Vol. 16, No. 6 June 2012 You Can’T Buy It
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Oral History Interview with Edith Wyle, 1993 March 9-September 7
Oral history interview with Edith Wyle, 1993 March 9-September 7 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview EW: EDITH WYLE SE: SHARON EMANUELLI SE: This is an interview for the Archives of American Art, the Smithsonian Institution. The interview is with Edith R. Wyle, on March 9th, Tuesday, 1993, at Mrs. Wyle's home in the Brentwood area of Los Angeles. The interviewer is Sharon K. Emanuelli. This is Tape 1, Side A. Okay, Edith, we're going to start talking about your early family background. EW: Okay. SE: What's your birth date and place of birth? EW: Place of birth, San Francisco. Birth date, are you ready for this? April 21st, 1918-though next to Beatrice [Wood-Ed.] that doesn't seem so old. SE: No, she's having her 100th birthday, isn't she? EW: Right. SE: Tell me about your grandparents. I guess it's your maternal grandparents that are especially interesting? EW: No, they all were. I mean, if you'd call that interesting. They were all anarchists. They came from Russia. SE: Together? All together? EW: No, but they knew each other. There was a group of Russians-Lithuanians and Russians-who were all revolutionaries that came over here from Russia, and they considered themselves intellectuals and they really were self-educated, but they were very learned. -
Annual Report 2018–2019 Artmuseum.Princeton.Edu
Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb. -
1Cljqpgni 843713.Pdf
© 2013 University of Oklahoma School of Art All rights reserved. Published 2013. First Edition. Published in America on acid free paper. University of Oklahoma School of Art Fred Jones Center 540 Parrington Oval, Suite 122 Norman, OK 73019-3021 http://www.ou.edu/finearts/art_arthistory.html Cover: Ganiyegi Equoni-Ehi (Danger in the River), America Meredith. Pages iv-v: Silent Screaming, Roy Boney, Jr. Page vi: Top to bottom, Whirlwind; Claflin Sun-Circle; Thunder,America Meredith. Page viii: Ayvdaqualosgv Adasegogisdi (Thunder’s Victory),America Meredith. Traditional Themes in Contemporary Cherokee Art Traditional Themes in Contemporary Cherokee Art xi Foreword MARY JO WATSON xiii Introduction HEATHER AHTONE 1 Chapter 1 CHEROKEE COSMOLOGY, HISTORY, AND CULTURE 11 Chapter 2 TRANSFORMATION OF TRADITIONAL CRAFTS AND UTILITARIAN ITEMS INTO ART 19 Chapter 3 CONTEMPORARY CHEROKEE ART THEMES, METHODS, AND ARTISTS 21 Catalogue of the Exhibition 39 Notes 42 Acknowledgements and Contributors 43 Bibliography Foreword "What About Indian Art?" An Interview with Dr. Mary Jo Watson Director, School of Art and Art History / Regents Professor of Art History KGOU Radio Interview by Brant Morrell • April 17, 2013 Twenty years ago, a degree in Native American Art and Art History was non-existent. Even today, only a few universities offer Native Art programs, but at the University of Oklahoma Mary Jo Watson is responsible for launching a groundbreaking art program with an emphasis on the indigenous perspective. You expect a director of an art program at a major university to have pieces in their office, but entering Watson’s workspace feels like stepping into a Native art museum. -
Valeska Soares B
National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels As of 8/11/2020 1 Table of Contents Instructions…………………………………………………..3 Rotunda……………………………………………………….4 Long Gallery………………………………………………….5 Great Hall………………….……………………………..….18 Mezzanine and Kasser Board Room…………………...21 Third Floor…………………………………………………..38 2 National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels The large-print guide is ordered presuming you enter the third floor from the passenger elevators and move clockwise around each gallery, unless otherwise noted. 3 Rotunda Loryn Brazier b. 1941 Portrait of Wilhelmina Cole Holladay, 2006 Oil on canvas Gift of the artist 4 Long Gallery Return to Nature Judith Vejvoda b. 1952, Boston; d. 2015, Dixon, New Mexico Garnish Island, Ireland, 2000 Toned silver print National Museum of Women in the Arts, Gift of Susan Fisher Sterling Top: Ruth Bernhard b. 1905, Berlin; d. 2006, San Francisco Apple Tree, 1973 Gelatin silver print National Museum of Women in the Arts, Gift from the Trustees of the Corcoran Gallery of Art (Gift of Sharon Keim) 5 Bottom: Ruth Orkin b. 1921, Boston; d. 1985, New York City Untitled, ca. 1950 Gelatin silver print National Museum of Women in the Arts, Gift of Joel Meyerowitz Mwangi Hutter Ingrid Mwangi, b. 1975, Nairobi; Robert Hutter, b. 1964, Ludwigshafen am Rhein, Germany For the Last Tree, 2012 Chromogenic print National Museum of Women in the Arts, Gift of Tony Podesta Collection Ecological concerns are a frequent theme in the work of artist duo Mwangi Hutter. Having merged names to identify as a single artist, the duo often explores unification 6 of contrasts in their work. -
The Materiality of Text and Body in Painting and Darkroom Processes: an Investigation Through Practice
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2003 The Materiality of Text and Body in Painting and Darkroom Processes: An Investigation through Practice Robinson, Deborah http://hdl.handle.net/10026.1/1738 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. The Materiality of Text and Body in Painting and Darkroom Processes: An Investigation through Practice by Deborah Robinson A thesis submitted to the University of Plymouth in partial fulfilment for the degree of Doctor of Philosophy School of Art and Design Faculty of Arts and Education June 2003 The Materiality of Text and Body in Painting and Darkroom Processes: An Investigation through Practice Deborah Claire Robinson This research study ennploys practice-based strategies through which material processes might be opened to new meaning in relation to the feminine. The purpose of the written research component is to track the material processes constituting a significant part of the research findings. Beginning with historical research into artistic and critical responses to Helen Frankenthaler's painting, Mountains and Sea, I argue that unacknowledged male desire distorted and consequently marginalised reception of her work. I then work with the painting processes innovated by Frankenthaler and relate these to a range of feminist ideas relating to the corporeal, especially those with origins in Irigaray's writings of the 1980s. -
Double Vision: Woman As Image and Imagemaker
double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond. -
NEA-Annual-Report-1992.Pdf
N A N A L E ENT S NATIONAL ENDOWMENT FOR~THE ARTS 1992, ANNUAL REPORT NATIONAL ENDOWMENT FOR!y’THE ARTS The Federal agency that supports the Dear Mr. President: visual, literary and pe~orming arts to I have the honor to submit to you the Annual Report benefit all A mericans of the National Endowment for the Arts for the fiscal year ended September 30, 1992. Respectfully, Arts in Education Challenge &Advancement Dance Aria M. Steele Design Arts Acting Senior Deputy Chairman Expansion Arts Folk Arts International Literature The President Local Arts Agencies The White House Media Arts Washington, D.C. Museum Music April 1993 Opera-Musical Theater Presenting & Commissioning State & Regional Theater Visual Arts The Nancy Hanks Center 1100 Pennsylvania Ave. NW Washington. DC 20506 202/682-5400 6 The Arts Endowment in Brief The National Council on the Arts PROGRAMS 14 Dance 32 Design Arts 44 Expansion Arts 68 Folk Arts 82 Literature 96 Media Arts II2. Museum I46 Music I94 Opera-Musical Theater ZlO Presenting & Commissioning Theater zSZ Visual Arts ~en~ PUBLIC PARTNERSHIP z96 Arts in Education 308 Local Arts Agencies State & Regional 3z4 Underserved Communities Set-Aside POLICY, PLANNING, RESEARCH & BUDGET 338 International 346 Arts Administration Fallows 348 Research 35o Special Constituencies OVERVIEW PANELS AND FINANCIAL SUMMARIES 354 1992 Overview Panels 360 Financial Summary 36I Histos~f Authorizations and 366~redi~ At the "Parabolic Bench" outside a South Bronx school, a child discovers aspects of sound -- for instance, that it can be stopped with the wave of a hand. Sonic architects Bill & Mary Buchen designed this "Sound Playground" with help from the Design Arts Program in the form of one of the 4,141 grants that the Arts Endowment awarded in FY 1992. -
Coverfeature
COVER FEATURE 38 PROVINCETOWN ARTS 2018 Helen Frankenthaler In the pantheon of revered artists that constitutes the essential canon of Provincetown’s unique contribution to art history in America, the name Helen Frank enthaler (1928–2011) feels more distant, locally, than it deserves to be. Our focus on Frankenthaler in this issue explores the artist’s continuing inspiration for contemporary artists: Angela Dufresne’s passionate examination-by-alert-eye of Frankenthaler’s painting Holocaust, about which she spoke spontaneously into Jennifer Liese’s tape recorder while facing the work in situ at the Art Museum of the Rhode Island School of Design; Bonnie Clearwater’s account of her experience working with Frankenthaler to select a survey exhibition of works on paper for the Museum of Contemporary Art, North Miami, Florida; and Mira Schor’s interpre- tation of the political, sexual, and competitive issues that Frankenthaler faced as a woman navigating the male-dominated world of the Abstract Expressionists. Finally, we show the ongoing influence of the artist’s work in a profile on Jeannie Motherwell, Frankenthaler’s stepdaughter and Robert Motherwell’s daughter, in whose work the family and artistic legacy continues. Abstract Climates: Helen Frankenthaler in Provincetown, the exhibition on view at the Provincetown Art Asso- ciation and Museum from July 6 through September 2, is devoted to works done by Frankenthaler during more than a decade of summers she spent living and working in Provincetown after her marriage to Robert Motherwell in 1958. Lise Motherwell, a stepdaughter of the artist and President of PAAM, curated the show with Elizabeth Smith, Executive Director of the Helen Frankenthaler Foundation in New York. -
Mountain Monsters Season 6 Episode 1 Free Download Mountain Monsters Season 6 Episode 1 Free Download
mountain monsters season 6 episode 1 free download Mountain monsters season 6 episode 1 free download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67d97e1039bac41f • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Are We Ever Going To See a Mountain Monsters Season 6? Mountain Monsters is a show that has aired for five seasons on Destination America, one of the channels that’s frequently featured on premium packages for satellite and cable television. Typically, the network deals with things that are paranormal and in some cases, they venture into the world of cryptozoology. Mountain Monsters is a show that kind of combines both of these things into a single series, and people that have seen it either love it or hate it. It really is no middle ground with this show, to say the least. The show features the AIMS team and typically, you see them going out into the backwoods of the Appalachian Mountains looking for bigfoot or other storied cryptids that people have reported seeing. -
2Q17 Columbia Retail Market Report
2Q17: Columbia Retail Market Report Grocers In, Big Box Retailers Out VACANCY The Columbia retail market stayed steady between the close of 2016 and the close of the second quarter, with vacancy 5.3% creeping from 5.1% to 5.3%. Net absorption this quarter Rates crept upwards from 5.1% in 4Q16 was negative 18,174 square feet (SF), compared to a positive 306,581 SF at the close of the fourth quarter 2016. NAI Avant Director of Retail Services Patrick Palmer, CCIM attributes the negative net absorption to big box retailers NET ABSORPTION closing their doors, making more vacant space available in the market. For example, this quarter, HH Gregg closed its doors -18,174 SF and moved out of ±30,396 SF at Village at Sandhill Forum 306,581 SF in 4Q16 Center, in addition to vacating the chain’s ±69,023 SF location on Bower Parkway. But the Columbia retail market remains steady and strong. Average rental rates rose from $11.06 SF at the close of 2016, AVERAGE RENTAL RATE to $11.42 SF at the close of the second quarter 2017. The Central Business District continues to own the highest rental $11.42 rate at $19.38 SF. Up from $11.06 in 4Q16 The highlights for the Columbia retail market in the second quarter of 2017 center around major grocery store openings and announcements. VACANCY: MALLS Impact of E-Commerce: Columbia is no exception to the nationwide 13.6% reality of big box retailers closing their doors. The only building type that saw Nearly every major department store, including decreased vacancy in 2Q17 Macy’s, Kohl’s, Walmart, and Sears, have closed hundreds of stores due to the rise of e-commerce. -
Year-End Retail Market
COLLIERS KEENAN I COLUMBIA, SOUTH CAROLINA Year-End Retail Market 77 Q 4 I 2 0 0 7 26 NORTHEAST The Columbia, South Carolina, retail market experienced robust growth during 2007, with the ST ANDREWS NORTH market expanding by 723,615 square feet. The majority of growth occurred in the Northeast and COLUMBIAFOREST Lexington markets, as the Wal-Mart in Redbank came online and the Village at Sandhill on Clemson LEXINGTON AcRES Road continued its expansion. This growth can largely be attributed to the health and vibrancy of CBD 20 the Columbia market. Employment growth in the region increased by 5,700 jobs over the course of SOUTHEAST CAYCE/ COLUMBIA 2007, with 2,300 of those jobs being within the retail sector. WEST COLUMBIA Even with the significant amount of new 14,000,000 93.00% space developed in 2007, market occupan- 92.00% cy remained almost unchanged, increas- 12,000,000 ing slightly from 90.66% at year-end 2006 MARKET INDICATORS 91.00% to 90.78% at year-end 2007. Historically 10,000,000 90.00% speaking, the market occupancy for the Q3 Q4 Columbia retail market has hovered in the 8,000,000 89.00% range of 10% to 12%. This demonstrates 88.00% OCCUPANCY 6,000,000 both the stability of the market and the fact 87.00% that the majority of new space developed is 4,000,000 either pre-leased or build-to-suit, rather than 86.00% ABSORPTION speculatively developed space. 2,000,000 85.00% Suburban Markets RENTAL RATE 0 84.00% E Y E Y E Y E Y E E E Y M Y M Y M Y M Y Y Y 1 2 3 4 5 6 7 0 02 0 03 0 04 0 05 0 0 0 The Lexington market experienced the most 20 0 20 0 20 0 20 0 20 20 20 CONSTRUCTION 2 2 2 2 retail growth with over 473,000 square feet Inventory Occupancy of new retail space added to the market dur- ing 2007. -
Cherokee-English Machine Translation for Endangered Language Revitalization
ChrEn: Cherokee-English Machine Translation for Endangered Language Revitalization Shiyue Zhang Benjamin Frey Mohit Bansal UNC Chapel Hill {shiyue, mbansal}@cs.unc.edu; [email protected] Abstract Src. ᎥᏝ ᎡᎶᎯ ᎠᏁᎯ ᏱᎩ, ᎾᏍᎩᏯ ᎠᏴ ᎡᎶᎯ ᎨᎢ ᏂᎨᏒᎾ ᏥᎩ. Ref. They are not of the world, even as I am not of the Cherokee is a highly endangered Native Amer- world. ican language spoken by the Cherokee peo- SMT It was not the things upon the earth, even as I am ple. The Cherokee culture is deeply embed- not of the world. ded in its language. However, there are ap- NMT I am not the world, even as I am not of the world. proximately only 2,000 fluent first language Table 1: An example from the development set of Cherokee speakers remaining in the world, and ChrEn. NMT denotes our RNN-NMT model. the number is declining every year. To help save this endangered language, we introduce people: the Eastern Band of Cherokee Indians ChrEn, a Cherokee-English parallel dataset, to (EBCI), the United Keetoowah Band of Cherokee facilitate machine translation research between Indians (UKB), and the Cherokee Nation (CN). Cherokee and English. Compared to some pop- ular machine translation language pairs, ChrEn The Cherokee language, the language spoken by is extremely low-resource, only containing 14k the Cherokee people, contributed to the survival sentence pairs in total. We split our paral- of the Cherokee people and was historically the ba- lel data in ways that facilitate both in-domain sic medium of transmission of arts, literature, tradi- and out-of-domain evaluation.