Business Under Fire Facing Down Ruling Clans and Rebels in War Torn Ukraine
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The Emergent Decade : Latin American Painters and Painting In
a? - H , Latin American Painters and Painting in trie 1'960's THE - -y /- ENT Text by Thomas M. Messer Artjsts' profiles in text and pictures by Cornell Capa DEC THE EMERGENT DECADE THE EMERGENT DECADE Latin American Painters and Painting in the 1960's Text by Thomas M. Messer Artists' profiles in text and pictures by Cornell Capa Prepared under the auspices of the Cornell University Latin American Year 1965-1966 and The Solomon R. Guggenheim Museum > All rights reserved First published 1966 Library of Congress Catalog Card Number: 66-15382 Design by Kathleen Haven Printed in Switzerland bv Buchdruckerei Winterthur AG, Winterthur CONTENTS All text, except where otherwise indicated, is by Thomas M. Messer, and all profiles are by Cornell Capa. Foreword by William H. MacLeish ix Acknowledgments xi Introduction xm Brazil Correspondence: Thomas M. Messer and Marc Berkowitz 3 Primitive Art 16 Profile: Raimundo de Oliveira 18 Uruguay Uruguayan Painting 29 Argentina Correspondence: Thomas M. Messer and Samuel Paz 35 Profile: Rogelio Polesello and Martha Peluffo 48 Expatriates: New York 59 Profile: Jose Antonio Fernandez-Muro 62 Chile Profile: Ricardo Yrarrazaval 74 Correspondence: Thomas M. Messer and Jorge Elliott 81 Peru Correspondence: Thomas M. Messer and Carlos Rodriguez Saavedra 88 Profile: Fernando de Szyszlo 92 Colombia Correspondence: Thomas M. Messer to Marta Traba 102 Profile: Alejandro Obregon 104 Correspondence: Marta Traba to Thomas M. Messer 1 14 Venezuela Biographical Note: Armando Reveron 122 Living in Painting: Venezuelan Art Today by Clara Diament de Sujo 124 Correspondence: Thomas M. Messer to Clara Diament de Sujo 126 Expatriates: Paris 135 Profile: Soto 136 Mexico Profile: Rufino Tamayo 146 Correspondence: Thomas M. -
ALEJANDRO OTERO B. 1921, El Manteco, Venezuela D. 1990
ALEJANDRO OTERO b. 1921, El Manteco, Venezuela d. 1990, Caracas, Venezuela SELECTED EXHIBITIONS 2019 Alejandro Otero: Rhythm in Line and Space, Sicardi Ayers Bacino, Houston, TX, USA 2017 Kinesthesia: Latin American Kinetic Art, 1954–1969 - Palm Springs Art Museum, Palm Spring, CA 2016 Kazuya Sakai - Museo de Arte Moderno, Mexico City MOLAA at twenty: 1996-2016 - Museum of Latin American Art (MOLAA), Long Beach, CA 2015 Moderno: Design for Living in Brazil, Mexico, and Venezuela, 1940–1978 - The Americas Society Art Gallery, New York City, NY 2014 Impulse, Reason, Sense, Conflict. - CIFO - Cisneros Fontanals Art Foundation, Miami, FL 2013 Donald Judd+Alejandro Otero - Galería Cayón, Madrid Obra en Papel - Universidad Metropolitana, Caracas Intersections - MOLAA Museum of Latin American Art, Long Beach, CA Mixtape - MOLAA Museum of Latin American Art, Long Beach, CA Concrete Inventions. Patricia Phelp de Cisneros Collection - Museo Nacional Centro de Arte Reina Sofía, Madrid. 2012 O Espaço Ressoante Os Coloritmos De Alejandro Otero - Instituto de Arte Contemporânea (IAC), São Paulo, Brazil Constellations: Constructivism, Internationalism, and the Inter-American Avant-Garde - AMA Art Museum of the Americas, Washington, DC Caribbean: Crossroads Of The World - El Museo del Barrio, the Queens Museum of Art & The Studio Museum in Harlem, New York City, NY 2011 Arte latinoamericano 1910 - 2010 - MALBA Colección Costantini - Museo de Arte Latinoamericano de Buenos Aires, Buenos Aires 2007 Abra Solar. Un camino hacia la luz. Centro de Arte La Estancia, Caracas, Venezuela 2006 The Rhythm of Color: Alejandro Otero and Willys de Castro: Two Modern Masters in the Patricia Phelps de Cisneros Collection - Fundación Cisneros. The Aspen Institute, Colorado Exchange of glances: Visions on Latin America. -
THE EMERGENT DECADE Armando Morales
a? - H , Latin American Painters and Painting in trie 1'960's THE - -y /- ENT Text by Thomas M. Messer Artjsts' profiles in text and pictures by Cornell Capa DEC Digitized by the Internet Archive in 2011 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/emergentdecadelaOOmess THE EMERGENT DECADE Armando Morales. Landscape. 1964. --'- THE EMERGENT DECADE Latin American Painters and Painting in the 1960's Text by Thomas M. Messer Artists' profiles in text and pictures by Cornell Capa Prepared under the auspices of the Cornell University Latin American Year 1965-1966 and The Solomon R. Guggenheim Museum > All rights reserved First published 1966 Library of Congress Catalog Card Number: 66-15382 Design by Kathleen Haven Printed in Switzerland bv Buchdruckerei Winterthur AG, Winterthur CONTENTS All text, except where otherwise indicated, is by Thomas M. Messer, and all profiles are by Cornell Capa. Foreword by William H. MacLeish ix Acknowledgments xi Introduction xm Brazil Correspondence: Thomas M. Messer and Marc Berkowitz 3 Primitive Art 16 Profile: Raimundo de Oliveira 18 Uruguay Uruguayan Painting 29 Argentina Correspondence: Thomas M. Messer and Samuel Paz 35 Profile: Rogelio Polesello and Martha Peluffo 48 Expatriates: New York 59 Profile: Jose Antonio Fernandez-Muro 62 Chile Profile: Ricardo Yrarrazaval 74 Correspondence: Thomas M. Messer and Jorge Elliott 81 Peru Correspondence: Thomas M. Messer and Carlos Rodriguez Saavedra 88 Profile: Fernando de Szyszlo 92 Colombia Correspondence: Thomas M. Messer to Marta Traba 102 Profile: Alejandro Obregon 104 Correspondence: Marta Traba to Thomas M. Messer 1 14 Venezuela Biographical Note: Armando Reveron 122 Living in Painting: Venezuelan Art Today by Clara Diament de Sujo 124 Correspondence: Thomas M. -
Blingski Korsakov
DANNY WALLACE ‘The mission is to send Lady Gaga into early retirement. I call it Project Kamaliya’ Mohammad Zahoor B L I N G S K I KORSAKOV Meet the Zahoors. Mohammad: super-rich husband and patron. Kamaliya: Ukraine’s Lady Gaga-in-the-making. His billions can buy champagne baths and his-and-her jets, but can cold cash really pay for pop superstardom? GQ hangs with the big personalities behind TV’s Meet The Russians for whom patience is not just a virtue, but a necessity STORY BY DANNY WALLACE PHOTOGRAPHS BY BRAN SYMONDSON Rich pickings: Mohammad Zahoor shares his home with his pop-star wife, Kamaliya, and their twin daughters, a litter of designer dogs and one well-behaved hawk MARCH 2014 G XX DANNY WALLACE “Well,” I say, pointing at a small plate in front of me. “This is nice cheese.” The man I’m with – Mohammad Zahoor – folds his arms and nods. There is a moment of silence. “In fact, it’s all nice cheese, isn’t it?” I say. Pet set (clockwise from top Zahoor doesn’t say anything this time, just left): En route to Odessa – stretches back in his chair and casts a glance to with menagerie – aboard one a grand staircase, in case his wife, the Ukrainian of the couple’s private jets; clear of knives, guns and pop star Kamaliya, is finally ready. grenades, Kamaliya makes I’ve been sitting here in this vast Kiev her entrance at a club in Kiev; Danny Wallace toasts the mansion for nearly three hours and there’s Zahoors under the watchful been no sign of Kamaliya. -
Iraq's Provincial Elections
IRAQ’S PROVINCIAL ELECTIONS: THE STAKES Middle East Report N°82 – 27 January 2009 TABLE OF CONTENTS EXECUTIVE SUMMARY ...................................................................................................... i I. INTRODUCTION ............................................................................................................. 1 II. THE 2005 ELECTION, ITS DISCONTENTS AND ITS LEGACY.............................. 2 A. IMBALANCED COUNCILS ..............................................................................................................2 1. Ninewa (capital: Mosul) ..............................................................................................................2 2. Diyala (capital: Baaquba) ............................................................................................................4 3. Anbar (capital: Ramadi)...............................................................................................................5 4. Baghdad .......................................................................................................................................6 5. Basra ............................................................................................................................................7 B. DYSFUNCTIONAL GOVERNANCE AND THE ROLE OF RELIGION......................................................8 C. ELECTORAL LEGISLATION ..........................................................................................................11 D. TO VOTE OR NOT TO VOTE?.......................................................................................................12 -
1 JAVIER TÉLLEZ Born in 1969, in Valencia, Venezuela Lives And
JAVIER TÉLLEZ Born in 1969, in Valencia, Venezuela Lives and works in Long Island City, Queens, NY EDUCATION Arturo Michelena School of Fine Arts, Venezuela SELECTED SOLO EXHBITIONS 2018 Shadow Play, curated by Manuel Cirauqui Guggenheim Museum Bilbao, Spain (forthcoming) 2017 Letter on the Blind for the Use of Those Who See, Blanton Museum, Austin, TX 2016 To Have Done with the Judgment of God, Koenig & Clinton, New York, NY 2014 Shadow Play, curated by Mirjam Varanidis, Kunsthaus Zürich, Switzerland Games are forbidden in the labyrinth, Walter and McBean Galleries, San Francisco Art Institute, CA Games are forbidden in the labyrinth, REDCAT Gallery, co-produced with Kadist Art Foundation, Los Angeles, CA 2013 Praise of Folly, Stedelijk Museum voor Actuele Kunst, Ghent, Belgium The Conquest of Mexico, Figge von Rosen Galerie, Cologne, Germany 2012 Ungesehen und unerhört II: Javier Téllez, Museum Sammlung Prinzhorn, Heidelberg, Germany Rotations, Galerie Peter Kilchmann, Zürich, Switzerland 2011 Letter on the Blind for the Use of Those Who See, Arthouse at the Jones Center, Austin, TX O Rinoceronte de Dürer, Fruits, Flowers, and Clouds, Museum for Applied Arts, Vienna, Austria Letter on the Blind for the Use of Those Who See, Museum of Contemporary Art Cleveland, OH O Rinoceronte de Dürer, Galerie Arratia Beer, Berlin, Germany 2010 Vasco Araújo/Javier Téllez - Larger than Life, curated by Isabel Carlos, Museo de Arte Contemporánea, Vigo, Spain Vasco Araujo/Javier Téllez - Larger than Life, Museu Calouste Gulbenkian, Lisbon, Portugal 2009 -
6 Months After Tsunami – 6 Months After
Tsunami 6 Months After Tsunami – 6 Months After Plan International Asia Regional Office 2nd Floor, Na-Nakorn Building 99/349 Chaengwattana Road Laksi, Bangkok 10210 Tel +66 (0) 2 576 1972-4 Fax +66 (0) 2 576 1978 www.plan-international.org June 2005 Published by Plan Ltd. © Plan 2005 This publication is protected by copyright. It cannot be reproduced by any method without prior permission of the copyright owner. Photos: Cover (front and back): Michael Diamond, Plan Asia Country Photos: - Sri Lanka: Dominic Sansoni - India: Sonu Madhuvan - Indonesia: Maha Eka Swasta Text: Plan and the Tsunami: Plan Asia Regional Office Country Snapshots: Sandy Barron Design and layout: Keen Publishing (Thailand) Co., Ltd. Tsunami 6 Months After Foreword At the end of December 2004, Plan joined people from neighbouring communities, local governmental and voluntary organisations, and the international community to respond to the Indian Ocean tsunami disaster. It seems appropriate now both to reflect on what has happened since the tsunami struck, and to look at the work in the months and years ahead. The tsunami was an unprecedented disaster, both in terms of its impact and in the scale of local and international responses. Given this, what has Plan been able to achieve or not achieve over the past six months? How did Plan work with people in their struggle to reclaim their normal lives? What children’s issues were we in Plan able to address, and what issues remain? Outsiders tend to see the victims and survivors of disasters as a homogeneous group. In fact, there are as many stories as there are people. -
THE INVENTION of the NATIONAL in VENEZUELAN ART MUSIC, 1920-1960 by Pedro Rafael Aponte Licenciatura En Música, Instituto Univ
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by D-Scholarship@Pitt THE INVENTION OF THE NATIONAL IN VENEZUELAN ART MUSIC, 1920-1960 by Pedro Rafael Aponte Licenciatura en Música, Instituto Universitario de Estudios Musicales, 1995 M.M., James Madison University, 1997 M.A., University of Pittsburgh, 2004 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2008 UNIVERSITY OF PITTSBURGH SCHOOL OF MUSIC This dissertation was presented by Pedro Rafael Aponte It was defended on October 27, 2008 and approved by Dr. Deane Root, Professor of Music Dr. Don Franklin, Professor of Music Dr. Mary Lewis, Professor of Music Dr. Joshua Lund, Associate Professor of Hispanic Languages and Literature Dissertation Advisor: Dr. Deane Root, Professor of Music ii Copyright © by Pedro Rafael Aponte 2008 iii THE INVENTION OF THE NATIONAL IN VENEZUELAN ART MUSIC, 1920-1960 Pedro Rafael Aponte, Doctor of Philosophy University of Pittsburgh, 2008 This dissertation explores the developments of art music in Venezuela during the first half of the twentieth century as an exercise in nation building. It argues that beginning in the early 1920s a nationalist movement in music emerged, which was not only determined by but also determinant in the construction of a concept of nationhood. The movement took place at a crucial time when the country had entered a process of economic transformation. The shift in Venezuela’s economic system from agrarian to industrial in the 1910s triggered a reconfiguration of the country’s social and cultural structures. -
Geometric Abstract Works: the Latin American Vision from the 1950S, 60S and 70S
GEOMETRIC ABSTRACT WORKS: THE LATIN AMERICAN VISION FROM THE 1950S, 60S AND 70S HENRIQUE FARIA FINE ART Notwithstanding the recent Latin American extravaganzas at the Museum of Modern Art and NYU’s Grey Art Gallery, it is still remarkably unusual to see Latin American artists enjoy their due recognition. Without a doubt, both New Perspectives and The Geometry of Hope have made leaps to enhance our understanding of Latin America’s contribution to modern art. However, decades of oblivion cannot be recovered in a few years. Much indifference has left its mark on the reception of Latin American art in the United States. To cite but one example, the only Latin American included in the Guggenheim’s Abstraction in the 20th Century: Total Risk, Freedom, Discipline (1996) was Roberto Matta. This might seem odd given today’s tendency in the art world to be more inclusive and to embrace international artists. But histories get buried and when the time is right, they get found. The developments of geometric abstraction in Latin America is one such history. Seeking to counter this, Geometric Abstract Works: The Latin American Vision From The 1950s, 60s And 70s offers a rare opportunity to view works created by twenty-one Latin American artists during the seminal decades of the 1950s, 60s and 70s. Featuring works from an array of movements that flourished in different countries, the show presents a surprising array of paintings, sculptures and works on paper by some of the most important figures of the post-war era who embraced the legacy of Constructivism in Latin America. -
Goedgekeurde Cultivars Japan Klik Op Het Gewas Om Naar De Juiste Pagina En Betreffende Lijst Te Gaan Vanaf Pagina ALLIUM
Goedgekeurde cultivars Japan Klik op het gewas om naar de juiste pagina en betreffende lijst te gaan vanaf pagina ALLIUM .............................. 2 BEGONIA ........................... 3 CROCUS ............................ 5 GLADIOLUS ...................... 6 HIPPEASTRUM ................. 8 HYACINTHUS .................... 12 IRIS .................................... 14 LILIIUM .............................. 18 TULIPA .............................. 42 De lijsten per gewas kunnen verschillende jaren/seizoenen betreffen. Het geldende jaar staat boven de lijst vermeld. ALLIUMALLIUM Japan goedgekeurde cultivars 2019 blz: 1 AFLATUNENSE ALBUM (CARINATUM SUBSP. PULCHELLUM) BALLERINA CARINATUM SUBSP PULCHELLUM CHRISTOPHII COWANII EROS FLAVUM GLADIATOR GRACEFUL BEAUTY IVORY QUEEN JEANNINE KARATAVIENSE MOLY OREOPHILUM PURPLE SENSATION SCHUBERTII UNIFOLIUM URSINUM SUBSP URSINUM VIOLET BEAUTY Versie: 03-05-2019 Laatste pagina, aantal pagina's: 1 BEGONIABEGONIA Japan goedgekeurde cultivars 2019 blz: 1 AMERIHYBRID WIT (+ ROOD) AMERIHYBRID WIT (+ ROZE) BOUTON DE ROSE CALYPSO GEEL ORANJE CAMELLIA CASCADE FLORENCE CASCADE GEEL CASCADE ODOROSA CASCADE ODOROSA RED SUNSET CASCADE ODOROSA SWEET PINKCASCADE ODOROSA WHITE CASCADE ODOROSA YELLOW BLUSH FLAME CASCADE ORANJE CASCADE PASTEL CASCADE ROOD CASCADE ROZE CASCADE SCHARLAKEN CASCADE SUNRAY CASCADE WIT CASCADE ZALM DAFFODIL SALMON FIMBRIATA FLAMENCO WIT ROOD ILLUMINATION ABRIKOOS ILLUMINATION ORANJE ILLUMINATION ROZE ILLUMINATION SCHARLAKEN ILLUMINATION WIT LACE APRICOT LACE PINK LACE RED LACE SALMON -
October 1, 2020 for IMMEDIATE RELEASE GETTY RESEARCH
DATE: October 1, 2020 FOR IMMEDIATE RELEASE GETTY RESEARCH INSTITUTE ACQUIRES ARCHIVE OF VENEZUELAN INTELLECTUAL AND PHOTOGRAPHER ALFREDO BOULTON Puerto Nutrias, 1948, Alfredo Boulton (Venezuelan, 1908-1995), Gelatin silver print Getty Research Institute, Los Angeles LOS ANGELES – Getty Research Institute has acquired the archive of Alfredo Boulton (Venezuelan, 1908-1995) one of the most important champions of modern art in Latin America and a key intellectual in 20th-century Venezuela. An art critic, art historian, and photographer, Boulton authored more than 60 publications on the art and historiography of his country. At the same time, he was also a pioneer of modern photography, generating through his images a new cultural definition of Venezuela. The Boulton archive, ca. 1920-1995, contains his extensive correspondence with local and international artists, institutions, intellectuals, and collectors; his writings for magazines and newspapers, his research materials on pre-Hispanic art, colonial art, the iconography of independence leaders, and modern artists; and a complete vintage collection of his photographic production. “Alfredo Boulton’s life and work correspond to a time when Venezuela became a focal center of modernism in Latin America. His extensive research activities on pre- Hispanic art, colonial art, 19th-century art, and his investigations on the imagery of the leaders of independence, defined the artistic history of Venezuela,” said Mary Miller, director of Getty Research Institute. “He was also an accomplished photographer, -
My House – Someone's Fortress: the Right to Property Under Conditions of the Armed Conflict in the East of Ukraine
MY HOUSE – SOMEONE’S FORTRESS: THE RIGHT TO PROPERTY UNDER CONDITIONS OF THE ARMED CONFLICT IN THE EAST OF UKRAINE Kyiv 2016 УДК 342.739 + 343.9 ББК 66.061.461 М 57 The report contains information obtained during field monitoring mis- sions conducted under support of the U.S. Agency for International Development (USAID) in the framework of the “Human Rights in Action” Project implemented by the Ukrainian Helsinki Human Rights Union. The contents are the responsibility of the authors and do not necessarily reflect the views of the USAID or the United States Government. The American people, through the USAID, have provided economic and humanitarian assistance worldwide for 50 years. In Ukraine, USAID’s assistance focuses on three areas: Health and Social Transition, Eco- nomic Growth and Democracy and Governance. USAID has provided 1.8 bln technical and humanitarian assistance to Ukraine since 1992. For additional information about USAID programs in Ukraine, please visit our website: ukraine.usaid.gov or our Facebook page at www.facebook.com/USAIDUkraine. М 57 My house – someone’s fortress: the right to property under conditions of the armed conflict in the East of Ukraine / О. А. Bida, А. B. Blaga, О. А. Mar- tynenko, М. G. Statkevych; ex. Chief Editor А.P. Bushchenko / Ukrainian Hel- sinki Human Rights Union. – Kyiv, 2016. The publication provides a comprehensive analysis of property rights protec- tion in the current situation of armed conflict in the east of Ukraine. It explains the international legal understanding of the essence of the right to peaceful enjoyment of property and its legal nature; analyzes the case-law of the European Court of Human Rights and the formation of European standards for property rights protection in the situation of armed conflict.