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S a N F R a N C I S C O a R T S Q U a R T E R L Y I S S U E
SFAQ free Tom Marioni Betti-Sue Hertz, YBCA Jamie Alexander, Park Life Wattis Institute - Yerba Buena Center for the Arts - Berkeley Art Museum/Pacific Film Archive - Tom Marioni - Gallery 16 - Park Life - Collectors Corner: Dr. Robert H. Shimshak, Rimma Boshernitsan, Jessica Silverman, Charles Linder - Recology Artist in Residence Program - SF Sunset Report Part 1 - BOOOOOOOM.com - Flop Box Zine Reviews - February, March, April 2011 Event Calendar- Artist Resource Guide - Bay Area, Los Angeles, New York, Portand, Seattle, Vancouver Space Listings - West Coast Residency Listings SAN FRANCISCO ARTS QUARTERLY ISSUE.4 -PULHY[PUZ[HSSH[PVU +LSP]LY`WHJRPUNHUKJYH[PUN :LJ\YLJSPTH[LJVU[YVSSLKZ[VYHNL +VTLZ[PJHUKPU[LYUH[PVUHSZOPWWPUNZLY]PJLZ *VSSLJ[PVUZTHUHNLTLU[ connect art international (T) ^^^JVUULJ[HY[PU[SJVT *VU]LUPLU[:HU-YHUJPZJVSVJH[PVUZLY]PUN5VY[OLYU*HSPMVYUPH JVSSLJ[VYZNHSSLYPLZT\ZL\TZKLZPNULYZJVYWVYH[PVUZHUKHY[PZ[Z 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER 1B copy.pdf 1 1/7/11 9:18 PM 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER C M Y CM MY CY CMY K JANUARY 21-FEBRUARY 28 AMY ELLINGSON, SHAUN O’DELL, INEZ STORER, STEFAN KIRKEBY. MARCH 4-APRIL 30 DEBORAH OROPALLO MAY 6-JUNE 30 TUCKER NICHOLS SoFF_SFAQ:Layout 1 12/21/10 7:03 PM Page 1 Anno Domini Gallery Art Ark Art Glass Center of San Jose Higher Fire Clayspace & Gallery KALEID Gallery MACLA/Movimiento de Arte y Cultura Latino Americana Phantom Galleries San Jose Jazz Society at Eulipia San Jose Museum of Quilts & Textiles SLG Art Boutiki & Gallery WORKS San José Caffé Trieste Dowtown Yoga Shala Good Karma Cafe METRO Photo Exhibit Psycho Donuts South First Billiards & Lounge 7pm - 11pm free & open to the public! Visit www.SouthFirstFridays.com for full schedule. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
University of Montana Commencement Program, 1990
University of Montana ScholarWorks at University of Montana University of Montana Commencement Programs, 1898-2020 Office of the Registrar 6-9-1990 University of Montana Commencement Program, 1990 University of Montana (Missoula, Mont. : 1965-1994). Office of the Registrar Follow this and additional works at: https://scholarworks.umt.edu/um_commencement_programs Let us know how access to this document benefits ou.y Recommended Citation University of Montana (Missoula, Mont. : 1965-1994). Office of the Registrar, "University of Montana Commencement Program, 1990" (1990). University of Montana Commencement Programs, 1898-2020. 93. https://scholarworks.umt.edu/um_commencement_programs/93 This Program is brought to you for free and open access by the Office of the Registrar at ScholarWorks at University of Montana. It has been accepted for inclusion in University of Montana Commencement Programs, 1898-2020 by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. NINETY-THIRD ANNUAL COMMENCEMENT UNIVERSITY OF MONTANA MISSOULA SATURDAY, JUNE THE NINTH NINETEEN HUNDRED AND NINETY HARRY ADAMS FIELDHOUSE DAHLBERG ARENA HEAD MARSHAL Frank W. Clark Professor of Social Work MARSHALS Paul E. Miller R. Keith Osterheld Professor of Sociology Professor of Chemistry The carillon concert has been made possible by the generous contributions from the Coffee Memorial Fund, Mrs. Hugh Galusha, Jr., William Gallagher, the First Bank Western Montana—Missoula and other donations through the UM Foundation to restore the carillon. The concerts before and after the exercises will be per formed by Dr. John Ellis, University Carillonneur and Hooi-Theng Loo. ORDER OF EXERCISES PROCESSIONAL Brass Ensemble Dustin Molyneaux, trumpet Jason Barkley, horn James Hanson, trumpet James Ramsey, trombone Andrew Goodrich, trumpet Shawn D. -
Robert Whyte Oral History Transcript
i San Francisco Museum of Modern Art Regional Oral History Office 75th Anniversary The Bancroft Library Oral History Project University of California, Berkeley SFMOMA 75th Anniversary: ROBERT WHYTE SFMOMA Staff, 1967-1987 Supervisor of Education, 1967- Director of Education, 1980- Interviews conducted by Lisa Rubens in 2006—2007 Copyright © 2008 by San Francisco Museum of Modern Art Funding for the Oral History Project provided in part by Koret Foundation. ii Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Robert Whyte, dated May 18, 2008. This manuscript is made available for research purposes. -
2020-10-01 Bollinger Cv
REBECA BOLLINGER EDUCATION 1993 BFA, San Francisco Art Institute, San Francisco, CA AWARDS 2018 Art + Process + Ideas, Artist-in-Residence, Mills College Art Museum, Oakland, CA 2014 Creative Capacity Fund, Center for Cultural Innovation, Los Angeles, CA 2010 Dennis Gallagher and Sam Perry Ceramic Residency Program, Oakland, CA 2008 Aperture West Book Prize, New York, NY (nominee) 2008 Bay Area Video Coalition Access Award, San Francisco, CA (commission) 2004 James D. Phelan Art Award in Video, San Francisco, CA 2004 The Rockefeller Foundation Media Arts Fellowship, New York, NY (nominee) 2004 John Simon Guggenheim Memorial Foundation Fellowship, New York, NY (nominee) 2001 The Artadia Award, New York, NY 2001 The Rockefeller Foundation Media Arts Fellowship, New York, NY (nominee) 1999 Artist in Residence, The LAB, San Francisco, CA 1999 Creation & Presentation Grant, National Endowment for the Arts, Washington, DC 1998 Artist in Residence, Loyola University, New Orleans, LA (commission) 1997 Eureka Fellowship, The Fleishhacker Foundation, San Francisco, CA 1996 SECA Award in Electronic Media, San Francisco Museum of Modern Art, CA 1996 Artist in Residence, Headlands Center for the Arts, Sausalito, CA 1996 The Veronica di Rosa Award for New Media, Headlands Center for the Arts, Sausalito, CA 1996 Artists Equipment Access Award, Bay Area Video Coalition, San Francisco, CA SELECTED ONE | TWO PERSON EXHIBITIONS 2020 Threshold, Interface Gallery, Oakland, CA (2-person exhibition with Léonie Guyer) 2019 The Burrow, Gallery 16, San Francisco, -
Curating Now: Imaginative Practice/Public Responsibility Full Text Edited by Paula Marincola
QUESTIONS OF PRACTICE Curating Now: Imaginative Practice/Public Responsibility Full Text Edited by Paula Marincola THE PEW CENTER FOR ARTS & HERITAGE / PCAH.US / @PEWCENTER_ARTS CURATING NOW: IMAGINATIVE PRACTICE/PUBLIC RESPONSIBILITY OCT 14-15 2000 Paula Marincola Robert Storr Symposium Co-organizers Philadelphia Exhibitions Initiative Funded by The Pew Charitable Trusts Administered by The University of the Arts The Philadelphia Exhibitions Initiative is a granting program funded by The Pew Charitable Trusts and administered by The University of the Arts, Philadelphia, that supports exhibitions and accompanying publications.“Curating Now: Imaginative Practice/Public Responsibility” has been supported in part by the Pew Fellowships in the Arts’Artists and Scholars Program. Philadelphia Exhibitions Initiative 230 South Broad Street, Suite 1003 Philadelphia, PA 19102 215-985-1254 [email protected] www.philexin.org ©2001 Philadelphia Exhibitions Initiative All rights reserved ISBN 0-9708346-0-8 Library of Congress catalog card no. 2001 131118 Book design: Gallini Hemmann, Inc., Philadelphia Copy editing: Gerald Zeigerman Printing: CRW Graphics Photography: Michael O’Reilly Symposium and publication coordination: Alex Baker CONTENTS v Preface Marian Godfrey vii Introduction and Acknowledgments Paula Marincola SATURDAY, OCTOBER 14, 2000 AM 3 How We Do What We Do. And How We Don’t Robert Storr 23 Panel Statements and Discussion Paul Schimmel, Mari-Carmen Ramirez, Hans-Ulrich Obrist,Thelma Golden 47 Audience Question and Answer SATURDAY, -
Part 1 a Note from the Director
di Rosa Center for Contemporary Art 5200 Sonoma Highway Napa, CA 94559 707-226-5991 dirosaart.org BE NOT @dirosaart / #BeNotStill Executive Director: Robert Sain Exhibition and Graphic Designer: Jon Sueda Editor: Lindsey Westbrook Printer: Solstice Press, Oakland Images: Courtesy the artists and di Rosa Center for Contemporary Art STILL: LIVING IN UN- CERTAIN TIMES Part 1 A Note from the Director This is a milestone moment for di Rosa, which has recently recast itself as a center for contemporary art with a focus on the power of ideas, pursued through new commissions and a fresh approach to our rich collection of seminal Bay Area work. We aspire to spark both experimentation and social engagement. As we collectively try to make sense of today’s polarized culture, conflicting values, distortions of truth, denials of science, and pervasive strains of anti- intellectualism, now all heightened in California by the trauma of the devastating wildfires, we at di Rosa feel compelled to show why art matters. We need to demonstrate how artists can be a resource and an asset to the pressing concerns of our time. And we need to rethink the role of cultural organizations and the civic dimension they can embrace by serving as a convener on both the local and the global stage, bringing together multiple perspectives and people from all ages and walks of life. In pursuit of such lofty and necessary goals, di Rosa is pleased to present the landmark exhibition Be Not Still: Living in Uncertain Times. We regard it as a launchpad for a future that dares to make art essential to the human experience. -
The Strip: Las Vegas and the Symbolic Destruction of Spectacle
The Strip: Las Vegas and the Symbolic Destruction of Spectacle By Stefan Johannes Al A dissertation submitted in the partial satisfaction of the Requirements for the degree of Doctor of Philosophy in City and Regional Planning in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Nezar AlSayyad, Chair Professor Greig Crysler Professor Ananya Roy Professor Michael Southworth Fall 2010 The Strip: Las Vegas and the Symbolic Destruction of Spectacle © 2010 by Stefan Johannes Al Abstract The Strip: Las Vegas and the Symbolic Destruction of Spectacle by Stefan Johannes Al Doctor of Philosophy in City and Regional Planning University of California, Berkeley Professor Nezar AlSayyad, Chair Over the past 70 years, various actors have dramatically reconfigured the Las Vegas Strip in many forms. I claim that behind the Strip’s “reinventions” lies a process of symbolic destruction. Since resorts distinguish themselves symbolically, each new round of capital accumulation relies on the destruction of symbolic capital of existing resorts. A new resort either ups the language within a paradigm, or causes a paradigm shift, which devalues the previous resorts even further. This is why, in the context of the Strip, buildings have such a short lifespan. This dissertation is chronologically structured around the four building booms of new resort construction that occurred on the Strip. Historically, there are periodic waves of new casino resort constructions with continuous upgrades and renovation projects in between. They have been successively theorized as suburbanization, corporatization, Disneyfication, and global branding. Each building boom either conforms to a single paradigm or witnesses a paradigm shift halfway: these paradigms have been theorized as Wild West, Los Angeles Cool, Pop City, Corporate Modern, Disneyland, Sim City, and Starchitecture. -
Oral History Office 75Th Anniversary the Bancroft Library Oral History Project University of California, Berkeley
San Francisco Museum of Modern Art Regional Oral History Office 75th Anniversary The Bancroft Library Oral History Project University of California, Berkeley SFMOMA 75th Anniversary AGNES BOURNE SFMOMA Board of Trustees, 1984-1985, 1987-1991 Ex Officio Trustee, SECA, 1984-1985 Trustee, 1987-1991 Interview conducted by Richard Cándida Smith and Janet Bishop in 2009 Copyright © 2010 by San Francisco Museum of Modern Art Funding for the Oral History Project provided in part by Koret Foundation. ii Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Agnes Bourne, dated February 1, 2010. -
The Birth of an Arts Scene
UNLV Theses, Dissertations, Professional Papers, and Capstones May 2016 The Birth of an Arts Scene William Goldberg University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Sociology Commons Repository Citation Goldberg, William, "The Birth of an Arts Scene" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2673. http://dx.doi.org/10.34917/9112071 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. THE BIRTH OF AN ARTS SCENE By William Edward Goldberg Bachelor of Art in History California State University, Long Beach 1971 Masters of Social Work University of California Los Angeles 1980 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Philosophy—Sociology Department of Sociology College of Liberal Arts The Graduate School University of Nevada, Las Vegas December 2015 Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2015 This dissertation prepared by William Goldberg entitled The Birth of an Arts Scene is approved in partial fulfillment of the requirements for the degree of Doctor of Philosophy – Sociology Department of Sociology Robert Futrell, Ph.D. -
Tim Bavington
TIM BAVINGTON BIOGRAPHICAL INFORMATION 1966 Born in England Lives in the United States EDUCATION 1999 M.F.A. University of Nevada, Las Vegas 1990 B.F.A. Art Center College of Design, Pasadena, California SELECTED PUBLIC AND PRIVATE COLLECTIONS Allbright-Knox Art Gallery, Buffalo, New York Arkansas Art Center, Little Rock, Arkansas Blake Byrne Collection, Los Angeles, California William H. Brady III, Los Angeles, California Creative Artists Agency, Beverly Hills, California Crocker Art Museum, Sacramento, California Denver Art Museum, Denver, Colorado Frederick R. Weisman Art Foundation, Los Angeles, California Genentech Corporation, South San Francisco, California General Mills Corporation, Minneapolis, Minnesota Honolulu Art Museum, Honolulu, Hawaii Borusan Contemporary Art Collection, Istanbul, Turkey Joslyn Art Museum, Omaha, Nebraska Marriott Internaional, Bethesda, Maryland McNay Art Museum, San Antonio, Texas Museum of Contemporary Art, San Diego, California Museum of Fine Arts, Houston, Texas Museum of Modern Art, New York, New York Neiman Marcus Corporation, Dallas, Texas Nora Eccles Harrison Museum of Art, Utah State University, Logan, Utah Orange County Museum of Art, Newport Beach, California Palm Springs Art Museum, Palm Springs, California Perez Museum, Miami, Florida Portland Art Museum, Portland, Oregon Progressive Insurance Corporation, Cleveland, Ohio Sammlung Mondstudio, Hamburg, Germany Smith Center for the Performing Arts, Las Vegas, Nevada Thomas & Mack Company, Las Vegas, Nevada United States General Services Administration, -
Outdoor Artwork
To Napa 1 2 31 To Sonoma 3 4 5 Sonoma Hwy (CA-12) 10 6 30 7 8 28 29 11 9 12 26 27 13 1 25 14 24 15 17 2 16 18 20 3 22 23 21 4 19 5 Courtyard Sculpture Location Guide Key 6 1. Tim Cooper, New York Baby Box, 1987 17. Richard Mendelson, Raptor, 1997 2. Jim Melchert, Earth Door, 1985 18. Viola Frey, Reclining Nude #2, 1987 3. Mary Bates Neubauer, Incediary Totem, 1987 19. Richard Mendelson, Eleganza, 1996 4. Al Farrow, Soapbox Derbyman, 1978 20. Walter Dusenbery, Wine Stone, 1972 7 5. Judy Richardson, Loggia, 1985 21. Alan Shepp, Untitled (di Rosa Memorial), 2011 8 6. Clarice Dreyer, A Small House, 1986 22. Harry Siter, The Shopping Muse, 2006 9 7. Cindy Gilmore, Untitled #1, 1989 23. Alan Shepp, Orfeo, 1995 8. Phil Evans, Drive-In Special Cruiser, 1995 24. Carl Dern, Chair Figure, 1986 9. Benbow Bullock, A Rocket’s Red Glare, 1994 25. Dennis Gallagher, Untitled, 2002 10. Robert Arneson, Three Brick Portrait, 1984 26. Paul Kos, Flagulated Flagpole, 1968 Courtyard Sculpture 11. Viola Frey, Group, 1985 27. Serge Etienne, Redtail, 1977 12. William T. Wiley, Angel, 1982 28. Steve Gliman, Fragments from a Stone Poem #2, 1986 13. Tim Cooper, The King and Queen Chair, 1988 29. Manuel Neri, Posturing Series, 1985 14. William T. Wiley, Harp, 1986 30. Robert Hudson, Untitled, 1960 15. William T. Wiley, Platform, 1986 31. Bruce Hasson, Glyph, 1988 16. Robert Hudson, Figure of Speech, 1984 35 36 di Rosa Sculpture Meadow Location Guide Key 37 1.