Current Trends in Ecological Art
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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Eiko and Koma: Dance Philosophy and Aesthetic Shoko Yamahata Letton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE EIKO AND KOMA: DANCE PHILOSOPHY AND AESTHETIC By SHOKO YAMAHATA LETTON A Thesis submitted to the Department of Dance in partial fulfillment of the Requirements for the degree of Master of Arts Degree Awarded: Summer Semester, 2009 The members of the Committee approve the Thesis of Shoko Yamahata Letton defended on October 18, 2007. ____________________________________ Sally R. Sommer Professor Directing Thesis ____________________________________ Tricia H. Young Committee Member ____________________________________ John O. Perpener III Committee Member Approved: ___________________________________________ Patricia Phillips, Co-Chair, Department of Dance ___________________________________________ Russell Sandifer, Co-Chair, Department of Dance ___________________________________________ Sally E. McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above named committee members. ii Dedicated to all the people who love Eiko and Koma. iii ACKNOWLEDGEMENTS This thesis would not have been completed without the following people. I thank Eiko and Koma for my life-changing experiences, access to all the resources they have, interviews, wonderful conversations and delicious meals. I appreciate Dr. Sally Sommer’s enormous assistance, encouragement and advice when finishing this thesis. I sincerely respect her vast knowledge in dance and her careful and strict editing which comes from her career as dance critic, and, her wonderful personality. Dr. William Sommer’s kindness and hospitality also allowed me to work extensively with his wife. -
Michael Heizer Selected Bibliography
G A G O S I A N Michael Heizer Selected Bibliography Selected Books and Catalogues: 2019 Fox, William. Michael Heizer: The Once and Future Monuments. New York: Monacelli Press. 2017 Voorhies, James. Beyond Objecthood: The Exhibition as a Critical Form since 1968. Boston: MIT Press. Celant, Germano and Chiara Costa. Virginia Dwan: Dwan Gallery. Lausanne: Skira. 2015 Fine, Ruth E., Kara Vander Weg and Michael Heizer. Michael Heizer: Altars. New York: Gagosian Gallery. 2014 Cameron, Dan. The Avant-Garde Collection. Newport Beach, CA: Orange County Museum of Art. Kaz, Leonel, ed. Inusitada Coleção De Sylvio Perlstein. São Paolo: Museu de Arte de São Paolo Assis Chateaubriand. 2013 Allen, Gwen L., Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, et al. When Attitudes Become Form: Bern 1969/Venice 2013. Milan: Fondazione Prada. 2012 Lippard, Lucy R. and Jeff Khonsary. 4,492,040 (1969–74). Vancouver: New Documents 2010 Jensen, Susanne, Susanne Lenze, and Reinhard Onnasch. “Michael Heizer: Untitled.” In Nineteen Artists. Berlin: El Sourdog Hex; Bielefeld, Germany: Kerber Verlag. 2011 Reifenscheid, Beate. Die Letzte Freiheit: Von den Pionieren der Land-Art der 1960er Jahre bis zur Natur im Cyberspace. Milan: Silvana. 2010 Goldman, Judith. Robert & Ethel Scull: Portrait of a Collection. New York: Acquavella Gallery. Marcoci, Roxana, ed. The Original Copy: Photography of Sculpture, 1839 to Today. New York: Museum Of Modern Art. 2009 Grabner, Roman, Thomas Kellein, and Felicitas von Richthofen. 1968: Die Große Unschuld. Cologne: DuMont. 2008 Semff, Michael. Künstler Zeichnen. Sammler Stiften, 250 Jahre Staatliche Graphische Sammlung München. Ostfildern, Germany: Hatje Cantz. Lara, Cathy, ed. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI fihns the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in ^ e w rite r free, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 THE INFUSION OF AFRICAN AMERICAN ART FROM EIGHTEEN-EIGHTY TO THE EARLY NINETEEN-NINETIES FOR MIDDLE AND HIGH SCHOOL ART EDUCATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ronald Wayne Claxton, B.S., M.A.E. -
1 History That Disturbs the Present
History that disturbs the present: An interview about REPOhistory with Greg Sholette Interviewed by Dipti Desai on April 26, 2007 Greg Sholette’s work as artist, writer, activist, and organizer has been extremely influential in opening dialogue about the relationship between history, current issues and art. Drawing on an array of art mediums such as sculpture, photography, drawings, film, and texts his work as a socially engaged artist forces us to question our commonsense understanding of art as an individual endeavor that is not connected to society. Instead he calls into question the role of art in a democratic society by challenging the idea of an autonomous art objects and its commodification by the art world. His multi-media art works ask us to think about how art perpetuates the often hidden social structures in our society and how aesthetic practices can become more part of our daily lives. As a cultural producer whose work is grounded in history his art making practice is part of a tradition of artists, cultural theorists, historians, and philosophers that understands art as a mode of production that is deeply connected to the material conditions of society. He was the founding member of two innovative artist collectives: Political Art Documentation/Distribution (1980-1988) and REPOhistory (1989-2000). Since he is interested in collaborative artistic practices that opens dialogue about issues of concern to people his work is mainly designed for the public sphere and engages many modes of dissemination, such as signs, posters, performances, public installations, educational activities, flyers, and postcards. I met with Greg on a beautiful spring day in 2007 at Cooper Union, his alma mater and where he was an adjunct instructor prior to being hired full-time by the Art Department at Queens College. -
Defining Community Art : Theoretical and Practical Reconstruction
Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of Visual Studies 2016 Defining community art : theoretical and practical reconstruction Kei Shun, Samson WONG Follow this and additional works at: https://commons.ln.edu.hk/vs_etd Part of the Visual Studies Commons Recommended Citation Wong, S. K. S. (2016). Defining community art: Theoretical and practical reconstruction (Doctor's thesis, Lingnan University, Hong Kong). Retrieved from http://commons.ln.edu.hk/vs_etd/10/ This Thesis is brought to you for free and open access by the Department of Visual Studies at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. DEFINING COMMUNITY ART: THEORETICAL AND PRACTICAL RECONSTRUCTION WONG SAMSON KEI SHUN PhD LINGNAN UNIVERSITY 2016 DEFINING COMMUNITY ART: THEORETICAL AND PRACTICAL RECONSTRUCTION WONG SAMSON KEI SHUN 王基信 A thesis submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Visual Studies LINGNAN UNIVERSITY 2016 ABSTRACT Defining Community Art: Theoretical and Practical Reconstruction By WONG Samson Kei Shun Doctor of Philosophy This research investigates the area of practice commonly known as community art, defined to be where a gathering of people participates in facilitated collaborative art making aimed to be increasing their autonomy in generating artistic and social satisfaction and enrichment. This definition is a result of integrating existing research, literature, interviews with practitioners and analyses of their work. -
I “BOYS SHOULDN't HAVE to JUST BE BOYS”: the ROLE of ART
“BOYS SHOULDN’T HAVE TO JUST BE BOYS”: THE ROLE OF ART THERAPY IN HELPING ADOLESCENT MALES TO OVERCOME HARMFUL PARADIGMS OF MASCULINITY NIA NEUMANN A Research Paper in The Department of Creative Arts Therapies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts Concordia University Montreal, Quebec, Canada AUGUST 2020 © NIA NEUMANN 2020 i CONCORDIA UNIVERSITY School of Graduate Studies This research paper prepared By: Nia Neumann Entitled: “Boys shouldn’t have to just be boys”: The role of art therapy in helping adolescent males to overcome harmful paradigms of masculinity and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Creative Arts Therapies; Art Therapy Option) complies with the regulations of the University and meets the accepted standards with respect to originality and quality as approved by the research advisor. Research Advisor: Heather McLaughlin, MA, RMFT, ATR-BC, ATPQ Department Chair: Guylaine Vaillancourt, PhD, MTA August 2020 ii ABSTRACT “BOYS SHOULDN’T HAVE TO JUST BE BOYS”: THE ROLE OF ART THERAPY IN HELPING ADOLESCENT MALES TO OVERCOME HARMFUL PARADIGMS OF MASCULINITY NIA NEUMANN Studies of masculinity and its construction have been the subject of gender studies for decades; however, perspectives on its nature and value are evolving. Masculine denotes a particular and celebrated way of being in the world for boys, and is perpetuated through institutions, families, peers and the media. But what about those individuals who identify as male and do not represent stereotypical qualities of masculinity? How does this incongruence complicate their sense of identity or authenticity, and affect their relationships with others? The common trope “boys will be boys” has reverberated through Western society, dismissing male behavior as a simple and harmless inevitability of biology. -
Unit 1 Myself and Others
Grade: 12th Subject: Humanities Teacher: Ms. Jennifer Johnston Date: August 8, 2010 Unit # 3/Title: Art Media and Process Time Frame (calendar and # of weeks): 20 class meetings Standard(s): 1.1 (Aesthetics) All students will use aesthetic knowledge in the creation of and response to dance, music, theater and the visual arts. 1.2 (Creation and Performance) All students will utilize those skills, media, methods and technologies appropriate to each art form in the creation, performance and presentation of dance, music, theater and the visual arts. 1.3 (Elements and Principles of Design) All students will demonstrate an understanding of the elements and principles of dance, music, theater and the visual arts. 1.4 (Critique) All students will develop, apply and reflect upon knowledge of the process of critique. 1.5 (World Cultures, History and Society) All students will understand and analyze the role, development and continuing influence of the arts in relation to the world cultures, history and society. Big Idea(s): 1) SWBAT discuss the process of drawing and painting and identify the art media used in these works in order to discuss how artists translate their ideas into visual forms. 2) SWBAT describe, explain and recognize the indirect art making processes of printmaking, photography, video and digital media in order to compare and contrast these forms and discuss their advances in the art world. 3) SWBAT identify and describe the four major sculptural techniques in order to critique and discuss works based upon the art media and process used. 4) SWBAT explain the functions of architecture and identify the art media and art processes used in order to describe and discuss the evolution of architecture. -
Jon Ippolito
jon ippolito Maine office Home away from home CV version 11.2 IMRC Center, Rm 101 jonippolito.net 5785 Stewart Commons [email protected] University of Maine Twitter: @jonippolito Orono, ME 04469-5785 207.581.4389 general biography 2002-present Professor and Program Coordinator, New Media (Associate Professor 2008-14; Assistant Professor 2002-08), Co-Director, Still Water lab, and Director, Digital Curation graduate program, University of Maine. Helped establish new undergraduate curriculum in 2003 and revise it in 2011-12. Spearheaded development of graduate Digital Curation program from 2011 to present. Designed and taught a dozen new courses, and established working groups to promote open networks for art and culture. Served on departmental program and research committees and campus-wide access and Web committees. Taught students to cheat productively using the Internet. More at still-water.net. Artist. With Keith Frank, Janet Cohen, Joline Blais, and Alex Galloway created and exhibited collaborative works with little or no commercial potential. Inaugural winner of the Thoma Arts Writing Fellowship. 1991-2006 Associate Curator of Media Arts at Guggenheim. ("Adjunct Associate Curator" from 2004-2006.) Curated and coordinated over a dozen exhibitions and symposia on contemporary and media art; commissioned and acquired Internet artworks for the permanent collection; coordinated the museum's Variable Media Initiative; wrote and edited catalogue essays and wall texts; lectured on historical exhibitions and collection; designed and commissioned CyberAtlas online projects; edited New-Media Watch section of Guggenheim Magazine; confused a lot of trustees. 1989-91 M.F.A. in Painting and Printmaking from Yale. Taught calculus and computers at New Haven Yeshiva. -
View the Viking Update
Honoring Tradition EMBRACING CHANGE CLASS OF ST. OLAF COLLEGE Class of 1969 – PRESENTS – The Viking Update in celebration of its 50th Reunion May 31 – June 2, 2019 Autobiographies and Remembrances of the Class stolaf.edu 1520 St. Olaf Avenue, Northfield, MN 55057 Advancement Division 800-776-6523 Student Editors Joshua Qualls ’19 Kassidy Korbitz ’22 Matthew Borque ’19 Student Designer Philip Shady ’20 Consulting Editor David Wee ’61, Professor Emeritus of English 50th Reunion Staff Members Ellen Draeger Cattadoris ’07 Cheri Floren Michael Kratage-Dixon Brad Hoff ’89 Printing Park Printing Inc., Minneapolis, MN Welcome to the Viking Update! Your th Reunion committee produced this commemorative yearbook in collaboration with students, faculty members, and staff at St. Olaf College. The Viking Update is the college’s gift to the Class of in honor of this milestone year. The yearbook is divided into three sections: Section I: Class Lists In the first section, you will find a complete list of everyone who submitted a bio and photo for the Viking Update. The list is alphabetized by last name while at St. Olaf. It also includes the classmate’s current name so you can find them in the Autobiographies and Photos section, which is alphabetized by current last name. Also included the class lists section: Our Other Classmates: A list of all living classmates who did not submit a bio and photo for the Viking Update. In Memoriam: A list of deceased classmates, whose bios and photos can be found in the third and final section of the Viking Update. Section II: Autobiographies and Photos Autobiographies and photos submitted by our classmates are alphabetized by current last name. -
Mick Jagger © Felix Aeppli 04-2020 / 09-2021
Memo From Turner Mick Jagger © Felix Aeppli 04-2020 / 09-2021 1001 July 26, 1943 Born in Dartford, Kent: Michael Philip Jagger. 1001A Late 1961 Bob Beckwith’s home, Bexleyheath, near Dartford, and/or Dick Taylor’s home, Dartford, Kent: LITTLE BOY BLUE AND THE BLUE BOYS, SOME OLD SONGS (Download EP, Promotone / iTunes, May 27, 2013: cuts 1-6, 8 [1, 4, 5 plus repeats of 2, 3 all incomplete]); THE ROLLING STONES FILES 1961-1964 (BT CD: cuts 1-6, 8 [1, 4, 5 plus repeats of 2, 3 all incomplete]); THE ROLLING STONES, REELIN’ & ROCKIN’ (BT CD: cuts 1-5 [all incomplete]); DOWN THE ROAD APIECE (STONES TOURING HISTORY VOL. 1) (BT CD: cuts 1, 9 [1 longer, but still incomplete]); HOW BRITAIN GOT THE BLUES (BT CD: cuts 2, 3, 6, 8), BILL WYMAN’S BLACK BOX (BT CD [VGP]: cuts 2, 3, 6, 8); GENUINE BLACK BOX (BT CD box set [Disc 1]: cuts 5, 11-13); REEL TIME TRIP (BT CD: cut 7): 1. Around And Around, 2. Little Queenie, 3. Beautiful Delilah (all Berry), 4. La Bamba (Trad. arr. Valens), 5. Go On To School (Reed) [not Wee Baby Blues (Turner, John- son)], 6. I Ain’t Got You (Carter), 7. I’m Left, You’re Right, She’s Gone (Kesler, Taylor), 8. Down The Road Apiece (Raye), 9. Don’t Stay Out All Night (Arnold), 10. I Ain’t Got You (Carter), 11. Johnny B. Goode, 12. Little Queenie, 13. Beautiful Delilah (all Berry) MJ: vocals; Keith Richards: guitar, Bob Beckwith: guitar, and maybe harmonica (13); Dick Taylor: bass, guitar, drums (probably 13); Alan Etherington: maracas, drums, back-up vocals; – NOTES: Cuts 1-13: 30 minutes reel-to-reel tape of which the original was bought by Mick Jagger at Christie’s auction house, London, May 25, 1995, for £ 50,250; Cut 10: Existence unconfirmed; Cuts 11-13: Might come from a January, 1962, session at Dick Taylor’s home; – In spite of respective rumours, LITTLE BOY BLUE AND THE BLUE BOYS just rehearsed in their parents homes and never had a public appearance. -
109Th CAA Annual Conference Program
109th CAA Annual Conference Welcome to the Full Conference Schedule Registration Access Dates: Virtual Book & Trade Fair: January 27 – March 12, midnight EST. Session content: Friday, February 5 – March 15, midnight EST. During this time all pre-recorded content is available 24hrs a day to registrants according to access level (full, single day, free & open programs). Each session has up to 90 minutes of pre-recorded content, available play on demand. Each session also has a scheduled live online Q&A between Feb 10 – 13, 2021. Live Q&As 10:00–10:30 AM / 12:00–12:30 PM / 2:00–2:30 PM / 4:00–4:30 PM / 6:00–6:30 PM EST CAA will hold its 109th Annual Conference as a virtual program, February 10-13, 2021, as an initial part of the association’s digital transformation. Providing content in a virtual format preserves and enhances access to the program and allows conference attendance to expand beyond boundaries embracing a global audience. This document includes all events ordered chronologically. All events are held online, registration allows access to content. See the collegeart.org pages or the mobile app for the most up to date information. Presentation titles will be listed after the Session. This content is current as of Tuesday, February 2, 2021. Wednesday A.M. ■ EVENT △ MEETING 10:00 AM –10:30 AM WEDNESDAY Live Q&As Online – Meeting O A Vision for Change: A New Media Architecture Uniting the Arts and Sciences LEONARDO EDUCATION AND ART FORUM Chairs: Gustavo Alfonso Rincon, Media Arts and Technology, UCSB; Erica Hruby, Leonardo Education -
THE IMPORTANCE of ENVIRONMENTAL SCULPTURE in CULTURAL IDENTIFICATION Nzoiwu, Azuka Abigail Department of Fine and Applied Arts Nnamdi Azikiwe University,Awka
IGWEBUIKE : An African Journal of Arts and Humanities Vol. 3 No 7, December 2017 . ISSN: 2488-9210(Online) 2504-9038(Print) THE IMPORTANCE OF ENVIRONMENTAL SCULPTURE IN CULTURAL IDENTIFICATION Nzoiwu, Azuka Abigail Department of Fine and Applied Arts Nnamdi Azikiwe University,Awka. Anambra State 08030488626 Abstract This paper examines African Environmental Sculpture and how African artists have deployed it to engage certain socio-cultural circumstances in the continent. The paper argues that culture is not only evident in physical form but also reflected in certain sculptures mounted on strategic sites in the African environment. Through this paper, it is observed that the project of waste recovery has been used by African artists who in one way or the other have contributed to an aesthetic revitalization of the environment. Keywords: Environmental, Sculpture, Cultural, Identification Introduction Environmental sculptures are sculptures that create their own environments, large enough, for viewers to enter and move about in (Gilbert, 1995). It could also meanlarger sculptures designed for display in the outdoor environment such as sculptures commissioned for a city square. Again it could be sculptures that are actually a part of the natural environment, such as the president’s head carved out of the natural rock of Mt. Rushmore.While this style of sculpture may have been represented in many cultures before the 20 th century, many western authors prefer to see it as a development of 20 th century Euro-American artistic tradition. The fact remains that Environmental sculpture is not a preserve of the West but usually creates or modifies the specific environment it is situated, irrespective of culture, space or geography, for the viewer,as opposed to presenting itself,in the characteristic monumentality that define traditional sculptural medium, before theviewers.