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Dorothy Joiner Lovick P
Dorothy Joiner Lovick P. Corn Professor of Art History LaGrange College LaGrange, Georgia 30240 (706) 880-8329 E-mail: [email protected] ```````````````````````````````````````````````````````````````````````````` Employment as an Educator 2001-present Lovick P. Corn Professor of Art History, LaGrange College 1971-2001 State University of West Georgia 1997-2001 Coordinator of International Programs, State University of West Georgia 1989-1997 Chair, Department of Foreign Languages 1988-1989 Acting Chair, Department of Foreign Languages 1987-2001 Professor of French and Art History 1980-1987 Associate Professor of French and Art History 1973-1980 Assistant Professor of French 1971-1973 Instructor of French 1982-1985 DeKalb College; part-time instructor of English composition and world literature 1971-1979 DeKalb College; part-time instructor of French, English composition, and world literature 1966-1967 St. Tammany Parish School Board, Covington, Louisiana; high school teacher of French and English 1965-1966 LaPorte, Texas, Independent School District; fifth- grade teacher in experimental bilingual program involving instruction of all subjects in both French and English Teaching Assignments Courses Taught Museum Seminar: New York City Museum Seminar: London Museum Seminar: Bayeux, Paris, and London Museum Seminar: Prague, Vienna, and Paris Museum Seminar: Mexico Museum Seminar: Washington, D.C., and Philadelphia Museum Seminar: Chicago Museum Seminar: Greece Museum Seminar: London Museum Seminar: Italy: Rome, Florence, Siena, Ravenna, -
Above the Immigration Wall, Walking New York
Above the Immigration Hall, Walking New York Describing the theme of her narrative relief panels mounted on a 300-foot wide space above the immigration booths, sculptor Deborah Masters emphasizes the familiar, as well as the diverse in New York. “I look at New York through a different lens, to show the many aspects that make the city so fantastic,” she said. When passengers reach the third site-specific installation, “Walking New York,” they gaze up at a startling series of 28 reliefs – each measuring 8 feet high by 10 feet wide across a space as wide as the length of a football field. The reliefs are cast in a fiberglass modified gypsum, with a depth of relief of up to six inches and a weight of some 300 pounds each. The panels are vividly painted to show scenes of people riding the subway, working on Wall Street, crossing important bridges like the Brooklyn and Manhattan and enjoying city diversions, such as parks and outdoor restaurants. The large number of murals allowed the artist to reveal the complex layers of the city – the energy generated by a parade, the fatigue of factory workers, the joy of a wedding and the colors of its many ethnic markets. “These are scenes I believe returning New Yorkers will recognize and immediately and visitors will anticipate eagerly,” said Masters. Masters attended Bryn Mawr College, where she studied with Chris Cairns and Peter Agostini, and the New York Studio School, where she studied with George Spaventa, Clement Meadmore, and Nick Carone. Following art school, she spent three years in Italy studying and working on her sculpture. -
Michael Heizer Selected Bibliography
G A G O S I A N Michael Heizer Selected Bibliography Selected Books and Catalogues: 2019 Fox, William. Michael Heizer: The Once and Future Monuments. New York: Monacelli Press. 2017 Voorhies, James. Beyond Objecthood: The Exhibition as a Critical Form since 1968. Boston: MIT Press. Celant, Germano and Chiara Costa. Virginia Dwan: Dwan Gallery. Lausanne: Skira. 2015 Fine, Ruth E., Kara Vander Weg and Michael Heizer. Michael Heizer: Altars. New York: Gagosian Gallery. 2014 Cameron, Dan. The Avant-Garde Collection. Newport Beach, CA: Orange County Museum of Art. Kaz, Leonel, ed. Inusitada Coleção De Sylvio Perlstein. São Paolo: Museu de Arte de São Paolo Assis Chateaubriand. 2013 Allen, Gwen L., Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, et al. When Attitudes Become Form: Bern 1969/Venice 2013. Milan: Fondazione Prada. 2012 Lippard, Lucy R. and Jeff Khonsary. 4,492,040 (1969–74). Vancouver: New Documents 2010 Jensen, Susanne, Susanne Lenze, and Reinhard Onnasch. “Michael Heizer: Untitled.” In Nineteen Artists. Berlin: El Sourdog Hex; Bielefeld, Germany: Kerber Verlag. 2011 Reifenscheid, Beate. Die Letzte Freiheit: Von den Pionieren der Land-Art der 1960er Jahre bis zur Natur im Cyberspace. Milan: Silvana. 2010 Goldman, Judith. Robert & Ethel Scull: Portrait of a Collection. New York: Acquavella Gallery. Marcoci, Roxana, ed. The Original Copy: Photography of Sculpture, 1839 to Today. New York: Museum Of Modern Art. 2009 Grabner, Roman, Thomas Kellein, and Felicitas von Richthofen. 1968: Die Große Unschuld. Cologne: DuMont. 2008 Semff, Michael. Künstler Zeichnen. Sammler Stiften, 250 Jahre Staatliche Graphische Sammlung München. Ostfildern, Germany: Hatje Cantz. Lara, Cathy, ed. -
Lava Thomas [email protected] B
Lava Thomas www.lavathomas.com [email protected] b. Los Angeles, CA Selected Solo Exhibitions 2018 Mugshot Portraits: Women of the Montgomery Bus Boycott, Rena Bransten Gallery, San Francisco, CA 2015 Looking Back and Seeing Now, Berkeley Art Center, Berkeley, CA 2014 Lava Thomas: Beyond, Museum of the African Diaspora, San Francisco, CA Selected Group Exhibitions 2020 New Time: Art and Feminisms in the 21st Century, Berkeley Art Museum & Pacific Film Archive, Berkeley, CA The Black Index, Leubsdorf Gallery, Hunter College, New York City, NY UNTITLED, ART, Rena Bransten Gallery, San Francisco, CA 2019 UNTITLED, ART, Rena Bransten Gallery, Miami, FL To Reflect Us, Rena Bransten Gallery, San Francisco, CA Adjust Yo’ Eyes For This Darkness, Ashara Ekundayo Gallery, Oakland, CA The Outwin 2019: American Portraiture Today, National Portrait Gallery, Washington, DC Women to Watch 2020 Nominee, Surfacing Histories, Sculpting Memories, Hubble Galleries, California College of the Arts, San Francisco, CA Plumb Line: Charles White and the Contemporary, California African American Museum, Los Angeles, CA Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Las Cruces Museum of Art, NM Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Gallery 360, Northeastern University, Boston, MA Spring Auction Exhibition, Kala Art Institute, Berkeley, CA 2018 PULSE Miami Beach, Rena Bransten Gallery, Miami, FL My Silences Had Not Protected Me, For Freedoms and Fort Gansevoort, New York, NY EXPO Chicago, Rena Bransten Gallery, Chicago, IL Pretty Big Things, Walter Maciel Gallery, Los Angeles, CA Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Krasl Art Center, St. -
Bruce Conner (1933 – 2008)
BRUCE CONNER (1933 – 2008) BORN: McPherson, Kansas EDUCATION: 1956 B.F.A., Nebraska University 1956 Brooklyn Museum Art School 1957 University of Colorado SOLO EXHIBITIONS: 2012 Gallery Paule Anglim, San Francisco, CA Bruce Conner and the Primal Scene of Punk Rock, MCA Denver, Denver, CO 2011 Bruce Conner: An Anonymous Memorial, American University, Katzen Arts Center, Washington D.C. Bruce Conner: Falling Leaves: An Anonymous Memorial, Paula Cooper Gallery, New York, NY 2010 Bruce Conner: 1970’s, Kunstalle Wien, Vienna, Austria (travelled to Kunsthalle Zurich, Switzerland) I am Not Bruce Conner, Ursula Blickle Foundation, Krachtal, Germany Bruce Conner, Inova/Kenilworth Institute, University of Wisonsin, Milwaukee, Peck School of the Arts 4 ½, Creative Time, New York, NY Long Play: Bruce Conner and the Singles Collection, SFMOMA, San Francisco The Late Bruce Conner, Susan Inglett Gallery, New York, NY 2009 Bruce Conner: Discovered, Gallery Paule Anglim, San Francisco, CA Bruce Conner in the 1970s, Michael Kohn Gallery, Los Angeles, CA Intelligent Design: Untitled Lithographs 1970-1971, Milwaukee Art Museum, Milwaukee, WI 2008 Gallery Paule Anglim, San Francisco, CA Applause, Miyake Fine Art, Tokyo, Japan Mabuhay Gardens, UC Berkeley Art Musuem, Berkeley, CA 2007 Bruce Conner, Susan Inglett Gallery, New York, NY Gallery Paule Anglim, San Francisco, CA Michael Kohn Gallery, Los Angeles, CA 2006 Bruce Conner Sheldon Memorial art Gallery, Lincoln, NE 2005 After Conner: Anonymous, Anonymouse and Emily Feather, Katzen Art Center Museum, American -
National Endowment for the Arts Annual Report 1996
TO THE CONGRESS OF THE UNITED STATES: It is my pleasure to transmit herewith the Annual Report of the National Endowment for the Arts for the fiscal year 1996. One measure of a great nation is the vitality of its culture, the dedication of its people to nurturing a climate where creativity can flourish. By support ing our museums and theaters, our dance companies and symphony orches tras, our writers and our artists, the National Endowment for the Arts provides such a climate. Look through this report and you will find many reasons to be proud of our Nation’s cultural life at the end of the 20th century and what it portends for Americans and the world in the years ahead. Despite cutbacks in its budget, the Endowment was able to fund thou sands of projects all across America -- a museum in Sitka, Alaska, a dance company in Miami, Florida, a production of Eugene O’Neill in New York City, a Whisder exhibition in Chicago, and artists in the schools in all 50 states. Millions of Americans were able to see plays, hear concerts, and participate in the arts in their hometowns, thanks to the work of this small agency. As we set priorities for the coming years, let’s not forget the vita! role of the National Endowment for the Arts must continue to play in our national life. The Endowment shows the world that we take pride in American culture here and abroad. It is a beacon, not only of creativity, but of free dom. And let us keep that lamp brightly burning now and for all time. -
November/December 2019 Newsletter
Photos courtesy of Beth of courtesy Shedd Photos November/December 2019 November/December 2019 Registration Wellesley Residents: - Thursday, October 31 at 9:30 a.m. Non-Wellesley Residents - Friday, November 1 at 9:30 a.m. All programs require pre-registration unless otherwise noted PLEASE NOTE: Registration for Personal Training Begins Wednesday, October 30, at 10 a.m. The mission of the Wellesley Council on Aging is to serve as the primary resource for residents over the age of 60; to empower individuals to reach their goals; to offer comprehensive programs, services, and assistance that optimize quality of life; and to enable meaningful connections and collaborations that inspire a spirit of community across generations in our town. How To Register: Mary Bowers Café and Lounge – There are three ways to register for programs: 1. Online through MyActiveCenter (https://myactivecenter.com) Library Update 2. In-person, during open registration, at the TPC Our library continues to expand 3. By phone: 781-235-3961 with a wonderful collection of books thanks to our fellow Please note: Registration begins at 10:00 a.m. for all methods patrons. It’s now even easier to listed above. Online registration is available if you have donate books because there is received your keytag and created a MyActiveCenter account. no longer a copyright date IMPORTANT: For fee-based activities, you MUST pay restriction -- we can accept any at the time of registration (see chart below for accepted books that are in good condition. payment methods): Along with biographies, nonfiction and fiction, there is now a reference section containing a dictionary and thesaurus to use while in the library, Registration Method Form of payment accepted as well as various reference books to borrow. -
1920S Small Homes Survey Report
Discover Denver Know It. Love It. One Building at a Time. Survey Report Pilot Area #2 1920s Small Homes Park Hill, Harkness Heights, Grand View Prepared By: Jessica Aurora Ugarte and Beth Glandon Historic Denver, Inc. 1420 Ogden Street, #202 Denver, CO 80218 Rev. May 4, 2015 With Support From: 1 Contents Introduction ............................................................................................................................................................... 4 Funding Acknowledgement ............................................................................................................................... 4 Project Areas .............................................................................................................................................................. 5 Research Design & Methods ...................................................................................................................................... 7 Historic Context ....................................................................................................................................................... 10 Context, Theme and Property Type ......................................................................................................................... 18 Results ...................................................................................................................................................................... 19 Data ..................................................................................................................................................................... -
Two Events – One Application!
TWO EVENTS – ONE APPLICATION! This year the Art Mart and Fine Art Exhibit are combined into one application. No more standing in different lines to drop off your entries if you participate in both! ART is located at Schooley Mill Barn, on the southern end of the village. This location provides plenty of space to display works and will be hung as it was last year with the Fine Art Exhibit in the upper part of the bank barn and Art Mart in the “L”. We are proud of the quality of the art that is offered at the Waterford Fair and expect the Schooley Mill Barn Exhibit to be a big hit with the Fair’s approximately 18,000 visitors! GENERAL INFORMATION Art Mart and Fine Art criteria differ. Please read the requirements carefully. ART MART: The Art Mart is not juried, but the application form must be complete. You must also do at least one volunteer shift if you participate in the Art Mart. There is no limit on the number of entries that may be submitted. Sales prices up to $450 will be accepted. The most popular price point with our fair-goers is less than $100, but do not let that hold you back from submitting your more expensive pieces. If you have participated in the Art Mart in the past you were assigned an “Artist Consignor’s Number” We will no longer be using numbers. All art will be tracked by the Artist’s last name. Accepted Media: Oil, acrylic, watercolor, pastels, charcoals, block print, pen and ink, pencil drawings, or collage. -
Design in Business Masco, Taylor, Mich
QUARTERLY OF THE INDUSTRIAL DESIGNERS SOCIETY OF AMERICA WINTER 2010 Design in Business The Right Rx DESIGN of the DECADE n HOUSEWARES n THE LAST DESIGN CHALLENGE QUARTERLY OF THE INDUSTRIAL DESIGNERS SOCIETY OF AMERICA WINTER 2010 ® Kyle Weiss, co-founder of FUNDaFIELD, gives a One World Futbol to a group of kids in Swaziland. See page 41. Publisher Executive Editor Managing Editor Advertising Annual Subscriptions Roxann Henze Alistair Hamilton, IDSA & Designer Beth Harrington Within the US $60 IDSA Principal, DesignPost Karen Berube IDSA Canada & Mexico $75 45195 Business Ct., 250 [email protected] K.Designs 45195 Business Ct., 250 International $110 Dulles, VA 20166 3511 Broadrun Dr. Dulles, VA 20166 P: 703.707.6000 x102 Advisory Council Fairfax, VA 22033 P: 703.707.6000 x104 Single Copies (Fall/Yearbook) F: 703.787.8501 Gregg Davis, IDSA P: 703.860.4411 F: 703.787.8501 US, Canada & Mexico $25 [email protected] Mark Dziersk, FIDSA [email protected] [email protected] International $35 www.innovationjournal.org [email protected] Contributing Editor Single Copies (Spring, Summer, Winter) Jennifer Evans Yankopolus US, Canada & Mexico $17 ® International $28 The quarterly publication of the Industrial Designers Society of America (IDSA), Innovation provides in-depth coverage of design issues and long-term trends while communicating the value of design to business and society at large. DESIGN OF THE DECADE PATRONS OF INDUSTRIAL DESIGN EXCELLENCE 13 Twice in a Lifetime by Charles L. Jones, FIDSA 13 Design of the Decade Jury INVESTOR IDEO, Palo Alto, Calif.; Shanghai, China; 14 Design of the Decade Winner Target’s ClearRx story by Tim Adkins Cambridge, Mass.; London, UK; San 15 Design of the Decade Gold, Silver & Bronze Winners Francisco; Munich, Germany; Chicago; stories by Jennifer Yankopolus New York DESIGN IN BUSINESS Masco, Taylor, Mich. -
Environmental Protection Planopens in New Window
Copy No: ENVIRONMENTAL PROTECTION PLAN FOR THE DUCK POND COPPER-ZINC PROJECT Prepared for: Aur Resources Inc. 30-32, Route 370, Box 9 Millertown, NL A0H 1V0 Prepared by: Jacques Whitford 607 Torbay Road St. John’s, NL A1A 4Y6 November 2004 Environmental Protection Plan Duck Pond Copper-Zinc Project Table of Contents Page i TABLE OF CONTENTS Page No. TABLE OF CONTENTS................................................................................................................i DISTRIBUTION LIST ................................................................................................................ iii 1 INTRODUCTION..........................................................................................................................1 1.1 Purpose of the EPP..............................................................................................................1 1.2 Organization of the EPP......................................................................................................2 1.3 Environmental Orientation ..................................................................................................3 1.4 Aur Policy ...........................................................................................................................4 1.5 Project Description..............................................................................................................5 1.5.1 Paste Backfill Preparation Plant.............................................................................5 1.5.2 Turf Point -
Abstract Sculptures
Clement Meadmore (Australian-American, b. 1929-d. 2005) Always, 1992 Aluminum and paint Collection Nerman Museum of Contemporary Art, 1994.05 A native of Australia who moved to New York in 1963, Clement Meadmore gained an international reputation for his large-scale abstract sculptures of black-painted metal that combine the pure geometric forms of Minimalism with the twisting, turning, and thrusting forces of Abstract Expressionism. “In my work the forms are geometric,” wrote Meadmore in 1989; “my goal is to make geometry yield an expressive result.” First realized as a 31-inch-high bronze, Always in its large outdoor version was originally meant to stand 14 feet tall. However, after visiting the JCCC site Meadmore decided the sculpture needed to be bigger and he enlarged it to 20 feet at no additional cost to the college. Always is based on the simple module of the cube, extended to form a sleek, continuous volume that rises, bends, and changes direction in a dynamic and unpredictable fashion. With its large masses lifted high and its radiating members penetrating space, Always from certain angles suggests a matchbook whose contents splay this way and that, while from other directions it evokes a pivoting, gesturing human figure. Though resolutely abstract in its geometric structure, Always thus manifests Meadmore’s desire to “transcend geometry.” Clement Meadmore studied industrial design at Royal Melbourne Institute of Technology, Australia from 1948 to 1949. Jesús Bautista Moroles (American, b. 1950-d. 2015) Fountain of Knowledge,