Guide to the Records of the Department of Prints, Drawings, and Photographs 1878 - 2001
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Eat and Die: the Last Meal of Sacrificed Chimú Camelids At
Eat and Die: The Last Meal of Sacrificed Chimú Camelids at Huanchaquito-Las Llamas, Peru, as Revealed by Starch Grain Analysis Clarissa Cagnato , Nicolas Goepfert, Michelle Elliott, Gabriel Prieto, John Verano, and Elise Dufour This article reconstructs the final diet of sacrificed domestic camelids from Huanchaquito-Las Llamas to understand whether feeding was part of the ritual practice. The site is situated on the northern coast of Peru and is dated to the fifteenth century AD (Late Intermediate period; LIP). It was used by the Chimús to kill and bury a large number of camelids, mostly juveniles. We reconstructed the final meal of 11 of the sacrificed individuals by analyzing starch grains derived from the associated gut con- tents and feces. The starch grains were well preserved and allowed for the determination of five plant taxa. The comparison with previously published and new stable isotope analyses, which provide insights into long-term diet, indicates that the Chi- mús managed their herds by providing maize as fodder and allowing them to graze on natural pasture; yet they reserved special treatment for sacrificial animals, probably bringing them together a few hours or days before the sacrificial act. We show for the first time the consumption of unusual food products, which included manioc, chili peppers, and beans, as well as cooked foods. Our study provides unique information on Chimú camelid ritual and herding practices. Keywords: ritual diet, archaeobotany, stable isotope analysis, Late Intermediate period El presente artículo aborda la reconstrucción de la dieta ingerida por camélidos domesticados antes de ser sacrificados y enterrados en el sitio arqueológico Huanchaquito-Las Llamas, situado en la costa norte de Perú y data del siglo XV de nuestra era (periodo Intermedio Tardío). -
Cézanne and the Modern: Masterpieces of European Art from the Pearlman Collection
Cézanne and the Modern: Masterpieces of European Art from the Pearlman Collection Paul Cézanne Mont Sainte-Victoire, c. 1904–06 (La Montagne Sainte-Victoire) oil on canvas Collection of the Henry and Rose Pearlman Foundation, on long-term loan to the Princeton University Art Museum TEACHER’S STUDY GUIDE WINTER 2015 Contents Program Information and Goals .................................................................................................................. 3 Background to the Exhibition Cézanne and the Modern ........................................................................... 4 Preparing Your Students: Nudes in Art ....................................................................................................... 5 Artists’ Background ...................................................................................................................................... 6 Modern European Art Movements .............................................................................................................. 8 Pre- and Post-Visit Activities 1. About the Artists ....................................................................................................................... 9 Artist Information Sheet ........................................................................................................ 10 Modern European Art Movements Fact Sheet .................................................................... 12 Student Worksheet ............................................................................................................... -
Cara A. Finnegan Professional Summary
Cara A. Finnegan Department of Communication University of Illinois at Urbana-Champaign 3001 Lincoln Hall, MC-456 Email: [email protected] 702 S. Wright St. Telephone: 217-333-1855 Urbana, Illinois 61801 Web: carafinnegan.com Professional Summary University Scholar, University of Illinois system. Professor, Department of Communication, University of Illinois at Urbana-Champaign, 2015-present. Public Voices Fellow with The Op Ed Project, University of Illinois system, 2019-20. Fellow, National Endowment for the Humanities, 2016-17. Associate, Center for Advanced Study, University of Illinois at Urbana-Champaign, 2015-16. Associate Head, Department of Communication, University of Illinois at Urbana-Champaign, 2015-present. (On leave 2016-17.) Conrad Humanities Scholar, College of Liberal Arts and Sciences, University of Illinois at Urbana-Champaign, 2012-2017. Interim Associate Dean, Graduate College, University of Illinois at Urbana-Champaign, January-August 2015. Associate Professor, Department of Communication, University of Illinois at Urbana- Champaign, 2005-2015. Director of Graduate Studies, Department of Communication, University of Illinois at Urbana- Champaign, 2010-2014. Director of Oral and Written Communication (CMN 111-112), University of Illinois at Urbana- Champaign, 1999-2009. Assistant Professor, Department of [Speech] Communication, University of Illinois at Urbana- Champaign, 1999-2005. Affiliated (zero-time) appointments in Center for Writing Studies (2004-present), Program in Art History (2006-present), and Department of Gender and Women’s Studies (2009- present), University of Illinois at Urbana-Champaign. William S. Vaughn Visiting Fellow, Robert Penn Warren Center for the Humanities, Vanderbilt University, 2006-2007. Updated 8.25.20 Finnegan 2 Education Ph. D. Communication Studies, Northwestern University Degree Awarded: June 1999 Concentration: Rhetorical Studies M. -
Mitchell Gallery 2017-18 Past Exhibits and Programs
MITCHELL GALLERY 2017-18 PAST EXHIBITIONS AND PROGRAMS THE LURE OF NATURE: LANDSCAPE DRAWINGS FROM THE THAW COLLECTION August 26 – October 16, 2016 HIDDEN BEAUTY: EXPLORING THE AESTHETICS OF MEDICAL SCIENCE October 26 – December 10, 2017 ABOUT PRINTS: THE LEGACY OF STANLEY WILLIAM HAYTER AND ATELIER 17 January 11 – February 25, 2018 ROBERT INDIANA: LOVE AND HOPE March 8 – April 22, 2018 ST. JOHN’S COLLEGE COMMUNITY ART EXHIBITION 2018 April 29 – May 13, 2018 NEW DIMENSIONS: WORKS FROM THE ANNE ARUNDEL COMMUNITY COLLEGE VISUAL ARTS FACULTY May 23 – June 13, 2018 THE LURE OF NATURE: LANDSCAPE DRAWINGS FROM THE THAW COLLECTION AUGUST 25 – OCTOBER 15, 2017 J.M.W.Turner (1775-1851), Lurleiberg, 19th c. Watercolor, over black chalk, with scraping, on paper. Thaw Collection, The Morgan Library & Museum, New York, 1997.14. Photography by Steven H. Crossot, 2014. This exhibition of English and German 19th-century Romantic landscape drawings conveys the shift from classical subjects and the rational, scientific world of the Enlightenment and the Industrial Revolution to themes of nature as a source for inspiration and emotional expression. Artists include Alexander Cozens, Thomas Gainsborough, John Constable, Joseph Koch, J.M.W. Turner, Caspar Wolf, and other noted artists of the period. Collector, dealer and scholar Eugene V. Thaw is a graduate of St. John’s College. He and his wife, Clare Eddy Thaw, have an extensive collection of drawings, paintings, and artifacts they have shared with a number of distinctive institutions, including over 400 drawings to the Morgan Library & Museum. Like an exhibition also mounted at the Morgan this autumn, this exhibition celebrates Gene Thaw on the occasion of his ninetieth birthday. -
Regional Oral History Off Ice University of California the Bancroft Library Berkeley, California
Regional Oral History Off ice University of California The Bancroft Library Berkeley, California Richard B. Gump COMPOSER, ARTIST, AND PRESIDENT OF GUMP'S, SAN FRANCISCO An Interview Conducted by Suzanne B. Riess in 1987 Copyright @ 1989 by The Regents of the University of California 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 modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and 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 University of California and Richard B. Gump dated 7 March 1988. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley. -
Oral History Interview with Viola Frey, 1995 Feb. 27-June 19
Oral history interview with Viola Frey, 1995 Feb. 27-June 19 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Viola Frey on February 27, May 15 & June 19, 1995. The interview took place in oakland, CA, and was conducted by Paul Karlstrom for the Archives of American Art, Smithsonian Institution. Interview Session 1, Tape 1, Side A (30-minute tape sides) PAUL KARLSTROM: Archives of American Art, Smithsonian Institution. An interview with Viola Frey at her studio in Oakland, California, February 27, 1995. The interviewer for the Archives is Paul Karlstrom and this is what we hope will be the first in a series of conversations. It's 1:35 in the afternoon. Well, Viola, this is an interview that has waited, I think, about two or three years to happen. When I first visited you way back then I thought, "We really have to do an interview." And it just took me a while to get around to it. But at any rate what I would like to do is take a kind of journey back in time, back to the beginning, and see if we can't get some insight into, of course, who you are, but then where these wonderful works of art come from, perhaps what they mean. -
Dorothea Lange 1934
Dorothea Lange 1934 Documentary photographer Dorothea Lange (1895–1965) is best known for her work during the 1930s with Roosevelt's Farm Security Administration (FSA). Born in New Jersey, Lange studied photography at Columbia University, then moved to San Francisco in 1919 earning a living as a successful portrait photographer. In 1935 in the midst of the Great Depression, Lange brought her large-format Graflex camera out of the studio and onto the streets. Her photos of the homeless and unemployed in San Francisco's breadlines, labor demonstrations, and soup kitchens led to a job with the FSA. From 1935 to 1939, Lange's arresting FSA images—drawing upon her strength as a portrait photographer—brought the plight of the nation's poor and forgotten peoples, especially sharecroppers, displaced families, and migrant workers, into the public eye. Her image "Migrant Mother" is arguably the best-known documentary photograph of the 20th century and has become a symbol of resilience in the face of adversity. Lange's reports from the field included not just photographs, but the words of the people with whom she'd spoken, quoted directly. "Somethin' is radical White Angel Breadline, 1933 wrong," one told her; another said, "I don't believe the President (Roosevelt) knows what's happening to us here." Lange also included her own observations. "They have built homes here out of nothing," she wrote, referring to the cardboard and plywood "Okievilles" scattered throughout California's Central Valley. "They have planted trees and flowers. These flimsy shacks represent many a last stand to maintain self-respect." At the age of seven Lange contracted polio, which left her right leg and foot noticeably weakened. -
CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=
Arch, :'>f^- *."r7| M'i'^ •'^^ .'it'/^''^.:^*" ^' ;'.'>•'- c^. CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1969 University of Illinois at Urbana-Champaign jS'i----».--:r'f--= 'ik':J^^^^ Contemporary American Painting and Sculpture 1969 Contemporary American Painting and Sculpture DAVID DODD5 HENRY President of the University JACK W. PELTASON Chancellor of the University of Illinois, Urbano-Champaign ALLEN S. WELLER Dean of the College of Fine and Applied Arts Director of Krannert Art Museum JURY OF SELECTION Allen S. Weller, Chairman Frank E. Gunter James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Christlson, Associate Director Lois S. Frazee, Registrar Marie M. Cenkner, Graduate Assistant Kenneth C. Garber, Graduate Assistant Deborah A. Jones, Graduate Assistant Suzanne S. Stromberg, Graduate Assistant James O. Sowers, Preparator James L. Ducey, Assistant Preparator Mary B. DeLong, Secretary Tamasine L. Wiley, Secretary Catalogue and cover design: Raymond Perlman © 1969 by tha Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 Cloth: 252 00000 5 Paper: 252 00001 3 Acknowledgments h.r\ ^. f -r^Xo The College of Fine and Applied Arts and Esther-Robles Gallery, Los Angeles, Royal Marks Gallery, New York, New York California the Krannert Art Museum are grateful to Marlborough-Gerson Gallery, Inc., New those who have lent paintings and sculp- Fairweother Hardin Gallery, Chicago, York, New York ture to this exhibition and acknowledge Illinois Dr. Thomas A. Mathews, Washington, the of the artists, Richard Gallery, Illinois cooperation following Feigen Chicago, D.C. collectors, museums, and galleries: Richard Feigen Gallery, New York, Midtown Galleries, New York, New York New York ACA Golleries, New York, New York Mr. -
Adja Yunkers John Palmer Leeper
New Mexico Quarterly Volume 20 | Issue 2 Article 8 1950 Adja Yunkers John Palmer Leeper Follow this and additional works at: https://digitalrepository.unm.edu/nmq Recommended Citation Leeper, John Palmer. "Adja Yunkers." New Mexico Quarterly 20, 2 (1950). https://digitalrepository.unm.edu/nmq/vol20/iss2/8 This Contents is brought to you for free and open access by the University of New Mexico Press at UNM Digital Repository. It has been accepted for inclusion in New Mexico Quarterly by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. £ L· - ... Leeper: Adja Yunkers A.dja runkers By John Palmer Leeper H E MOST impressive sing~ quality of Adja Yunkers 1]" is his abso}utematurity as an at.tist. Each pr~nt is a com· plete, fecund statement. The nnpaet of hIS woodcuts., which I first saw unpacked and spread about the Print Room of the Fogg ~fuseum~ was deep and·satisfying-a recognition of the poised and powerful statement which places h~m in the tradition . ofmodem expressionism: Gauguin, Nolde, Heckel. Knowing Yunkers himself, following thecons~ntlyex.tending horizonsofhisarthave innoway lessenedappreciationofhis ·full.. ness and potency. In part these qualities may have grown from theassimilationwith thoughtandhigh witofrich, heterogeneous . experience. He was born in Riga, t~ined in Leningrad, Berlin, Paris and London, and later travelled through Central andSouth 19 1 Published by UNM Digital Repository, 1950 1 - iS$. L i. New Mexico Quarterly, Vol. 20 [1950], Iss. 2, Art. 8 19~ JOHN PALM Ell LEEPER. Americaf reaching thelVest Indies as a stowaway. then stoker. on a Danish freighter. -
View Map of Healing Garden Artwork
Mark Ackerman • Nicolas Africano • Yaacov Agam • Jonathan Agger • Anni Albers • Josef Albers • Lita Albuquerque • Pierre Alechinsky • Peter Alexander • Elray Alkristy • Otmar Alt • John Altoon • Amos Amit • Othello Anderson • Michael Ansell • Karel Appel • Shusaku Arakawa • Cynthia Archer • Ardison Phillips • Jim Arkatov • Arman • Robert Arneson • Charles Arnoldi • Lisa Aronzon • Fred Arundel • Tadashi Asoma • Chet Atkins • Mario Avanti • Judith Azur • Olle Baertling • Claude Baillargeon • Richard Baker • Micha Bar-Am • Lynda Barckert • Lionel Barrymore • Frank Barsotti • Frank Beatty • David Marc Belkin • Gerald Belkin • Larry Bell • Mark Bellog • Lynda Benglis • Billy Al Bengston • Fletcher Benton • Dimitrie Berea • Don Berger • Joseph Bergler, The Younger • Elizabeth V. Blackadder • Lucienne Bloch • Karl Blossfeldt • Howard Bond • John Robert Borgstahl • Jonathan Borofsky • Richard Bosman • Paul Brach • Matthew Brady • Charles Bragg • Warren Brandt • Bettina Brendel • Ernest Briggs • Charlie Brown • Christopher Brown • James Paul Brown • Jerry Burchman • Hans Burkhardt • Bob Burley • Sakti Burman • Jerry Byrd • Alexander Calder • Jo Ann Callis • Tom Carr • Stuart Caswell • Marc Chagall • Judy Chicago • Christo • Clutie • Jodi Cobb • Jean Cocteau • Bruce Cohen • Larry Cohen • Chuck Connelly ARTIST • Greg / WORKConstantine • Ron Cooper • Greg Copeland • Amy Cordova • Sam Coronado • Steven Cortright • Robert Cottingham • Arnold Crane • Barbara Crane • Jeff Crisman • Chris Cross • Yvonne Cross • Ford Crull • Woody Crumbo • William Crutchfield -
Post-War & Contemporary
Post-War & Contemporary Art New York I November 18, 2020 Bonhams Detail Lot 36 © 2020 Bonhams & Butterfields Auctioneers Takashi Murakami,Tongari-kun (Mr. Pointy) Costume, 2003 Corp. All rights reserved. Post-War & Contemporary Art New York | Wednesday November 18, 2020 at 1pm EST BONHAMS INQUIRIES IMPORTANT NOTICES COVID-19 SAFETY STANDARDS 580 Madison Avenue Jacqueline Towers-Perkins Please note that all customers, Bonhams’ galleries are currently New York, New York 10022 +1 212 644 9039 irrespective of any previous activity subject to government restrictions bonhams.com with Bonhams, are required to have and arrangements may be subject to [email protected] proof of identity when submitting bids. change. SALE NUMBER Failure to do this may result in your bid Andrew Huber not being processed. Preview: Lots will be made available 26107 +1 917 206 1633 For absentee and telephone bids for in-person viewing by Lots 1 - 49 [email protected] we require a completed Bidder appointment only. Please contact Registration Form in advance of the the specialist department on AUCTION INFORMATION Sheida Ellini sale. The form can be found at the +1 917 717 0367 or contemporary.us@ Ralph Taylor back of every catalogue and on our bonhams.com to arrange an +1 917 717 0367 2063659-DCA website at www.bonhams.com appointment before visiting our [email protected] Jacqueline Towers-Perkins and should be returned by email to galleries. In accordance with 2068426-DCA the specialist department or to the Covid-19 guidelines, it is mandatory PRESS INQUIRIES Rupert Banner Client Services department at bids. -
Rönnells Antikvariat Katalog/Catalogue 83
RÖNNELLS ANTIKVARIAT KATALOG/CATALOGUE 83 ARTISTS’ BOOKS & OTHER ODD ITEMS or a couple of years we have put aside some odd material that we thought needed a more thorough presentation. Most of F the material is what’s called artists’ books. When we acquired a few of the more important and valuable items, we thought it was time to put everything together and present a wide spectrum of Swedish and foreign books in a wide price range. At the same time a very extensive work on Artists’ books from a Swedish point of view was published. The author Thomas Millroth has written a beautiful and richly illustrated book that further pushed us to finish this catalogue. Hope you will find something that interests you! PS. The book by Millroth is not included in the catalogue but available in our shop. Beställningar/Orders: Betalning/Payment: Rönnells Antikvariat AB Porto tillkommer. / Shipping costs additional. Birger Jarlsgatan 32 Ingen avdragsgill moms. / No deductible VAT. S-114 29 STOCKHOLM Visa & MC accepted. Tel/Phone: +46 8-54501560 [email protected] Förskottsbetalning till bankkonto: PlusGiro: 5 00 40-5 Alla beställningar måste ske via e-post Bankgiro: 476-9287 eller annan kontakt med oss. Betalning Swish: 123 576 3438 sker först efter klartecken från oss. Pre-payment to our account: When ordering you must contact us IBAN SE14 9500 0099 6026 0050 0405 first via e-mail or other means. No pay- BIC NDEASESS ments must be made without our prior (Bank: Nordea Plusgirokonto knowledge. SE-105 71 Stockholm) A GREAT BEAR PAMPHLET – KNOWLES, ALISON A.O.