FOXY PRODUCTION New York 2013 STOVES & QUILTS
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Iowa State Capitol Complex Master Plan I
Iowa State Capitol Complex I Master Plan January 7, 2010 (Amended December 2020) State of Iowa Department of Administrative Services & Capitol Planning Commission Confluence Zimmer Gunsul Frasca Architects LLP Jeffrey Morgan Architecture Studio Tilghman Group Snyder and Associates [ This page intentionally left blank ] Iowa State Capitol Complex Master Plan Master Complex Capitol State Iowa Contents ii Preface 78 Architectural Design 82 Utilities 1 Chapter 1 - The Vision 84 Parking 9 Chapter 2 - Principal Influences on the Plan 88 Transit 10 Historical Development 92 Pedestrian and Bicycle Circulation 16 Capitol Neighborhood 99 Sustainable Development Principles 23 Chapter 3 - Capitol Complex 107 Chapter 4 - Making the Vision a Reality 24 Concept 111 Acknowledgements 28 Approaches and Gateways 30 View Corridors and Streets 117 Appendix A - Transportation Plan 38 Access and Circulation 131 Appendix B - Facility Needs Assessment 45 Landscape Framework Summary 58 Monuments and Public Art 155 Appendix C - Capitol Complex Planning History 62 Site Amenities 64 Signs and Visitor Information 164 Appendix D - Annual Review & Update of Iowa State Capitol Complex 2010 72 Buildings Master Plan i ii Iowa State Capitol Complex Master Plan Master Complex Capitol State Iowa Preface iii Introduction Amended December 2016, 2020 The Iowa State Legislature appropriated funds to the Department of Administrative than fiscal years. Services for updating the 2000 Master Plan for physical facilities on the Iowa State Capitol Complex. The resulting 2010-2060 plan was prepared in close collaboration Beginning in 2015, the Capitol Planning Commission committed to keeping the with the Capitol Planning Commission for its consideration and acceptance. The Master Plan viable and current by annually reviewing the Plan to note accomplished consultant team was led by Confluence and Zimmer Gunsul Frasca Architects goals as well as recognizing evolving changes in conditions and assumptions. -
Translation in the Work of Omer Fast Kelli Bodle Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 (Mis)translation in the work of Omer Fast Kelli Bodle Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Bodle, Kelli, "(Mis)translation in the work of Omer Fast" (2007). LSU Master's Theses. 4069. https://digitalcommons.lsu.edu/gradschool_theses/4069 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. (MIS)TRANSLATION IN THE WORK OF OMER FAST A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Kelli Bodle B.A., Michigan State University, 2002 August 2007 Table of Contents Abstract……...……………………………………………………………………………iii Chapter 1 Documentary and Alienation: Why Omer Fast’s Style Choice and Technique Aid Him in the Creation of a Critical Audience……………………………… 1 2 Postmodern Theory: What Aspects Does Fast Use to Engage Audiences and How Are They Revealed in His Work……………………………………….13 3 Omer Fast as Part of a Media Critique……………………….………………31 4 Artists and Ethics……………….……………………………………………39 5 (Dis)Appearance of Ethics in Omer Fast’s Videos..…………………………53 Bibliography……………………………………………………………………………..64 Vita...……………………………………………………………………………………..69 ii Abstract For the majority of people, video art does not have a major impact on their daily lives. -
Architecture of Downtown Des Moines: Some Highlights from the Twentieth Century and Beyond
Paula Mohr is an architectural historian and directs the certified local government program in Iowa. She is a graduate of the Cooperstown Museum Studies program and the architectural history program at the University of Virginia. Paula is the local co-chair for FORUM 2018. Architecture of Downtown Des Moines: Some Highlights from the Twentieth Century and Beyond By Paula Mohr In its 170-some years, the evolution of Des Moines’ commercial core has paral- leled that of many American cities. Fort Des Moines, an early foothold in terms of Euro-American settlement, today survives only as an archaeological site. Early commercial buildings of wood frame on both the east and west sides of the Des Moines River were replaced with brick later in the nineteenth century. At the turn of the twentieth century another wave of development introduced tall buildings or skyscrapers. In the midst of all this change, we can see the impact of external forces, including architectural ideas from Chicago, the City Beautiful Movement and the contributions of nationally and internationally renowned architects. The “book” on Des Moines’ architecture is still being written. As a result of this constant renewal and rebuild- Youngerman Block (1876), also by Foster, features ing, only a handful of nineteenth century buildings a façade of “Abestine Stone,” a nineteenth-century survive in Des Moines’ downtown. In the Court artificial stone manufactured by the building’s Avenue entertainment area across the river from owner, Conrad Youngerman. The five-story Des the FORUM conference hotel are several notable Moines Saddlery Building (c. 1878), just around examples. -
Jan Feb Mar Apr 2021 from the Director
FROM THE DIRECTOR JAN FEB MAR APR 2021 FROM THE DIRECTOR Submit your story I am sure you would agree, let us put 2020 behind us and anticipate a better year in 2021. With this expectation in mind, your Art Center teams are moving ahead with major plans for the new year. Our exhibitions We continue to include The Path to Paradise: Judith Schaechter’s accept personal Stained-Glass Art; Justin Favela: Central American; stories in response and Louis Fratino: Tenderness revealed along with to Black Stories. Iowa Artists 2021: Olivia Valentine. An array of print gallery and permanent collections projects, including Enjoy this story an exhibition that showcases our newly conserved submission from painting by Francisco Goya, Don Manuel Garcia de Candace Williams. la Prada, 1811, and another that features our works by Claes Oldenburg, will augment and complement Seen. I felt seen as I walked these projects. The exhibitions will continue to through the Black Stories address our goals of being an inclusive and exhibition with my friend. welcoming institution, while adding to the scholarship As history and experiences of the field, engaging our local communities in were shared through art, meaningful ways, and providing a site for the I remembered my mom community to gather together, at least virtually taking my sister and I to (for now), to share ideas and perspectives. the California African- Our Black Stories project has done just this American Museum often. as we continue to receive personal stories from She would buy children’s the community for possible inclusion in a books written by Black publication. -
Jan Feb Mar 2018
JAN FEB MAR 2018 FROM THE DIRECTOR A collaborative effort between Findley Elementary School students, their teacher Lisa Hesse, and artist Dave Eppley, whose major site-specific installation is included in the In late September, The Links, Drawing in Space exhibition, resulted in Mile-a-Minute Rainbow Incorporated, a not-for-profit corporation Ivy, 2017, being installed on the Richard Meier building during of African-American women leaders, held the month of November. their 60th anniversary celebration at the Art Center. The evening also showcased the many works by African-American artists in our permanent collections. It was an especially rewarding collaboration for everyone involved. The Links is now continuing this special partnership with a gift of $1,000 to support an education- based internship at the Art Center in 2018 for African-American students. The Art Center, like many museums across the country, is striving to introduce young persons of color to employment in the field in an attempt to increase their numbers in the museum career pipeline. This project will help do so. Another exciting partnership occurred in October with the Iowa Civil Rights Commission. The group held a board meeting at the Art Center where the members toured our recent exhibition, I, too, am America, with Assistant Curator Jared Ledesma. Later in October, the Iowa Civil Rights Commission organized a public symposium, which featured a break-out session entitled, I, too, am America, inspired by the show. This is a wonderful example of the power of art to inspire, illuminate understanding, and engage broad audiences. In early November, the Art Center celebrated the creation of a temporary, large-scale mural on the exterior of the Richard Meier building with a public reception. -
2017 Annual Report
2017 ANNUAL REPORT “I’ve never done anything like that before!” VISITOR COMMENT AFTER EXPLORING TAPE DES MOINES BY ARTIST COLLECTIVE NUMEN/FOR USE, PART OF THE BLOCKBUSTER 2017 DRAWING IN SPACE EXHIBITION. MESSAGE FROM THE DIRECTOR AND THE PRESIDENT Cutting-edge, interactive exhibitions. Expanded Art Access partnerships. Major acquisitions of artwork by important national and international artists. New scholarship surrounding works in the collection. Dynamic special events. Increased efforts toward being a welcoming institution for all. Enhanced building and grounds. Our staff, board of trustees, community partners, members, donors, and volunteers made all of this possible. The year 2017 was extraordinary in drawing on the Richard Meier building numerous ways for the Art Center. We in conjunction with Drawing in Space, had tremendous attendance fueled by as well as two collaborations with Ballet thought-provoking exhibitions, rewarding Des Moines in response to Drawing in education events, Art Access programs, Space and Ruptures. In addition, we studio classes, public collaborations, partnered with The Links, Inc. to begin and member group activities. In an internship with African-American addition, we saw record-breaking college students. fundraising, including an unforgettable Our capital projects concentrated on gala in an airport hangar, and renovations of the front parking lot and noteworthy art acquisitions. 2017 was new parking lot lighting to enhance the also the first year of our current three- visitor experience and safety at night. year strategic plan, focusing on four We also completed the Levitt Auditorium commitments: enhancing our exhibitions renovations, which included new carpet, and collections, improving audience new lighting, and new technology and we engagement, securing our financial also created two new coat closets off the future, and building awareness, which lobby. -
Sterling Ruby
Press Release Kukje Gallery Sterling Ruby April 11 – May 10 SP223 2012 spray paint on canvas 243.8 x 213.4 x 5.1 cm Image provided by Kukje Gallery © Sterling Ruby Courtesy of the artist and Kukje Gallery ○ Exhibition Information Artist: Sterling Ruby (American, 1972- ) Exhibition Dates: April 11 – May 10, 2013 Exhibition Space: Kukje Gallery K3 and K1 Press Conference: April 11 (11am), Kukje Gallery K3 B1 Opening Hours: Monday – Saturday: 10am-6pm, Sunday, Holiday: 10am-5pm Contact: PR Director Zoe Chun (82-2-3210-9885, 82-10-9601-5411 / E-mail. [email protected]) Website: www.kukjegallery.com Press Release ○ About the Exhibition Kukje Gallery is pleased to present a solo exhibition of Sterling Ruby opening on April 11, 2013. This will be the artist’s first exhibition in Korea. The artist will present an installation of new works in galleries K1 and K3 including large color field paintings, ceramic and bronze basin sculptures, and soft sculptures in black leather. This stripped down exhibition highlights the artist’s masterful manipulations of his materials and surfaces—from the atmospheric layering of spray paint on canvas, to the dripping excessive glazes on his large-scale ceramic basins, to pieces cast in bronze, to his fabric collages, with their rags and fabric scraps, edged with glue and grime and formally arranged on a ground of bleached denim. This installation of works feels tomblike and austere. Large scale cardboard and fabric collages hang on the walls. Basin sculptures made in ceramic and bronze are installed in the center of the galleries as if serving as archaic sites of sacrifices or offerings. -
Sterling Ruby
Sterling Ruby American and Dutch, born in 1972, in Bitburg, Germany Lives and works in Los Angeles Education 2003-2005 Master of Fine Arts, Art Center College of Design, Pasadena 2000-2002 Bachelor of Fine Arts, The School of the Art Institute of Chicago, Chicago 1992-1996 Pennsylvania School of Art & Design, Lancaster Selected solo exhibitions 2018 Sterling Ruby: Ceramics, Des Moines Art Center, Iowa 1 Xavier Hufkens, Brussels Sterling Ruby: Ceramics, Museum of Art & Design, New York Sterling Ruby: Ceramics, Museum of Arts and Design (MAD), New York, NY, USA; Des Moines Art Center, Des Moines, IA, USA — Vert, Taka Ishii Gallery, Tokyo, Japan 2017 Mix Piz, Vito Schnabel Gallery, St. Moritz, Switzerland — Sterling Ruby, Gagosian Gallery, New York, NY, USA 2016 The Jungle, Sprueth Magers, Berlin, Germany — Sterling Ruby, Winterpalais, Belvedere Museum, Vienna, Austria — Work Wear: Garment And Textile Archive 2008-2016, Sprueth Magers, London, UK 2015 Stoves, Kulm Hotel, Vito Schnabel Gallery, St. Moritz, Switzerland — Stoves, Musée De La Chasse Et De La Nature, Paris, France — Paris, Gagosian Gallery, Paris, France — Paris, Gagosian Gallery, Le Bourget, Paris, France — Study #8. Monument Stalagmite David Roberts Art Foundation, London, UK — Spray, Memory: Sterling Ruby & Mike Kelley, Inigo Philbrick, London, UK — Scales, Xavier Hufkens, Brussels, Belgium — Eclpse, Xavier Hufkens, Brussels, Belgium 2014 Vivids, Gagosian Gallery, Central, Hong Kong — Bc Rips, Taka Ishii Gallery, Tokyo, Japan — Sunrise Sunset, Hauser & Wirth, New York, NY, -
Pressemappe Deutsch
¬ UNDABDIEPOST2002 - Fünftes Festival der neuenNeuen Kunst ¬ insideout 15.09.15.09. - - 20.10.2002 20.10.2002 BunkerBunker an an der der Reinhardtstraße Reinhardtstraße Berlin-MitteBerlin-Mitte Der Bunker Reinhardtstraße, Ecke Albrechtstraße erbaut 1942 Inhalt Pressemitteilung Liste der Künstler und Kuratoren Veranstaltungsort Veranstalter Kooperationspartner Künstler Kuratoren Impressum Pressemitteilung Kunst und Raum - Symbiose oder Konfrontation? Das Festival kombiniert Dynamik und Statik an einem historischen Ort, dem überirdischen Bunker an der Reinhardtstraße, Berlin-Mitte. Aus militärischer Hilflosigkeit entstanden, stellt sich der Bunker heute nur selbst dar. Die Dominanz des Bauwerkes fordert die Künstler heraus, den Ort mit Leben zu erfüllen, welches die Statik dieses Raumes aufbricht. INSIDEOUT ist darauf ausgerichtet, Berliner Kunst neuen Positionen anderer Metropolen gegenüberzustellen. Das Festival zeigt künstlerische Tendenzen beispielhaft an den signifikant Impulse gebenden Weltstädten Prag, Berlin und New York. INSIDEOUT wird das Innere des Bunkers erstmalig für Neue Kunst zugänglich machen und leitet damit den Prozeß des Umbaus in einen internationalen Ausstellungsraum ein. Ziel ist es, diesen ungewöhnlichen Raum künstlerisch zu erschließen und für eine kontinuierliche Bespielung zu sorgen. Der Eigentümer, die Nippon Development Corporation, wird den Bunker im Anschluß an das Festival im Zuge einer Komplettsanierung neu gestalten. Die Berliner Kunstlandschaft wird um eine ungewöhnliche und dauerhafte Kunststätte reicher. INSIDEOUT Eröffnung 14.09.2002 um 20:00 Uhr Dauer 15.09.2002 – 20.10.2002 Öffnungszeiten Sonntag - Donnerstag, 11:00 - 21:00 Uhr Freitag - Samstag, 11:00 - 24:00 Uhr Eintritt 4,-- EUR, montags 2,-- EUR Veranstaltungsort Bunker an der Reinhardtstraße, Berlin-Mitte Kuratoren Johann Nowak (Berlin), Simona Mehnert (Prag), Eva Scharrer (New York) Veranstalter aktions galerie e.V., Auguststraße 21, 10117 Berlin Schirmherrschaft S.E. -
Medium Specificity and Materiality
Sydney College of the Arts The University of Sydney DOCTOR OF PHILOSOPHY 2015 THESIS Dirty Tricks The relevance of skill, expression and authenticity in contemporary clay-based art by Trevor Fry December 2015 STATEMENT This volume is presented as a record of the work undertaken for the degree of Doctor of Philosophy at Sydney College of the Arts, University of Sydney. ii TABLE OF CONTENTS TABLE OF FIGURES .......................................................................................... v SUMMARY.......................................................................................................... ix INTRODUCTION ................................................................................................ 1 1. THE MAGIC OF CLAY .................................................................................. 9 1.1 Phenomenology and post-structuralism, Edmund de Waal and Rosalind Krauss .......... 19 1.2 De Waal and the magic of clay ........................................................................................ 20 1.3 The deskilled present ....................................................................................................... 30 1.3.1 Urs Fischer’s lumpy spectacles ................................................................................ 33 1.4 Rosalind Krauss ............................................................................................................... 42 1.4.1 Medium specificity .................................................................................................... -
Sterling Ruby
STERLING RUBY Sterling Ruby (born 1972) is an American artist who works in a wide range of aesthetic and material strategies, from sculptures made of saturated, glossy, poured polyurethane, bronze and steel, to drawings, collages, richly glazed ceramics, spray-paint paintings, photography and video, as well as textile works that include quilts, tapestries, garments and soft sculptures. He was born on an American military base in Bitburg, Germany to a Dutch mother and an American father. He received a BFA from the School of the Art Institute of Chicago, and an MFA from Art Center College of Design in Pasadena, California. Ruby has cited a diverse range of sources and influences including aberrant psychologies, urban gangs and graffiti, hip-hop culture, craft, masculinity, violence, public art and civic monuments, prisons, globalization, American domination and decline, waste and consumption. Even as his work deals with issues related to the violence and pressures within society, and art history, it also reflects his personal biography. In his work, he vacillates between the fluid and static, the minimalist and expressionistic, the hard and the soft, the pristine and the defaced. His voracious cycling through materials and subject matter has given rise to numerous recurring series and extended bodies of work. Ruby has exhibited at institutions including the Whitney Museum of American Art, New York; Los Angeles County Museum of Art; Toyota Municipal Museum of Art, Tokyo; Ullens Center for Contemporary Art, Beijing; Museum of Modern Art, New York; Drawing Center, New York; Museum of Contemporary Art, Chicago; Walker Art Center, Minneapolis; Institute of Contemporary Art, Philadelphia; Museum of Contemporary Art, Los Angeles; Musée de la Chasse et de la Nature, Paris, France; Museum Dhondt-Dhaenens, Ghent, Belgium; FRAC Champagne-Ardenne, Reims, France, Centre d’Art Contemporain, Geneva, Switzerland; Bonniers Konsthall, Stockholm, Sweden; and Museo d’Arte Contemporanea, Rome, Italy. -
Download PDF of CV
Productions & Exhibitions 2019 Web-Retro, SeMA, Buk-Seoul Museum of Art, South Korea 2018 NEGOCIO, Caja Blanca del Centro Cultural Las Cigarreras, Alicante, Spain curated by David Machado Gutierrez, Alba Garcia Martinez, Beatriz Martinez-Villagrasa, Miguel Soria Andurell Future Perfect, curated by Nadav Assor, Hygienic Art Gallery, New London, Connecticut as part of Intersections: the 16th Biennial Symposium on Arts & Technology, Connecticut College OS 2018, curated by Flavia Souza, The Clemente Soto Velez Cultural and Educational Center, Manhattan, NY 2017 Art In Odd Places, El Museo del Barrio, NYC, curated by Nicolás Dumit Estévez Raful with Rocío Aranda (El Museo) and Jodi Waynberg (Artists Alliance Inc) Stronger Together, Knockdown Center, NYC, curated by Leaders in Software and Art (LISA) Interface/Landscape 2016 New Media Exhibition, Ithaca College, NY, curated by Claudia Costa and Dale Hudson for the Finger Lakes Environmental Film Festival 7th International Video Art Festival Camaguey, Cuba, curated by Jorge Luis Santana Unnatural Election: Artists Respond to the 2016 US Presidential Election, Kimmel Galleries, New York University, curated by Andrea Arroyo 2016 CURRENTS 2016 International New Media Festival, El Museo Cultural de Santa Fe, NM curated by Mariannah Amster and Frank Ragano Lettuce, Artichokes, Red Beets, Mangoes, Broccoli, Honey and Nutmeg: The Essex Street Market as Collaborator, Cuchifritos Gallery + Project Space, curated by Nicolas Dumit Estevez 2015 Electronic Arts and Video Festival Transitio_MX,curated by