The Connection Between Art and Personal/Political Transformation………………………………………………………………………………
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THE MYTH of ORPHEUS and EURYDICE in WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., Universi
THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., University of Toronto, 1957 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OP PHILOSOPHY in the Department of- Classics We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September, i960 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada. ©he Pttttrerstt^ of ^riitsl} (Eolimtbta FACULTY OF GRADUATE STUDIES PROGRAMME OF THE FINAL ORAL EXAMINATION FOR THE DEGREE OF DOCTOR OF PHILOSOPHY of MARK OWEN LEE, C.S.B. B.A. University of Toronto, 1953 M.A. University of Toronto, 1957 S.T.B. University of Toronto, 1957 WEDNESDAY, SEPTEMBER 21, 1960 AT 3:00 P.M. IN ROOM 256, BUCHANAN BUILDING COMMITTEE IN CHARGE DEAN G. M. SHRUM, Chairman M. F. MCGREGOR G. B. RIDDEHOUGH W. L. GRANT P. C. F. GUTHRIE C. W. J. ELIOT B. SAVERY G. W. MARQUIS A. E. BIRNEY External Examiner: T. G. ROSENMEYER University of Washington THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN Myth sometimes evolves art-forms in which to express itself: LITERATURE Politian's Orfeo, a secular subject, which used music to tell its story, is seen to be the forerunner of the opera (Chapter IV); later, the ABSTRACT myth of Orpheus and Eurydice evolved the opera, in the works of the Florentine Camerata and Monteverdi, and served as the pattern This dissertion traces the course of the myth of Orpheus and for its reform, in Gluck (Chapter V). -
Download Current:LA Press Release
CURRENT:LA WATER Public Art Biennial 2016 currentLA.org MAYOR ERIC GARCETTI CITY OF LOS ANGELES SOCIAL MEDIA CHANNELS Facebook: facebook.com/garcetti Twitter: https://twitter.com/MayorOfLA Instagram: https://www.instagram.com/lamayorsoffice/ FOR IMMEDIATE RELEASE CONTACT: Communications Office at 213.978.0741 MAYOR GARCETTI ANNOUNCES ROSTER OF ARTISTS FOR CURRENT:LA CITY’S FIRST PUBLIC ART BIENNIAL IN 2016 Outdoor, site-specific temporary installations by international and LA-based artists to be presented by the City during summer 2016 in response to water. LOS ANGELES – Mayor Eric Garcetti and the City of Los Angeles Department of Cultural Affairs unveiled the roster of artists and artist teams selected for the inaugural, citywide public art biennial titled CURRENT:LA Water to open in summer 2016. Water was chosen for the biennial’s first edition and will serve as the topical platform for the exchange of ideas around our relationships to this critical resource. CURRENT:LA Water artists and artist teams include: Refik Anadol + Peggy Weil (team); Edgar Arceneaux; Josh Callaghan + Daveed Kapoor (team); Mel Chin; Chris Kallmyer; Candice Lin; Lucky Dragons (Luke Fischbeck + Sarah Rara); Teresa Margolles; Kori Newkirk; Michael Parker; Gala Porras-Kim; Rirkrit Tiravanija; and Kerry Tribe. In June 2015, the City of Los Angeles was selected as one of four cities to receive up to $1 million as part of the Bloomberg Philanthropies Public Art Challenge, a new program aimed at supporting temporary public art projects that celebrate creativity, enhance urban identity, encourage public-private partnerships, and drive economic development. L.A.’s winning project, CURRENT:LA Water, will establish the first Public Art Biennial for Los Angeles. -
The Politics of Urban Cultural Policy Global
THE POLITICS OF URBAN CULTURAL POLICY GLOBAL PERSPECTIVES Carl Grodach and Daniel Silver 2012 CONTENTS List of Figures and Tables iv Contributors v Acknowledgements viii INTRODUCTION Urbanizing Cultural Policy 1 Carl Grodach and Daniel Silver Part I URBAN CULTURAL POLICY AS AN OBJECT OF GOVERNANCE 20 1. A Different Class: Politics and Culture in London 21 Kate Oakley 2. Chicago from the Political Machine to the Entertainment Machine 42 Terry Nichols Clark and Daniel Silver 3. Brecht in Bogotá: How Cultural Policy Transformed a Clientist Political Culture 66 Eleonora Pasotti 4. Notes of Discord: Urban Cultural Policy in the Confrontational City 86 Arie Romein and Jan Jacob Trip 5. Cultural Policy and the State of Urban Development in the Capital of South Korea 111 Jong Youl Lee and Chad Anderson Part II REWRITING THE CREATIVE CITY SCRIPT 130 6. Creativity and Urban Regeneration: The Role of La Tohu and the Cirque du Soleil in the Saint-Michel Neighborhood in Montreal 131 Deborah Leslie and Norma Rantisi 7. City Image and the Politics of Music Policy in the “Live Music Capital of the World” 156 Carl Grodach ii 8. “To Have and to Need”: Reorganizing Cultural Policy as Panacea for 176 Berlin’s Urban and Economic Woes Doreen Jakob 9. Urban Cultural Policy, City Size, and Proximity 195 Chris Gibson and Gordon Waitt Part III THE IMPLICATIONS OF URBAN CULTURAL POLICY AGENDAS FOR CREATIVE PRODUCTION 221 10. The New Cultural Economy and its Discontents: Governance Innovation and Policy Disjuncture in Vancouver 222 Tom Hutton and Catherine Murray 11. Creating Urban Spaces for Culture, Heritage, and the Arts in Singapore: Balancing Policy-Led Development and Organic Growth 245 Lily Kong 12. -
Art As Communication: Y the Impact of Art As a Catalyst for Social Change Cm
capa e contra capa.pdf 1 03/06/2019 10:57:34 POLYTECHNIC INSTITUTE OF LISBON . PORTUGAL C M ART AS COMMUNICATION: Y THE IMPACT OF ART AS A CATALYST FOR SOCIAL CHANGE CM MY CY CMY K Fifteenth International Conference on The Arts in Society Against the Grain: Arts and the Crisis of Democracy NUI Galway Galway, Ireland 24–26 June 2020 Call for Papers We invite proposals for paper presentations, workshops/interactive sessions, posters/exhibits, colloquia, creative practice showcases, virtual posters, or virtual lightning talks. Returning Member Registration We are pleased to oer a Returning Member Registration Discount to delegates who have attended The Arts in Society Conference in the past. Returning research network members receive a discount o the full conference registration rate. ArtsInSociety.com/2020-Conference Conference Partner Fourteenth International Conference on The Arts in Society “Art as Communication: The Impact of Art as a Catalyst for Social Change” 19–21 June 2019 | Polytechnic Institute of Lisbon | Lisbon, Portugal www.artsinsociety.com www.facebook.com/ArtsInSociety @artsinsociety | #ICAIS19 Fourteenth International Conference on the Arts in Society www.artsinsociety.com First published in 2019 in Champaign, Illinois, USA by Common Ground Research Networks, NFP www.cgnetworks.org © 2019 Common Ground Research Networks All rights reserved. Apart from fair dealing for the purpose of study, research, criticism or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please visit the CGScholar Knowledge Base (https://cgscholar.com/cg_support/en). -
Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic. -
2 3 4 8 5 6 7 Work
Link artMaking JANUARY 2005 NEWS FOR ALUMNI AND FRIENDS OF THE CLEVELAND INSTITUTE OF ART work MEDAL FOR CORBETT MASTERS ALUMNI OUTREACH ALUMNI NOTES FACULTY NOTES IN MEMORIAM SCHRECKENGOST TEACHING AWARD EXCELLENCE EMERGING ART TRAUSCH PRESENTS HELEN COLE NEW BOARD SMITH FOUNDATION CHALLENGE GRANT 2 3 FORM 4 5 6 7 8 “INSTANT CREATIVITY” ENDOWMENT MEMBERS FIRST WEDNESDAY DISCUSSION SERIES EXTENDED STUDIES FACULTY SHOW 2004 PROGRAM VISITING ARTISTS OFFER INSPIRATION AND ENERGY his fall, the Institute’s galleries, They also explored whether local commentary on the absence of health Tauditoriums and neighborhood “ethnic” arts and cultures can survive care for millions of Americans. Pope.L streets were filled with a high-pitched in a homogenized, global marketplace. uses his crawls to bring art out of the level of energy, inspiration and experi- Featured speaker, George Ritzer gallery and actively involve the com- mentation as a broad spectrum of cautioned participants that the munity in his work, often employing visiting artists presented a host of McDonalds’ model permeates every humor to connect with his audience. thought-provoking concepts. Shimon aspect of our daily lives and in the Pope.L, an African American, has Attie, William Pope.L, Stelarc, Hristina push toward globalization there is a staged nearly 50 crawls as part of Ivanoska, and Mel Chin are but a few great need to protect indigenous his “eRacism” project. He created a of the internationally acclaimed artists culture. Keynote speaker Mel Chin four-part crawl up Broadway, which who brought inspiration. They were captivated students as he discussed he dubbed “The Great White Way,” joined by scholars that included James his site-specific works and how he to coincide with the 2002 Whitney Elkins, author of Why Art Can’t Be injects art into unlikely places, includ- Biennial. -
Art and Environmental Racism in the United States: Through the Works of Latoya Ruby Frazier, Pope.L, and Mel Chin
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-6-2021 Art and Environmental Racism in the United States: Through the Works of LaToya Ruby Frazier, Pope.L, and Mel Chin Veronika Anna Molnár CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/728 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Art and Environmental Racism in the United States Through the Works of LaToya Ruby Frazier, Pope.L, and Mel Chin by Veronika Anna Molnár Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2021 May 6, 2021 Joachim Pissarro Date Thesis Sponsor May 6, 2021 Serubiri Moses Date Second Reader TABLE OF CONTENTS Acknowledgements iii List of Illustrations vi Introduction I. What is Environmental Racism: Landmark Reports and Literature 1 II. Artists and Environmental Injustice 4 III. Overview 6 IV. The Social vs. the Aesthetic 8 Chapter 1. Close Proximity to Toxicity: LaToya Ruby Frazier’s The Notion of Family (2001-2014) 1.1 A Brief History of Braddock, PA and Industrial Pollution 12 1.2 LaToya Ruby Frazier: A Braddonian Point of View 14 1.3 The Notion of Family (2001-2014) 17 1.4 Self-Portraits: Bodies on the Line 19 1.5 Subverting the History of Social Documentary 24 1.6 Activism and Advocacy in LaToya Ruby Frazier’s work 27 Chapter 2. -
Mel Chin, David T. Hanson and Jarrad Powell, Dominiq
Artists' Biographies Mel Chin was born in Houston in 1951; he now lives in New York City. Chin earned a B.A. in 1975 from George Peabody College for Teachers, Nashville, Tennessee. The Walker Art Center, Minneapolis, toured a solo exhibition of Chin's work to The Menil Collection, Houston; The Contemporary Arts Center, Cincinnati; and the Queens Museum of Art, Flushing (1990-1992). Other one-person exhibitions of Chin's work have been presented by the Fabric Workshop, Philadelphia (1992); the Hirshhorn Museum and Sculpture Garden, Washington, D.C. (1989); Frumkin/Adams Gallery, New York (1988); Loughelton Gallery, New York (1987); and Diverse Works, Houston (1985). Chin has participated in numerous group shows including "Fragile Ecologies: Contemporary Artists' Interpretations and Solutions," the Queens Museum of Art, New York (1992); "Diverse Representations," Morris Museum, Morristown, New Jersey (1990); "The Conceptual Impulse," Security Pacific Gallery, Costa Mesa, California (1990); "Mel Chin, Erik Levine, Manuel Neri," BR Kornblatt Gallery, Washington, D.C; "Noah's Art," City Parks Department, Central Park, New York (1989); "Public Art in Chinatown," Asian American Arts Centre, New York (1988); "Texas Art: A Selection from The Menil Collection, The Museum of Fine Arts and the Trustee's Collections of the Contemporary Arts Museum," The Menil Collection, Houston (1988); "The Texas Landscape: 1900-1986," The Museum of Fine Arts, Houston (1986); and "Showdown: Perspective on the Southwest," Alternative Museum, New York (1983). Both Jarrad Powell and David T. Hanson were born in Billings, Montana in 1948. Powell now lives in Seattle, Washington, and Hanson in Providence, Rhode Island. Powell is a composer, performer, and sound artist. -
A Practitioner's Guide
A Practitioner’s Guide For OCEAN WASTEWATER POLLUTION #REIMAGINEYOURWASTE Ocean Wastewater Pollution: A Practitioner’s Guide Executive Summary .................................................................1 Introduction ..............................................................................3 Objectives ................................................................................4 Human Waste & Taboo ...........................................................4 A Note About Terminology .....................................................4 Understanding the Problem ....................................................5 Pollution as a Matter of Practice ..........................................6 Scale of Wastewater Pollution ..............................................6 Wastewater Impacts on Oceans ......................................... 7 Wastewater Impacts on People ...........................................8 Climate Change and Wastewater .......................................10 Cross-Sector Collaboration .................................................15 Key Sectors for Collaboration .............................................16 The Policy Component ...........................................................19 Laws, Regulations, and Codes ............................................22 Monitoring .............................................................................23 National and Regional Policy Examples .............................24 Understanding the Opportunities ........................................29 -
The Journal of the Texas Art Education Association
the journal of the texas art education association EXPLORATION 2016 Call for Manuscripts TRENDS, The Journal of the Texas Art Education Association Tim Lowke Theme: President, TAEA Exploration. What exactly does that mean to an artist? We say Situate, Situation, we explore ideas, themes and materials, but if you boil it down, what exactly are we doing as artists? Are we testing what we know Situating: or don’t know? Are we making the old new again? I believe as artists and educators, we are some of the greatest explorers. If Art Education you look up exploration you will find that it can be “the action of traveling in or through an unfamiliar area in order to learn about Looking beyond the technical to the artistry involved in art education helps us understand where we have been, where we it” or it can also be a “thorough analysis of a subject or theme.” are, and where we are going. As we develop purposefully and responsively as art/ist educators, the narratives we build are As artists and educators, I feel we are always in a constant state of important in developing the very sense of who we are, as well as what, and why we do what we do. These narratives impact exploration. I experience the highest engagement with students how we view each other and ourselves in the spaces of art education. when we venture off the familiar path into a bit of the unknown. Art Education is the place where we all find ourselves immersed. In this call, we emphasize how context can change our Like many of you, I often say to my students, “I haven’t done this views and interpretations of situations, how we are situated, and the process of situating ourselves within our profession. -
EXPOSE YOURSELF to ART Towards a Critical Epistemology of Embarrassment
EXPOSE YOURSELF TO ART Towards a Critical Epistemology of Embarrassment Gwyneth Siobhan Jones Goldsmiths University of London PhD Thesis 2013 1 I declare that the work presented in this thesis is my own. Gwyneth Siobhan Jones 2 ABSTRACT This thesis investigates the negative affect of ‘spectatorial embarrassment’, a feeling of exposure and discomfort sometimes experienced when looking at art. Two particular characteristics of embarrassment figure in the methodology and the outcome of this enquiry; firstly that embarrassment is marginal, of little orthodox value, and secondly, it is a personal experience of aversive self-consciousness. The experiential nature of embarrassment has been adopted throughout as a methodology and the embarrassments analysed are, for the most part, my own and based on ‘true’ experience. Precedent for this is drawn from ‘anecdotal theory’, which uses event and occasion in the origination of a counter-theory that values minor narratives of personal experience in place of the generalising and abstract tendencies of theory-proper. The context is a series of encounters with artworks by Gilbert & George, Jemima Stehli, Franko B, Adrian Howells, and Sarah Lucas. They are connected by their contemporaneity, their ‘British-ness’, and that they allow the spectator no comfortable position to look from. This enquiry engages with theories of ‘the gaze’ (as both aesthetic disinterest and a dubious sign of cultural competence) and the challenge to aesthetic disinterest made by ‘transgressive art’ which may provoke a more engaged, even embodied response. Each encounter sparks consideration of differing causes and outcomes of embarrassment that resonate beyond art to broader sociocultural territories particularly in terms of gender and class. -
Download the Deem20 Booklet
DEEM TWENTY YEARS OF THE DEEM 20DISTINGUISHED ARTIST LECTURE Cover Image: Willie Cole, Pressed Iron Blossom No.3 (detail), 2005, 5-color lithograph on paper, 36 x 48 inches, published by Tamarind Press, The Art Museum of West Virginia University Collection Edited by: Kristina Olson Catalogue Design: Kofi Opoku © Copyright 2014 West Virginia University Global Positioning Studies This catalogue was published on the occasion of the exhibition, Deem 20: Twenty Years of the Deem Distinguished Artist Lecture, curated by Robert Bridges, at the Paul Mesaros Gallery (programmed by The Art Museum of West Virginia University), Morgantown, West Virginia, January 23 – February 27, 2014. The Art Museum of West Virginia University organizes a diverse and exciting schedule of exhibitions throughout the year for the Mesaros Galleries. The galleries are committed to showing experimental work that is innovative both in terms of media and content. The galleries and the School of Art and Design also host contemporary artists of important or growing reputation who work in all media in the Visiting Artist program. See: artmuseum.wvu.edu and artanddesign.wvu.edu/mesaros_galleries. Design and publication of this catalogue was made possible through the support of the Myers Foundations to the School of Art and Design in the College of Creative Arts at West Virginia University. CONTENTS 3 Foreword 5 History of the Deem Lecture 6 Curator’s Statement 8 Pam Longobardi 10 Buzz Spector 12 Diana Cooper 14 Carmon Colangelo 16 Judy Glantzman 18 Willie Cole 20 Ann Hamilton 22 Mel Chin 24 Andrea Polli 26 Works in Exhibition 28 List of Lectures FOREWORD 2 Foreword On behalf of the College of Creative Arts of West Virginia Visiting artist lectures help provide front row seats into the University it is my pleasure to welcome everyone to the world of art and art history constituents from the university twentieth edition of the Deem Distinguished Visiting Artist and from the community may never be able to experience.