Cultural Gifts Scheme & Acceptance in Lieu
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Premier League, 2018–2019
Premier League, 2018–2019 “The Premier League is one of the most difficult in the world. There's five, six, or seven clubs that can be the champions. Only one can win, and all the others are disappointed and live in the middle of disaster.” —Jurgen Klopp Hello Delegates! My name is Matthew McDermut and I will be directing the Premier League during WUMUNS 2018. I grew up in Tenafly, New Jersey, a town not far from New York City. I am currently in my junior year at Washington University, where I am studying psychology within the pre-med track. This is my third year involved in Model UN at college and my first time directing. Ever since I was a kid I have been a huge soccer fan; I’ve often dreamed of coaching a real Premier League team someday. I cannot wait to see how this committee plays out. In this committee, each of you will be taking the helm of an English Football team at the beginning of the 2018-2019 season. Your mission is simple: climb to the top of the world’s most prestigious football league, managing cutthroat competition on and off the pitch, all while debating pressing topics that face the Premier League today. Some of the main issues you will be discussing are player and fan safety, competition with the world’s other top leagues, new rules and regulations, and many more. If you have any questions regarding how the committee will run or how to prepare feel free to email me at [email protected]. -
Mark Wallinger: State Britain: Tate Britain, London, 15 January – 27 August 2007
Mark Wallinger: State Britain: Tate Britain, London, 15 January – 27 August 2007 Yesterday an extraordinary work of political-conceptual-appropriation-installation art went on view at Tate Britain. There’ll be those who say it isn’t art – and this time they may even have a point. It’s a punch in the face, and a bunch of questions. I’m not sure if I, or the Tate, or the artist, know entirely what the work is up to. But a chronology will help. June 2001: Brian Haw, a former merchant seaman and cabinet-maker, begins his pavement vigil in Parliament Square. Initially in opposition to sanctions on Iraq, the focus of his protest shifts to the “war on terror” and then the Iraq war. Its emphasis is on the killing of children. Over the next five years, his line of placards – with many additions from the public - becomes an installation 40 metres long. April 2005: Parliament passes the Serious Organised Crime and Police Act. Section 132 removes the right to unauthorised demonstration within one kilometre of Parliament Square. This embraces Whitehall, Westminster Abbey, the Home Office, New Scotland Yard and the London Eye (though Trafalgar Square is exempted). As it happens, the perimeter of the exclusion zone passes cleanly through both Buckingham Palace and Tate Britain. May 2006: The Metropolitan Police serve notice on Brian Haw to remove his display. The artist Mark Wallinger, best known for Ecce Homo (a statue of Jesus placed on the empty fourth plinth in Trafalgar Square), is invited by Tate Britain to propose an exhibition for its long central gallery. -
Charles Fairfax Murray Collection: Finding Aid
http://oac.cdlib.org/findaid/ark:/13030/c8833xp9 No online items Charles Fairfax Murray Collection: Finding Aid Finding aid prepared by Gayle M. Richardson, October 26, 2011. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2129 Email: [email protected] URL: http://www.huntington.org © 2016 The Huntington Library. All rights reserved. Charles Fairfax Murray Collection: mssHM 76265-76327 1 Finding Aid Overview of the Collection Title: Charles Fairfax Murray Collection Dates (inclusive): 1866-1916 Collection Number: mssHM 76265-76327 Creator: Murray, Charles Fairfax, 1849-1919. Extent: 62 pieces. 1 box. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2129 Email: [email protected] URL: http://www.huntington.org Abstract: This 62-piece collection chiefly contains correspondence to Pre-Raphaelite artist and art collector Charles Fairfax Murray (1849-1919), as well as a few manuscripts by Murray and seven unsigned pencil and ink sketches, some of which are by Murray. Language: English and Italian Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher. Preferred Citation [Identification of item]. Charles Fairfax Murray Collection, The Huntington Library, San Marino, California. -
State 04 Layout 1
EE FREE FREE 04 | HOT & COOL ART H.J. WARD Superman 1940 Lehman College, NYC. Pulpit in Empty Chapel Oil on canvas Bed under Window Oil on canvas ‘How potent are these as ‘This new work is terrific in images of enclosed the emptiness of psychic secrecies!’ space in today's society, and MEL GOODING of the fragility of the sacred. Special works.’ DONALD KUSPIT stephen newton Represented in Northern England Represented in Southern England Abbey Walk Gallery Baker-Mamonova Galleries 8 Abbey Walk 45-53 Norman Road Grimsby St. Leonards-on-Sea www.newton-art.com Lincolnshire DN311NB East Sussex TN38 2QE >> IN THIS ISSUE COVER .%'/&)00+%00)6= IMAGE ,%713:)( H.J. Ward Superman 1940 Lehman College, NYC. ;IPSSOJSV[EVHXSWIIMRK]SYEXSYVRI[ 3 The first ever painting of Superman is the work of Hugh TVIQMWIW1EWSRW=EVH0SRHSR7; Joseph Ward (1909-1945) who died tragically young at 35 from cancer. He spent a lot of his time creating the sensational covers for pulp crime magazines, usually young 'YVVIRXP]WLS[MRK0IW*ERXSQIW[MXL women suggestively half-dressed, as well as early comic CONJURING THE ELEMENTS STREET STYLE REDUX [SVOF]%FSYHME%JIH^M,YKLIW0ISRGI book heroes like The Lone Ranger and Green Hornet. His main Public Art Triumphs Pin-point Paul Jones employer was Trojan Publications, but around 1940, Ward 08| 10 | 6ETLEIP%KFSHNIPSY&ERHSQE4EE.SI was commissioned to paint the first ever full length portrait of Superman to coincide with a radio show. He was paid ,EQEHSY1EMKE $100. The painting hung in the chief’s office at DC comics until mysteriously disappearing in 1957 (see editorial). -
Hereditary Genius Francis Galton
Hereditary Genius Francis Galton Sir William Sydney, John Dudley, Earl of Warwick Soldier and knight and Duke of Northumberland; Earl of renown Marshal. “The minion of his time.” _________|_________ ___________|___ | | | | Lucy, marr. Sir Henry Sydney = Mary Sir Robt. Dudley, William Herbert Sir James three times Lord | the great Earl of 1st E. Pembroke Harrington Deputy of Ireland.| Leicester. Statesman and __________________________|____________ soldier. | | | | Sir Philip Sydney, Sir Robert, Mary = 2d Earl of Pembroke. Scholar, soldier, 1st Earl Leicester, Epitaph | courtier. Soldier & courtier. by Ben | | Johnson | | | Sir Robert, 2d Earl. 3d Earl Pembroke, “Learning, observation, Patron of letters. and veracity.” ____________|_____________________ | | | Philip Sydney, Algernon Sydney, Dorothy, 3d Earl, Patriot. Waller's one of Cromwell's Beheaded, 1683. “Saccharissa.” Council. First published in 1869. Second Edition, with an additional preface, 1892. Fifith corrected proof of the first electronic edition, 2019. Based on the text of the second edition. The page numbering and layout of the second edition have been preserved, as far as possible, to simplify cross-referencing. This is a corrected proof. This document forms part of the archive of Galton material available at http://galton.org. Original electronic conversion by Michal Kulczycki, based on a facsimile prepared by Gavan Tredoux. Many errata were detected by Diane L. Ritter. This edition was edited, cross-checked and reformatted by Gavan Tredoux. HEREDITARY GENIUS AN INQUIRY INTO ITS LAWS AND CONSEQUENCES BY FRANCIS GALTON, F.R.S., ETC. London MACMILLAN AND CO. AND NEW YORK 1892 The Right of Translation and Reproduction is Reserved CONTENTS PREFATORY CHAPTER TO THE EDITION OF 1892.__________ VII PREFACE ______________________________________________ V CONTENTS __________________________________________ VII ERRATA _____________________________________________ VIII INTRODUCTORY CHAPTER. -
Gallery Ambassador Job Description
Gallery Ambassador Fixed Term Contracts & Casual Contracts Job description ……. Background For over a century the Whitechapel Gallery has premiered world-class artists from modern masters such as Pablo Picasso, Jackson Pollock, Mark Rothko and Frida Kahlo to contemporaries such as Sophie Calle, Lucian Freud, Gilbert & George and Mark Wallinger. With beautiful galleries, exhibitions, artist commissions, collection displays, historic archives, education resources, inspiring art courses, dining room and bookshop, the expanded Gallery is open all year round, so there is always something free to see. The Gallery is a touchstone for contemporary art internationally, plays a central role in London’s cultural landscape and is pivotal to the continued growth of the world’s most vibrant contemporary art quarter. Role With this role, you will act as a front of house Ambassador for Whitechapel Gallery and provide an excellent experience to all the visitors. The role requires Ambassadors to provide up to date information on all our Exhibition and Education Programme and to support the Gallery’s charitable aims, by promoting our ticketed Exhibitions, Public Event Programme, and Membership scheme and encourage donations. Invigilate the gallery spaces and any off-site exhibition spaces. Meeting the gallery’s needs to staff events such as season openings, patron tours etc. Working hours will vary and Gallery Ambassador may be offered work on any day of the week including Saturdays, Sundays, evenings and bank holidays. The services provided to the Gallery are on a fixed term contract basis for an hourly rate. Accountability The Gallery Ambassadors report to the Visitor Services Manager. Visitor Experience Providing excellent visitor care following existing guidelines and policies. -
Mark Wallinger Italian Lessons
Victoria Miro Mark Wallinger Italian Lessons Private View 5:30 – 7:30pm, Saturday 27 January 2018 Exhibition 27 January – 10 March 2018 Victoria Miro Venice, Il Capricorno, San Marco 1994, 30124 Venice, Italy Image: Mark Wallinger, Genius of Venice (detail), 1991 Glass, catalogue pages, nightlights, metal brackets 38 x 32 x 6 cm / 15 x 12 5/8 x 2 3/8 inches each, 7 parts Courtesy the artist and Hauser & Wirth Photo: Todd-White Art Photography © Mark Wallinger Victoria Miro, in collaboration with Hauser & Wirth, is delighted to present Italian Lessons, an exhibition by Mark Wallinger. Selected by the artist especially for Victoria Miro Venice, the works on display date from 1991 to 2016 and reflect a career-long engagement with ideas of power, authority, artifice and illusion. While sources of inspiration include the Italian masters and masterpieces in Italian collections, this is the first time many of these works have been shown in Italy. “In a sense, the exhibition is like my mini Grand Tour.” – Mark Wallinger Encompassing autobiography and art history, the Italian Lessons of the exhibition title are manifold. They refer to Wallinger’s own education and to his exposure to the Italian masters: via a charismatic college lecturer in his native Essex; a seminal exhibition in London; a bicycle tour from Paris to Florence. Equally, the Lessons make reference to the cornerstones of art history – such as the development of perspective and trompe-l’oeil techniques – and the shifts in consciousness they have brought about. Lessons theological as well as pedagogical may be deduced in the content or context of his source material, part of a long-term consideration of religion as one of the ideological forces through which order is imposed on the world. -
{FREE} the Art of Tracey Emin
THE ART OF TRACEY EMIN PDF, EPUB, EBOOK Chris Townsend,Mandy Merck,Etc. | 224 pages | 01 Nov 2002 | Thames & Hudson Ltd | 9780500283851 | English | London, United Kingdom The Art of Tracey Emin by Chris Townsend White Cube. Save Me , Xavier Hufkens. Sex 26 Sydney , The way you spoke to me , I Loved My Innocence , There was so much more of me , Little woman - Something I've always wanted Aste Boetto. Love Is What You Want , Lougher Contemporary. Crane , No Time for Love. The Kiss Was Beautiful , In The Art of Tracey Emin, distinguished critics from Britain and the United States address her achievement in depth for the first time, tracing Emin's influences from Egon Schiele to Judy Chicago and establishing her place in a larger tradition of postmodern and feminist art. Adopting a variety of critical approaches, contributors explore the full range of Emin's work, from photography and monoprints to installation art and videos, showing that, however raw and personal it may seem to be, it actually represents a carefully meditated response to vital issues in contemporary culture and society. Deals the truth about anal intercourse, at last: how liberating it is- but only for the purpetrator. In this case, the work explores the common experience of depression through a very personal and intimate lens. This artwork draws an important distinction between representation and presentation. This piece is not a representation of an object such as a painting or a sculpture. The art object doesn't refer to another object; it is the object itself. Some have argued that this was the key work in elevating women's experiences to the level of artistic expression. -
Racism and Anti-Racism in Football
Racism and Anti-Racism in Football Jon Garland and Michael Rowe Racism and Anti-Racism in Football Also by Jon Garland THE FUTURE OF FOOTBALL: Challenges for the Twenty-First Century (co-editor with D. Malcolm and Michael Rowe) Also by Michael Rowe THE FUTURE OF FOOTBALL: Challenges for the Twenty-First Century (co-editor with Jon Garland and D. Malcolm) THE RACIALISATION OF DISORDER IN TWENTIETH CENTURY BRITAIN Racism and Anti-Racism in Football Jon Garland Research Fellow University of Leicester and Michael Rowe Lecturer in Policing University of Leicester © Jon Garland and Michael Rowe 2001 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2001 by PALGRAVE Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N. Y. 10010 Companies and representatives throughout the world PALGRAVE is the new global academic imprint of St. Martin’s Press LLC Scholarly and Reference Division and Palgrave Publishers Ltd (formerly Macmillan Press Ltd). -
Press Release Pre-Raphaelites on Paper, Leighton House Museum
PRESS RELEASE Pre-Raphaelites on Paper: Victorian Drawings from the Lanigan Collection An exhibition at Leighton House Museum organised by the National Gallery of Canada, Ottawa 12 Feb 2016 – 29 May 2016 Press Preview 11 Feb 2016 Pre-Raphaelites on Paper: Victorian Drawings from the Lanigan Collection will be the first exhibition opening at Leighton House Museum in 2016, presenting an exceptional, privately- assembled collection to the UK public for the first time. Featuring over 100 drawings and sketches by the Pre- Raphaelites and their contemporaries, the exhibition is organised by the National Gallery of Canada (NGC). It expresses the richness and flair of British draftsmanship during the Victorian era displayed in the unique setting of the opulent home and studio of artist and President of the Royal Academy (PRA) Frederic, Lord Leighton. From preparatory sketches to highly finished drawings intended as works of art in themselves, visitors will discover the diverse ways that Victorian artists used drawing to further their artistic practice, creating, as they did so, images of great beauty and accomplishment. Portraits, landscapes, allegories and scenes from religious and literary works are all represented in the exhibition including studies for some of the most well-known paintings of the era such as Edward Burne- Jones’ The Wheel of Fortune (1883), Holman Hunt’s Eve of St Agnes (1848) and Leighton’s Cymon and Iphigenia (1884). With the exception of Leighton’s painting studio, the permanent collection will be cleared from Leighton House and the drawings hung throughout the historic interiors. This outstanding collection, brought together over a 30-year period by Canadian Dr. -
UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title No such thing as society : : art and the crisis of the European welfare state Permalink https://escholarship.org/uc/item/4mz626hs Author Lookofsky, Sarah Elsie Publication Date 2009 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO No Such Thing as Society: Art and the Crisis of the European Welfare State A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Art History, Theory and Criticism by Sarah Elsie Lookofsky Committee in charge: Professor Norman Bryson, Co-Chair Professor Lesley Stern, Co-Chair Professor Marcel Hénaff Professor Grant Kester Professor Barbara Kruger 2009 Copyright Sarah Elsie Lookofsky, 2009 All rights reserved. The Dissertation of Sarah Elsie Lookofsky is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Co-Chair University of California, San Diego 2009 iii Dedication For my favorite boys: Daniel, David and Shannon iv Table of Contents Signature Page…….....................................................................................................iii Dedication.....................................................................................................................iv Table of Contents..........................................................................................................v Vita...............................................................................................................................vii -
Crowd Choreographies
Crowd Choreographies Madeline McHale Hartzell Andy Warhol, Crowd c. 1963 Crowd Choreographies by Madeline Hartzell, 0 Advisors: Jill Stoner, Associate Professor of Architecture Raveevarn Choksombatchai, Associate Professor of Architecture Introduction 4 one The Fear of Being Touched: Catalog and Critique of a Crowd 8 Definition of a Crowd Sociological Factors Different Crowd Types two Mosh Pit : Simulating the Crowd 16 Summary of Programming Crowd Simulation Diverging Theories: Fluid Dynamics Vs. Agent Based Lexicon of Crowd Simulation Programs three The Crush : Case Studies 24 Moving: Haaj Pilgrimmage Fleeing: 9/11 Receiving: The Superdome Entering: Black Friday four Live Your Passion : Rio de Janeiro Olympic 06 40 Brief on Olympics Site Analysis: Rio (Populace, Landscape) Current Concerns: Terrorism, Crime, Mob Olympic Event Calendar five Anticipation: Investigating the 06 Crowds 46 SITE ONE: Maracana Stadium SITE TWO: Sambodrome SITE THREE: Copacabana Stadium six Choreographing the Crowd : Final Designs 60 Bibliography 74 table of contents . Aftermath from the 954 Lima-Peru Soccer Tragedy, resulting in 38 spectators dead, . Aerial view of the 969 Woodstock concert in White Lake, New York. 3. Photograph from the 989 Hillsborough Disaster, where 96 fans were crushed to death. The more, the merrier? "The more fiercely people press together, the more certain they feel that they do not fear each other." -Elias Canetti Many of the most important historical moments of our time involved a crowd - whether waiting in anticipation for an election result, parading the street in riot or somberly listening to a speech in peaceful hope. Designing for a large capacity of people, either on a short term basis (stadium) or continuous movement throughout the period of day (subway station) inherently brings in an element of the unknown: how people will truly inhabit the space.