January 2014 S E I R E L L
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Women Readers of Middle Temple Celebrating 100 Years of Women at Middle Temple the Incorporated Council of Law Reporting for England and Wales
The Honourable Society of the Middle Temple Middle Society Honourable the The of 2019 Issue 59 Michaelmas 2019 Issue 59 Women Readers of Middle Temple Celebrating 100 Years of Women at Middle Temple The Incorporated Council of Law Reporting for England and Wales Practice Note (Relevance of Law Reporting) [2019] ICLR 1 Catchwords — Indexing of case law — Structured taxonomy of subject matter — Identification of legal issues raised in particular cases — Legal and factual context — “Words and phrases” con- strued — Relevant legislation — European and International instruments The common law, whose origins were said to date from the reign of King Henry II, was based on the notion of a single set of laws consistently applied across the whole of England and Wales. A key element in its consistency was the principle of stare decisis, according to which decisions of the senior courts created binding precedents to be followed by courts of equal or lower status in later cases. In order to follow a precedent, the courts first needed to be aware of its existence, which in turn meant that it had to be recorded and published in some way. Reporting of cases began in the form of the Year Books, which in the 16th century gave way to the publication of cases by individual reporters, known collectively as the Nominate Reports. However, by the middle of the 19th century, the variety of reports and the variability of their quality were such as to provoke increasing criticism from senior practitioners and the judiciary. The solution proposed was the establishment of a body, backed by the Inns of Court and the Law Society, which would be responsible for the publication of accurate coverage of the decisions of senior courts in England and Wales. -
New Editions 2012
January – February 2013 Volume 2, Number 5 New Editions 2012: Reviews and Listings of Important Prints and Editions from Around the World • New Section: <100 Faye Hirsch on Nicole Eisenman • Wade Guyton OS at the Whitney • Zarina: Paper Like Skin • Superstorm Sandy • News History. Analysis. Criticism. Reviews. News. Art in Print. In print and online. www.artinprint.org Subscribe to Art in Print. January – February 2013 In This Issue Volume 2, Number 5 Editor-in-Chief Susan Tallman 2 Susan Tallman On Visibility Associate Publisher New Editions 2012 Index 3 Julie Bernatz Managing Editor Faye Hirsch 4 Annkathrin Murray Nicole Eisenman’s Year of Printing Prodigiously Associate Editor Amelia Ishmael New Editions 2012 Reviews A–Z 10 Design Director <100 42 Skip Langer Design Associate Exhibition Reviews Raymond Hayen Charles Schultz 44 Wade Guyton OS M. Brian Tichenor & Raun Thorp 46 Zarina: Paper Like Skin New Editions Listings 48 News of the Print World 58 Superstorm Sandy 62 Contributors 68 Membership Subscription Form 70 Cover Image: Rirkrit Tiravanija, I Am Busy (2012), 100% cotton towel. Published by WOW (Works on Whatever), New York, NY. Photo: James Ewing, courtesy Art Production Fund. This page: Barbara Takenaga, detail of Day for Night, State I (2012), aquatint, sugar lift, spit bite and white ground with hand coloring by the artist. Printed and published by Wingate Studio, Hinsdale, NH. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher. -
Tomma Abts Francis Alÿs Mamma Andersson Karla Black Michaël
Tomma Abts 2015 Books Zwirner David Francis Alÿs Mamma Andersson Karla Black Michaël Borremans Carol Bove R. Crumb Raoul De Keyser Philip-Lorca diCorcia Stan Douglas Marlene Dumas Marcel Dzama Dan Flavin Suzan Frecon Isa Genzken Donald Judd On Kawara Toba Khedoori Jeff Koons Yayoi Kusama Kerry James Marshall Gordon Matta-Clark John McCracken Oscar Murillo Alice Neel Jockum Nordström Chris Ofili Palermo Raymond Pettibon Neo Rauch Ad Reinhardt Jason Rhoades Michael Riedel Bridget Riley Thomas Ruff Fred Sandback Jan Schoonhoven Richard Serra Yutaka Sone Al Taylor Diana Thater Wolfgang Tillmans Luc Tuymans James Welling Doug Wheeler Christopher Williams Jordan Wolfson Lisa Yuskavage David Zwirner Books Recent and Forthcoming Publications No Problem: Cologne/New York – Bridget Riley: The Stripe Paintings – Yayoi Kusama: I Who Have Arrived In Heaven Jeff Koons: Gazing Ball Ad Reinhardt Ad Reinhardt: How To Look: Art Comics Richard Serra: Early Work Richard Serra: Vertical and Horizontal Reversals Jason Rhoades: PeaRoeFoam John McCracken: Works from – Donald Judd Dan Flavin: Series and Progressions Fred Sandback: Decades On Kawara: Date Paintings in New York and Other Cities Alice Neel: Drawings and Watercolors – Who is sleeping on my pillow: Mamma Andersson and Jockum Nordström Kerry James Marshall: Look See Neo Rauch: At the Well Raymond Pettibon: Surfers – Raymond Pettibon: Here’s Your Irony Back, Political Works – Raymond Pettibon: To Wit Jordan Wolfson: California Jordan Wolfson: Ecce Homo / le Poseur Marlene -
David Zwirner Tomma Abts
David Zwirner New York London Paris Hong Kong Tomma Abts November 6–December 14, 2019 533 West 19th Street, New York Opening reception: Wednesday, November 6, 6–8 PM Tomma Abts, Samke, 2019. Photo © Marcus Leith. Courtesy the artist and David Zwirner New York David Zwirner is pleased to present an exhibition of new work by Tomma Abts at the gallery’s 533 West 19th Street location in New York. Included in the exhibition will be paintings from two distinct but related bodies of work that, in different ways, showcase Abts’s sustained engagement with process and form. This will be the artist’s third solo presentation with the gallery and her first exhibition in New York since 2014. Abts is known for her complex paintings and drawings, the subject of which is ultimately the process of their creation. Working in accordance with a self-determined and evolving set of parameters, the artist enacts a series of decisions, which results in compositions that are intuitively constructed according to an internal logic. While abstract, her paintings are nevertheless illusionistic, rendered with sharp attention to details—such as shadows, three-dimensional effects, and highlights—that defy any single, realistic light source. As she has noted, “Making a painting is a long-winded process of finding a form for something intuited … and making whatever shape and form it takes as clear and precise as possible.”1 Begun in 1998, Abts’s body of intimately scaled canvases—which uniformly measure approximately 19 by 15 inches (48 by 38 centimeters)—are created entirely freehand and without preconceived ideas or preliminary sketches. -
Report Format for Select Committee Meetings
1 Individual Decisions The attached reports will be taken as an Individual Portfolio Member Decisions on: 14 February 2008 Ref: Title Portfolio Member Page No. ID1565 West Berkshire Forward Plan – March 2008 to Councillor Graham 3 June 2008 Jones ID1578 Acquisition and Disposal Policy Councillor Marcus 13 (West Berkshire Museum) Franks 2 3 Individual Decision West Berkshire Forward Plan – March 2008 to Title of Report: June 2008 Report to be Leader of Council on: 14 February 2008 considered by: Forward Plan Ref: ID1565 Purpose of Report: To advise Members of items to be considered by West Berkshire Council over the next 4 months. Recommended Action: That the Leader of the Council agrees and where appropriate amend the West Berkshire Council Forward Plan. Reason for decision to be taken: It is a statutory requirement that a Forward Plan be produced. List of other options considered: N/A Key background documentation: None Portfolio Member: Councillor Graham Jones Tel. No.: (01235) 762744 E-mail Address: [email protected] Contact Officer Details Name: Moira Fraser Job Title: Policy Executive Tel. No.: 01635 519045 E-mail Address: [email protected] West Berkshire Council Individual Decision 14 February 2008 4 Supporting Information 1. Background 1.1 The Forward Plan attempts to cover all decisions, not just those made by the Executive, which the Authority intends to make over the next 4 months. The Forward Plan, attached as Appendix A, also shows the decision path of each item so far including Council, Executive and Overview and Scrutiny Committee. 1.2 As part of the continuing development of the Forward Plan we have now incorporated all Plans and Policies which are required to be approved by the Council under the Constitution. -
A View from the City
UNIVERSITY COLLEGE OXFORD ISSUE 3 SUMMER 2015 A VIEW FROM THE CITY LEIGH INNES (1994) AND LIFE IN THE MARKETPLACE ALSO IN THIS ISSUE GEORGE CAWKWELL CELEBRATES 65 YEARS AT UNIV LOUISE TAYLOR (2011) ON THE PURSUIT OF PERFECTION ELECTION NIGHT SPECIAL WITH SIR IVOR CREWE THE MAGNA CARTA AT UNIV JOHN RADCLIFFE’S MEDICAL LEGACY FROM THE EDITOR University College Oxford OX1 4BH elcome to the Summer 2015 issue of The Martlet, the magazine for www.univ.ox.ac.uk Members and Friends of University College Oxford. I would like to Wexpress my sincere thanks to those Old Members, students, Fellows, staff www.facebook.com/univalumni and Friends of the College who contributed to this issue. [email protected] I would also like to take this opportunity to thank our extended Univ team – © University College, Oxford, 2015 Charles New and Andrew Boyle at B&M Design & Advertising Limited, who produce the magazine; Clare Holt and the team at Nice Tree Films who worked tirelessly on Produced by B&M Design & Advertising our recent videos – in particular the Election Night Special, for which they stayed www.bm-group.co.uk up well past their bedtimes! Michelle Enoch and the team at h2o creative for their splendid design concepts for the 1249 Society, and our unofficial ‘in-house’ designer Rob Moss and photographer Rachel Harrison for all their hard work on our event If you would like to share your thoughts or programmes and College photography. comments about The Martlet, please e-mail: [email protected] Enormous thanks also to Dr Robin Darwall-Smith and Frances Lawrence for their invaluable help with the In Memoriam section of the magazine. -
E Catalogue Ocean Imaginarie
UHI Research Database pdf download summary Ocean of Time Bevan, Anne; Williams, Linda; Davies, Suzanne Publication date: 2017 The Document Version you have downloaded here is: Publisher's PDF, also known as Version of record Link to author version on UHI Research Database Citation for published version (APA): Bevan, A., Williams, L., & Davies, S. (2017, May). Ocean of Time. Royal Melbourne Institute of Technology. General rights Copyright and moral rights for the publications made accessible in the UHI Research Database are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights: 1) Users may download and print one copy of any publication from the UHI Research Database for the purpose of private study or research. 2) You may not further distribute the material or use it for any profit-making activity or commercial gain 3) You may freely distribute the URL identifying the publication in the UHI Research Database Take down policy If you believe that this document breaches copyright please contact us at [email protected] providing details; we will remove access to the work immediately and investigate your claim. Download date: 03. Oct. 2021 OCEAN IMAGINARIES RMITGALLERY OCEAN IMAGINARIES ISBN 9780992515669 9 780992 515669 Anne Bevan Emma Critchley & John Roach Jason deCaires Taylor Alejandro Durán Simon Finn Stephen Haley Chris Jordan Janet Laurence Sam Leach Mariele Neudecker Joel Rea Dominic Redfern Lynne Roberts-Goodwin Debbie Symons teamLab Guido van der Werve Chris Wainwright Lynette Wallworth Josh Wodak 1 Ocean Imaginaries. -
Tomma Abts Tomma Abts
Tomma Abts Tomma Abts Foreword by Lisa Phillips Essays by Laura Hoptman Jan Verwoert and Bruce Hainley Contents Foreword 6 Lisa Phillips Acknowledgments 8 Laura Hoptman Tomma Abts: Art for an Anxious Time 10 Laura Hoptman Paintings 17 The Beauty and Politics of Latency: On the Work of Tomma Abts 92 Jan Verwoert Drawings 99 Margit Carstensen’s Blog 120 Bruce Hainley Paintings in the Exhibition 133 Biography 134 Bibliography 136 Contributors 139 Foreword Tomma Abts’ paintings have been described as Bruce Hainley and Jan Verwoert also Toby Devan Lewis Emerging Artists Exhibitions quiet, uncanny, and disquieting. They seem contributed texts to the book that greatly Fund, and support for the publication by the J. autonomous; her uncompromising biomorphic illuminate Abts’ work. Hainley’s blog-inspired text McSweeney and G. Mills Publications Fund at the and geometric forms do not portray a subject not only offers a narrative of personal discovery New Museum. but instead, in the artist’s own words, become and examination of Abts’ paintings, but the blog We deeply appreciate the cooperation of the something “quite physical and therefore ‘real.’” structure presents an interesting parallel to lenders to the exhibition, who are thanked individually It is the strange and evocative presence of these Abts’ process. Verwoert’s essay is an engrossing elsewhere. Finally, I want to give my thanks to the paintings, along with the questions they pose look at the politics of abstraction, and he offers entire New Museum staff for their efforts in to current discourses in painting, that make this clear reasons why Abts’ work is so relevant to our bringing Tomma Abts’ work to a wider audience. -
The History of Millfield 1935‐1970 by Barry Hobson
The History of Millfield 1935‐1970 by Barry Hobson 1. The Mill Field Estate. RJOM’s early years, 1905‐1935. 2. The Indians at Millfield, Summer 1935. 3. The Crisis at Millfield, Autumn 1935. 4. RJOM carries on, 1935‐6. 5. Re‐establishment, 1936‐7. 6. Expansion as the war starts, 1937‐40. 7. Games and outdoor activities, 1935‐9. 8. War service and new staff, 1939‐45. 9. War time privations, 1939‐40. 10. New recruits to the staff, 1940‐2. 11. Financial and staffing problems, 1941‐2. 12. Pupils with learning difficulties, 1938‐42. 13. Notable pupils, 1939‐49. 14. Developing and running the boarding houses, 1943‐5. 15. The Nissen Huts, 1943‐73. 16. War veterans return as tutors and students, 1945‐6. 17. The school grows and is officially recognized, 1945‐9. 18. Millfield becomes a limited company. Edgarley stays put. 1951‐3. 19. Games and other activities, 1946‐55. 20. Pupils from overseas. The boarding houses grow. 1948‐53. 21. The first new school building at Millfield. Boarding houses, billets, Glaston Tor. 1953‐9. 22. Prefects, the YLC, smoking. The house system develops. The varying fortunes of Kingweston. 1950‐9. 23. The development of rugger. Much success and much controversy. 1950‐67. 24. Further sporting achievements. The Olympic gold medalists. ‘Double Your Money’. 1956‐64. 25. Royalty and show‐business personalities, 1950‐70. 26. Academic standards and the John Bell saga. Senior staff appointments. 1957‐67. 27. Expansion and financial difficulties. A second Inspection. CRMA and the Millfield Training Scheme. 1963‐6. 28. Joseph Levy and others promote the Appeal. -
Homage to the Square, 1958, Installation Shot, Architecture Studio, 2Nd FL (The Bank), Marfa, Texas 49
48 Homage to the Square, 1958, installation shot, Architecture Studio, 2nd FL (The Bank), Marfa, Texas 49 Jailbreaking Geometric Abstraction 1 A wide array of work in both these E v a D í a z categories was showcased in the 2008 art exhibition at the Museum of Modern Art in New York Color Chart: Reinventing Color from 1950 to Today. Organized by curator I There are no “masterpieces” in Josef Albers’ career. His work Ann Temkin, Color Chart’s exhibi- tion strategy toggled between most often emerges, in series, from the success of its forerunner to treating color as a ready-made— initiate the exploration of its successor. Nor did Albers cultivate emphasizing artist’s use of unmixed paint and paint chips (in this vein disciples. It must be remembered that his students followed diverse Frank Stella’s quip, “I tried to keep trajectories even as they credited him as an important mentor. the paint as good as it was in the can,” was mentioned in the show’s So what, then, can be said to be the legacy of Josef Albers today? press release and subsequently quoted in the New York Times If no one artwork, no one thread of inheritance, encapsulates the review of the exhibition)—and “Josef Albers model,” it is because the method itself is the galvanic Albers’ notion of the relativity and relationality of color perception. element of his work: Albers’ practice of experimental testing towards 2 pedagogical ends wields growing infuence today. According to a 2012 article, Tomma Abts’ 48 × 38 cm paintings (the stan- dardized size she works in) go for $120,000. -
Pitchfork Mental Health
“NAME ONE GENIUS THAT AIN’T CRAZY”- MISCONCEPTIONS OF MUSICIANS AND MENTAL HEALTH IN THE ONLINE STORIES OF PITCHFORK MAGAZINE _____________________________________________________________________________ A Thesis Presented to The Faculty of the Graduate School At the University of Missouri-Columbia ____________________________________ In Partial Fulfillment Of the Requirements for the Degree Master of Arts _____________________________________ By Jared McNett Dr Berkley Hudson, Thesis Supervisor December 2016 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled “NAME ONE GENIUS THAT AIN’T CRAZY”- MISCONCEPTIONS OF MUSICIANS AND MENTAL HEALTH IN THE ONLINE STORIES OF PITCHFORK MAGAZINE presented by Jared McNett, A candidate for the degree of masters of art and hereby certify that, in their opinion, it is worthy of acceptance. Professor Berkley Hudson Professor Cristina Mislan Professor Jamie Arndt Professor Andrea Heiss Acknowledgments It wouldn’t be possible to say thank enough to each and every person that has helped me with this along my way. I’m thankful for my parents, Donald and Jane McNett, who consistently pestered me by asking “How’s it coming with your thesis? Are you done yet?” I’m thankful for friends, such as: Adam Suarez, Phillip Sitter, Brandon Roney, Robert Gayden and Zach Folken, who would periodically ask me “What’s your thesis about again?” That was a question that would unintentionally put me back on track. In terms of staying on task my thesis committee (mentioned elsewhere) was nothing short of a godsend. It hasn’t been an easy two-and-a-half years going from basic ideas to a proposal to a thesis, but Drs. -
Tate St Ives Presents the Indiscipline of Painting: International Abstraction from the 1960S to Now October 2011
Artdaily.org Tate St Ives presents The Indiscipline of Painting: International abstraction from the 1960s to now October 2011 Tate St Ives presents The Indiscipline of Painting: International abstraction from the 1960s to now Bernard Frize, Suite Segond 100 No 3, 1980. Alkyd Urethane lacquer on canvas, 162 x 130 cm. Collection of the artist, courtesy Simon Lee Gallery, London. CORNWALL.- The Indiscipline of Painting is an international group exhibition including works by forty-nine artists from the 1960s to now. Selected by British painter Daniel Sturgis, it considers how thelanguages of abstraction have remained urgent, relevant and critical as they have been revisited and reinvented by subsequent generations of artists over the last 50 years. It goes on to demonstrate the way in which the history and legacy of abstract painting continues to inspire artists working today. The contemporary position of abstract painting is problematic. It can be seen to be synonymous with a modernist moment that has long since passed, and an ideology which led the medium to stagnate in self-reflexivity and ideas of historical progression. The exhibition challenges such assumptions. It reveals how painting's modernist histories, languages and positions have continued to provoke ongoing dialogues with contemporary practitioners, even as painting's decline and death has been routinely and erroneously declared. The show brings together works by British, American and European artists made over the last five decades and features major new commissions and loans. It includes important works by Andy Warhol, Frank Stella, Gerhard Richter and Bridget Riley alongside artists such as Tomma Abts, Martin Barré and Mary Heilmann.