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Participatory Art and Creative Audience Engagement
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies Legacy Theses 2011 Practices of Fluid Authority: Participatory Art and Creative Audience Engagement Smolinski, Richard Smolinski, R. (2011). Practices of Fluid Authority: Participatory Art and Creative Audience Engagement (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/22585 http://hdl.handle.net/1880/48892 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Practices of Fluid Authority: Participatory Art and Creative Audience Engagement by Richard Smolinski A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ART CALGARY, ALBERTA DECEMBER 2011 Richard Smolinski 2011 i The author of this thesis has granted the University of Calgary a non-exclusive license to reproduce and distribute copies of this thesis to users of the University of Calgary Archives. Copyright remains with the author. Theses and dissertations available in the University of Calgary Institutional Repository are solely for the purpose of private study and research. They may not be copied or reproduced, except as permitted by copyright laws, without written authority of the copyright owner. Any commercial use or re-publication is strictly prohibited. The original Partial Copyright License attesting to these terms and signed by the author of this thesis may be found in the original print version of the thesis, held by the University of Calgary Archives. -
(In)Visible Entrepreneurs
(IN)VISIBLE ENTREPRENEURS Understanding the market landscape and enterprise readiness for women-led home-based businesses in Tamil Nadu and Rajasthan Image: Kamala Lakshminarayanan 2 | ABOUT THIS PUBLICATION This document is not a priced publication. Copyright @ 2020 Initiative for What Works to Advance Women and Girls in the Economy (IWWAGE), an initiative of LEAD at Krea University. Reproduction of this publication for educational or other non-commercial purpose is authorised, without prior written permission, provided the source is fully acknowledged. For further information, please write to communications@iwwage. org. This publication was possible with the generous support of the Bill & Melinda Gates Foundation. The findings and conclusions in this publication are those of the authors and do not necessarily represent the views of the Bill & Melinda Gates Foundation. ABOUT IWWAGE Initiative for What Works to Advance Women and Girls in the Economy (IWWAGE) aims to build on existing research and generate new evidence to inform and facilitate the agenda of women’s economic empowerment. IWWAGE is an initiative of LEAD, an action-oriented research centre of IFMR Society (a not for profit society registered under the Societies Act). IWWAGE is supported by the Bill & Melinda Gates Foundation. ABOUT LEAD LEAD (formerly IFMR LEAD), an action-oriented research centre of IFMR Society, leverages the power of research, innovation and co-creation to solve complex and pressing challenges in development. LEAD has strategic oversight and brand support from Krea University (sponsored by IFMR Society) to enable synergies between academia and the research centre. Since 2005, the centre has been at the forefront of development research and programming in India, and has managed a portfolio of over 200 projects in collaboration with over 300 academics, governments, NGOs and private sector organisations from across the globe. -
Bareilly Dealers Of
Dealers of Bareilly Sl.No TIN NO. UPTTNO FIRM - NAME FIRM-ADDRESS 1 09107300009 BE0001281 RAJ CROCKERY CENTER HOSPITAL ROAD BAREILLY 2 09107300014 BE0008385 SUPER PROVISION STORE PANJABI MARKET, BAREILLY. 3 09107300028 BE0006987 BHATIA AGEMCIES 89 CIVIL LINES, BAREILLY. 4 09107300033 BE0010659 VIJAY KIRANA STORE SUBHAS NAGAR BY 5 09107300047 BE0001030 MUKUT MURARI LAL WOOD VIKRATA CHOUPLA ROAD BY 6 09107300052 BE0008979 GARG BROTHERS TOWN HALL BAREILLY. 7 09107300066 BE0001244 RAJ BOOK DEPOT SUBHAS MKT BY 8 09107300071 BE0000318 MONICA MEDICAL STORE 179, CIVIL LINES, BAREILLY. 9 09107300085 BE0001762 RAM KUMAR SUBASH CHAND AONLA ,BAREILLY. 10 09107300090 BE0009124 GARU NANA FILLING STN KARGANA BAREILLY. 11 09107300099 BE0005657 KHANDUJA ENTERPRISES GANJ AONLA,BAREILLY. 12 09107300108 BE0004857 ADARSH RTRADING CO. CHOPUPLA ROAD BY 13 09107300113 BE0007245 SWETI ENTERPRISES CHOUPLA ROAD BY 14 09107300127 BE0011496 GREEN MEDICAL STORE GHER ANNU KHAN AONLA BAREILLY 15 09107300132 BE0002007 RAMESHER DAYAL SURENDRA BHAV AONLA BAREILLY 16 09107300146 BE0062544 INDIAN FARMERS FERTILISERS CORP AONLA, BAREILLY. LTD 17 09107300151 BE0007079 BHARAT MECH STORE BALIA AONLA, BAREILLY. 18 09107300165 BE0011395 SUCHETA PRAKASHAN MANDIR BAZAR GANJ AONLA BAREILLY 19 09107300170 BE0003628 KICHEN CENTER & RAPAIRS JILA PARISAD BY 20 09107300179 BE0006421 BAREILLY GUN SERVICE 179/10 CIVIL LINES,BAREILLY 21 09107300184 BE0004554 AHUJA GAS & FAMILY APPLIANCES 179 CIVIL LINES, BAREILLY. 22 09107300198 BE0002360 IJAAT KHA CONTRACTOR SIROLY AONLA BAREILLY. 23 09107300207 BE0003604 KRISHAN AUTAUR CONTRACTOR BAMANPURI BAREILLY. 24 09107300212 BE0009945 PUSTAK MANDIR SUBASH MKT BY 25 09107300226 BE0005758 NITIN FANCY JEWELERS CANAAT PLACE MKT BY 26 09107300231 BE0005520 DEHLI AUTO CENTER CAROLAAN CHOUPLA ROAD BY 27 09107300245 BE0003248 KHANN A PLYWOOD EMPORIUM CIVIL LINES, BAREILLY. -
Kinetic Masters & Their Legacy (Exhibition Catalogue)
KINETIC MASTERS & THEIR LEGACY CECILIA DE TORRES, LTD. KINETIC MASTERS & THEIR LEGACY OCTOBER 3, 2019 - JANUARY 11, 2020 CECILIA DE TORRES, LTD. We are grateful to María Inés Sicardi and the Sicardi-Ayers-Bacino Gallery team for their collaboration and assistance in realizing this exhibition. We sincerely thank the lenders who understood our desire to present work of the highest quality, and special thanks to our colleague Debbie Frydman whose suggestion to further explore kineticism resulted in Kinetic Masters & Their Legacy. LE MOUVEMENT - KINETIC ART INTO THE 21ST CENTURY In 1950s France, there was an active interaction and artistic exchange between the country’s capital and South America. Vasarely and many Alexander Calder put it so beautifully when he said: “Just as one composes colors, or forms, of the Grupo Madí artists had an exhibition at the Museum of Fine Arts in Buenos Aires in 1957 so one can compose motions.” that was extremely influential upon younger generation avant-garde artists. Many South Americans, such as the triumvirate of Venezuelan Kinetic Masters & Their Legacy is comprised of a selection of works created by South American artists ranging from the 1950s to the present day. In showing contemporary cinetismo–Jesús Rafael Soto, Carlos Cruz-Diez, pieces alongside mid-century modern work, our exhibition provides an account of and Alejandro Otero—settled in Paris, amongst the trajectory of varied techniques, theoretical approaches, and materials that have a number of other artists from Argentina, Brazil, evolved across the legacy of the field of Kinetic Art. Venezuela, and Uruguay, who exhibited at the Salon des Réalités Nouvelles. -
Kota Doria Saree
Kota Doria Saree Back ground: Doria (stripe) fabrics in narrow width for turban used to be woven in Kota in earlier days. Some weaver were brought from Mysore to Kota by the great patron of craft MahaRaj Kishore Singh (1684-1695). These weavers introduced silk yarn in Doria weaving in Kota and surrounding areas about 250 year ago. Today this activity is practised by the weavers of Hadoti region (Bundi, Kota and Baran districts of Rajasthan). Kota is now famous for ‘Kota Doria saree’ or sometimes called as ‘Kota Masuria saree’. Since then, Kota doria has under gone a long journey from being used as a pagri or turban (headgear) to saree and now has multiple uses like Dress material, stole, curtain & other products. Material Used: Kota Doria Saree is produced by using cotton & mulberry raw silk yarns in the base fabric whereas Gold and Silver Zari (fine metal threads) yarns in extra warp and extra weft for designing. The cotton yarn provides strength and suppleness whereas fine raw silk makes the fabric transparent and delicate. Technique applied: Kota doria saree is woven on a traditional throw shuttle pit loom in such a fashion that it creates small square check pattern in the fabric, locally called as Khat by putting the cotton and silk yarns in different densities both in the warp and weft directions. In a good quality Kota doria saree, there are about 300 to 350 ‘Khat’ across the width of the fabric. Design is developed by jala/ jacquard system. Pure zari is used in border and buti woven on extra weft designing technique. -
Ausstellun- Gen Exhibitions
Einzelausstellungen Eröffnung / inauguration: 19. November / カーテン (デニム) / 藤田祐幸氏による講演 Bernhard Fibicher, Kunsthalle Bern, Bern, Maria Eichhorn Aktiengesellschaft (Plug In #26), AUSSTELLUN- Solo Exhibitions November 19, 1993 [permanent] (1989/97) / Curtain (Denim) / Lecture by 27. Oktober – 9. Dezember / October 27 – kuratiert von / curated by Charles Esche und / Yuko Fujita (1989/97), Masataka Hayakawa December 9, 2001 and Christiane Berndes, Van Abbemuseum, 1987 1994 Gallery, Tokio / Tokyo, 28. Oktober – Eindhoven, 2. Juni 2007 – 28. Februar 2010 / GEN Arbeiten 1986/87, Galerie Paranorm, Berlin, Leinwand / Pinsel / Farbe, kuratiert von / 29. November / October 28 – November 29, 2002 June 2, 2007 – February 28, 2010 5.–19. März / March 5–19, 1987 curated by Ursula Prinz, Berlinische Galerie, 1997 23 Kurzfilme / 23 Filmplakate (1995/2002) / EXHIBITIONS Museum für Moderne Kunst, Photographie 23 Short Films / 23 Film Posters (1995/2002), 2008 Projekt Hollmannstraße, Eckgrundstück / und Architektur, Berlin, 9. September – 1998 Galerie Hauser & Wirth & Presenhuber, Joint Account No. 1711601, Bank of Fukuoka, plot of land at the corner of Hollmannstraße / 28. Oktober / September 9 – October 28, 1994 „The Artist’s Reserved Rights Transfer and Zürich / Zurich, 15. Januar – 14. Februar / Yahata Branch 411 (2001), Prohibited Imports Lindenstraße, Berlin, 6. Juni – August 1987 / Sale Agreement“ von Seth Siegelaub und Bob January 15 – February 14, 2002 (2003), Billboard Istanbul Biennial 1995 June 6 – August 1987 [genaue Laufzeit nicht 1995 Projansky, kuratiert von / curated by Hildegund (2005), von 12,37 bis 36,08 = 24,94 von dokumentiert / exact dates not documented] Chair Events, 1969, af George Brecht / 33 1/3, Amanshauser, Salzburger Kunstverein, Curtain (Red), Masataka Hayakawa Gallery, 100% (2007), Galerie Barbara Weiss, Berlin, 1969, af John Cage / Flux Ping-Pong, 1976, af Salzburg, 10. -
Carlos Cruz-Díez
Todos nuestros catálogos de arte All our art catalogues desde/since 1973 Carlos Cruz-Diez Color Happens 2009 El uso de esta base de datos de catálogos de exposiciones de la Fundación Juan March comporta la aceptación de los derechos de los autores de los textos y de los titulares de copyrights. Los usuarios pueden descargar e imprimir gra- tuitamente los textos de los catálogos incluidos en esta base de datos exclusi- vamente para su uso en la investigación académica y la enseñanza y citando su procedencia y a sus autores. Use of the Fundación Juan March database of digitized exhibition catalogues signifies the user’s recognition of the rights of individual authors and/or other copyright holders. Users may download and/or print a free copy of any essay solely for academic research and teaching purposes, accompanied by the proper citation of sources and authors. www.march.es Fundación Juan March Fundación Juan March Fundación Juan March Fundación Juan March Fundación Juan March CARLOS CRUZ-DIEZ COLOR HAPPENS Fundación Juan March Fundación Juan March This catalogue accompanies the exhibition Carlos Cruz-Diez: Pompidou, Paris; Atelier Cruz-Diez, Paris; and MUBAG (Council Color Happens, the first solo exhibition devoted to the work of Alicante), for their generous help in arranging decisive loans. of Cruz-Diez at a Spanish museum or, to be more precise, two We are also grateful to the Atelier Cruz-Diez Documentation museums. Since the 60s, the works of Cruz-Diez have been Service, especially Catherine Seignouret, Connie Gutiérrez featured in major exhibitions dedicated to Kineticism and in Arena, Ana María Durán and Maïwenn Le Bouder, for their important group shows focusing on Latin American art and assistance in managing and gathering documentation and kinetic movements. -
Film Culture in Transition
FILM CULTURE IN TRANSITION Exhibiting Cinema in Contemporary Art ERIKA BALSOM Amsterdam University Press Exhibiting Cinema in Contemporary Art Exhibiting Cinema in Contemporary Art Erika Balsom This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative in- itiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe. Sections of chapter one have previously appeared as a part of “Screening Rooms: The Movie Theatre in/and the Gallery,” in Public: Art/Culture/Ideas (), -. Sections of chapter two have previously appeared as “A Cinema in the Gallery, A Cinema in Ruins,” Screen : (December ), -. Cover illustration (front): Pierre Bismuth, Following the Right Hand of Louise Brooks in Beauty Contest, . Marker pen on Plexiglas with c-print, x inches. Courtesy of the artist and Team Gallery, New York. Cover illustration (back): Simon Starling, Wilhelm Noack oHG, . Installation view at neugerriemschneider, Berlin, . Photo: Jens Ziehe, courtesy of the artist, neugerriemschneider, Berlin, and Casey Kaplan, New York. Cover design: Kok Korpershoek, Amsterdam Lay-out: JAPES, Amsterdam isbn e-isbn (pdf) e-isbn (ePub) nur / © E. Balsom / Amsterdam University Press, Amsterdam All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. -
1970-Art-Of-The-Space-Age-Catalogue
Yaacov Agam Lucia di Luciano Vjenceslav Richter Israeli-French b/928 Italian bi933 Yugoslavian bi917 All 'I 1. HOMAGE TO J. S. BACH 1965 18 STRUCTURE No. 155 1965 35 RITMIZIRANA CENTRA 1964 Josef Albers Juraj Dobrovic Nicolas Schoffer German-American bl888 Yugoslavian bi935 Hungarian-French bl9I2 OFTRt. 2 HOMAGE TO THE SQUARE 1964 19 SPATIAL CONSTRUCTION 1965 36 MICROTEMPS No 6 1964 Richard Allen Marcel Duchamp Peter Sedgley British bl933 French I887-I968 British bi930 SPACE 3 BLACK AND WHITE COMPOSITION 1965 20 ROTORELIEF 1934 37 SOFTLY 1965 A COLLECTION LOANED BY THE PETER STUYVESANT ART FOUNDATION Alviani (Getulio) Equipo 57 Francisco Sobrino AGE Italian bl939 (anonymous group of Spanish artists) Spanish bi932 4 25 SQUARES 1964 21 V 25 B 1964 38 UNSTABLE TRANSFORMATION 1964 Vojin Bakic Karl Gerstner Jesu- Raphael Soto Yugoslavian b 1915 Swiss b/930 Venezuelan bi923 5 LUMINOUS FORMS 1964 22 LENS PICTURE No 101962-64 39 VIBRATION WITH A BLUE SQUARE 1962 40 SOTOMAGIE 1967 Since the Second World War mankind has entered into a new phase of Artists like Agam with his "Polyphonic picture with nine themes" (which· Alberto Biasi Gruppo Mid its history, the Space Age. Today we move at speeds former generations he calls "Homage to J. S. Bach") use pure primary colours and create Italian b/937 (anonymous group of artists in Milan) Jeffrey Steele did not dream of even in their fairy tales; we are taming the frightening pleasing eye-music- composing complicated fugues of interwoven 6 GRANDE CINERETICOLO SPETIRALE 1965 23 STROBOSCOPE 1965 British bi93I 41 POLACCA power of the atom. -
A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012)
Copyright by Taehyun Cho 2014 The Thesis Committee for Taehyun Cho Certifies that this is the approved version of the following thesis: A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012) APPROVED BY SUPERVISING COMMITTEE: Supervisor: Charles R. Berg Thomas G. Schatz A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012) by Taehyun Cho, B.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2014 Dedication To my family who teaches me love. Acknowledgements I would like to give special thanks to my advisor, Professor Berg, for his intellectual guidance and warm support throughout my graduate years. I am also grateful to my thesis committee, Professor Schatz, for providing professional insights as a scholar to advance my work. v Abstract A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989-2012) Taehyun Cho, M.A. The University of Texas at Austin, 2014 Supervisor: Charles R. Berg Although many scholars attempted to define and categorize alternative narratives, a new trend in narrative that has proliferated at the turn of the 21st century, there is no consensus. To understand recent alternative narrative films more comprehensively, another approach using a new perspective may be required. This study used hypertextuality as a new criterion to examine the strategies of alternative narratives, as well as the hypernarrative structure and characteristics in alternative narratives. Using the six types of linkage patterns (linear, hierarchy, hypercube, directed acyclic graph, clumped, and arbitrary links), this study analyzed six recent American fiction films (between 1989 and 2012) that best represent each linkage pattern. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Guide to the Maria Lind Manifesta Papers MSS.005 Finding Aid Prepared by Ann Butler; Collection Processed by Lydia Aikenhead in Summer 2011
CCS Bard Archives Phone: 845.758.7567 Center for Curatorial Studies Fax: 845.758.2442 Bard College Email: [email protected] Annandale-on-Hudson, NY 12504 Guide to the Maria Lind Manifesta Papers MSS.005 Finding aid prepared by Ann Butler; Collection processed by Lydia Aikenhead in Summer 2011. This finding aid was produced using the Archivists' Toolkit July 14, 2015 Guide to the Maria Lind Manifesta Papers MSS.005 Table of Contents Summary Information..................................................................................................................................3 Biographical/Historical note.........................................................................................................................4 Scope and Contents note........................................................................................................................... 4 Arrangement note....................................................................................................................................... 7 Administrative Information...........................................................................................................................7 Controlled Access Headings.......................................................................................................................8 Collection Inventory...................................................................................................................................10 Series I: Manifesta 2...........................................................................................................................10