THE INDEFINITIVE SELF: Subject As Process in Visual Art
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Leandro Erlich: Towards a Collaborative Relationship Between Architecture and Art Isabel Tassara [email protected]
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Master's Projects and Capstones Theses, Dissertations, Capstones and Projects Winter 12-16-2016 Leandro Erlich: Towards A Collaborative Relationship Between Architecture and Art Isabel Tassara [email protected] Follow this and additional works at: https://repository.usfca.edu/capstone Part of the Architectural History and Criticism Commons, Contemporary Art Commons, Interior Architecture Commons, Modern Art and Architecture Commons, and the Museum Studies Commons Recommended Citation Tassara, Isabel, "Leandro Erlich: Towards A Collaborative Relationship Between Architecture and Art" (2016). Master's Projects and Capstones. 436. https://repository.usfca.edu/capstone/436 This Project/Capstone is brought to you for free and open access by the Theses, Dissertations, Capstones and Projects at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Master's Projects and Capstones by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. Leandro Erlich: Towards a Collaborative Relationship Between Architecture and Art Keywords: contemporary art, museum studies, architecture, interactive installation, international artist, art exhibition, Buenos Aires Argentina, Contemporary Jewish Museum by Isabel Tassara Capstone project submitted in partial FulFillment oF the requirements For -
The Pulitzer Prizes 2020 Winne
WINNERS AND FINALISTS 1917 TO PRESENT TABLE OF CONTENTS Excerpts from the Plan of Award ..............................................................2 PULITZER PRIZES IN JOURNALISM Public Service ...........................................................................................6 Reporting ...............................................................................................24 Local Reporting .....................................................................................27 Local Reporting, Edition Time ..............................................................32 Local General or Spot News Reporting ..................................................33 General News Reporting ........................................................................36 Spot News Reporting ............................................................................38 Breaking News Reporting .....................................................................39 Local Reporting, No Edition Time .......................................................45 Local Investigative or Specialized Reporting .........................................47 Investigative Reporting ..........................................................................50 Explanatory Journalism .........................................................................61 Explanatory Reporting ...........................................................................64 Specialized Reporting .............................................................................70 -
STUDY GUIDE by Marguerite O’Hara, Jonathan Jones and Amanda Peacock
A personal journey into the world of Aboriginal art A STUDY GUIDE by MArguerite o’hArA, jonAthAn jones And amandA PeAcock http://www.metromagazine.com.au http://www.theeducationshop.com.au ‘Art for me is a way for our people to share stories and allow a wider community to understand our history and us as a people.’ SCREEN EDUCATION – Hetti Perkins Front cover: (top) Detail From GinGer riley munDuwalawala, Ngak Ngak aNd the RuiNed City, 1998, synthetic polyer paint on canvas, 193 x 249.3cm, art Gallery oF new south wales. © GinGer riley munDuwalawala, courtesy alcaston Gallery; (Bottom) Kintore ranGe, 2009, warwicK thornton; (inset) hetti perKins, 2010, susie haGon this paGe: (top) Detail From naata nunGurrayi, uNtitled, 1999, synthetic polymer paint on canvas, 2 122 x 151 cm, mollie GowinG acquisition FunD For contemporary aBoriGinal art 2000, art Gallery oF new south wales. © naata nunGurrayi, aBoriGinal artists aGency ltD; (centre) nGutjul, 2009, hiBiscus Films; (Bottom) ivy pareroultja, rrutjumpa (mt sonDer), 2009, hiBiscus Films Introduction GulumBu yunupinGu, yirrKala, 2009, hiBiscus Films DVD anD WEbsitE short films – five for each of the three episodes – have been art + soul is a groundbreaking three-part television series produced. These webisodes, which explore a selection of exploring the range and diversity of Aboriginal and Torres the artists and their work in more detail, will be available on Strait Islander art and culture. Written and presented by the art + soul website <http://www.abc.net.au/arts/art Hetti Perkins, senior curator of Aboriginal and Torres Strait andsoul>. Islander art at the Art Gallery of New South Wales, and directed by Warwick Thornton, award-winning director of art + soul is an absolutely compelling series. -
Schools Reconciliation Challenge E
Introduction 2 How to Enter 2 About the NSW Reconciliation Council 3 Schools Reconciliation Challenge 4 Why Reconciliation? 5 Why Art? 5 2011 Artwork Gallery 6 Exploring the theme: Our Place 7 Sample Art Lessons 8 Culturally Appropriate Teaching 12 Strategies for teaching Aboriginal Students 13 Terminology 13 Lift Out Reconciliation Timeline 16 Fact Sheets 14 Reconciliation 14 Aboriginal NSW 21 Australian Aboriginal and Torres Strait Islander Peoples 25 2011 Schools Reconciliation Honour Roll 29 Entry Form 31 Terms and Conditions 32 "#$%&'&()*'+)&, The Schools Reconciliation Challenge is an art competition for young This kit has been people in NSW aged 10–16. This resource is a teaching kit which endorsed and is builds upon the objectives outlined in the NSW Creative Arts Syllabus supported by the K-6 and NSW Visual Arts Syllabus 7–10. Aboriginal Education Activities contained within help students to explore the relationship Consultative Group NSW between artist, artworks, the audience and the world, whilst developing (AECG NSW) their own artmaking practice by creating work to submit in the competition. Aboriginal and Torres Strait Islander readers are warned that this publication may contain references to deceased persons. Effort has been undertaken to ensure that the information contained in this book is correct, and the NSW Reconciliation Council regrets any offence that errors or omissions may cause. ! .(/'01($$2*'3/1$41)2)5&)$4'6(522/47/'8 ./9:'!;'-<!- .(/'59&'$='9/1$41)2)5&)$4'>'&(9$%7('&(/'/?/*'$='?$%47'@/$@2/ The Schools Reconciliation Challenge is an annual art competition for young people aged 10–16, running for the duration of Term 1 (closing on April 5 2012). -
Local Heritage Register
Explanatory Notes for Development Assessment Local Heritage Register Amendments to the Queensland Heritage Act 1992, Schedule 8 and 8A of the Integrated Planning Act 1997, the Integrated Planning Regulation 1998, and the Queensland Heritage Regulation 2003 became effective on 31 March 2008. All aspects of development on a Local Heritage Place in a Local Heritage Register under the Queensland Heritage Act 1992, are code assessable (unless City Plan 2000 requires impact assessment). Those code assessable applications are assessed against the Code in Schedule 2 of the Queensland Heritage Regulation 2003 and the Heritage Place Code in City Plan 2000. City Plan 2000 makes some aspects of development impact assessable on the site of a Heritage Place and a Heritage Precinct. Heritage Places and Heritage Precincts are identified in the Heritage Register of the Heritage Register Planning Scheme Policy in City Plan 2000. Those impact assessable applications are assessed under the relevant provisions of the City Plan 2000. All aspects of development on land adjoining a Heritage Place or Heritage Precinct are assessable solely under City Plan 2000. ********** For building work on a Local Heritage Place assessable against the Building Act 1975, the Local Government is a concurrence agency. ********** Amendments to the Local Heritage Register are located at the back of the Register. G:\C_P\Heritage\Legal Issues\Amendments to Heritage legislation\20080512 Draft Explanatory Document.doc LOCAL HERITAGE REGISTER (for Section 113 of the Queensland Heritage -
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Heritage Citation Lutwyche Cemetery & Sexton's Residence Key details Also known as Kedron Brook Cemetery Addresses At 418 Gympie Road, Kedron, Queensland 4031 Type of place Work residence, Cemetery Period Interwar 1919-1939, Victorian 1860-1890 Style Bungalow Lot plan L753_SL8480 Key dates Local Heritage Place Since — 1 July 2003 Date of Citation — December 2010 Date of Citation — December 2010 Page 1 Criterion for listing (A) Historical; (B) Rarity; (D) Representative; (E) Aesthetic; (G) Social Lutwyche Cemetery was established in 1878. Designed in the traditional grid-like layout, popular in the Victorian era, the cemetery is demonstrative of the early European community’s need for burial grounds. The fabric, setting and context of the site are all important. The cemetery has distinct sections which show its evolution from a Victorian cemetery, established in the 1870s, to one that includes newer forms of burial, such as the war and lawn cemeteries. Within the cemetery grounds is an early and intact shelter built in 1891 and the sexton’s residence, a substantial interwar timber house on the corner of Gympie and Kitchener Roads. The cemetery has an important Commonwealth War Graves Commission burial section on the site which contains 386 World War II graves. Mature trees on the site, which include rows of Camphor Laurel and Cypress Pine trees, add to the site’s significance and visual appeal. History “Cemeteries not only help explain our past, they also provide a sense of continuity and identity. So our burial grounds reflect vital aspects of our social, religious, folk, architectural, literary and botanical history which are not found in such a combination in any other place.”1 1 After the declaration of Queensland as a colony, separate to New South Wales, in 1859, the new Queensland Government was anxious to increase the colony’s population and to encourage agricultural settlements. -
A Critique of Humoristic Absurdism
A Critique of Humoristic Absurdism A Critique of Humoristic Absurdism Problematizing the legitimacy of a humoristic disposition toward the Absurd A Critique of Humoristic Absurdism Copyright © 2020 Thom Hamer Thom Hamer All rights reserved. No part of this thesis may be reproduced, stored or transmitted in any way or by any means without the prior permission of the author or, when applicable, of the publishers of the scientific papers. Image on previous page: Yue Minjun (2003), Garbage Hill Student number: 3982815 Graphic design: Mirelle van Tulder Date: February 5th 2020 Printed by Ipskamp Printing Word count: 32,397 Institution: Utrecht University Contents Study: Research Master Philosophy Summary 9 Document: Final Thesis Foreword 10 Supervisor: prof. dr. Paul Ziche Introduction 12 Second Reader: dr. Hans van Stralen 1. The Philosophy of Humor 21 Third Reader: prof. dr. Mauro Bonazzi 1.1. A history of negligence and rejection 24 1.2. Important distinctions 33 1.3. Theories of humor 34 1.4. Defense of the Incongruity Theory 41 1.5. Relevance of relief and devaluation 52 1.6. Operational definition 54 2. The Notion of the Absurd 59 2.1. Camusian notion: meaninglessness 61 2.2. Tolstoyan notion: mortality 63 2.3. Nagelian notion: trivial commitments 67 2.4. Modified notion: dissolution of resolution 71 2.5. Justificatory guideline for a disposition toward the Absurd 78 3. Humoristic Absurdism 83 3.1. What is Humoristic Absurdism? 85 3.2. Cultural expressions of Humoristic Absurdism 87 3.3. Defense of Humoristic Absurdism 92 4. Objections against the humoristic disposition toward the Absurd 101 4.1. -
Visitor Figures 2016 Exhibition & Museum Attendance Survey
2 THE ART NEWSPAPER REVIEW Number 289, April 2017 SPECIAL REPORT VISITOR FIGURES 2016 EXHIBITION & MUSEUM ATTENDANCE SURVEY Christo helps 1.2 million people to walk on water While the Whitney breaks the hold of New York’s big two hristo’s triumph in Italy, a space in New York to five artists, including Steve Children admiring Louise Bourgeois at Tate Modern: ravenous appetite for French art McQueen, Lucy Dodd and Michael Heizer, for the institution has hung on to its spot as the world’s abroad and a shake-up in New several weeks at a time. On average, more than most popular Modern and contemporary art museum York are the big stories of The 4,000 visitors saw each of the five presentations, Art Newspaper’s 2016 attend- roughly equivalent to the number that visited the FEMALE ARTISTS DRAW BIG CROWDS ance survey. museum’s Frank Stella retrospective. Christo’s Floating Piers (2016) Despite the Whitney’s rapid rise, MoMA and Female artists feature prominently in our survey. on Lake Iseo—the New York-based artist’s first the Met continue to lead the league in New York. At the Guggenheim Bilbao, Louise Bourgeois’s Cells Coutdoor installation since 2005—was the world’s MoMA remains at the top, thanks to staffers who attracted around 4,600 visitors a day. The Japanese most-visited work of art last year. Christo erected performed each afternoon over a long weekend artist Yayoi Kusama, who in 2014 proved a phenom- 3km of fabric-covered pontoons between an island last October in a production directed by the enon in South America and Asia, continued to pull and the shore and invited the public to walk on French choreographer Jérôme Bel. -
The Conversation Rise of Indigenous Art Speaks Volumes About Class in Australia February 24, 2014
FORT GANSEVOORT Rise of Indigenous art speaks volumes about class in Australia February 24, 2014 The children of the wealthy know that mainstream culture belongs to them. urbanartcore.eu The Conversation is running a series, Class in Australia, to identify, illuminate and debate its many manifestations. Here, Joanna Mendelssohn examines the links between Indigenous art and class. The great story of recent Australian art has been the resurgence of Indigenous culture and its recognition as a major art form. But in a country increasingly divided by class and wealth, the rise of Indigenous art has had consequences undreamed of by those who first projected it onto the international exhibiting stage. 5 NINTH AVENUE, NEW YORK, 10014 | [email protected] | (917) 639-3113 FORT GANSEVOORT The 1970s export exhibitions of Arnhem Land bark paintings and reconceptualisations of Western Desert ceremonial paintings had their origins in different regions of the oldest culture. In the following decade, urban Indigenous artists began to make their presence felt. Trevor Nickolls, Lin Onus, Gordon Bennett, Fiona Foley, Bronwyn Bancroft, Tracey Moffatt – all used the visual tools of contemporary western art to make work that was intelligent, confronting, and exhibited around the world. The continuing success of both traditional and western influenced art forms has led to one of the great paradoxes in Australian culture. At a time when art schools have subjugated themselves to the metrics-driven culture of the modern university system, when creative courses are more and more dominated by the children of privilege, some of the most interesting students and graduates are Indigenous. -
With Nike Shoes and Cigarettes, Katherine Bernhardt Codifies Our Contemporary Hieroglyphs,” Artsy, November 21, 2015
Gottschalk, Molly, “In the Studio: With Nike Shoes and Cigarettes, Katherine Bernhardt Codifies Our Contemporary Hieroglyphs,” Artsy, November 21, 2015 In the Studio: With Nike Shoes and Cigarettes, Katherine Bernhardt Codifies Our Contemporary Hieroglyphs It’s a grey and rainy afternoon when I arrive at painter Katherine Bernhardt’s studio, a former car detailing shop with window decals still in place, on a quiet block of Brooklyn’s Flatbush neighborhood. But the environment the rising star ushers me into is, by comparison, a tropical paradise. 980 MADISON AVENUE NEW YORK, NY 10075 (212) 980-0700 | 601 SOUTH ANDERSON STREET LOS ANGELES, CA 90023 (323) 980-9000 WWW.VENUSOVERMANHATTAN.COM Despite her having just closed three concurrent solo shows at the New York and L.A. locales of Venus (formerly Venus Over Manhattan and Venus Over Los Angeles) and Carl Freedman, the long, narrow space is bursting at the seams with brightly colored, electric paintings of watermelons, sharks, and bananas. Some lay on the paint-splattered cement floor, drying; others are rolled in plastic or propped up on empty paint buckets against the walls. But to get to this painter’s haven, brimming with spray paint and gallon jugs of acrylic in infinite lush colors, you must pass through a lair of Moroccan rugs, piled high and tacked across the walls. It’s an ideal playground for Bernhardt’s four-year-old son Khalifa, who alternates climbing and lounging on the stacks and goes relatively unnoticed save for his scattered Mack Trucks and toy cars. But it also serves as a well of inspiration for Bernhardt’s surprisingly codified works and the flagship for her Berber rug importing business. -
To Care, to Curate. a Relational Ethic of Care
Curare: to care, to curate. A relational ethic of care in curatorial practice Sibyl Annice Fisher Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Fine Art, History of Art and Cultural Studies November, 2013 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgment. © 2013 The University of Leeds and Sibyl Annice Fisher The right of Sibyl Annice Fisher to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. Readers are respectfully advised that this document contains the names and images of Indigenous persons who are now deceased. Acknowledgements I would like to thank the School of Fine Art, History of Art and Cultural Studies for the international scholarship that enabled me to undertake this research project, and David Jackson for the initial conversation. For archival assistance, many thanks to Gary Haines at Whitechapel Art Gallery, Jennifer Page at the Research Center, National Museum of Women in the Arts, Janet Moore at the Institute of Contemporary Art, Boston, and Gary Dufour at the Art Gallery of Western Australia. Thanks also to Aunty Stephanie Gollan at Tandanya National Aboriginal Cultural Institute. Thank you to Rayma Johnson for kind permission to use the image of Russell Page, and to Glen Menzies and Hetti Perkins for advice on reproducing work by Emily Kame Kngwarreye. -
The Menil Collection to Present Mona Hatoum
THE MENIL COLLECTION TO PRESENT MONA HATOUM: TERRA INFIRMA, OCTOBER 13, 2017 – FEBRUARY 25, 2018, THE ARTIST’S FIRST MAJOR SOLO EXHIBITION IN THE UNITED STATES IN TWENTY YEARS Following the Menil Presentation, the Exhibition will Travel to the Pulitzer Arts Foundation in St. Louis from April 6–August 11, 2018 Press preview October 11, 2017 at 9:00 a.m. HOUSTON, TX, September 21, 2017 – The London-based artist Mona Hatoum (b. 1952) creates work that addresses the growing unease of an ever-expanding world, one that is as technologically networked as it is politically fractured by war and exile. Investigating place and the body through a minimalist language of form and a wide range of materials, from glass and steel to light and sand, her sculptures and installations since the late-1980s are grounded in questions about how shifting geography and the limits of institutional structures can redefine our understanding of the world around us. Organized by Menil Senior Curator Michelle White, Mona Hatoum: Terra Infirma is the internationally-acclaimed artist’s first major solo exhibition in the United States in more than twenty years. Opening October 13, 2017, the exhibition will present approximately 30 major sculptures and installations from North American and European collections. The show also includes a number of smaller sculptures and works on paper. Highlights include work imbued with a sense of physical danger that challenge the idea of home as a place of rest and comfort. Homebound (1999) is a room-size assemblage of electrified household objects and furniture. Other works depart from the Surrealist notion of the uncanny.