Donald Heald Rare Books a Selection of Fine Books and Manuscripts
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Hour by Hour!
Volume 13 Issue 158 HIPFiSHmonthlyHIPFiSHmonthly March 2012 thethe columbiacolumbia pacificpacific region’sregion’s freefree alternativealternative ERIN HOFSETH A new form of Feminism PG. 4 pg. 8 on A NATURALIZEDWOMAN by William Ham InvestLOWER Your hourTime!COLUMBIA by hour! TIME BANK A NEW community RESOURCE by Lynn Hadley PG. 14 I’LL TRADE ACCOUNTNG ! ! A TALE OF TWO Watt TRIBALChildress CANOES& David Stowe PG. 12 CSA TIME pg. 10 SECOND SATURDAY ARTWALK OPEN MARCH 10. COME IN 10–7 DAILY Showcasing one-of-a-kind vintage finn kimonos. Drop in for styling tips on ware how to incorporate these wearable works-of-art into your wardrobe. A LADIES’ Come See CLOTHING BOUTIQUE What’s Fresh For Spring! In Historic Downtown Astoria @ 1144 COMMERCIAL ST. 503-325-8200 Open Sundays year around 11-4pm finnware.com • 503.325.5720 1116 Commercial St., Astoria Hrs: M-Th 10-5pm/ F 10-5:30pm/Sat 10-5pm Why Suffer? call us today! [ KAREN KAUFMAN • Auto Accidents L.Ac. • Ph.D. •Musculoskeletal • Work Related Injuries pain and strain • Nutritional Evaluations “Stockings and Stripes” by Annette Palmer •Headaches/Allergies • Second Opinions 503.298.8815 •Gynecological Issues [email protected] NUDES DOWNTOWN covered by most insurance • Stress/emotional Issues through April 4 ASTORIA CHIROPRACTIC Original Art • Fine Craft Now Offering Acupuncture Laser Therapy! Dr. Ann Goldeen, D.C. Exceptional Jewelry 503-325-3311 &Traditional OPEN DAILY 2935 Marine Drive • Astoria 1160 Commercial Street Astoria, Oregon Chinese Medicine 503.325.1270 riverseagalleryastoria.com -
The Politics of Urban Cultural Policy Global
THE POLITICS OF URBAN CULTURAL POLICY GLOBAL PERSPECTIVES Carl Grodach and Daniel Silver 2012 CONTENTS List of Figures and Tables iv Contributors v Acknowledgements viii INTRODUCTION Urbanizing Cultural Policy 1 Carl Grodach and Daniel Silver Part I URBAN CULTURAL POLICY AS AN OBJECT OF GOVERNANCE 20 1. A Different Class: Politics and Culture in London 21 Kate Oakley 2. Chicago from the Political Machine to the Entertainment Machine 42 Terry Nichols Clark and Daniel Silver 3. Brecht in Bogotá: How Cultural Policy Transformed a Clientist Political Culture 66 Eleonora Pasotti 4. Notes of Discord: Urban Cultural Policy in the Confrontational City 86 Arie Romein and Jan Jacob Trip 5. Cultural Policy and the State of Urban Development in the Capital of South Korea 111 Jong Youl Lee and Chad Anderson Part II REWRITING THE CREATIVE CITY SCRIPT 130 6. Creativity and Urban Regeneration: The Role of La Tohu and the Cirque du Soleil in the Saint-Michel Neighborhood in Montreal 131 Deborah Leslie and Norma Rantisi 7. City Image and the Politics of Music Policy in the “Live Music Capital of the World” 156 Carl Grodach ii 8. “To Have and to Need”: Reorganizing Cultural Policy as Panacea for 176 Berlin’s Urban and Economic Woes Doreen Jakob 9. Urban Cultural Policy, City Size, and Proximity 195 Chris Gibson and Gordon Waitt Part III THE IMPLICATIONS OF URBAN CULTURAL POLICY AGENDAS FOR CREATIVE PRODUCTION 221 10. The New Cultural Economy and its Discontents: Governance Innovation and Policy Disjuncture in Vancouver 222 Tom Hutton and Catherine Murray 11. Creating Urban Spaces for Culture, Heritage, and the Arts in Singapore: Balancing Policy-Led Development and Organic Growth 245 Lily Kong 12. -
View PDF for This Newsletter
Newsletter No. 152 September 2012 Price: $5.00 Australasian Systematic Botany Society Newsletter 152 (September 2012) AUSTRALIAN SYSTEMATIC BOTANY SOCIETY INCORPORATED Council President Vice President Peter Weston Dale Dixon National Herbarium of New South Wales Royal Botanic Gardens Sydney Royal Botanic Gardens Sydney Mrs Macquaries Road Mrs Macquaries Road Sydney, NSW 2000 Sydney, NSW 2000 Australia Australia Tel: (02) 9231 8171 Tel: (02) 9231 8111 Fax: (02) 9241 2797 Fax: (02) 9251 7231 Email: [email protected] Email: [email protected] Treasurer Secretary Frank Zich John Clarkson Australian Tropical Herbarium Dept of National Parks, Recreation, Sport and Racing E2 building, J.C.U. Cairns Campus PO Box 156 PO Box 6811 Mareeba, QLD 4880 Cairns, Qld 4870 Australia Australia Tel: +61 7 4048 4745 Tel: (07) 4059 5014 Fax: +61 7 4092 2366 Fax: (07) 4091 8888 Email: [email protected] Email: [email protected] Councillor (Assistant Secretary - Communications Councillor Ilse Breitwieser Pina Milne Allan Herbarium National Herbarium of Victoria Landcare Research New Zealand Ltd Royal Botanic Gardens PO Box 40 Birdwood Ave Lincoln 7640 South Yarra VIC 3141 New Zealand Australia Tel: +64 3 321 9621 Tel: (03) 9252 2309 Fax: +64 3 321 9998 Fax: (03) 9252 2423 Email: [email protected] Email: [email protected] Other Constitutional Bodies Public Officer Hansjörg Eichler Research Committee Annette Wilson Bill Barker Australian Biological Resources Study Philip Garnock-Jones GPO Box 787 Betsy Jackes Canberra, ACT 2601 Greg Leach Australia Nathalie Nagalingum Christopher Quinn Affiliate Society Chair: Dale Dixon, Vice President Papua New Guinea Botanical Society Grant application closing dates: Hansjörg Eichler Research Fund: ASBS Website on March 14th and September 14th each year. -
The Journal of the Walters Art Museum
THE JOURNAL OF THE WALTERS ART MUSEUM VOL. 73, 2018 THE JOURNAL OF THE WALTERS ART MUSEUM VOL. 73, 2018 EDITORIAL BOARD FORM OF MANUSCRIPT Eleanor Hughes, Executive Editor All manuscripts must be typed and double-spaced (including quotations and Charles Dibble, Associate Editor endnotes). Contributors are encouraged to send manuscripts electronically; Amanda Kodeck please check with the editor/manager of curatorial publications as to compat- Amy Landau ibility of systems and fonts if you are using non-Western characters. Include on Julie Lauffenburger a separate sheet your name, home and business addresses, telephone, and email. All manuscripts should include a brief abstract (not to exceed 100 words). Manuscripts should also include a list of captions for all illustrations and a separate list of photo credits. VOLUME EDITOR Amy Landau FORM OF CITATION Monographs: Initial(s) and last name of author, followed by comma; italicized or DESIGNER underscored title of monograph; title of series (if needed, not italicized); volume Jennifer Corr Paulson numbers in arabic numerals (omitting “vol.”); place and date of publication enclosed in parentheses, followed by comma; page numbers (inclusive, not f. or ff.), without p. or pp. © 2018 Trustees of the Walters Art Gallery, 600 North Charles Street, Baltimore, L. H. Corcoran, Portrait Mummies from Roman Egypt (I–IV Centuries), Maryland 21201 Studies in Ancient Oriental Civilization 56 (Chicago, 1995), 97–99. Periodicals: Initial(s) and last name of author, followed by comma; title in All Rights Reserved. No part of this book may be reproduced without the written double quotation marks, followed by comma, full title of periodical italicized permission of the Walters Art Museum, Baltimore, Maryland. -
Teachers' Resource
TEACHERS’ RESOURCE MICHELANGELO’S DREAM 18 FEBRUARY – 16 MAY 2010 CONTENTS 1: INTRODUCTION TO THE EXHIBITION 2: UNDERSTANDING THE DREAM 3: MY SOUL TO MESSER TOMMASO 4: DRAWN IN DREAMS 5: MICHELANGELO’S POETRY 6: MICHELANGELO AND MUSIC 7: REGARDÉ: SONNETS IN MICHELANGELO’S AGE 8: IMAGE CD The Teachers’ Resources are intended for use by secondary schools, colleges and teachers of all subjects for their own research. Each essay is marked with suggested links to subject areas and key stage levels. We hope teachers and educators will use these resources to plan lessons, help organise visits to the gallery or gain further insight into the exhibitions at The Courtauld Gallery. FOR EACH ESSAY CURRICULUM LINKS ARE MARKED IN RED. Cover image and right: Michelangelo Buonarroti The Dream (Il Sogno) To book a visit to the gallery or to discuss c.1533 (detail) any of the education projects at Black chalk on laid paper The Courtauld please contact: Unless otherwise stated all images [email protected] © The Samuel Courtauld Trust, 0207 848 1058 The Courtauld Gallery, London WELCOME The Courtauld Institute of Art runs an exceptional programme of activities suitable for young people, school teachers and members of the public, whatever their age or background. We offer resources which contribute to the understanding, knowledge and enjoyment of art history based upon the world-renowned art collection and the expertise of our students and scholars. The Teachers’ Resources and Image CDs have proved immensely popular in their first year; my thanks go to all those who have contributed to this success and to those who have given us valuable feedback. -
2008-11R.Pdf
H. Marc Cathey (1928–2008) TheThe AmericanAmerican ® GARDENERGARDENERThe Magazine of the American Horticultural Society November / December 2008 Striking Stems enliven winter Mysterious Witches’ Brooms California Native Plant Pioneer Lester Rowntree Terrariums Bring Gardening Indoors contents Volume 87, Number 6 . November / December 2008 FEATURES DEPARTMENTS 5 NOTES FROM RIVER FARM 6 MEMBERS’ FORUM 8 NEWS FROM AHS Visiting scholar Norm Lownds focuses on the AHS’s youth programs, gift from Daniel family benefits a garden at River Farm, the AHS helps celebrate a greener Boston, AHS editor is honored by Garden Writers Association. 12 AHS NEWS SPECIAL America in Bloom’s 2008 award winners. page 24 42 ONE ON ONE WITH… Norm Lownds, children’s garden innovator. 14 INDOOR GARDENS UNDER GLASS BY KRIS WETHERBEE When winter has your yard in hibernation mode, bring the beau- 44 GREEN GARAGE® ty of the botanical world indoors by creating a terrarium. Useful specialty tools page 12 and winterizing tips. DANGEROUS LIVES OF PLANT EXPLORERS 20 BY KEN DRUSE 46 GARDENER’S NOTEBOOK In this excerpt from his new book, Planthropology, Ken Druse Student’s wild onion research yields clues to recounts the exploits of two fabled 19th-century plant hunters. plant diversification; ladybug sleuths sought to assist population study; new online resource for encouraging children to get STRIKING STEMS BY RITA PELCZAR 24 involved with nature; edibles replace City Many shrubs and small trees offer colorful stems, arresting forms, Hall lawn in San Francisco; Seed Savers and textured bark that add interest to winter gardens. Exchange names new executive director; Texas wildflower campaign to honor Lady 30 LESTER ROWNTREE Bird Johnson. -
EXPOSE YOURSELF to ART Towards a Critical Epistemology of Embarrassment
EXPOSE YOURSELF TO ART Towards a Critical Epistemology of Embarrassment Gwyneth Siobhan Jones Goldsmiths University of London PhD Thesis 2013 1 I declare that the work presented in this thesis is my own. Gwyneth Siobhan Jones 2 ABSTRACT This thesis investigates the negative affect of ‘spectatorial embarrassment’, a feeling of exposure and discomfort sometimes experienced when looking at art. Two particular characteristics of embarrassment figure in the methodology and the outcome of this enquiry; firstly that embarrassment is marginal, of little orthodox value, and secondly, it is a personal experience of aversive self-consciousness. The experiential nature of embarrassment has been adopted throughout as a methodology and the embarrassments analysed are, for the most part, my own and based on ‘true’ experience. Precedent for this is drawn from ‘anecdotal theory’, which uses event and occasion in the origination of a counter-theory that values minor narratives of personal experience in place of the generalising and abstract tendencies of theory-proper. The context is a series of encounters with artworks by Gilbert & George, Jemima Stehli, Franko B, Adrian Howells, and Sarah Lucas. They are connected by their contemporaneity, their ‘British-ness’, and that they allow the spectator no comfortable position to look from. This enquiry engages with theories of ‘the gaze’ (as both aesthetic disinterest and a dubious sign of cultural competence) and the challenge to aesthetic disinterest made by ‘transgressive art’ which may provoke a more engaged, even embodied response. Each encounter sparks consideration of differing causes and outcomes of embarrassment that resonate beyond art to broader sociocultural territories particularly in terms of gender and class. -
Public Public of Variety a Includes Brochure *This % Friday
CL HQ DU Michael T. Hensley, Outside In Mural In Outside Hensley, T. Michael Esplanade Eastbank Katz Vera the along RIGGA, , Gate Echo , at Central Library Central at , Stair Garden Kirkland, Larry CN ! GL , at the Portland Center for the Performing Arts Performing the for Center Portland the at , Bollards Folly Otani, Valerie Park Waterfront McCall Tom , Shift River Gregoire, Mathieu in the North Park Blocks Park North the in Bao Bao Xi'an & Tung Da as well. as artworks commissioned by other agencies agencies other by commissioned artworks *This brochure includes a variety of public public of variety a includes brochure *This % Friday. through Monday 8:00-6:00, are IL GQ CN Manuel Izquierdo, Izquierdo, Manuel Ilan Averbuch, Ilan Averbuch, Dana LynnLouis, James Carpenter, Portland Building at 1120 SW 5th. Hours 5th. SW 1120 at Building Portland Art Gallery on the second floor of the of floor second the on Gallery Art www.racc.org/publicart or visit the Public the visit or www.racc.org/publicart Terra Incognita to go collection, the about more out Spectral Dome Light Metabolic Shift Metabolic Dreamer leading Percent-for-Art programs.* To find To programs.* Percent-for-Art leading County, and manages one of the country’s the of one manages and County, , Pettygrove Park , Pettygrove , Rose Quarter , Rose Multnomah and Portland of City the for art , Pearl District commissions and maintains public maintains and commissions (RACC) , PCPA Regional Arts & Culture Council Culture & Arts Regional The P ORTLAND C ULTURAL T OURS EN J. Seward Johnson, Allow Me, in Pioneer Courthouse Square. -
City of Clive Public Art Master Plan 2018
CITY OF CLIVE PUBLIC ART MASTER PLAN 2018 Figure 1: Broken Compass by Anna Modeland Clive Public Art Master Plan (2018) Page | 1 CONTENTS LIST OF IMAGES .......................................................................................................................................................................................... 5 INTRODUCTION .......................................................................................................................................................................................... 7 BACKGROUND ............................................................................................................................................................................................ 7 VISION ........................................................................................................................................................................................................ 9 MISSION ..................................................................................................................................................................................................... 9 MASTER PLAN PURPOSE ............................................................................................................................................................................ 9 WHAT IS PUBLIC ART? ........................................................................................................................................................................... 9 WHY PUBLIC -
Excerpted From
Excerpted from ©2003 by the San Jose Museum of Art. All rights reserved. May not be copied or reused without express written permission of the publisher. click here to BUY THIS BOOK 1 79 RICHARD SHAW 1980, porcelain with glaze transfer, 14 9 8 ⁄2 in. Collection of the San Jose Museum of Art, Martha’s House of Cards Museum purchase with funds from the Collections Committee. Douglas Sandberg Photography. susan landauer the not-so-still life WHEN ART CRITIC HILTON KRAMER visited a survey of the the Poindexter Gallery in 1963, he was deeply impressed by the nerve of Richard Diebenkorn’s Knife in a Glass of that same year (fig. 80), a tiny still genre in california, life hanging amid a welter of larger figurative can- vases in the artist’s New York solo show. “One hardly knows,” he pondered in his review, “whether to 1950–2000 embrace its audacity—it is certainly a very beauti- ful painting—or shudder at such naked esthetic atavism.”1 Kramer’s appraisal can only be under- stood within the context of the extreme degrada- tion still life had suffered since midcentury. It is not that the genre had run dry, dissipating itself into dull familiarity. On the contrary, as Patricia Tren- ton’s essay in this volume attests, from the 1920s into the 1940s modernists in California as else- where had freed the genre from its staid reputation and transformed it almost beyond recognition. Dada and Surrealism had opened the Pandora’s box of still life iconography—its precincts were now host to every subject imaginable, from fur-lined cups to armadillos (see fig. -
Public Art Master Plan
Master Plan for Public Art Created in cooperation with the Cultural Planning Group November 2020 TABLE OF CONTENTS Dan Winterich, Standpoint, Appendix G #80 EXECUTIVE SUMMARY ......................................................................................................... 2 BACKGROUND The Community ..................................................................................................................................... 7 Arts Facilities ......................................................................................................................................... 7 Supporting Programs and Partnerships ................................................................................................ 8 Special Events ....................................................................................................................................... 8 Arts Commission .................................................................................................................................. 8 Guiding Policies..................................................................................................................................... 9 History of Public Art .............................................................................................................................. 11 Public Art in Sunnyvale ......................................................................................................................... 11 THE MASTER PLAN PROCESS Community Outreach .......................................................................................................................... -
The Dream of Joseph: Practices of Identity in Pacific Art
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarSpace at University of Hawai'i at Manoa The Dream of Joseph: Practices of Identity in Pacific Art Nicholas Thomas for Rangihiroa Panoho And Joseph dreamed a dream, and he told it his brethren, and they hated him yet the more. And he said unto them, Hear, I pray you, this dream which I have dreamed: For, behold, we were binding sheaves in the field, and, lo, my sheaf arose, and also stood upright; and, behold, your sheaves stood round about, and made obeisance to my sheaf. And his brethren said to him, Shalt thou indeed reign over us? Or shalt thou indeed have dominion over us? And they hated him yet the more for his dreams, and his words. And he dreamed yet another dream, and told it his brethren, and said, Behold, I have dreamed a dream more; and behold, the sun and the moon and the eleven stars made obeisance to me. And he told it to his father, and to his brethren: and his father rebuked him, and said unto him, What is this dream that thou hast dreamed? Shall I and thy mother and thy brethren indeed come to bow down ourselves to thee to the earth? Genesis 37, 4–11 The title of the first major exhibition of Polynesian migrant art in New Zealand alluded to this passage: “Te Moemoea no Iotefa” is “The Dream of Joseph” in Rarotongan, and the cover of the catalog featured a tivae- vae manu, or Cook Island appliqué quilt, which depicted the submission of sheafs, stars, and moons before Joseph’s sheaf.