax: 36/1/3382/673 •Michael M. Franz, Coordination Office of the Federal States for the Return of Cultural Property, Turmschanzenstr. 32, 39114 Magdeburg, Germany, phone: 391/56738 58, fax: 391/5673856, E-mail:[email protected] •Ekaterina Genieva, All-Russia State Library for Foreign Literature, Nikolojamskaja Street 1, 109 189 Moscow, Russia, phone: 7/095/915 3621, fax: 7/095/915 3637, E-mail:[email protected] •Wojciech Kowalski, University of Silesia, Department of Intellectual and Cultural Property Law, ul. Bankowa 8, 40 007 Katowice, Poland, phone/fax: 48/32/517104, phone: 48/32/588211, fax: 48/32/599188 •Josefine Leistra, Inspectorate of Cultural Heritage, Prinsessegracht 31, 2514 AP The Hague, The Netherlands, phone: 31/70/302 8120, fax: 31/70/365 1914, E-mail: [email protected] •Nicolas Vanhove, Ministry of Economic Affairs, Directorate Economic Relations, Rue Gen. -
Reed May 01 Full
LETTERS Reed welcomes letters from readers found on page 50. The grinding wheel from kindergarten to fifth grade, concerning the contents of the left Reed for parts unknown many and everybody knows exactly where magazine or the college.Letters years ago.] they are and where they’re going. must be signed and may be edited The most enthusiastic prosely- for clarity and space.Our email IS SUCCESS FOR ALL tizers of SFA are invariably teachers address is [email protected]. A SUCCESS ? who didn’t know anything about Reed is now on line.Visit the elec- best practices in the teaching of tronic version of this publication at From Io McNaughton ’90 reading or cooperative learning http://web.reed.edu/ community/ How ironic that the very same pro- before coming across the program. newsandpub/reedmag /index.html. gram that drove me away from the And in my experience, SFA is teaching profession was invented driving the most thoughtful, by two Reedlings. experienced, creative teachers THE DOYLE OWL IN THE FIFTIES Slavin and Madden’s Success For away from the schools that need All has indeed been a lifesaver for them most. Success For All is an From David Lapham ’60 many troubled schools, but not easy way out for districts that In the summer of 1950 I had been because of any particular charac- don’t want to train and pay their a Reed student for two years. I was teristic of the program itself. teachers to use their own smarts living in a two-room apartment Instead, the program’s success has and initiative to develop their with Gary Snyder. -
Elina Gertsman
1 Case Western Reserve University, Department of Art History and Art Mather House 317, 11201 Euclid Ave., Cleveland, Ohio 44106-7110 T: (216) 368-4232 • E: [email protected] ELINA GERTSMAN PRESENT APPOINTMENT Professor of Art History, Department of Art History and Art Archbishop Paul J. Hallinan Professor in Catholic Studies II Director of Graduate Studies • Core Faculty, Women's and Gender Studies Program BOOKS Contracted The Absent Image: Lacunae in Medieval Books. University Park, PA: Penn State Press, forthcoming in 2021. The book explores late medieval concepts of absence and void, with a special focus on materiality of emptiness that inhabits later medieval manuscripts. Supported by the American Council of Learned Societies Fellowship (2016 Fellow). Recipient of the Millard Meiss Publication Grant. (Editor) Abstraction and Medieval Art: Beyond the Ornament. Amsterdam: Amsterdam University Press, forthcoming in 2021. This collection interrogates the concept of medieval abstraction from a multitude of perspectives—formal, semiotic, iconographic, material, phenomenological, and epistemological. (Co-editor) Contested Spaces: Crossing Medieval Disciplines. Turnhout: Brepols, forthcoming. This collection showcases contributions to the history of medieval literature, drama, theology, and art, demonstrating the fruitfulness of the cross-disciplinary approach that has come to define these fields. (Editor) Collectors, Commissioners, Curators: Studies Inspired by Stephen N. Fliegel. Series: Early Drama, Art, and Music. Berlin: De Gruyter / Medieval Institute Press, forthcoming. Leading curators in their fields offer insights into curatorial practices, and perspectives on the histories of collecting and display by highlighting key objects in some of the most famous medieval collections in North America and Europe—Metropolitan Museum of Art, the Louvre, the British Museum, Victoria & Albert Museum, the Getty, the Groeningemuseum, The Morgan Library, Vienna’s Kunsthistorisches Museum, and the Cleveland Museum of Art. -
![Curriculum Vitae Ann L. Kuttner Akuttner@Sas.Upenn.Edu [9/6/16: Penn Arth Website Version, Abbreviated]](https://docslib.b-cdn.net/cover/9033/curriculum-vitae-ann-l-kuttner-akuttner-sas-upenn-edu-9-6-16-penn-arth-website-version-abbreviated-2799033.webp)
Curriculum Vitae Ann L. Kuttner [email protected] [9/6/16: Penn Arth Website Version, Abbreviated]
CV-Kuttner 1 Curriculum Vitae Ann L. Kuttner [email protected] [9/6/16: Penn ArtH website version, abbreviated] Dept. of History of Art, Jaffe Building, University of Pennsylvania, Philadelphia, PA 19104-6208, USA Tel., 215-898-8327; fax, 215-573-2210 Graduate Groups in Art & Archaeology of the Mediterranean World, Ancient History, Classical Studies, and Religious Studies University of Pennsylvania Museum of Archaeology and Anthropology, Mediterranean Section Consulting Scholar http://dept.arth.upenn.edu/ , http://www.arthistory.upenn.edu/aamw/, http://ccat.sas.upenn.edu/anch/ Degrees 1987 Ph.D., 1982 M.A. University of California at Berkeley, Graduate Group in Ancient History and Mediterranean Archaeology. 1978 B.A. magna cum laude with departmental honors, Bryn Mawr College, Department of Classical and Near Eastern Archaeology. Teaching and Research Appointments 1992- Associate Professor, University of Pennsylvania, Department of History of Art. Graduate Groups: Ancient History; Art and Archaeology of the Mediterranean World; Classical Studies; Religious Studies. http://dept.arth.upenn.edu/facultykuttner.htm at http://dept.arth.upenn.edu/ Graduate Groups: http://dept.arth.upenn.edu/aamw/, and http://dept.arth.upenn.edu/aamw/fieldwork.html [Villamagna]; http://ccat.sas.upenn.edu/anch/; http://ccat.sas.upenn.edu/clst/index.html; http://ccat.sas.upenn.edu/rs/ University of Pennsylvania Museum of Archaeology and Anthropology, Research Associate, Mediterranean Section 1992-93 Associate Professor, University of Toronto, Department of Fine Art. Graduate Program in Ancient Studies, Graduate Faculties of History of Art and of Classics. 1987-92 Assistant Professor, University of Toronto, Department of Fine Art, Graduate Faculties of History of Art and of Classics. -
THE STUCKISTS (Est. 1999) "Your Paintings Are Stuck, You Are Stuck
THE STUCKISTS (est. 1999) "Your paintings are stuck, you are stuck! Stuck! Stuck! Stuck!" Tracey Emin Against conceptualism, hedonism and the cult of the ego–artist. 1. Stuckism is the quest for authenticity. By removing the mask of cleverness and admitting where we are, the Stuckist allows him/herself uncensored expression. 2. Painting is the medium of self–discovery. It engages the person fully with a process of action, emotion, thought and vision, revealing all of these with intimate and unforgiving breadth and detail. 3. Stuckism proposes a model of art which is holistic. It is a meeting of the conscious and unconscious, thought and emotion, spiritual and material, private and public. Modernism is a school of fragmentation — one aspect of art is isolated and exaggerated to detriment of the whole. This is a fundamental distortion of the human experience and perpetrates an egocentric lie. 4. Artists who don't paint aren't artists. 5. Art that has to be in a gallery to be art isn't art. 6. The Stuckist paints pictures because painting pictures is what matters. 7. The Stuckist is not mesmerised by the glittering prizes, but is wholeheartedly engaged in the process of painting. Success to the Stuckist is to get out of bed in the morning and paint. 8. It is the Stuckist's duty to explore his/her neurosis and innocence through the making of paintings and displaying them in public, thereby enriching society by giving shared form to individual experience and an individual form to shared experience. 9. The Stuckist is not a career artist but rather an amateur (amare, Latin, to love) who takes risks on the canvas rather than hiding behind ready–made objects (e.g. -
Banksy. Urban Art in a Material World
Ulrich Blanché BANKSY Ulrich Blanché Banksy Urban Art in a Material World Translated from German by Rebekah Jonas and Ulrich Blanché Tectum Ulrich Blanché Banksy. Urban Art in a Material World Translated by Rebekah Jonas and Ulrich Blanché Proofread by Rebekah Jonas Tectum Verlag Marburg, 2016 ISBN 978-3-8288-6357-6 (Dieser Titel ist zugleich als gedrucktes Buch unter der ISBN 978-3-8288-3541-2 im Tectum Verlag erschienen.) Umschlagabbildung: Food Art made in 2008 by Prudence Emma Staite. Reprinted by kind permission of Nestlé and Prudence Emma Staite. Besuchen Sie uns im Internet www.tectum-verlag.de www.facebook.com/tectum.verlag Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. Table of Content 1) Introduction 11 a) How Does Banksy Depict Consumerism? 11 b) How is the Term Consumer Culture Used in this Study? 15 c) Sources 17 2) Terms and Definitions 19 a) Consumerism and Consumption 19 i) The Term Consumption 19 ii) The Concept of Consumerism 20 b) Cultural Critique, Critique of Authority and Environmental Criticism 23 c) Consumer Society 23 i) Narrowing Down »Consumer Society« 24 ii) Emergence of Consumer Societies 25 d) Consumption and Religion 28 e) Consumption in Art History 31 i) Marcel Duchamp 32 ii) Andy Warhol 35 iii) Jeff Koons 39 f) Graffiti, Street Art, and Urban Art 43 i) Graffiti 43 ii) The Term Street Art 44 iii) Definition -
Digital Thesis Room
ATHABASCA UNIVERSITY AN EXPLORATION OF THE POTENTIAL OF MUSIC AND NARRATIVE SONG AS AN INSTRUMENT FOR LEARNING, WITH A FOCUS ON DISTANCE EDUCATION BY Kirk Longpré A thesis submitted to the Athabasca University Governing Council in partial fulfilment of the requirements for the degree of MASTER OF DISTANCE EDUCATION Athabasca, Alberta April, 2004 DEDICATION I would like to dedicate this thesis in memory of my father, Bernard Longpré, for demonstrating to me the significance of hard work and instilling the value of education. iii ABSTRACT This thesis uses the qualitative research methodologies of Educational Criticism and Grounded Theory to explore whether expressive culture in the form of popular narrative song can play a constructive role as an instrument or agent for learning in the context of distance adult education. In chapter one, the author provides a theoretical framework for incorporating popular narrative song into the distance adult learning experience. Chapter two reviews the research literature related to the themes discovered through the interview process involving eighteen individuals that served as the foundation for this study and the research literature associated with several theories of adult learning. In chapter three, the methodology of Educational Criticism and Grounded Theory is explained, the informants and the research sites are described. In chapter four, the themes that evolved as a result of the researcher’s interviews are analysed and presented. Chapter five provides an examination of the relationship between the eight themes that were discovered through analysis and several adult learning theories. In the final chapter, the author reflects on the implications of the relationship between popular narrative song and distance adult learning, and draws conclusions regarding the use of popular narrative song and distance adult education. -
Chapter 1: Introduction
Transformative Community Art: Re-visioning the Field of Practice by Catherine Anne McLeod A thesis submitted in conformity with the requirements for the degree of Master of Arts Graduate Department of Sociology and Equity Studies in Education Ontario Institute for Studies in Education University of Toronto © Copyright by Catherine Anne McLeod 2011 Transformative Community Art: Re-visioning the Field of Practice Master of Arts 2011 Catherine Anne McLeod Department of Sociology and Equity Studies in Education University of Toronto Abstract Community art is a multidisciplinary practice that was engendered by two main perspectives on art; a functionalist approach and an „art as essential to humanity‟ approach. These differing ideological positions led to the construction of polarizing dichotomies that divided the field of practice and stagnated the community art discourse. This thesis re-visions community art as transformative community art (T.C.A.) to integrate a diverse range of practice into a distinct, recognizable field, transcend the binaries inherited from its founding fields, and identify the field as an innovative artistic movement and radical practice for social change. In this thesis T.C.A. is employed as a framework for theorizing practice. Threats to T.C.A. from funding structures, cooptation, and institutionalisation are explored and strategies of resistance identified. The concept of T.C.A. is mobilized to identify areas for future work; raising questions and ideas that can contribute to advancing a more complex, nuanced, and productive discourse. ii Acknowledgements This thesis would not have been possible without the support and encouragement of many people. Foremost I would like to thank all of my colleagues in community art. -
Why the European Green Deal Needs Ecofeminism Moving from Gender-Blind to Gender-Transformative Environmental Policies Report
WHY THE EUROPEAN GREEN DEAL NEEDS ECOFEMINISM Moving from gender-blind to gender-transformative environmental policies Report This report is published by: Date of publication: 16 July 2021 Disclaimer: This report seeks to contribute with critical voices to the public debate and make recommenda- tions around European environmental and climate policies and practices. Not all of the authors and organisa- tions that have contributed to this report work on all topics or areas covered. The different chapters reflect the opinions of the authors (and their organisations where they have contributed on their behalf) and do not necessarily reflect the positions of the publishing organisations or the other contributing organisations. Concept and editorial team: Patrizia Heidegger (EEB), Nadège Lharaig (EEB), Katy Wiese (EEB), Anke Stock (WECF), Rose Heffernan (WECF) With contributions from: Global Women's Network for the Energy Transition Acknowledgments The publishers wish to thank the following colleagues for their feedbacks and support throughout the development of this report: Irene Dankelman (WECF), Gabriele Koehler (WECF), Miriam Müller (WECF), Victoria Chartier (EEB), Bérénice Dupeux (EEB), Isabelle Brachet (ActionAid), Barbara van Paassen (ActionAid), Wadzanai Motsi-Khatai (CIJ), and Marine Uldry (EDF). With support from: This report was produced with the financial support of the European Union. Its contents are the sole responsibility of the authors and do not necessarily reflect the views of the European Union. Cover: © 4-life-2-b; this page: © Annabelle Avril © Ben Gingell CONTENT FOREWORD 6 EXECUTIVE SUMMARY 7 INTRODUCTION 11 I CONCEPTS 15 1. The theory behind the analysis: an explanation of our understanding of non-binary intersectional ecofeminism 16 II INCLUSIVE REPRESENTATION FOR STRONGER OUTCOMES FOR PEOPLE AND PLANET 23 2.