Annual Report of the RISD Fleet Library 2015-2016

Total Page:16

File Type:pdf, Size:1020Kb

Annual Report of the RISD Fleet Library 2015-2016 Rhode Island School of Design DigitalCommons@RISD Annual Reports Fleet Library 2016 Annual Report of the RISD Fleet Library 2015-2016 Fleet Library Rhode Island School of Design, [email protected] Carol Terry Rhode Island School of Design, [email protected] Follow this and additional works at: https://digitalcommons.risd.edu/library_annualreport Part of the Art and Design Commons Recommended Citation Library, Fleet and Terry, Carol, "Annual Report of the RISD Fleet Library 2015-2016" (2016). Annual Reports. 3. https://digitalcommons.risd.edu/library_annualreport/3 This Book is brought to you for free and open access by the Fleet Library at DigitalCommons@RISD. It has been accepted for inclusion in Annual Reports by an authorized administrator of DigitalCommons@RISD. For more information, please contact [email protected]. The Fleet Library at RISD 2015/16 Annual Report of the RISD Library 2015/16 Table of Contents Director of Library Services Carol S. Terry 2 Special Collections Claudia Covert 5 RISD Archives Andrew Martinez 9 Reference & Instruction Ellen Petraits 11 Access Services Gail Geisser 13 Technical Services Robert R. Garzillo 14 Visual + Material Resources Mark Pompelia 16 Statistics 20 Donors List 24 Staff List 24 Cover drawing by Taline S. Boghosian, RISD Illustration, class of 2011 Director’s Annual Report 2015-16 literacy and research skills into the curriculum. 5) Foster an accessible and inviting environment that provides The focus for this year was the 10th anniversa- space for collaboration as well as inquiry and inspiration. ry of the Fleet Library, the decennial NEASC/NASAD accreditation visit and the upcoming retirement of the Exhibits and Events longest-serving library director in RISD’s history. In The Library continued its active exhibition mid-October, Carol Terry announced that this year, her program as noted in the Special Collections Librarian’s 29th, would be her last and that she would be stepping report. The fall exhibit highlighted collections in support down at the end of summer 2016. of the Liberal Arts at RISD in recognition of the 75th an- niversary of the Division; following that the spring exhibit NEASC/NASAD Accreditation included all of the books submitted for the second stu- The library director continued as a member dent artists’ book contest. Exhibits on the second floor of the Core Team, responsible for NEASC Standard 7: included an homage to Malcolm Grear, graphic designer Library and Other Information Resources, and the inte- and teacher, and the 26th annual library staff show, in gration into the report of the NASAD library standards. honor of Carol Terry who initiated this annual exhibition Meetings were held throughout the year and numerous of staff work. Another exhibit featured posters, programs iterations of the report preceded the campus visit in ear- and objects from the RISD Cabaret, 1987–2000, in con- ly April. Considering that the library had been a concern junction with a reunion and program for participants held in previous accreditation reports and was not yet com- in the Material Resource Center. AIDS Quilts were hung pleted during the 2006 site visit, it was reassuring that the in the balcony for World AIDS Day for the third time, and library was highlighted in the visiting team report, whose poignantly were visited by family members of one of the summary included the following: Among RISD’s many won- people represented. derful resources, the Library stands out as a flagship for the Special events started with a Providence mayoral marriage of liberal arts and making practices. The Team was press conference in the Material Resource Center, at particularly impressed by the integration of the materials lab the same time that ARLIS/New England members were and the picture archive….. here for their fall meeting and tour. Similar to events in Relevant to the prior year’s external program previous years, the main space was perfect for a conver- review of the library, a final report was made to the sation between the Provost Pradeep Sharma and Richard Academic Affairs and Student Affairs Committees of the Saul Wurman, and an audience of 85. A popular commu- Board of Trustees including a wide-ranging discussion on nity event, the library again hosted the “Spirit of a King” the issues raised in the report and the future of libraries. Gospel Concert for Martin Luther King, Jr. remembrance and celebration, with poetry shared by two RISD stu- Mission Statement & Goals dents (140 in attendance). For the first time, the library One of the issues that had been raised by the hosted a Museum Docent Enrichment Day, with tours library visiting committee was the need to revisit the and talks on the first floor as well as Archives and Special library mission statement. This was spearheaded by Alice Collections and the Graham Visual + Material Resource Whiteside, reviewed by the librarians, and discussed and Center. In the spring, the library again invited Providence approved by the Library Committee. The new library Athenaeum members for a reception and tour. mission statement reads as follows: Two big events rounded out the year. For the first time, the Apparel Design Department staged its The Fleet Library is a place for inquiry, inspiration, and annual fashion show, Collection 2016, in the library. Using research. We collect, preserve, and provide access to materials the second floor for dressing rooms, hair and makeup, the on art and design in support of RISD’s educational programs. models descended by elevator, and around ten models We develop and promote critical thinking skills and creativity for each of the 19 student designers paraded around the through instruction and outreach. We are committed to serving space and across the balcony. The big tables had been the artistic and scholarly community at RISD and beyond. moved, and more than 250 chairs brought in, so along with the stadium seating, each of the two showings seat- Goals: ed 350 people. 1) Provide collections that advance creativity, critical thinking, At the end of June, the library was the stage for and diversity of thought and practice, with an emphasis on NPR Morning Edition, starting at 5AM. Including the staff supporting RISD’s curriculum. required to put on the radio show, there were around 55 2) Provide innovative, user-centered services to enhance access people in attendance. The library got rave reviews, and to our collections and connect library users with staff exper- was visible in the live Facebook portion of the show at tise. the end of the radio program. 3) Create programming and exhibitions that promote library A number of RISD events are now held annu- collections and foster connections with the campus and com- ally in the Library, including the Parents’ Council lun- munity. cheon, Architecture Department lunch with prospective 4) Partner with academic colleagues to integrate information graduate students, lunch and presentations by student 2 concentrators prior to Commencement and a dinner for director’s conversations with her husband, Dr. Robert Trustees in May, which this year honored both the retir- Westlake, about her books focusing on art and healing. ing library director and the retiring registrar, Steve Ber- These came to RISD as the Christiane Corbat Library of enback. In addition, on the first of June there was a party Art and Healing, and the endowed fund will continue to in the library to celebrate Carol’s 29 years and the 10th support that collection. anniversary of the Fleet Library with 120 in attendance. In honor of Carol Terry’s service to RISD, the Even in the tenth year of the library, architectur- invitations to the June event included the opportunity al tours occur regularly. In October, the AIA Committee to contribute to a library fund in Carol’s name. To date, on Design scheduled its conference in Providence and more than $30,000 has been contributed, ensuring that included the library as part of the city tour. Classes came the fund will be endowed. from Brown, Providence College, UMass Dartmouth, Notable acquisitions of Special Collections Wheaton College, MassArt, Woonsocket High School, and Artists’ Books are listed in the following report. the Met School and Wheeler School to experience the The library continued to receive a large number of gifts architecture or to see artists’ books. throughout the year. Among the most significant was a donation of fashion periodicals from Apparel Design fac- Collections and Services ulty member Hanna Hohenberg. Christopher Scholz and A significant effort was put into determining the Brian Goldberg continued to donate their architecture best next move for the library management system as and design books and periodicals and Tim Finn added to many of the HELIN libraries in the state had decided to his gift of comics and graphic novels. The final portion of move from Innovative to OCLC WorldShare Management the material from Selma Ordewer made its way to RISD, Services. After reviewing the products and the costs, and including a number of prints and printing-related objects. keeping in mind our relationship with the Providence Ath- The zine collection was substantially increased with a enaeum, we jointly decided to remain with Innovative and large donation from staff member Ariel Bordeaux’s per- to migrate to their Sierra platform, which is totally hosted. sonal collection. A miniature Qu’ran, probably from 19th Robert Garzillo oversaw the migration project which took century Iran, was donated by Maryam Ghatee. As usual place over the spring and was completed by July 5. A Mem- a large number of books, auction catalogs and exhibition orandum of Understanding with the Providence Athenae- catalogs came from the RISD Museum. um formalized our longstanding relationship. The library lost a significant resource this year Ellen Petraits led the effort to redesign the when the Audubon Society of Rhode Island chose to library website; graduate students, particularly Marie sell a set which had been on long term loan to us since Otsuka assisted in the effort and the new site was live February 2009, and which had been regularly shown to by the end of May.
Recommended publications
  • Downloaded From: Usage Rights: Creative Commons: Attribution-Noncommercial-No Deriva- Tive Works 4.0
    Daly, Timothy Michael (2016) Towards a fugitive press: materiality and the printed photograph in artists’ books. Doctoral thesis (PhD), Manchester Metropolitan University. Downloaded from: https://e-space.mmu.ac.uk/617237/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version https://e-space.mmu.ac.uk Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly PhD 2016 Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy MIRIAD Manchester Metropolitan University June 2016 Contents a. Abstract 1 b. Research question 3 c. Field 5 d. Aims and objectives 31 e. Literature review 33 f. Methodology 93 g. Practice 101 h. Further research 207 i. Contribution to knowledge 217 j. Conclusion 220 k. Index of practice conclusions 225 l. References 229 m. Bibliography 244 n. Research outputs 247 o. Appendix - published research 249 Tim Daly Speke (1987) Silver-gelatin prints in folio A. Abstract The aim of my research is to demonstrate how a practice of hand made books based on the materiality of the photographic print and photo-reprography, could engage with notions of touch in the digital age. We take for granted that most artists’ books are made from paper using lithography and bound in the codex form, yet this technology has served neither producer nor reader well. As Hayles (2002:22) observed: We are not generally accustomed to thinking about the book as a material metaphor, but in fact it is an artifact whose physical properties and historical usage structure our interactions with it in ways obvious and subtle.
    [Show full text]
  • This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
    “This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more.
    [Show full text]
  • Words Without Pictures
    WORDS WITHOUT PICTURES NOVEMBER 2007– FEBRUARY 2009 Los Angeles County Museum of Art CONTENTS INTRODUCTION Charlotte Cotton, Alex Klein 1 NOVEMBER 2007 / ESSAY Qualifying Photography as Art, or, Is Photography All It Can Be? Christopher Bedford 4 NOVEMBER 2007 / DISCUSSION FORUM Charlotte Cotton, Arthur Ou, Phillip Prodger, Alex Klein, Nicholas Grider, Ken Abbott, Colin Westerbeck 12 NOVEMBER 2007 / PANEL DISCUSSION Is Photography Really Art? Arthur Ou, Michael Queenland, Mark Wyse 27 JANUARY 2008 / ESSAY Online Photographic Thinking Jason Evans 40 JANUARY 2008 / DISCUSSION FORUM Amir Zaki, Nicholas Grider, David Campany, David Weiner, Lester Pleasant, Penelope Umbrico 48 FEBRUARY 2008 / ESSAY foRm Kevin Moore 62 FEBRUARY 2008 / DISCUSSION FORUM Carter Mull, Charlotte Cotton, Alex Klein 73 MARCH 2008 / ESSAY Too Drunk to Fuck (On the Anxiety of Photography) Mark Wyse 84 MARCH 2008 / DISCUSSION FORUM Bennett Simpson, Charlie White, Ken Abbott 95 MARCH 2008 / PANEL DISCUSSION Too Early Too Late Miranda Lichtenstein, Carter Mull, Amir Zaki 103 APRIL 2008 / ESSAY Remembering and Forgetting Conceptual Art Alex Klein 120 APRIL 2008 / DISCUSSION FORUM Shannon Ebner, Phil Chang 131 APRIL 2008 / PANEL DISCUSSION Remembering and Forgetting Conceptual Art Sarah Charlesworth, John Divola, Shannon Ebner 138 MAY 2008 / ESSAY Who Cares About Books? Darius Himes 156 MAY 2008 / DISCUSSION FORUM Jason Fulford, Siri Kaur, Chris Balaschak 168 CONTENTS JUNE 2008 / ESSAY Minor Threat Charlie White 178 JUNE 2008 / DISCUSSION FORUM William E. Jones, Catherine
    [Show full text]
  • ALEC SOTH Bibliography Selected Publications
    ALEC SOTH Bibliography Selected Publications 2019 Soth, Alec. I Know How Furiously Your Heart is Beating. London: MACK, 2019. 2018 Soth, Alec. Alec Soth: Niagara. London: MACK, 2018. 2015 Penhall, Michele M. Stories from the Camera: Reflections on the Photograph. Albuquerque: University of Mexico, 2015. Schuman, Aaron and Kate Bush. Gathered Leaves, London: MACK, 2015. 2014 Fraenkel, Jeffrey ed. The Plot Thickens. San Francisco: Fraenkel Gallery, 2014. Knight, Robert. In Context: The Portrait in Contemporary Photographic Practice. Clinton, New York: Ruth and Elmer Wellin Museum of Art, 2014. Soth, Alec. Songbook. Minnesota: Little Brown Mushroom, 2014. “The Secret Lives of Museum Guards,” The New Yorker, September 26, 2015. “Voyages: Visual Journeys by six photographers,” The New York Times Magazine, September 26, 2015. 2013 Dyer, Geoff and Pico Iyer. Ping Pong. St. Paul, Minnesota: Little Brown Mushroom, September 2013. Soth, Alec and Brad Zellar. Three Valleys. St. Paul, Minnesota: Little Brown Mushroom, March 2013. 2012 Soth, Alec. Looking for Love 1996. Berlin: Kominek Books, 2012. Soth, Alec and Brad Zellar. Ohio. St. Paul, Minnesota: Little Brown Mushroom, May 2012. Soth, Alec and Brad Zellar. Upstate. St. Paul, Minnesota: Little Brown Mushroom, August 2012. Soth, Alec and Brad Zellar. Michigan. St. Paul, Minnesota: Little Brown Mushroom, November 2012. 2011 Alec Soth: Mostly Women. Portland, Oregon: Nazraeli Press, 2011. Soth, Alec. Alec Soth: La Belle Dame Sans Merci. 2011. Soth, Alec. Lonley Boy Mag (No. A-1: Alec Soth’s Midwestern Exotica). St. Paul, Minnesota: Little Brown Mushroom Books, March 2011. 2010 Rodarte, Catherine Opie, Alec Soth. Zurich: JRP Ringier, 2010. Soth, Alec.
    [Show full text]
  • John Gossage
    SAGE 18.04.2012 THE THIRTY TWO INCH RULER / MAP OF BABYLON JOHN GOSSAGE © John Gossage, courtesy LWS gallery 11.14.12 - 12.29.12 OPENING 13.11ERNIS- © John Gossage, courtesy LWS gallery LWS GALLERY PRESENTS THE THIRTY TWO INCH RULER/ MAP OF BABYLONE, PHOTOGRAPHS BY JOHN GOSSAGE FROM NOVEMBER 14TH UNTIL DECEMBER 29TH. © John Gossage, courtesy LWS gallery You Should Spend Some Time at Home I started to think about these pictures on September 12th, the day I fi rst became aware that Donald Rumsfeld was my neighbor. I live in a place where I am most comfortable, a place that has given me guidance into how to proceed on many projects. The darkness of «Stadt des Schwarz» was first seen and thought about in a nighttime driveway on 24th Street. The attitude of «There & Gone» is in opposition to the feelings of comfort felt on my walks through Kalorama. It’s a touchstone place, for current and future reference. Home. On the days following the 12th, I slowly became aware that it was important that I photograph here. I thought I might try to work on the drift of privilege, and the numbness and dislocation it engen- ders. Kalorama, in particular, is unique. It is an area of Washing- ton that is designated for embassies, arnbassadorial residences and private homes, it is protected 24/7 by at least three overlap- ping police agencies: the Executive Protection Service (which guards the diplomatic corps), the Washington Metropolitan Police Force, and the National Park Service. There is also the occasional personal of Department of Defense bodyguard.
    [Show full text]
  • Jeffrey Ladd & Peter Fraser
    Alec Soth's Archived Blog June 3, 2007 Jeffrey Ladd & Peter Fraser Filed under: artists — alecsothblog @ 2:23 pm I recently discovered an absolutely fantastic new blog. Unlike my rambling entries, 5B4 focuses on a single subject – photography books. None other than John Gossage has called it “the best Photobook blog on the web.” Overwhelmed by the quantity and quality of the posts, I wanted to know more about the author. But apparently he doesn’t want to be known. He doesn’t offer a profile and usually refers to himself as ‘Mr Whiskets.’ But after poking around I figured out that 5B4 is written by the photographer Jeffrey Ladd. I first came across Ladd’s work a few years ago. He is an artist of depth, sophistication and restraint. This last quality, I suspect, is why Ladd isn’t better known. Mr. Whiskets doesn’t beg for attention. Though his work hasn’t found a publisher, Ladd channels his love of photography books into the production of his own artist books: Ladd’s first post on 5B4 was on Martin Parr and Gerry Badger’s two-volume History of the Photobook. Ladd notes the way in which this recent attention has intensified the photobook as commercial collectible. Martin Parr recently gave me a copy of his new book, Parking Spaces. By signing the book on the cellophane wrapper, Parr forces a quandary: Which is more valuable, the signed collectible or the book itself? A couple of nights ago I had dinner with Parr and his fellow arbiter of history, Gerry Badger.
    [Show full text]
  • Rebecca Baldwin Nina Litoff (312) 443-3625 (312) 443-3363 [email protected] [email protected]
    FOR IMMEDIATE RELEASE JANUARY 27, 2015 MEDIA CONTACTS: Rebecca Baldwin Nina Litoff (312) 443-3625 (312) 443-3363 [email protected] [email protected] ART INSTITUTE OF CHICAGO OPENS FIRST MUSEUM SURVEY OF WORK OF AMERICAN PHOTOGRAPHER JOHN GOSSAGE ‘Retrospective in a Room’ Shows Three Distinct Ways the Artist Has Approached Photography CHICAGO – The Art Institute of Chicago is presenting the first museum survey ever mounted of American photographer John Gossage’s career. John Gossage: Three Routines opened Jan. 22, 2015, and continues through May 3, 2015, in Galleries 188 and 189 in the museum’s Modern Wing. Gossage, who was born in New York City in 1946, began his photographic career at age 14, taking pictures for the local newspaper in Staten Island, New York. Within a year he advanced to intensive studies with photographers Lisette Model and Bruce Davidson, as well as with art director Alexey Brodovitch. His only formal education came in 1964, at the experimental Walden School in Washington, D.C. Gossage continued to live in Washington after he graduated, even though New York remained central to his development. He showed his own work there—most frequently with the Leo Castelli Gallery in Manhattan—and organized shows of work by others, including a three-part exhibition on the New York School at the Corcoran Gallery in 1992. The Art Institute’s “retrospective in a room” brings together several decades’ worth of work to show three distinct ways, or routines, in which the artist has approached photography. One routine concentrates on his intensely productive time in Berlin in the 1980s; on display are two dozen images from the nearly 600 that make up his Berlin series, which the Art Institute is fortunate to own in its entirety.
    [Show full text]
  • Title Archipelagos of Interstitial Ground: a Filmic Investigation of the Thames Gateway’S Edgelands
    Title Archipelagos of Interstitial Ground: A Filmic Investigation of the Thames Gateway’s Edgelands. How Can a Multimodal (Auto)ethnographic Methodology Be Deployed to Shape Geographic Imaginations of The Thames Gate w ay? Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/13461/ Dat e 2 0 1 7 Citation Robinson, Simon (2017) Archipelagos of Interstitial Ground: A Filmic Investigation of the Thames Gateway’s Edgelands. How Can a Multimodal (Auto)ethnographic Methodology Be Deployed to Shape Geographic Imaginations of The Thames Gateway? PhD thesis, University of the Arts London. Cr e a to rs Robinson, Simon Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Archipelagos of Interstitial Ground: A Filmic Investigation of the Thames Gateway’s Edgelands How Can a Multimodal (Auto)ethnographic Methodology Be Deployed to Shape Geographic Imaginations of The Thames Gateway? By Simon Robinson Thesis submitted in partial fulfilment of the requirement for the degree of Doctor of Philosophy University of the Arts London London College of Communication September 2017 Dedication This thesis is dedicated to Tilly, my daughter. Without you I would have never managed to complete this. Whenever the research process was getting me down, you reminded me ‘mistakes help you learn’. And to Rebecca, for all the help, support and advice you have given. At times you believed in me, even when I had lost faith. Simon Robinson – September 2017 i ii No plot so narrow, be but Nature there, No waste so vacant, but may well employ Each faculty of sense, and keep the heart.
    [Show full text]
  • 20Th-Cent. Portraits #2 Press Release 2.23.19
    FOR IMMEDIATE RELEASE 20th-Century Portraits February 1 – March 30, 2019 Deborah Bell Photographs is pleased to present an exhibition of portraits by American and European photographers of the 20th Century. Photographers whose works are on view include Erwin Blumenfeld, Louis Faurer, G.P. Fieret, Hiro, Rose Mandel, Marcia Resnick, August Sander, and Deborah Turbeville. Uniting many of the various images selected is the photographers' use of dramatic lighting and innovative, experimental printing techniques, resulting in captivating, and often abstract or even surreal, renditions of their subjects in ordinary contexts. Erwin Blumenfeld (American, b. Germany 1897; d. 1969) Erwin Blumenfeld was born in Berlin, where he practiced photography as a young boy. From 1916-1918 he served as an ambulance driver in the German army. He began to write and paint at the time when the German Dada movement was becoming established. In 1918 Blumenfeld moved to Holland, where he was involved with the Dada movement in Amsterdam; four years later he opened a leather goods shop, the Fox Leather Company, on the fashionable Kalverstraat. In 1932 Blumenfeld moved Fox to a new location, where he discovered a darkroom in the back of the store that was left by a previous occupant, and began taking photographs again. During this period Blumenfeld's photographs and art became well known, and his work was included in two exhibitions at the modern art gallery Kunstzaal Van Lier in Amsterdam in 1932 and 1933, the second of which, "Dutch Faces," consisted of 50 photographic portraits. Blumenfeld's shop went bankrupt in 1935, and in 1936 he left Holland to establish himself in Paris as a professional photographer.
    [Show full text]
  • ALEC SOTH Bibliography Selected Publications 2015 Penhall, Michele
    ALEC SOTH Bibliography Selected Publications 2015 Penhall, Michele M. Stories from the Camera: Reflections on the Photograph, Albuquerque: University of Mexico, 2015. Schuman, Aaron and Kate Bush. Gathered Leaves, London: MACK, 2015. 2014 Fraenkel, Jeffrey ed. The Plot Thickens, San Francisco: Fraenkel Gallery, 2014. Knight, Robert. In Context: The Portrait in Contemporary Photographic Practice, Clinton, New York: Ruth and Elmer Wellin Museum of Art, 2014. Soth, Alec. Songbook, Minnesota: Little Brown Mushroom, 2014. “The Secret Lives of Museum Guards,” The New Yorker, September 26, 2015. “Voyages: Visual Journeys by six photographers,” The New York Times Magazine, September 26, 2015. 2013 Dyer, Geoff and Pico Iyer. Ping Pong, St. Paul, Minnesota: Little Brown Mushroom, September 2013. Soth, Alec and Brad Zellar. Three Valleys, St. Paul, Minnesota: Little Brown Mushroom, March 2013. 2012 Soth, Alec. Looking for Love 1996, Berlin: Kominek Books, 2012. Soth, Alec and Brad Zellar. Ohio, St. Paul, Minnesota: Little Brown Mushroom, May 2012. Soth, Alec and Brad Zellar, Upstate, St. Paul, Minnesota: Little Brown Mushroom, August 2012. Soth, Alec and Brad Zellar, Michigan, St. Paul, Minnesota: Little Brown Mushroom, November 2012. 2011 Alec Soth: Mostly Women, Portland, Oregon: Nazraeli Press, 2011. Soth, Alec. Lonley Boy Mag (No. A-1: Alec Soth’s Midwestern Exotica), St. Paul, Minnesota: Little Brown Mushroom Books, March 2011. Soth, Alec, Alec Soth: La Belle Dame Sans Merci, 2011. 2010 Rodarte, Catherine Opie, Alec Soth, Zurich: JRP Ringier, 2010. Soth, Alec. Broken Manual, Germany: Steidl, 2010. Soth, Alec. From Here To There: Alec Soth’s America, Minneapolis: Walker Art Center/Hatje Cantz, 2010. Soth, Alec and Carmen.
    [Show full text]
  • CSI in the News
    CSI in the News May 2011 College of Staten Island The City University of New York Table of Contents Ads . 3 Arts . 5 Faculty & Staff . 14 Sports . 76 Stories . 148 Students & Alumni . 167 ADS Page 3 of 201 Page 4 of 201 Arts Page 5 of 201 Benefit concert at CSI aids Japan earthquake victims Published: Thursday, May 05, 2011, 3:20 PM Mark D. Stein By STATEN ISLAND, N.Y. - WILLOWBROOK - Young vocalist Masafumi Toyoda faced the audience of about 40 people in the Williamson Theatre at the College of Staten Island (CSI). Sitting just three feet from him at the piano was musician Taka Kigawa, who meticulously stroked the keys to assist his fellow vocalist. Both Japanese performers concluded their Local residents look for their neighbors' usable belongings at masterful performance with "Ave Maria," Shobudahama fishery port as Japan Ground Self-Defense Force ultimately topping off a concert to raise members search for missing people in their third major recovery operation since the March 11 earthquake in Shichigahamamachi, funds for people affected by the Miyagi Prefecture, northeastern Japan. (Associated Press) earthquake and tsunami disasters in Japan. It was held last Friday night in building 1P on the college's Willowbrook campus. The International Affairs Committee and College of Staten Island Student Government organized the show, which netted $903. As of Monday, CSI had raised $2,224 for the Japan Earthquake Relief Fund. Kigawa, an acclaimed pianist who has performed across the world, from New York to Cleveland, and Paris to Barcelona, meshed with Toyoda, a countertenor and former music major at CSI.
    [Show full text]
  • Featured Releases Fall Highlights 82 Specialty Books
    Featured Releases 2 Limited Editions 78 Journals 79 Previously Announced Exhibition Catalogs 80 CATALOG EDITOR Thomas Evans DESIGNER Fall Highlights 82 Martha Ormiston Photography 84 COPY WRITING Arthur Cañedo, Miles Champion, Janine DeFeo, Megan Ashley DiNoia, Thomas Evans, Art 108 Architecture & Design 144 FRONT COVER IMAGE Artist, Title, Year. From Title, published by Imprint. See page # Specialty Books 162 BACK COVER IMAGE Art 164 Artist, Title, Year. From Title, published by Imprint. See page # Photography 190 Backlist Highlights 197 Index 205 NEED HIGHER RES Gerhard Richter: Landscape The world’s most famous painter focuses on the depiction of natural environments, from sunsets to seascapes to suburban streets Gerhard Richter’s paintings combine photorealism and abstraction in a manner that is completely unique to the German artist. A master of texture, Richter has experimented with different techniques of paint application throughout his career. His hallmark is the illusion of motion blur in his paintings, which are referenced from photographs he himself has taken, obscuring his subjects with gentle brushstrokes or the scrape of a squeegee, softening the edges of his figures to appear as though they had been captured by an unfocused lens. This publication concentrates on the theme of landscape in Richter’s work, a genre to which he has remained faithful for over 60 years, capturing environments from seascapes to countryside. With a selection of Richter’s paintings, some of which are previously unpublished, this volume provides both a history of Richter’s development as an artist and valuable insight into the subject of nature in contemporary art Born in 1932 in Dresden, Gerhard Richter is one of Germany’s most significant contemporary artists.
    [Show full text]