DOCSLIB.ORG

School of Art 2007–2008

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
School of Art 2007–2008 May 10, 2007 May ALE UNIVERSITY umber 1 N BULLETIN OF Y Series 103 School of Art 2007–2008 BULLETIN OF YALE UNIVERSITY May 10, 2007 School of Art Periodicals postage paid Periodicals Connecticut Haven, New 06520 -8227 CT BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE New Haven Bulletin of Yale University The University is committed to basing judgments concerning the admission, education, and employment of individuals upon their qualifications and abilities and a∞rmatively seeks to Postmaster: Send address changes to Bulletin of Yale University, attract to its faculty, sta≠, and student body qualified persons of diverse backgrounds. In PO Box 208227, New Haven CT 06520-8227 accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against any individual PO Box 208230, New Haven CT 06520-8230 on account of that individual’s sex, race, color, religion, age, disability, status as a special Periodicals postage paid at New Haven, Connecticut disabled veteran, veteran of the Vietnam era, or other covered veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or Issued seventeen times a year: one time a year in May, November, and December; two times expression. a year in June; three times a year in July and September; six times a year in August University policy is committed to a∞rmative action under law in employment of women, minority group members, individuals with disabilities, special disabled veterans, Managing Editor: Linda Koch Lorimer veterans of the Vietnam era, and other covered veterans. Editor: David J. Baker Inquiries concerning these policies may be referred to the O∞ce for Equal Opportunity Editorial and Publishing O∞ce: 175 Whitney Avenue, New Haven, Connecticut Programs, 104 William L. Harkness Hall, 203.432.0849. Publication number (USPS 078-500) In accordance with both federal and state law, the University maintains information con- cerning current security policies and procedures and prepares an annual crime report con- Text printed in Canada cerning crimes committed within the geographical limits of the University. Upon request to the O∞ce of the Secretary of the University, PO Box 208230, New Haven CT 06520-8230, The closing date for material in this bulletin was April 9, 2007. 203.432.2310, the University will provide such information to any applicant for admission. The University reserves the right to withdraw or modify the courses of instruction or to change the instructors at any time. In accordance with federal law, the University prepares an annual report on participation rates, financial support, and other information regarding men’s and women’s intercollegiate ©2007 by Yale University. All rights reserved. The material in this bulletin may not be athletic programs. Upon request to the Director of Athletics, PO Box 208216, New Haven reproduced, in whole or in part, in any form, whether in print or electronic media, without CT 06520-8216, 203.432.1414, the University will provide its annual report to any student or written permission from Yale University. prospective student. Content For all other matters related to admission to the School of Art, please telephone the Admissions Questions regarding the editorial content of this publication may be referred to O∞ce, 203.432.2600. Patricia Ann DeChiara, Director of Academic A≠airs, Yale School of Art. Telephone Numbers at the Yale School of Art Inquiries Dean’s O∞ce 203.432.2606 All inquiries regarding admission to graduate programs in art and requests for application Academic A≠airs 203.432.2600 forms should be addressed to the O∞ce of Academic A≠airs, Yale School of Art, 1156 Chapel Financial A≠airs 203.432.2605 Street, PO Box 208339, New Haven CT 06520-8339, or telephone 203.432.2600. (School of Graphic Design and Photography Art bulletins are mailed through periodicals postage and usually take at least three weeks to Faculty O∞ces 203.432.2622 reach their destinations. If first-class postage is preferred, please send $2 with your request.) Design Studios 203.432.2626 Darkrooms 203.432.2611 The text has been printed on recycled paper. Painting/Printmaking, 353 Crown Street Faculty O∞ces 203.432.9109 Ground-Floor Studios 203.432.9143 First-Floor Studios 203.432.2616 Second-Floor Studios 203.432.1208 Printshop 203.432.2614 Sculpture Studios, Hammond Hall, 14 Mansfield Street 203.432.5286 Faculty O∞ces 203.432.9109 School of Art 2007–2008 BULLETIN OF YALE UNIVERSITY Series 103 Number 1 May 10, 2007 er sh Fi reet r St anne C y tis m ur lla C Be treet Cottage S ity in 9 iv l d 45 D oo n ch ua of S rq e ic a el ut us M p it M ha st d C In re ac Q S SD reet Lawrence St yale university campus north tts e e B us Ho 75 y S 1 le t e y . re b er or G La l itn at R al al Le rv o i H e n or h bs et m rs O a wards Stre e n Ed M Ma e S l t 9 ab t r 0 in ec e 3 j e P ta o r s Pr t o Su s od p Fo ge e rm a c a ar t F G S ge t a r S sh al e n- ar ic e so M an t er ot n Pi B de Bishop Street ar et 0 G Stre 34 rds dwa 60 ht E 3 rig 0 W 38 ab L L 1 4 A E > ce 30 95 Pla f 1 ng ide o di ills ss ry il H la ist Bu NORTH C m h 0 t 14 he rc 35 h t 3 C ea rig es es W W Humphrey St R b reet La e try 0 lin is 31 K em Ch b La er nt Ce n s io as at y g B rm og lin ry fo ol er ist In n 6 St m ch es 27 e Te ic Ch rv b e a ab S 1 y L L 2 ne bs 2 it ib h ue 54 e G W n 2 in y ve ge Kl og A ra et ol a re Bi r G St we nd To dla 0 e oo 23 an W lo cs S si ab y b e L - Ph La in y ct Kl og pe ol os Ge r em - 05 P ch e 2 a ge ag rs S ra S e a 0 ow W G 1 B l 2 al h H i t et n re y e t y S 54 od on 19 al ab m A 81 t 2 f nt Pe eu v 1 p e m 20 s o e s u n o as nm M C Cl ro u i e nv ce E en 75 ci r 1 P S te r en o C t s 55 e p n 1 e s e r r ll o t a c sb g t O S In bs 0 r nk S a 1 e i t L t R r s e w b M e o e s h a t t an rc e t W n Stre v o s n E H l e f hem o ll l i Sac ts a a e e a r H H r e t ld W nt W S Ce S i t n n r l c e rs h e 0 de 1 o e 7 5 c s t un f t t o o n n l i er F l o e ch l o m a L A a h e b ll s ve 0 0 H Sc ag in a t’ n 8 4 an te H en B u 1 M S id radley Street e es n Pr se t o 46 u e s o 21 e ld s H 1 r a n t d n o d y o m S u ar D l M r om 4 7 o b 2 3 t Li C 1 s i r 8 B 3 ad ll r a rg ns 5 H de io 3 d n iss on e U m ll m Plac d a 4 ect e A H am rosp t uc in H P c L l lw e pe al Al s r eet s H Ro te Str ro e 0 n e ck P c 3 Ce lic ) Lo 8 la o n P 27 (P tio from I-91 ta S 28 77 87 Can al S H 42 t i 4 re et l e tre l t S h bull 24 3 Trum o -4 43 u 2 s 43 e e t e g ua n n A l s lo ri th l a ad ce a ee v al s l on gr vi e e n a i 5 r M in He ic le H 1 at 5 er e GROVE STREET ng r n rv e y 42 rn nd r S E e u H e nt Se dl te r U ee P e e a In e r F C H nt Ca IE CEMETERY on e d ts C an Wa ll et 5 Ha Le r 40 ve li 5 Audubon Street O 1 b e on La c ct n a e o l B s P s m a ie a M W e v h 6 a n h k 2- D u a 0 D i 1 b t L a n L e P y T n r 6 e a 9 e o A m - m v n r 0 c A s a 9 a s p e L te l 0 p n 0 r h e d n P n l e 1 e m r u C w c tla ne e y e o u t ir r e e r T y n K a S ld tn a w S W e e i k s t S t u f h u P o r n l e t r e l W v q r H e s a e e o H ro e S S 0 e r e e S 7 R G a S 3 t u k t t q r S e o yn y Y al a ne tr P it n ty Grove Street h Ce er si W w er s ym Po t iv on G an Un m 5 Pl m 26 Co 0 25 y y th se o t l ol an im h ia y g o m T ig nc s a f lin HEWIT W l li w a e w o r e T al il D in ic 6 k l te te k H S F rv 4 r al a S gs ec t e 2 a H du w n n en S ns P e a s a di ei y QUAD e d ki rs r ie L il B ar dg 3 tu p r o G d u br ri 49 S m e M tu B Li b ey s To w S od tn ie y o o hi it a e T W l W an R us al m o H Hu er H Wall Street nt Continued on next page Ce a e zr s gu l 90 0 6 E le y ra l ke - 8 6 ti ff le p al c ll 82 a S O s ic e S H oe a fk y y’ us y rk t H li a or M ar e S S 0 dw r M r B H 32 e a te ib L L al ro a L ng CC W 1 Y e B he rli l 45 or T te ia st y S or k a m ry oo 35 dw e ra CROSS CAMPUS e B oa M ib al B t L t W r Br Y ss T o u 2 s 43 e e t e g ua n n A l s lo ri th l a ad ce a ee v al s l on gr vi e e n a i 5 r M in He ic le H 1 at 5 er e GROVE STREET ng r n rv e y 42 rn nd r S E e u H e nt Se dl te r U ee P e e a In e r F C H nt Ca IE CEMETERY on e d ts C an Wa ll et 5 Ha Le r 40 ve li 5 Audubon Street O 1 b e on La c ct n a e o l B s P s m a ie a M W e v h 6 a n h k 2- D u a 0 D i 1 b t L a n L e P y T n r 6 e a 9 e o A m - m v n r 0 c A s a 9 a s p e L te l 0 p n 0 r h e d n P n l e 1 e m r u C w c tla ne e y e o u t ir r e e r T y n K a S ld tn a w S W e e i k s t f S t u h u P o r n l e t r e l W v q r H e s a e e o H ro e S S 0 e r e e S 7 R G a S 3 t u k t t q r S ne o l y ey Y ra Pa tn t Grove Street hi en r ity W C e rs m ow ve ns y P nt ni o G la U m 65 P om 2 C 50 y 2 y th se o t l ol an im h ia y g o m T ig nc s a lin HEW W l li w a e w of r e ITT al il D in ic 6 k l te te k H S F rv 4 r al a S gs ec t e 2 a H du w n n en S ns P e a s a di ei y QUAD e d ki rs r ie L il B ar dg 3 tu p r o G d u br ri 49 S m e M tu B Li b ey s o w S od tn ie y T o o hi it a e T W l W an R us al m o H Hu er H Wall Street nt Ce ra ue z s g l 90 0 66 E le y ra ll ke - 8 ti ff le p a c ll 82 a S O s ic e S H oe a fk y y’ us y rk t H li a or M ar e S S 0 dw r M r B H 32 e a te ib L L al ro a L ng CC W 1 yale university campus south & yale medical center Y e B he rli l 45 or T te ia st y S or k a m ry oo 35 dw e ra CROSS CAMPUS e B oa M ib al B t r L Y t ro B ss t W e a e ha d h e e w r e l g e e le a t i P 2 r y e 0 r y r A e L t v 3 t en ll t e u S a S e S r H r t o e t e e i h i l S r s r g d i e c V p l t r n n n k ul y u e n r 3 u e e a b l o H l 4 m e h C r o l 1 h m rk al a 9 e Y u 4 O H T Tr Be C 1 C n tio ta e Elm Street S fic l t le f ee el Elm Stree Ya t O rf tt l 4 os u Ba pe 95 0 P n- D a 1 3 a Ch s ok nm t a l ro La gh am om e b ri n h ap ay W ar .
Load more

Recommended publications
  • 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.
    [Show full text]
  • Constellation & Correspondences
    LIBRARY CONSTELLATION & CORRESPONDENCES AND NETWORKING BETWEEN ARTISTS ARCHIVES 1970 –1980 KATHY ACKER (RIPOFF RED & THE BLACK TARANTULA) MAC ADAMS ART & LANGUAGE DANA ATCHLEY (THE EXHIBITION COLORADO SPACEMAN) ANNA BANANA ROBERT BARRY JOHN JACK BAYLIN ALLAN BEALY PETER BENCHLEY KATHRYN BIGELOW BILL BISSETT MEL BOCHNER PAUL-ÉMILE BORDUAS GEORGE BOWERING AA BRONSON STU BROOMER DAVID BUCHAN HANK BULL IAN BURN WILLIAM BURROUGHS JAMES LEE BYARS SARAH CHARLESWORTH VICTOR COLEMAN (VIC D'OR) MARGARET COLEMAN MICHAEL CORRIS BRUNO CORMIER JUDITH COPITHORNE COUM KATE CRAIG (LADY BRUTE) MICHAEL CRANE ROBERT CUMMING GREG CURNOE LOWELL DARLING SHARON DAVIS GRAHAM DUBÉ JEAN-MARIE DELAVALLE JAN DIBBETS IRENE DOGMATIC JOHN DOWD LORIS ESSARY ANDRÉ FARKAS GERALD FERGUSON ROBERT FILLIOU HERVÉ FISCHER MAXINE GADD WILLIAM (BILL) GAGLIONE PEGGY GALE CLAUDE GAUVREAU GENERAL IDEA DAN GRAHAM PRESTON HELLER DOUGLAS HUEBLER JOHN HEWARD DICK NO. HIGGINS MILJENKO HORVAT IMAGE BANK CAROLE ITTER RICHARDS JARDEN RAY JOHNSON MARCEL JUST PATRICK KELLY GARRY NEILL KENNEDY ROY KIYOOKA RICHARD KOSTELANETZ JOSEPH KOSUTH GARY LEE-NOVA (ART RAT) NIGEL LENDON LES LEVINE GLENN LEWIS (FLAKEY ROSE HIPS) SOL LEWITT LUCY LIPPARD STEVE 36 LOCKARD CHIP LORD MARSHALORE TIM MANCUSI DAVID MCFADDEN MARSHALL MCLUHAN ALBERT MCNAMARA A.C. MCWHORTLES ANDREW MENARD ERIC METCALFE (DR. BRUTE) MICHAEL MORRIS (MARCEL DOT & MARCEL IDEA) NANCY MOSON SCARLET MUDWYLER IAN MURRAY STUART MURRAY MAURIZIO NANNUCCI OPAL L. NATIONS ROSS NEHER AL NEIL N.E. THING CO. ALEX NEUMANN NEW YORK CORRES SPONGE DANCE SCHOOL OF VANCOUVER HONEY NOVICK (MISS HONEY) FOOTSY NUTZLE (FUTZIE) ROBIN PAGE MIMI PAIGE POEM COMPANY MEL RAMSDEN MARCIA RESNICK RESIDENTS JEAN-PAUL RIOPELLE EDWARD ROBBINS CLIVE ROBERTSON ELLISON ROBERTSON MARTHA ROSLER EVELYN ROTH DAVID RUSHTON JIMMY DE SANA WILLOUGHBY SHARP TOM SHERMAN ROBERT 460 SAINTE-CATHERINE WEST, ROOM 508, SMITHSON ROBERT STEFANOTTY FRANÇOISE SULLIVAN MAYO THOMSON FERN TIGER TESS TINKLE JASNA MONTREAL, QUEBEC H3B 1A7 TIJARDOVIC SERGE TOUSIGNANT VINCENT TRASOV (VINCENT TARASOFF & MR.
    [Show full text]
  • Capitol Hill Guide Welcome
    The Van Scoyoc Companies Capitol Hill Guide Welcome Welcome to Washington and the Van Scoyoc Companies. I hope you’ll find this guide useful during your visit to Capitol Hill. Our Country’s forefathers enshrined in the First Amendment to the U.S. Constitution the people’s right “peaceably to assemble, and to petition the Government for a redress of grievances.” They considered this right of equal importance with freedom of religion and freedom of the press. Thousands of Americans visit their elected representatives in the House and the Senate each year, providing Members of Congress and the Administration with vital insights into the Country’s needs and fears and wishes for the future. Unfortunately, many Americans today don’t appreciate this right – and this privilege – they have to influence government by making their views known, either directly or through agents and associations. The Founding Fathers knew that a great nation grew out of a vigorous competition of ideas and interests, and they designed our Government to accommodate conflicts, not quash them. We at the Van Scoyoc Companies have always believed that our primary role was to help our clients find honorable and effective ways to make their arguments known to those in power. Please don’t hesitate to ask anyone in our firms for something you may need during your visit to Washington. We don’t pretend to have the answer to every question, but I guarantee you that when we don’t, we know how to find it. Regards, Contents ciate sso s I a nc c o • y V Stu’s Welcome 2 o S C c o s n n s a Map of Capitol Hill 3 u v l • t c i a n Hints for Visiting Congressional Offices 4 p g i I t n o c • l D Useful Contacts 5 e c c isions In Restaurant Map 6 Recommended Restaurants 7 This guide was created for the convenience and sole use of clients and potential clients of the Van Map of Places to Visit 8 Scoyoc Companies.
    [Show full text]
  • District of Columbia Inventory of Historic Sites Street Address Index
    DISTRICT OF COLUMBIA INVENTORY OF HISTORIC SITES STREET ADDRESS INDEX UPDATED TO OCTOBER 31, 2014 NUMBERED STREETS Half Street, SW 1360 ........................................................................................ Syphax School 1st Street, NE between East Capitol Street and Maryland Avenue ................ Supreme Court 100 block ................................................................................. Capitol Hill HD between Constitution Avenue and C Street, west side ............ Senate Office Building and M Street, southeast corner ................................................ Woodward & Lothrop Warehouse 1st Street, NW 320 .......................................................................................... Federal Home Loan Bank Board 2122 ........................................................................................ Samuel Gompers House 2400 ........................................................................................ Fire Alarm Headquarters between Bryant Street and Michigan Avenue ......................... McMillan Park Reservoir 1st Street, SE between East Capitol Street and Independence Avenue .......... Library of Congress between Independence Avenue and C Street, west side .......... House Office Building 300 block, even numbers ......................................................... Capitol Hill HD 400 through 500 blocks ........................................................... Capitol Hill HD 1st Street, SW 734 .........................................................................................
    [Show full text]
  • The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash
    Installation view of The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash. © General Idea. The Estate of General Idea (1969-1994) had their first exhibition with the Mitchell-Innes & Nash Gallery on view in Chelsea through January 13, featuring several “ziggurat” paintings from the late 1960s, alongside works on paper, photographs and ephemera that highlight the central importance of the ziggurat form in the rich practice of General Idea. It got me thinking about the unique Canadian trio’s sumptuous praxis and how it evolved from humble roots in the underground of the early 1970s to its sophisticated position atop the contemporary art world of today. One could say that the ziggurat form is a perfect metaphor for a staircase of their own making that they ascended with grace and elegance, which is true. But they also had to aggressively lacerate and burn their way to the top, armed with real fire, an acerbic wit and a penchant for knowing where to apply pressure. Even the tragic loss of two thirds of their members along the way did not deter their rise, making the unlikely climb all the more heroic. General Idea, VB Gown from the 1984 Miss General Idea Pageant, Urban Armour for the Future, 1975, Gelatin Silver Print, 10 by 8 in. 25.4 by 20.3 cm, Courtesy Mitchell-Innes and Nash. © General Idea. The ancient architectural structure of steps leading up to a temple symbolizes a link between humans and the gods and can be found in cultures ranging from Mesopotamia to the Aztecs to the Navajos.
    [Show full text]
  • Spring 1982 CAA Newsletter
    newsletter Volume 7, Number I Spring 1982 CAA awards 1982 annual meeting: New York Awards for excellence in scholarship, John E. Sawyer, President of The Andrew W. teaching, and criticism were presented at the Mellon Foundation, spoke out strongly for the Convocation ceremonies of the 70th Annual importance of the arts and humanities and re­ Meeting of the College Art Association of affirmed the private and public interest in America, held on Friday evening, February sustaining in strength the work of those disci­ 26, in the Grace Rainey Rogers Auditorium of ples in his address at the Convocation of the the Metropolitan Museum of Art. 70th Annual Meeting of the College Art Asso­ The Distinguished Teaching of Art History ciation, held on Friday evening, February 26, Award was presented to Robert Herbert, in the Grace Rainey Rogers Auditorium of Robert Lehman Professor of the History of the Metropolitan Museum of Art. (Dr. Saw­ Art at Yale University. The Distinguished yer's address is printed in full, pp.3·5.) Teaching of Art Award went to Gyorgy The Convocation Address came near the Kepes, Professor and Director Emeritus of the midpoint of what was, as expected, one of the Center for Advanced Visual Studies at The largest CAA annual meetings ever. Total Massachusetts Institute of Technology. The attendance is estimated at 5,500, with more Charles Rufus Morey Book Award was given than 500 non-members registering to attend to Richard Krautheimer, for Rome: The the full range of activities and nearly 1,000 Prof£le of a City. The Frank Jewett Mather persons buying single-session admission tick· Award for distinction in art criticism went to ets.
    [Show full text]
  • Trustees Corcoran Gallery of Art Corcoran School
    CONFIDENTIAL: TRUSTEES CORCORAN GALLERY OF ART CORCORAN SCHOOL OF ART MARCH/APRIL 1974 MONTHLY REPORTS Director/Dean's Report Gallery: Curatorial Registrar Education Special Education Membership Admissions Maintenance/Security Gallery Shop Public Relations Events Finance Conservation School: Assistant Dean/Academic Studies Registrar Corcoran Report March/April 1974 During the months of March and April the Corcoran Gallery of Art continued to be most active, with many exhibitions and events. On Friday, March 15, a preview was held of exhibitions organized as a "Tribute to the Arts of the America's". The Tribute was organized by the Washington Performing Arts Society, and the Corcoran exhibitions played a vital role in the celebration of the arts in the America's. The preview was held in conjunction with openings at the Pan American Union and the Renwick Ga-llery. Many members, guests and others attended the opening at the Corcoran. The sculpture of Edgar Negret was well received, being sculpture of major international importance. The Argentine Embassy helped present the paintings of Raquel Forner, while the Commonwealth of Puerto Rico presented prints from the San Juan Biennial and Puerto Rican photographs. Canada was represented by the prints of William Featherston. The paintings of Elliott Thompson were previewed later in the month on Wednesday, March 27. Elliott Thompson is increasingly well known as a Washington painter and the work shown represented his development in painting from 1967-1974. Elliott Thompson teaches at the Corcoran School of Art. Events were held in March to coincide with "The Tribute to the Arts in the America's", including lunchtime talks and a reception by the Commonwealth of Puerto Rico in conjunction with the Puerto Rican photography of'Dos Mundos'.' The Lecture Committee of the Women's Committee sponsored an evening of "American Writing of the 1930's".
    [Show full text]
  • AA Bronson Radical Asshole '…The Use of Irony Was Itself Serious
    AA Bronson Radical Asshole ‘…the use of irony was itself serious…’ – AA Bronson on General Idea, in The Confession of AA Bronson (2011) AA Bronson thinks his butt is revolutionary. That may be the case – I haven’t tried it – but I’m not quoting him fairly. He thinks all assholes are revolutionary. In this he joins proto-queer thinker Guy Hocquenghem, who argued that the liberation of anal pleasure from shame was one way to remake society as a whole. Homosexuality is dangerous, he claimed in Homosexual Desire (1972), because it shows that eroticism is not tied to reproduction. Male receptivity further disturbs the masculine/feminine, active/passive oppositions which uphold patriarchal authority and by extension marriage or other systems of ownership. This undoing of gendered mastery finds echoes in Bronson’s earlier work as a member of General Idea. From their mock beauty pageants in which the artist becomes feminised commodity, to their pose as pampered poodles, they mercilessly satirised the singular (straight male) artistic genius as a myth of the media and marketplace. But the deaths of his partners and collaborators Jorge Zontal and Felix Partz from AIDS in 1994, and his reversion to working alone, caused not only a personal but an artistic crisis for Bronson. How could he represent himself without betraying the group’s critique of the artist as gifted individual? While his most recent work has sought to memorialise those lost to the pandemic and histories of homophobic persecution, his decision to summon the queerly departed by posing, like Joseph Beuys, as a shaman, appears to abandon the principles of GI.
    [Show full text]
  • Spring 1985 CAA Newsletter
    Volume 10, Number 1 Spring 1985 conferences and symposia eM awards Contemporary Monotypes Modern Monumental Sculpture Awards for excellence in scholarship, crit­ A symposium to be held at Bard College on A symposium to be held at Columbia Univer­ icism, and the teaching of art and art history Wednesday, 8 May, at 4:30 P. M. in conjunc­ sity's Rosenthal Auditorium (501 Schermer­ were presented at the Convocation ceremo­ tion with an exhibition of the same title at the horn Hall) on Friday, 26 ApriL Speakers in nies of the 73rd Annual Meeting of the Col­ Edith C. Blum Art Institute. Panelists will in· the morning session will be: Albert Elsen, lege Art Association, held on Friday evening, clude curator Robert F. Johnson, Achenbach Stanford, Rodin's "Thinker" and the Dilem .. February 15, 1985 at The Biltmore Hotel in Foundation of Graphic Art, and artists Na· ma of Public Sculpture; William Tucker, Los Angeles, than Oliveira and Michael Mazu. Matt Phil­ sculptor, On Private and Public Sculpture; The Distinguished Teaching of Art History lips, chair of the Bard art department, will Rosalind Krauss, Hunter and CUNY Grad­ Award was presented to Father Harrie Van­ moderate. For additional information: Tina uate Center, Brancusi's Mischief; and Rich­ derstappen, professor of Far Eastern art at Iraca Green, BC, Annandale-on-Hudson, ard Brilliant, Columbia, The Public Monu­ the University of Chicago. The Distinguished NY 12504. (914) 758-6822. ment: Fixing Space. In the afternoon: John Teaching of Art Award went to Leon Golub, Beardsely, art historian, Whither Modem professor of art at the Mason Gross School of Current Studies on Cluny Monumental Sculpture?; Kirk Varnedoe, Papers contributing new insights on the role the Arts, Rutgers University.
    [Show full text]
  • William Gropper's
    US $25 The Global Journal of Prints and Ideas March – April 2014 Volume 3, Number 6 Artists Against Racism and the War, 1968 • Blacklisted: William Gropper • AIDS Activism and the Geldzahler Portfolio Zarina: Paper and Partition • Social Paper • Hieronymus Cock • Prix de Print • Directory 2014 • ≤100 • News New lithographs by Charles Arnoldi Jesse (2013). Five-color lithograph, 13 ¾ x 12 inches, edition of 20. see more new lithographs by Arnoldi at tamarind.unm.edu March – April 2014 In This Issue Volume 3, Number 6 Editor-in-Chief Susan Tallman 2 Susan Tallman On Fierce Barbarians Associate Publisher Miguel de Baca 4 Julie Bernatz The Geldzahler Portfoio as AIDS Activism Managing Editor John Murphy 10 Dana Johnson Blacklisted: William Gropper’s Capriccios Makeda Best 15 News Editor Twenty-Five Artists Against Racism Isabella Kendrick and the War, 1968 Manuscript Editor Prudence Crowther Shaurya Kumar 20 Zarina: Paper and Partition Online Columnist Jessica Cochran & Melissa Potter 25 Sarah Kirk Hanley Papermaking and Social Action Design Director Prix de Print, No. 4 26 Skip Langer Richard H. Axsom Annu Vertanen: Breathing Touch Editorial Associate Michael Ferut Treasures from the Vault 28 Rowan Bain Ester Hernandez, Sun Mad Reviews Britany Salsbury 30 Programs for the Théâtre de l’Oeuvre Kate McCrickard 33 Hieronymus Cock Aux Quatre Vents Alexandra Onuf 36 Hieronymus Cock: The Renaissance Reconceived Jill Bugajski 40 The Art of Influence: Asian Propaganda Sarah Andress 42 Nicola López: Big Eye Susan Tallman 43 Jane Hammond: Snapshot Odyssey On the Cover: Annu Vertanen, detail of Breathing Touch (2012–13), woodcut on Maru Rojas 44 multiple sheets of machine-made Kozo papers, Peter Blake: Found Art: Eggs Unique image.
    [Show full text]
  • Rochelle Feinstein: Fredonia! November 20Th - January 9Th, 2021 6315 NW 2Nd Ave Miami, Florida 33157 +1 305 571 2288 Ninajohnson.Com CONTENTS
    Rochelle Feinstein: Fredonia! November 20th - January 9th, 2021 6315 NW 2nd Ave Miami, Florida 33157 +1 305 571 2288 ninajohnson.com CONTENTS Fredonia! 5 About Rochelle Feinstein 7 About Nina Johnson 9 Works 10 CV 36 Press 42 ` FREDONIA! Nina Johnson is proud to present Fredonia!, an exhibition of new and recent paintings by Rochelle Feinstein, opening on November 20th, 2020 and remaining on view through January 9th, 2021. Feinstein is a legendary painter, whose work and ideas about abstraction have influenced gen- erations of artists. Over the past four decades, she has deflated the dogmas of modernism with humor and verve, liberally borrowing from different schools of painting, as well as other mediums, including drawing, photography, printmaking, sculpture, video, and installation. Though it takes myriad forms, her singular project always centers painting within culture at large. Fredonia! refers to a fictional utopia, a 19th-century name for the United States that never took off, and a failed country in the 1933 Marx Brothers film Duck Soup. The exhibition features sev- eral recent bodies of work which reflect upon this time of turmoil, anxiety, and gallows humor. Feinstein uses the motif of the rainbow—a visual trope and cultural artifact first explored while in residence at the American Academy in Rome—to present works rich in color and connotation. She moves freely through the history of late 20th-century painting, rejoicing in materiality while poking holes in the notion of pure painting. In one, thick pools of paint are stitched together with a zigzagging horizontal length of acrylic yarn. It first appears as a harshly linear intrusion fracturing the painting.
    [Show full text]
  • White House Neighborhood Focuses on the History and Architecture of Part of Our Local Environment That Is Both Familiar and Surprising
    Explore historic dc Explore historic CHILDREN’S WALKING TOUR CHILDREN’S EDITION included WHITE HOUSE inside! NEIGHBORHOOD WASHINGTON, DC © Washington Architectural Foundation, 2017 Welcome to the cap Welcome to Welcome This tour of Washington’s White House Neighborhood focuses on the history and architecture of part of our local environment that is both familiar and surprising. The tour kit includes everything a parent, teacher, Scout troop leader or home schooler would need to walk children through several blocks of buildings and their history and to stimulate conversation and activities as they go. Designed for kids in the 8-12 age group, the tour is fun and educational for older kids and adults as well. The tour materials include... • History of the White House Neighborhood • Tour Booklet Instructions • The White House Neighborhood Guide • Architectural Vocabulary • Conversation Starters • The White House Neighborhood Tour Stops • Children's Edition This project has been funded in part by a grant from the Dorothea DeSchweinitz Fund for the District of Columbia of the National Trust for Historic Preservation. This version of the White House Neighborhood children’s architectural tour is the result of a collaboration among Mary Kay Lanzillotta, FAIA, Peter Guttmacher and the creative minds at LookThink. White house neigh History of the White House Neighborhood The president's neighborhood hen Pierre L’Enfant designed the plan of Washington, W DC, in 1791, he selected the site for the President’s House west of the downtown. Next to the President’s House was an orchard, which was identified as President’s Park. When President Jefferson moved into the President’s House in 1801, he noted that the country residence was “free from the noise, the heat...and the bustle of a close built town.” Over the next 100 years, the neighborhood developed with many fashionable homes, including the Octagon and the Ringgold Residence.
    [Show full text]