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SM a R T M U S E U M O F a R T U N Iv E R S It Y O F C H IC a G O B U L L E T in 2 0 0 6 – 20
http://smartmuseum.uchicago.edu Chicago, Illinois 60637 5550 South Greenwood Avenue SMART SMART M U S EUM OF A RT UN I VER SI TY OFCH ICAG O RT RT A OF EUM S U M SMART 2008 – 2006 N I ET BULL O ICAG H C OF TY SI VER I N U SMART MUSEUM OF ART UNIVERSITY OF CHICAGO BULLETIN 2006– 2008 SMART MUSEUM OF ART UNIVERSITY OF CHICAGO BULLETIN 2006–2008 MissiON STATEMENT / 1 SMART MUSEUM BOARD OF GOVERNORS / 3 REPORTS FROM THE CHAIRMAN AND DiRECTOR / 4 ACQUisiTIOns / 10 LOANS / 34 EXHIBITIOns / 44 EDUCATION PROGRAMS / 68 SOURCES OF SUPPORT / 88 SMART STAFF / 108 STATEMENT OF OPERATIOns / 112 MissiON STATEMENT As the ar t museum of the Universit y of Chicago, the David and Alfred Smar t Museum of Ar t promotes the understanding of the visual arts and their importance to cultural and intellectual history through direct experiences with original works of art and through an interdisciplinary approach to its collections, exhibitions, publications, and programs. These activities support life-long learning among a range of audiences including the University and the broader community. SMART MUSEUM BOARD OF GOVERNORS Robert Feitler, Chair Lorna C. Ferguson, Vice Chair Elizabeth Helsinger, Vice Chair Richard Gray, Chairman Emeritus Marilynn B. Alsdorf Isaac Goldman Larry Norman* Mrs. Edwin A. Bergman Jack Halpern Brien O’Brien Russell Bowman Neil Harris Brenda Shapiro* Gay-Young Cho Mary J. Harvey* Raymond Smart Susan O’Connor Davis Anthony Hirschel* Joel M. Snyder Robert G. Donnelley Randy L. Holgate John N. Stern Richard Elden William M. Landes Isabel C. -
American Book Awards 2004
BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre. -
ITALIAN AMERICAN FEMALE AUTOBIOGRAPHY by Marta Piroli the Central Point of This Thesis Is the Recogniti
ABSTRACT FINDING VOICES: ITALIAN AMERICAN FEMALE AUTOBIOGRAPHY by Marta Piroli The central point of this thesis is the recognition and exploration of the tradition of female Italian American autobiography, focusing on the choice of some Italian American writers to camouflage their Italian background and change their name. The thesis consists of four chapters. The first chapter explores a brief history of Italian migration in America during the nineteenth century. The second part of this chapter provides a literary discussion about the most important autobiographical theories over the twentieth century, focusing on the female self. The second chapter explores the role of Italian woman in Italian culture, and the first steps of emancipation of the children of the Italian immigrants. The third chapter will offer an approach to autobiography as a genre for expressing one’s self. The final chapter provides an analysis of significant Italian American women writers and their personal search for identity. FINDING VOICES: ITALIAN AMERICAN FEMALE AUTOBIOGRAPHY A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of English by Marta Piroli Miami University Oxford, Ohio 2006 Advisor____________________________ Gwendolyn Etter-Lewis Reader_____________________________ Cheryl Heckler Reader_____________________________ Sante Matteo CONTENTS Chapter I: Italian Immigration An Overview 1 1. Italian Migration in America 2 2. Claiming an Italian American Tradition 8 3. Claiming a Theoretical Tradition: Ego Psychology 10 4. The Language of the Subject 13 5. Contextualizing the Subject 14 6. Multiple Subjects: Race and Ethnicity 15 7. Conclusion 17 Chapter II: Italian Life in America 18 Chapter III: Autobiography As Exploration of The Self 31 8. -
The Woman Painter in Victorian Literature
The Woman Painter in Victorian Literature The Woman Painter in Victorian Literature A NTONI A L OS A NO The Ohio State University Press Columbus Cover: Dante Gabriel Rossetti, A Parable of Love (Love’s Mirror). Reproduced by permis- sion of the Birmingham Museums & Art Gallery. Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Losano, Antonia Jacqueline. The woman painter in Victorian literature / Antonia Losano. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1081-9 (cloth : alk. paper) ISBN-10: 0-8142-1081-3 (cloth : alk. paper) 1. English fiction—19th century—History and criticism. 2. English fiction—Women authors—History and criticism. 3. Art and literature—Great Britain—History—19th century. 4. Women artists in literature. 5. Aesthetics in literature. 6. Feminism in litera- ture. 7. Art in literature. I. Title. PR878.W6L67 2008 823.009'9287—dc22 2007028410 This book is available in the following editions: Cloth (ISBN 978-0-8142-1081-9) CD-ROM (ISBN 978-0-8142-9160-3) Cover design by Melissa Ryan Type set in Adobe Garamond Pro Type design by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 In Memoriam Sarah Louise DeRolph Wampler 1908–2000 - C ONTENTS , List of Illustrations ix Acknowledgments xiii Introduction Chapter One Prevailing -
Women Artists: Women Artists Four Centuries of Creativity
Women Artists: Women Artists Four Centuries of Creativity This fascinating exhibition examines works on Greatorex (American, 1819 – 1897), and examples paper—etchings, engravings, lithographs, drawings, by icons of twentieth century art like Sonia Delaunay watercolors, woodblock prints, and photographs—by (French, 1885 – 1979), Käthe Kollwitz (German, 1867 some of the most important women artists of the – 1945), Louise Nevelson (1899 – 1988), and Françoise last four centuries with a selection of 37 examples Gilot (French, b. 1921), are featured in the exhibition. from the Reading Public Museum’s fine permanent Works Progress Administration (W.P.A.) era works by collection. The show chronicles the emergence of Clara Skinner (American, 1902 –1976), Peggy Bacon women as professionals in the field of art and records (American, 1895 –1987), and Isabel Bishop (American, the extraordinary creative contributions made over the 1902 – 1988) capture contemporary life on the streets centuries. of New York, theaters, and rural America. Works by more contemporary artists such as Lee Bontecou Historical works by (or after) Elisabetta Sirani (Italian, (American, b. 1931), Elizabeth Osborne (American, b. 1638 – 1665) and Marie-Louise-Elisabeth Vigée-Lebrun 1936), Ida Applebroog (American, b. 1929), and Lorna (French, 1755 – 1842), outstanding nineteenth- Simpson (b. 1960), among others, explore meaningful century works by Rosa Bonheur (French, 1822 – 1899), trends in the current world of art. Anna Lea Merritt (American, 1844 – 1930), and Eliza ABOVE: Clara Skinner (American, 1902 – 1976), Theatre No. 1, c. 1933 – 1934, woodblock print, Permanent Loan, U.S. Government, W.P.A. Federal Art Project, Reading Public Museum, Reading, Pennsylvania. FAR LEFT: Violet Oakley (American, 1874 – 1961), For the Preservation of Italy, Guardian of the World’s Most Precious Heritage of Beauty, 1918, lithograph, Gift, Captain Roswell C. -
Portraits” Proof
Vol. 2 No. 1 wdmaqartrrVlliftAIIUA l Fall 1977 OUT OF THE MAINSTREAM Two artists' attitudes about survival outside of New York City by Janet Heit page 4 19th CENTURY AMERICAN PRINTMAKERS A neglected group of women is revealed to have filled roles from colorist to Currier & Ives mainstay by Ann-Sargent Wooster page 6 INTERVIEW WITH BETTY PARSONS The septuagenarian artist and dealer speaks frankly about her relationship to the art world, its women, and the abstract expressionists by Helene Aylon .............................................................................. pag e 10 19th c. Printmakers MARIA VAN OOSTERWUCK This 17th century Dutch flower painter was commissioned and revered by the courts of Europe, but has since been forgotten by Rosa Lindenburg ........................................................................pag e ^ 6 STRANGERS WHEN WE MEET A 'how-to' portrait book reveals societal attitudes toward women by Lawrence A llo w a y ..................................................................... pag e 21 GALLERY REVIEWS ............................................................................page 22 EVA HESSE Combined review of Lucy Lippard's book and a recent retrospective exhibition by Jill Dunbar ...................................................................................p a g e 33 REPORTS Artists Support Women's Rights Day Activities, Bridgeport Artists' Studio—The Factory ........................................ p a g e 34 Betty Parsons W OMAN* ART*WORLD News items of interest page 35 Cover: Betty Parsons. Photo by Alexander Liberman. WOMANARTMAGAZINE is published quarterly by Womanart Enterprises. 161 Prospect.Park West, Brooklyn. New York 11215. Editorial submissions and all inquiries should be sent to: P.O. Box 3358, Grand Central Station. New York. N.Y. 10017. Subscription rate: $5.00 fo r one year. Application to mail at second class postage rates pending in Brooklyn. N. Y. -
A Journal of the Fine Print Volume Eleven 1988 E L E V E N 1 9 8 8 the TAMARIND PAPERS
THE TAMARIND PAPERS A Journal of the Fine Print Volume Eleven 1988 E L E V E N 1 9 8 8 THE TAMARIND PAPERS EDITOR: Clinton Adams ASSIST ANT EDITOR: Kate Downer CONTRIBUTING EDITOR: Pat Gilmour John Sommers Contributing Editor, 1974-1987 EDITORIAL BOARD: Philip Dennis Cate Van Deren Coke Richard Field Robert Gardner Jules Heller Sinclair H. Hitchings Eugenia Parry Janis Lynton R. Kistler Peter Morse Joann Moser Gustave von Groschwitz Barry Walker Gabriel P. Weisberg Theodore F. Wolff COVER: Willem deKooning. Born 1904. Landscape at Stanton Street. Lithograph, 1971. 76 x 56 em (30 x 22 in). Graham 26 (see page 24). SINGLE COPY PRICE, United States The Tamarind Papers, an annual journal of the fine print, is published by and Canada: $10.00 U.S.; Tamarind Institute, 108 Cornell Avenue, S.E., Albuquerque, New Mexico elsewhere $12.00. SUBSCRIPTIONS, 87106. Telephone 505:277-3901. Tamarind Institute is a division of the Uni United States and Canada: Two versity of New Mexico. issues, $18.00 U.S.; elsewhere, The editor welcomes submission of historical, critical, or technical articles on $23.00 (surface rna~). Back copies topics related to the fine print. Historical and critical articles should be limited are available; see page 78. to nineteenth- and twentieth-century subjects; technical articles may deal with any print medium. Manuscripts and photographs will be returned only © Tamarind Institute, 1988 if accompanied by a stamped, self-addressed envelope. In preparation of All rights reserved . manuscripts, authors should adhere closely to the Chicago Manual of Style. Printed in the United States of Tamarind Institute is not responsible for loss of or injury to unsolicited manu America by the University of New scripts or photographs. -
To Download the PDF File
NOTE TO USERS This reproduction is the best copy available. UMI* A New Matrix of the Arts: A History of the Professionalization of Canadian Women Artists, 1880-1914 Susan Butlin, M.A. School of Canadian Studies Carleton University, Ottawa A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements of the degree of Doctor of Philosophy. 2008 © Susan Butlin, 2008 Library and Archives Biblioth&que et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de ('Edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your Tile Votre r6f6rence ISBN: 978-0-494-60128-0 Our file Notre r6f6rence ISBN: 978-0-494-60128-0 NOTICE: AVIS: The author has granted a non- L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduce, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lntemet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimis ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Bowling Green State University in Partial Fulfillment of the Requirements for the Degree Of
DEVELOPMENT AND IMPLEMENTATION OF A FEMINIST LITERARY PERSPECTIVE Susan Koppelman Cornillon A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 1975 Graduate School Representativ BOWLING GREEN STATE UNIVERSITY LIBRARY a. © 1975 SUSAN KOPPELMAN CORNILLON ALL RIGHTS RESERVED ii 610310 -SM» A'W VMi .^00 ABSTRACT This study examines the need for feminist criticism and how best to fill it. Feminist criticism is needed to restore objectivity to a literature and criticism distorted by sexism. The most pernicious effects of masculine bias upon the cre ation and consumption of literature are expressed through the literary-critical establishment--publishers, critics, profes sors, and librarians. Sexist criticism in its most insidious form masks biased evaluations as objective description, and removes literature and criticism from its socio-historical context. The subjec tive distortion implicit in a sexist perspective is fundamen tally hierarchical; it imposes a vertical evaluative structure upon a multi-faceted socio-historical reality. A critical per spective that divorces evaluative distinctions from a socio- historical rationale, whilst claiming that these idealistic dis tinctions are anything more than objectifications of subjective bias, and uses that structure to determine the creation and con sumption of literature, seriously censors writers' and readers' perception of history and society, censorship that for women has proven spiritually crippling and murderous. So traditionally evaluative literary categorizations have been ignored. To liberate the literary-critical establishment from con trol by the masculino-centric critical conspiracy, means must be provided to unite feminist critics in creating and propaga ting feminist perspectives. -
Abstract Rewriting Spinsterhood
ABSTRACT REWRITING SPINSTERHOOD: SINGLE WOMEN IN AMERICAN AND BRITISH WOMEN’S NOVELS SINCE 1960 Kimberly Volmer, Ph.D. Department of English Northern Illinois University, 2018 Kathleen Renk, Director This dissertation argues that stereotypes about the Victorian spinster continue to influence the depiction of the single woman in American and British literature since 1960. Perceived as a threat to heteronormative culture, the single woman protagonist must contend with stereotypes of the “old maid” and the “spinster” that culminate in three characteristics of single woman fiction: that the protagonist is perceived as an object of speculation, that she must answer for her singlehood, and that she should find work caring for a surrogate family. Writers engage in several narrative strategies to deflect, revise, and occasionally reinscribe stereotypes of single womanhood. A protagonist may rely on heterotopic memory to seize authority over her own history and that of the larger culture. She may also engage in the domestic quest narrative, seeking out other women to create a safe space from which they will create and share artistic or intellectual work with one another. The single woman protagonist may even find that in her attempts to retain sexual and economic autonomy from men that she is perceived as a danger to subsequent generations of women. Each narrative strategy underscores the significance of the single woman protagonist, and her connection to the Victorian spinster, to women’s literary histories and to novel studies as a whole. NORTHERN ILLINOIS UNIVERSITY DEKALB, ILLINOIS AUGUST 2018 REWRITING SPINSTERHOOD: SINGLE WOMEN IN AMERICAN AND BRITISH WOMEN’S NOVELS SINCE 1960 BY KIMBERLY VOLMER A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH Doctoral Director: Kathleen Renk DEDICATION For Shinichi and Kazuhiro Takehara, with love TABLE OF CONTENTS Chapter Page 1. -
The Invisible (And Hypervisible) Lesbian of Color in Theory, Publishing, and Media
Missing Bridges: The Invisible (and Hypervisible) Lesbian of Color in Theory, Publishing, and Media A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Renee Ann DeLong IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Maria Damon May 2013 Renee Ann DeLong copyright 2013 i I am indebted to the professors on my committee who helped guide me to the end of this journey: Dr. Omise'eke Tinsley, Dr. Patrick Bruch, Dr. Josephine Lee, and Dr. Roderick Ferguson. Rod read drafts generously, gave benedictions freely, and created the space for me to work within queer of color studies. He always reminded me that I was asking the right questions and welcomed me as a colleague. My adviser Dr. Maria Damon reserved many Friday mornings to talk me through the next steps of this project over double espressos. Her honesty helped me rethink my role as a scholar and educator as I began to plan the next phase of my career. Julie Enzer published a section of chapter two in Sinister Wisdom volume 82 as the article "Piecing Together Azalea: A Magazine for Third-World Lesbians 1977-1983." I am grateful for her early feedback and the permission to reprint the article within this dissertation. Taiyon Coleman was my sister in the struggle. Laura Bachinski kept me loved, grounded, humble, and laughing throughout the whole process. Thank you all. ii To Laura--my whole world. iii Abstract “Missing Bridges: The Invisible (and Hypervisible) Lesbian of Color in Theory, Publishing, and Media” While moving from theory, through the Women in Print Movement, and up to the current images of lesbians this dissertation considers how the figure of the lesbian of color has been erased and highlighted at different times and in different spaces. -
The Artist's Garden
ISSN: 2471-6839 The Artist’s Garden: American Impressionism and the Garden Movement Curated by: Anna O. Marley Exhibition schedule: Pennsylvania Academy of the Fine Arts, February 12–May 24, 2015; Chrysler Museum of Art, June 16–September 6, 2015; Reynolda House Museum of American Art, October 1, 2015–January 3, 2016; The Huntington Library, Art Collections, and Botanical Gardens, January 25–May 9, 2016; Florence Griswold Museum, June 3–September 18, 2016. Exhibition catalogue: Anna O. Marley, ed., The Artist’s Garden: American Impressionism and the Garden Movement, exh. cat. Philadelphia, PA.: University of Pennsylvania Press and Pennsylvania Academy of the Fine Arts, 2015. 264 pp.; 128 color ills.; 22 b/w ills. Cloth $45.00 (9780812246650). Reviewed by: Robin Veder, Associate Professor of Humanities and Art History/Visual Culture, Penn State Harrisburg, [email protected]. What is an impressionist garden? Does “impressionist” describe the painting or its painter, the garden or its owner? The Artist’s Garden: American Impressionism and the Garden Movement, an exhibition and catalogue produced by the Pennsylvania Academy of the Fine Arts (PAFA), traces these permutations through networks of American artists, gardeners, artist-gardeners, and gardener-artists. The project explores “the horticultural impulse in American impressionist art” (7), as inspired by French impressionism and motivated by the concerns of the Progressive era suburban white middle class. It focuses on New England and the mid-Atlantic region at the turn of the twentieth century. Predominantly a display of oil paintings, the installation at PAFA also included photographs, rare books, works on paper, autochromes, garden sculpture, furniture, and live plants.