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All These Post-1965 Movements Under the “Conceptual Art” Umbrella
All these post-1965 movements under the “conceptual art” umbrella- Postminimalism or process art, Site Specific works, Conceptual art movement proper, Performance art, Body Art and all combinations thereof- move the practice of art away from art-as-autonomous object, and art-as-commodification, and towards art-as-experience, where subject becomes object, hierarchy between subject and object is critiqued and intersubjectivity of artist, viewer and artwork abounds! Bruce Nauman, Live-Taped Video Corridor, 1970, Conceptual Body art, Postmodern beginning “As opposed to being viewers of the work, once again they are viewers in it.” (“Subject as Object,” p. 199) http://www.youtube.com/watch?v=9IrqXiqgQBo A Postmodern beginning: Body art and Performance art as critique of art-as-object recap: -Bruce Nauman -Vito Acconci focus on: -Chris Burden -Richard Serra -Carolee Schneemann - Hannah Wilke Chapter 3, pp. 114-132 (Carolee Schneemann and Hannah Wilke, First Generation Feminism) Bruce Nauman, Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, 1967-1968. 16mm film transferred to video (black and white, sound), 10 min. Body art/Performance art, Postmodern beginning- performed elementary gestures in the privacy of his studio and documented them in a variety of media Vito Acconci, Following Piece, 1969, Body art, Performance art- outside the studio, Postmodern beginning Video documentation of the event Print made from bite mark Vito Acconci, Trademarks, 1970, Body art, Performance art, Postmodern beginning Video and Print documentation -
AIDS Grant Made to UT AIDS Brochures Now Available
..... -� --...'!!.. �-·- d December, 1983 Volume 4, Number 12 .Memphis, li nn Gay Alternative AIDS Grant Made to UT Off The Air The Gay· Alternative .Radio Pro gram has been temporarily silenced by Allen Cook It is asserted that AIDS can be signed November 11, University of for perhaps as long as six months. transmitted through blood trans Tennessee Research Corp. (an inde- The University fo Tennessee and WEVL-FM, which broadcast the pro Technology, Inc., a San fusions from infected persons who ·pendent, non-profit organization Cistron gram, has gone off the air to consol Francisco based firm have signed an are not yet symptomatic. long as helps UT researchers market, copy As idate funds and energy in an effort market a locally de two years may elapse between the patent developments) will agreement to right and to raise enough money to increase veloped test which might serve as a of net sales of the time a person acquires· AIDS and the receive 12% their power from 10 watts to 6300 for AIDS. Plans are screening tool time it manifests itself in one or tests. Dr. Howard Sanberg, assistant watts. This would expand WEVL's market the test to laboratories director of to more of the opportunistic diseases UT vice-chancellor and coverage area from the immediate nationwide. research programs, saidPifer and the which characterize the syndrome. mid-town area to one which would corporation will share equally in the According to the Commercial Williams is quoted as saying Cistron cover a good part of west Tennessee, Appeal, Cistron plans to sell about profits. -
Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections. -
Photographs Online-Only Sale
PRESS RELEASE | KING STREET FOR IMMEDIATE RELEASE: 2 J u n e 2014 PHOTOGRAPHS ONLINE-ONLY SALE Mark Seliger (b. 1959) Alfred Eisenstaedt (1898-1995) Mark Seliger (b. 1959) Johnny Depp, Madame Simon Residence France, 2003 Marilyn Monroe, Hollywood, 953 Gwyneth Paltrow, London, 2011 Estimate: £2,000 – 3,000 Estimate: £10,000 – 12,000 Estimate: £2,000 – 3,000 This summer Christie’s is pleased to offer a selection of stunning photographs within our programme of Online-Only sales, to go live from 2 – 11 June. Depicting Hollywood icons from the ‘Golden Age’ until the present day, these works illustrate the famous faces of some of the most talented and glamorous actors of the 20th century. Comprising 70 lots with estimates ranging from £600 to £15,000, this is an opportunity not to be missed by admirers and discerning collectors. GOLDEN AGE OF HOLLYWOOD - WORKS FROM THE JOHN KOBAL FOUNDATION Representing stars from the Golden Age of Hollywood is a group of works from the John Kobal Foundation. A pre- eminent film historian and collector of Hollywood Film photography, John Kobal is credited with rediscovering many of the great Hollywood studio photographers. Highlights from this collection include some of Lazlo Willinger's most recognised portraits among them that of Fred Astaire (estimate £1,500 – 2,500 illustrated left) and Robert Taylor and Vivien Leigh (estimate: £1,000-1,500, illustrated right). THE MANY FACES OF MARILYN MONROE Marilyn Monroe, the most enduring of all Hollywood icons, is represented in this sale at all stages in her career. These include photographs by Bernard of Hollywood, reputedly the first photographer to shoot her, through to Bert Stern who captured the last images of her for Vogue before her untimely death in 1962, (as illustrated by the image below right, estimate: £10,000 – 15,000). -
2 the Assyrian Empire, the Conquest of Israel, and the Colonization of Judah 37 I
ISRAEL AND EMPIRE ii ISRAEL AND EMPIRE A Postcolonial History of Israel and Early Judaism Leo G. Perdue and Warren Carter Edited by Coleman A. Baker LONDON • NEW DELHI • NEW YORK • SYDNEY 1 Bloomsbury T&T Clark An imprint of Bloomsbury Publishing Plc Imprint previously known as T&T Clark 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com Bloomsbury, T&T Clark and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2015 © Leo G. Perdue, Warren Carter and Coleman A. Baker, 2015 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Leo G. Perdue, Warren Carter and Coleman A. Baker have asserted their rights under the Copyright, Designs and Patents Act, 1988, to be identified as Authors of this work. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the authors. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: HB: 978-0-56705-409-8 PB: 978-0-56724-328-7 ePDF: 978-0-56728-051-0 Library of Congress Cataloging-in-Publication Data A catalogue record for this book is available from the British Library. Typeset by Forthcoming Publications (www.forthpub.com) 1 Contents Abbreviations vii Preface ix Introduction: Empires, Colonies, and Postcolonial Interpretation 1 I. -
Revised for Release Feb. 19, 2016 Media Contact: Laura Carpenter
625 C Street, Anchorage AK 99501 Revised for release Feb. 19, 2016 Media Contact: Laura Carpenter, (907) 929-9227, [email protected] SCHEDULE OF PROGRAMS AND EXHIBITIONS MARCH/APRIL 2016 *EDITORS PLEASE NOTE: This release replaces previous schedules. Download related media images at www.anchoragemuseum.org/media. Information provided below is subject to change. To confirm details and dates, call the Marketing and Public Relations Department at (907) 929-9227. News page 1 March Events page 2 April Events page 5 Planetarium page 6 Classes and Workshops page 8 Upcoming Exhibitions page 9 Current Exhibitions page 10 Partner Programs page 11 Visitor Information page 12 NEWS Artists invited to apply for exhibitions at the Anchorage Museum The Anchorage Museum is accepting submissions until March 10 for project proposals for solo and group exhibitions. The Anchorage Museum’s Patricia B. Wolf Solo Exhibition Series supports the work and development of Alaska artists, highlighting new bodies of work by individual artists. Alaska artists are invited to submit applications to a selection committee comprised of museum staff and art professionals. These solo art exhibitions will be scheduled starting in 2017. The Anchorage Museum is currently accepting proposals from Alaska residents and all tribally enrolled Alaska Natives. Works in all media will be considered. The Anchorage Museum is also accepting curatorial and group proposals featuring more than one artist. These proposals will not be part of the Patricia B. Wolf exhibition series but will be brought before the museum’s Exhibition Review Committee for consideration. Applicants for group and curatorial proposals do not need to be from Alaska, but successful proposals will support the museum’s mission to connect people, expand perspectives and encourage global dialogue about the North and its distinct environment. -
Postmodern Art and Its Discontents Professor Paul Ivey, School of Art [email protected]
Humanities Seminars Program Fall 2014 Postmodern Art and Its Discontents Professor Paul Ivey, School of Art [email protected] This ten week course examines the issues, artists, and theories surrounding the rise of Postmodernism in the visual arts from 1970 into the twenty-first century. We will explore the emergence of pluralism in the visual arts against a backdrop of the rise of the global economy as we explore the “crisis” of postmodern culture, which critiques ideas of history, progress, personal and cultural identities, and embraces irony and parody, pastiche, nostalgia, mass or “low” culture, and multiculturalism. In a chronological fashion, and framed by a discussion of mid-century artistic predecessors Abstract Expressionism, Pop, and Minimal Art, the class looks at the wide-ranging visual art practices that emerged in 1970s Conceptual Art, Performance, Feminist Art and identity politics, art activism and the Culture Wars, Appropriation Art, Neo-expressionism, Street Art, the Young British Artists, the Museum, and Festivalism. Week 1: October 6 Contexts and Setting the Stage: What is Postmodernism Abstract Expressionism Week 2: October 13 Cold War, Neo-Dada, Pop Art Week 3: October 20 Minimalism, Postminimalism, Earth Art Week 4: October 27 Conceptual Art and Performance: Chance, Happenings, Arte Povera, Fluxus Week 5: November 3 Video and Performance Week 6: November 10 Feminist Art and Identity Politics Week 7: November 17 Street Art, Neo-Expressionism, Appropriation Week 8: December 1 Art Activism and Culture Wars Week 9: December 8 Young British Artists (YBAs) Week 10: December 15 Festivalism and the Museum . -
The 2020 TJFP Team
On the Precipice of Trans Justice Funding Project 2020 Annual Report Contents 2 Acknowledgements 4 Terminology 5 Letter from the Executive Director 11 Our Grantmaking Year in Review 20 Grantees by Region and Issue Areas 22 The 2020 TJFP Team 27 Creating a Vision for Funding Trans Justice 29 Welcoming Growth 34 Funding Criteria 35 Some of the Things We Think About When We Make Grants 37 From Grantee to Fellow to Facilitator 40 Reflections From the Table 43 Our Funding Model as a Non-Charitable Trust 45 Map of 2020 Grantees 49 Our 2020 Grantees 71 Donor Reflections 72 Thank You to Our Donors! This report and more resources are available at transjusticefundingproject.org. Acknowledgements We recognize that none of this would have been possible without the support of generous individuals and fierce communities from across the nation. Thank you to everyone who submitted an application, selected grantees, volunteered, spoke on behalf of the project, shared your wisdom and feedback with us, asked how you could help, made a donation, and cheered us on. Most of all, we thank you for trusting and supporting trans leadership. A special shoutout to our TJFP team, our Community Grantmaking Fellows and facilitators; Karen Pittelman; Nico Amador; Cristina Herrera; Zakia Mckensey; V Varun Chaudhry; Stephen Switzer at Rye Financials; Raquel Willis; Team Dresh, Jasper Lotti; butch.queen; Shakina; Nat Stratton-Clarke and the staff at Cafe Flora; Rebecca Fox; Alex Lee of the Grantmakers United for Trans Communities program at Funders for LGBT Issues; Kris -
Final Report of the Return to Flight Task Group
Return to Flight Task Group Final Report July 2005 Final Report of the Return to Flight Task Group Assessing the Implementation of the Columbia Accident Investigation Board Return-to-Flight Recommendations July 2005 Final Report of the Return to Flight Task Group On the Front Cover The STS-114 patch design signifies the return of the Space Shuttle to flight and honors the memory of the STS-107 Columbia crew. The blue Shuttle rising above Earth’s horizon includes the Columbia constellation of seven stars, echoing the STS-107 patch and commemorating the seven members of that mission. The crew of STS-114 will carry the memory of their friends on Columbia and the legacy of their mission back into Earth orbit. The dominant design element of the STS-114 patch is the planet Earth, which represents the unity and dedication of the many people whose efforts allow the Space Shuttle to safely return to flight. Against the background of the Earth at night, the blue orbit represents the International Space Station (ISS), with the EVA crewmembers named on the orbit. The red sun on the orbit signifies the contributions of the Japanese Space Agency to the mission and to the ISS program. The multi-colored Space Shuttle plume represents the broad spectrum of challenges for this mission, including Orbiter inspection and repair experiments, and bringing supplies to the International Space Station. (Courtesy of NASA) On the Title Page Discovery heads for the International Space Station during the STS-114 return-to-flight launch on July 26, 2005. On the Back Cover The seven stars of the Columbia constellation are in memory of the crewmembers lost on STS-107. -
MUSIC and the VISUAL ARTS (FA 49D.01) SYLLABUS Lecturer: Rana Gediz İren ([email protected]) Spring 2021 Wednesdays, 2-5Pm
MUSIC AND THE VISUAL ARTS (FA 49D.01) SYLLABUS Lecturer: Rana Gediz İren ([email protected]) Spring 2021 Wednesdays, 2-5pm Course Description This course gives a broad overview of Western art music (a.k.a. Classical Music) from the Middle Ages to our times, using an interdisciplinary approach. The course will concentrate on the masterpieces of music from each time period, which will be studied within their historical and cultural contexts and in relation to the representative examples of visual arts (painting, sculpture and architecture in particular) of their times. The class aims to awaken and encourage an appreciation of Western art music and to allow students to draw comparisons and enjoy the connections between different art forms. No previous musical knowledge is needed. Course Objectives • Learn new musical repertoire and new pieces of visual art • Grasp the historical trajectory of both Western art music and of the visual arts • Learn how to think critically of arts as dynamic cultural products Course Material Musical examples will be heard and videos will be watched in each class. I will assign readings or some listening as homework most weeks. None of this will take more than half an hour of your time per week. Required Reading Joseph Kerman and Gary Tomlinson, Listen, 7th edition, Bedford/St. Martin’s Press, 2011. Craig Wright, The Essential Listening to Music, 6th edition, Cengage Learning, 2013. E. H. Gombrich, The Story of Art, Phaidon Press. Evaluation 1. Mid-term exam (25%) 2. Final exam (25%) 3. Two assignments (50%) (25% each) Assignments: 1. -
The National Organization for Women in Memphis, Columbus, and San Francisco
RETHINKING THE LIBERAL/RADICAL DIVIDE: THE NATIONAL ORGANIZATION FOR WOMEN IN MEMPHIS, COLUMBUS, AND SAN FRANCISCO DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Stephanie Gilmore, M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by: Professor Leila J. Rupp, Advisor _________________________________ History Graduate Advisor Professor Susan M. Hartmann Professor Kenneth J. Goings ABSTRACT This project uses the history of the National Organization for Women (NOW) to explore the relationship of liberal and radical elements in the second wave of the U.S. women’s movement. Combining oral histories with archival documents, this project offers a new perspective on second-wave feminism as a part of the long decade of the 1960s. It also makes location a salient factor in understanding post– World War II struggles for social justice. Unlike other scholarship on second-wave feminism, this study explores NOW in three diverse locations—Memphis, Columbus, and San Francisco—to see what feminists were doing in different kinds of communities: a Southern city, a non-coastal Northern community, and a West Coast progressive location. In Memphis—a city with a strong history of civil rights activism—black-white racial dynamics, a lack of toleration for same-sex sexuality, and political conservatism shaped feminist activism. Columbus, like Memphis, had a dominant white population and relatively conservative political climate (although less so than in Memphis), but it also boasted an open lesbian community, strong university presence, and a history of radical feminism and labor activism. -
Front Matter
Cambridge University Press 978-1-107-40039-9 - Battling Pornography: The American Feminist Anti-Pornography Movement, 1976-1986 Carolyn Bronstein Frontmatter More information Battling Pornography Pornography catapulted to the forefront of the American women’s movement in the 1980s, singled out by some leading feminists as an agent of female oppression and celebrated by others as an essential ingredient of sexual liberation. In Battling Pornography , Carolyn Bronstein locates the origins of anti-pornography sentiment in the turbulent social and cultural history of the late 1960s and 1970s, including women’s mixed responses to the sexual revolution and the rise of radical feminism, and explains the gradual emergence of a con- troversial anti-pornography movement. Based on extensive original archival research, the book chronicles the history of three grassroots organizations and shows that activists fi rst protested images of sex- ual violence against women in advertisements, Hollywood fi lms, and other mainstream media. They emphasized public education and con- sumer action and demanded that corporations behave ethically toward women. Over time, feminist leaders made a strategic choice to reorient the movement to pornography to leverage the term’s considerable rhe- torical and symbolic power. In so doing, they unwittingly attracted right-wing supporters who opposed sexual freedom and ignited a forceful feminist countermovement in defense of sexuality and free speech. Battling Pornography presents a fascinating account of the rise and fall of this signifi cant American social movement and docu- ments the contributions of infl uential activists on both sides of the pornography debate, including some of the best-known American feminists.