DOCSLIB.ORG

Annual Review 2012-13

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Annual Review 2012-13 THE BRITISH SCHOOL AT ROME Annual Review 2012–2013 impag pp1-17 2013 q8:papers 27/08/13 17:19 Page 1 THE BRITISH SCHOOL AT ROME Patron: HM The Queen President: HRH Princess Alexandra, the Hon. Lady Ogilvy, KG, GCVO The British School at Rome is a centre of interdisciplinary research excellence in the Mediterranean supporting the full range of arts, humanities and social sciences. We create an environment for work of international standing and impact from Britain and the Commonwealth, and a bridge into the intellectual and cultural heart of Rome and Italy. The BSR supports: ■ residential awards for visual artists and architects ■ residential awards for research in the archaeology, history, art history, society and culture of Italy and the Mediterranean ■ exhibitions, especially in contemporary art and architecture ■ a multidisciplinary programme of lectures and conferences ■ internationally collaborative research projects, including archaeological fieldwork ■ a specialist research library ■ monograph publications of research and our highly rated journal, Papers of the British School at Rome (PBSR) ■ specialist taught courses. T HE B RITISH S CHOOL AT R OME Via Gramsci 61, 00197 Rome, Italy Tel. +39 06 3264939 Fax +39 06 3221201 E-mail [email protected] www.bsr.ac.uk BSR London Office (for scholarship and publications enquiries): The BSR at The British Academy 10 Carlton House Terrace, London, SW1Y 5AH, UK Tel. +44 (0)20 79695202 Fax. +44 (0)20 79695401 E-mail [email protected] Registered Charity no. 314176 1 impag pp1-17 2013 q8:papers 27/08/13 17:19 Page 2 ANNUAL REVIEW 2012–2013 Chairman’s Foreword 3 Director’s Report 4 Excellence in Research 5 Humanities 5 Archaeology 8 Herculaneum Conservation Project 11 Architecture 12 Fine Arts 13 Publications 15 Sustainability 16 Support for the Humanities and Social Sciences 18 Taught Courses 18 Support for the Fine Arts 20 Library and Archive 22 Institutional Development 24 Humanities and Fine Arts Awards 26 BSR Activities 28 Publications and Exhibitions by Staff 32 Research Fellows 33 Staff 34 Council, Subcommittees and Honorary Fellows 35 Financial Report 36 Members of the BSR 38 Illustration Acknowledgements Cover: In The World, 2012, by Rebecca Ross, Australia Council Resident 2012. Photograph by Claudio Abate. Pages 4–5: photographs by Sophie Hay. Pages 6–7: photographs by Rebecca Gill and Sophie Hay. Pages 8–9: photographs by Simon Keay/Portus Project and Robert Gardner/BSR Archive; image by Matthew Berry. Pages 10–1: photographs by Francesco Maria Cifarelli and Akhet/HCP. Page 12: photograph by Claudio Abate. Pages 14–5: photographs by Claudio Abate and Jonathan Baldock. Page 19: photograph by Antonella Parisi. Page 21: photography by Maja Daniels. Page 22: photograph by Carlo Baldassarre Simelli/BSR Archive. Page 24: photograph by Mary Ellen Mathewson. Page 27: photography by Gregor Borg. Page 31: photograph by Natalie Arrowsmith. 2 impag pp1-17 2013 q8:papers 27/08/13 17:19 Page 3 CHAIRMAN’S FOREWORD Visitors to the British School at Rome quickly discern that the apparent timelessness of its façade disguises an institution that is both entirely modern in attitude and dynamic in approach. This review provides compelling evidence of the quality and diversity of the BSR’s recent achievements: the activities of the outstanding scholars and artists from the United Kingdom and the Commonwealth who made the BSR their home last year; the receptions, conferences and lectures which form an increasingly significant aspect of Rome’s cultural and academic life; the impressive output of publications and the remarkable partnerships between British and Italian archaeologists. Central to this wide engagement are the Library, a precious research resource not restricted only to scholars resident at the BSR, and our elegantly functional Lecture Theatre. A very few years ago, the significant erosion of our income resulting from exchange rate movements, recession and retrenchment, all beyond the BSR’s control, made it seem most unlikely that we would be able to sustain the degree of activity described in these pages. A cut of over one quarter in revenue within a year would be difficult for any institution to withstand. Strong leadership has successfully changed these circumstances. The deft and skilful implementation by the director of a more economical organisational structure and the decisive initiative to launch a development programme under the leadership of the director and Mary Ellen Mathewson, which has already increased the membership, annual giving and support for residencies, accompanied by some improvement in the sterling - euro exchange rate, have entirely redressed the imbalance in the BSR’s finances. Most importantly, the magnificent, positive response of the staff to these changed circumstances and their strong commitment to the institution, for which we are all most grateful, have raised morale to a high level. The strength of this performance was recognised in the positive report of the representatives of the British Academy following their visit at the end of 2012. We know that as time goes by, an ever greater proportion of our revenues must be drawn from sources other than public funds. Council is committed to extending our initial successes in pursuing new alternatives. We are fortunate that the very high reputation of the BSR in British and Commonwealth academic circles has encouraged contributions from trusts and foundations with a special interest in the fields we cover. Our challenge however is to move beyond this, to establish a much wider familiarity with the BSR amongst the general public in the United Kingdom, to nurture appreciation of the excellence of the institution and the opportunities it offers talented young persons, and thereby to create a deeper and wider pool of potential financial support. So this review looks forward as well as back. The Sustainable Building Project described below will not only secure the fabric for the long term, but will enable us to meet environmental goals and dramatically reduce annual running costs. We shall also seek further strategic partnerships among universities, museums and galleries in the United Kingdom to encourage participation in our programmes and to create future opportunities at home for our award-holders. Governance of the British School at Rome and oversight of its scholarly and artistic programmes is vested in the Council and faculties, which comprise individuals with wide-ranging experience and recognised professional standing, knowledge and skills, who provide, on an entirely voluntary basis, valuable advice and support to the BSR, its director and staff. I have no doubt that as the next few years unfold, there will be yet greater calls on those who so generously serve these bodies. On behalf of the institution as a whole, I would like to salute and thank all Council and faculty members for their exceptional contributions. Tim Llewellyn Chairman of Council 3 impag pp1-17 2013 q8:papers 27/08/13 17:19 Page 4 DIRECTOR’S REPORT Strong institutions adapt to survive, and the BSR has shown a good deal of flexibility in recent times. In many ways, the news we have is good. This year’s Annual Review ends by showing a good financial result for the year, which has permitted us to undertake two really important projects. First, we have begun the process of finding a new design and style for the whole range of our communications, with the help of Council member Jane Wentworth and the design team Praline, and the results of this will become visible in 2013–14. This will enable us to be more coherent and professional in the way we present ourselves. Second, we have commissioned Italian architects Studio Amati and the internationally renowned firm ARUP to work with Studio Garofalo Miura, who have a long history with the BSR, to help us prepare for the Sustainable Building Project. Our research activities remain of the highest quality, whether that be our publications, our events in Rome or London, or the work and achievements of our award-holders. The British Academy commended us in a review this year for our work; and the Arts and Humanities Research Council drew attention in its strategic plan to the relationship between the University of Southampton and the British School at Rome, as a case study in international partnerships. BSR award-holders continue to win prizes, find positions and gain admiration for their work. The flow of publications, prizes and exhibitions that we celebrate on our social media pages is unending, and shows the value of the work of the faculties in appointing the best artists and scholars. When we began to think about the BSR in the context of our brand review, we used the opportunity to think hard about our core values. We are committed to support but also to provide an intellectual challenge to those who come to the BSR. We recognise the value of our traditions, but we also value our role as an institution deeply engaged with the contemporary world, and producing research that is at the forefront of scientific endeavour. Our adherence to some key core values is what is helping us through a period of significant staff change, and in 2012–13 Alice Bygraves, Alvise di Giulio, and Maria Pia Malvezzi moved to take up new challenges and directions. We wish them well, as we do Elly Murkett, who is also leaving us. She has edited the Annual Review since 2003 and we thank her warmly for the work she has done. More sadly, this year the BSR lost two old friends, David Whitehouse (Director, 1984–94) and Charles Mason (Rome Scholar in the Fine Arts 1996–7). Their work and lives Lutyens Trust members unveil the BSR name plaque on their October 2012 visit to Rome enriched us, and we 4 impag pp1-17 2013 q8:papers 27/08/13 17:19 Page 5 DIRECTOR’S REPORT are deeply grateful for the time they spent with us.
Load more

Recommended publications
  • Jelena Savić
    01 / 2020 ISSN 2520-2472 MUSEUMSMUSEUMSMUSEUMS OFOFOF CITIESCITIESCITIES REVIEW REVIEWREVIEW network.icom.museum/camoc/ CAMOC ANNUAL CONFERENCE 2020 “The Right to the City” Krakow, Poland postponed for October 1-3, 2020 DOSSIER: FROM KYOTO TO KRAKOW • RAPID-RESPONSE EXHIBIT • MIGRATING MEMORIES • A MUSEUM FOR THE PEOPLE1 MUSEUMS OF CITIES REVIEW CONTENTS 04 08 20 18 24 10 03 THE CHAIR’S NOTE - The new museum definition Joana Sousa Monteiro and its implications 25 04 NEW MUSEUM APPROACHES - A close experience, 18.108 Respect Existence or Expect kilometres from home Resistance. A Rapid-Response Exhibit 22 RETHINKING MUSEUMS A Personal Reflection from the 07 MUSEUMS1 Symposium A Museum for the IV International Research and People Practice Conference “Museum in the City — City in 25 MUSEUMS AND MIGRATION the Museum” Migrating Memories – 33 Dialogues on the Relationship 10 DOSSIER: FROM KYOTO TO Between Memory, Heritage KRAKOW and Migration BETWEEN THE TWO ANNUAL CAMOC MEETINGS 28 ACTIVITIES & EVENTS CAMOC Kyoto 2019: City The Museum Inside Me Museums as cultural hubs past, present and future 28 EXHIBITION ALERT Upcoming exhibitions Niki de Saint Phalle, “Tarot Garden”. 16 GRANTEE REPORTS: - An overview of the General 34 CONFERENCE ALERT COVER PHOTO: Krakow City. Conference Future conferences © Museum of Krakow Editorial Board: Jelena Savić (Editor), Layla Betti, Jenny Chiu, Renée Kistemaker, Gegê Leme, Marlen Mouliou, Susan Sedgwick, Joana Sousa Monteiro Supporting Team: Catherine Cole, Ian Jones, Chet Orloff, Eric Sandweiss, Rainey Tisdale, Jackie Kiely Design: Bingul Gundas FOLLOW US AT: Facebook Twitter Linkedin You Tube Instagram 2 THE CHAIR’S NOTE From the Chair Dear CAMOC members, The most unexpected has just happened, a global epidemic is forcing us all to reorganise our lives and plans.
    [Show full text]
  • The 5 Coin Oracle
    Printed and produced by Old Yellow Moon Publishing February 2019 Copyright Cara Lyn Hamilton © See other products on: www.carahamilton.co.uk www.secret-tarot-garden.com Origins There are numerous coin oracles available. Geomancy based methods are the rule and as reading systems they are excellent and carry a wonderful history if historic methods interest you. This oracle comes from my experience in Tea Cup, Rune and Tarot Reading. As at the time of writing I have over 20 years professional reading experience I hope this speaks well of the thought and process invested in this system. My aim was to create a Zen reading system that would be simple, easy to read and perform. As a reader or performer you can add this into your current work without difficulty. Since I created it a few years ago, I have used it on numerous occasions to add something different into a reading. This oracle pdf gives you a reading framework, and interpretation guide, my additional thoughts on interpretation and how to relate it to a Tarot Reading with my Zairja Tarot Reading. Note: This system is aimed at both the Fortune Teller and the Magician. I believe my system to be of great value to both communities and those who work in both fields. Contents: Requirements How to think about the system Landscape Reading The General Reading Breaking the rules Health Issues With Palmistry The Cartomancy Square The Seven Planets Reading The Zairja Reading Requirements 5 coins, that is it. Personally I use either Victorian pennies or bronze coins of Chinese style and carry interesting Chinese calligraphy markings on one side and sun, moon and monkeys on the other.
    [Show full text]
  • Selected Tarot Garden Press
    Selected Tarot Garden Press “Major Arcana.” Tique Denmark Summer 1986: 59-65. Print. (Danish) Miracco, Franco. “L’Imperatrice dei Tarocchi.” Epoca 30 Jan. 1987: 102-107. Print. (Italian) Gunasinghe, Zora. “Niki de Saint Phalle Een toneeldecor in Kassel en een Tarot-tuin in Toscane.” Ruimte Feb. 1987: 2-3, 16-20, 47. Print. (Dutch) Billard, Pierre. “Voyage en Nikiland.” Le Point 30 Mar. – 5 Apr. 1987: 134-136. Print. (French) Graziani, Benno. “Les tarots fantastiques.” L’Express Style 7 May – 4 Jun. 1987: 36-42. Print. (French) Michael, Prince of Greece. “House of Cards.” Architectural Digest Sept. 1987: 124-131. Print. (English) Rose, Barbara. “A garden of earthly delights.” Vogue Dec. 1987: 266-273. Print. (English) Hultén, Pontus. “Niki de Saint Phalle.” Månads Journalen 4 Apr. 1988: 54-61. Print. (Swedish) Lecoultre, Cécile. “Cartomancienne en Toscane.” Femina 15 May 1988: 12-15. Print. (French) Schlag, Beatrice. “Wo Götter sich erheben.” SonntagsZeitung 27 Nov. 1988: 43. Print. (German) Foldes, Lili. “Die skurrile Welt der Niki de Saint Phalle.” Das Beste Reader’s Digest Mar. 1989: 58-63. Print. (German) Dunlop, Fiona. “Niki in Wonderland.” The Sunday Times Magazine 28 May 1989: 68-71. Print. (English) Michel, Prince de Grèce. “Niki, dame des tarots.” Maison & Jardin Sept. 1989: 174-181. Print. (French) Gunasinghe, Zora. “Giardino dei Tarocchi.” Tableau Sept. 1989: 110-112. Print. (English) Ciucci, Alessandra and Flavia Matitti. “Nel Paese dei Tarocchi.” Art e Dossier Nov. 1989: 24- 25. Print. (Italian) Rodota, Maria Laura. “Tarocchi selvaggi.” Panorama 24 Jun. 1990: 62. Print. (Italian) Graziani, Benno. “Le jardin extraordinaire de Niki de Saint Phalle.” Point de Vue 28 Jul.
    [Show full text]
  • September 18 – December 14, 2015 the National Art Center, Tokyo
    September 18 – December 14, 2015 The National Art Center, Tokyo Organized by: The National Art Center, Tokyo Réunion des musées nationaux - Grand Palais Niki Charitable Art Foundation NHK NHK Promotions Inc. With the support of: Ambassade de France / Institut français du Japon With the sponsorship of: Nissha Printing Co., Ltd. With the special cooperation of: Yoko Shizue Masuda Collection With the cooperation of: Air France / KLM Royal Dutch Airlines 008 015 Collection Musée d’Art Moderne et d’Art Green Sky Pink Tir Contemporain, Nice, donated by the artist in 1 2001 May 1961 1972/1988 Enfant Terrible: Rebel Artist Paint, plaster and various objects (gun, comb, Paint, plaster and various objects on paper mirror, suspender, baby’s shoe, etc.) on 68.5 × 81.8 cm 001 masonite Yoko Shizue Masuda Collection Autoportrait 46.5 × 42 × 5 cm ahlers collection 016 1958-59 Tyrannosaurus Rex / The Monster / Tir 2 Paint and various objects (pebbles, coffee 009 beans, crockery fragments, etc.) on wood Dragon (Study for King Kong) Women in Question 141 × 141 × 10 cm Martyr nécessaire / Saint Sébastien Spring 1963 Niki Charitable Art Foundation, Santee / Portrait de mon amour / Portrait of Paint, plaster, taxidermal animal, plastic and 023 Myself various objects on wood Cœur de monstre 002 1961 198 × 122 × 25 cm 1962 Scorpion and Stag Paint and various objects (dartboard, darts, Niki Charitable Art Foundation, Santee; Paint, plaster and various objects (wool, wire Courtesy Galerie GP & N Vallois, Paris 1959 man’s shirt, tie, packet of cigarettes, gun)
    [Show full text]
  • Niki De Saint Phalle: Structures for Life Moma PS1, March 11, 2021 - September 06, 2021
    Niki de Saint Phalle: Structures for Life MoMA PS1, March 11, 2021 - September 06, 2021 NIKI DE SAINT PHALLE (French and American, 1930–2002) Clarice Again 1966–1967 Polyester and polyurethane paint 82 × 65 × 63" (208.3 × 165.1 × 160 cm) Private collection NIKI DE SAINT PHALLE (French and American, 1930–2002) Buste c. 1967 Painted plaster 4 1/2 × 6 1/8 × 3 15/16" (11.4 × 15.6 × 10 cm) Courtesy Salon 94, New York NIKI DE SAINT PHALLE (French and American, 1930–2002) Sphinx / Sphinge (1ere version) 1969 Painted polyester 11 5/8 × 16 1/8 × 10 5/8" (29.5 × 41 × 27 cm) Private collection NIKI DE SAINT PHALLE (French and American, 1930–2002) JEAN TINGUELY (Swiss, 1925–1991) Études pour Nana Maison c. 1969 Black marker on paper 16 1/4 × 11 11/16" (41.3 × 29.7 cm) Private collection 3/29/2021 Niki de Saint Phalle: Structures for Life Page 1 of 43 Niki de Saint Phalle: Structures for Life MoMA PS1, March 11, 2021 - September 06, 2021 NIKI DE SAINT PHALLE (French and American, 1930–2002) What Is Now Known Was Once Only Imagined 1979 Offset-printed poster 17 15/16 × 24" (45.6 × 61 cm) Courtesy Salon 94, New York NIKI DE SAINT PHALLE (French and American, 1930–2002) Golem 1991 Two lithographs and one book in folio, with photographs by Leonardo Bezzola; published by Bätterkinden 16 1/8 × 16 15/16" (41 × 43 cm) Courtesy Salon 94, New York RICO WEBER (Swiss, 1942 – 2004) Golem 1972 Video (color, sound) 1 hrs., 17 min., 37 sec.
    [Show full text]
  • In the Tarot Garden, a Creation by Niki De Saint Phalle
    18 DECEMBER 2014 CATERINA POMINI 9067 IN THE TAROT GARDEN, A CREATION BY NIKI DE SAINT PHALLE The Giardino dei Tarocchi (Tarot Garden) lies on the southern slope of the Garavicchio hill, approximately 8 km from Capalbio, province of Grosseto; the French-American sculptor Niki de Saint Phalle (born Catherine Marie-Agnès Fal de Saint Phalle) began to build it in 1979, after personally visiting Antoni Gaudí's Parco Güell in Barcelona and the Parco dei Mostri (Park of the Monsters) in Bomarzo, province of Viterbo. It looks like a town out of time, a triumph of colours, mirrors, glasses, ceramics and Venetian murrine in the heart of Southern Tuscany's Maremma countryside; the 22 monumental sculptures representing the greater Mysteries of the tarot seem to rule over the cobblestone paths, the oaks and the olive trees, over the cobalt blue sea extending to the horizon. To make this magical and spiritual dream come true, Niki spent about seventeen years working and living in the Garden, assisted by her husband Jean Tinguely, a team of renowned contemporary artists and a group of specialized workers; the Swiss architect Mario Botta constructed a wall and entrance for it: a thick wall with one large circular opening, which clearly separates the Garden from the outside world. During construction works, Niki moved into The Empress-Sphinx and patiently waited for her sculptures to take shape (or maybe to come to life?)... She died four years after the opening of her spellbinding Creation, which is now maintained by the Fondazione Il Giardino dei Tarocchi. Beyond the wall, the dusty gravel path goes up to a large square occupied by the Magician and the High Priestess, the first two Major Arcana: the masculine power of creation and the feminine inner intuition form a single, massive statue, which supplies water to the Wheel of Fortune's fountain.
    [Show full text]
  • NIKI DE SAINT PHALLE: a Psychological Approach to Her Artwork and the Symbolic Significance of the Tarot Garden by Paul Brutsche
    ARAS Connections Issue 1, 2012 NIKI DE SAINT PHALLE: a Psychological Approach to Her Artwork and the Symbolic Significance of the Tarot Garden By Paul Brutsche The images in this paper are strictly for educational use and are protected by United States copyright laws. 1 Unauthorized use will result in criminal and civil penalties. ARAS Connections Issue 1, 2012 Niki de Saint Phalle died in 2002 in San Diego. She was already a famous artist during her lifetime, and since her death she continues to be a presence in the media and in her big and colorful sculptures. She has left behind her, important work, which seems easy of access and yet at the same time is enigmatic and unusual in its style and therefore difficult to understand. This paper tries to contribute to an understanding of her work through symbolical interpretation along Jungian lines. This psychological approach is not meant to give a reductive explanation of Niki de Saint Phalle’s personality, but on the contrary, to open an additional perspective and to honor her creative effort by discovering a symbolical depth beyond and in addition to the aesthetic and artistic value of her work. I will first introduce Niki de Saint Phalle with a biographical overview of her life. Then we will take a look at several aspects of her creative work: first, her critical examination of the conventions and the spirit of the patriarchy, and secondly, a later phase in which she created her well known “Nana Figures,” in which she found her own corresponding feminine self.
    [Show full text]
  • The Different Types of Tarot - Purposes and Intentions
    Adam McLean’s Study Course on the artwork and symbolism of modern tarot Lesson 3 : The different types of tarot - purposes and intentions When the human mind is presented with a thousand and more related things each different from the other in various ways, it cannot help wanting to classify them, and put them into different categories, hoping that this might throw some light on the subject. So now we inevitably find ourselves drawn to categorise our tarots. It would be a very complex task of almost forensic scholarly analysis to see the various influences on each tarot and draw up a kind of family tree of imagery, with so many branches and interconnections. Such an approach though interesting will be better left to some student to undertake in their Ph.D. thesis, as it would be a bit tedious, breaking the momentum of our journey in our course of exploring tarot art. So though we will not be looking at a scholarly categorization of tarot designs, there are a number of easier and more immediately meaningful approaches we can take which will help us see different types of tarots. We can, for example, look at the intention of the designer in making the images. What was the purpose they intended in creating their individual set of designs. Now such an approach is fraught with danger as, unless we have discussed this with the artist or designer, what right do we have to say what their intentions were? (Artists in any case usually duck questions about their motivations, or at least give all sorts of obscure answers, so we might not get very far by asking them directly.) We will not get our Ph.D’s with this approach of guessing or estimating the artists’ intentions, but we should get some understanding and insight, flawed though this method may be.
    [Show full text]
  • Final-Tarot-Lesson-2
    Art Outreach Program Projects & Lesson Plan: Tarot Card Painting 5TH-8TH GRADE PAINTING PROJECT Lesson Overview: Students will learn about Niki de Saint Phalle’s Personal & Artistic Biography, highlighting one of her major works, the Tarot Garden. Students will analyze symbols on the Tarot Cards to learn to express visual meaning and create their own Tarot Card Project Overview: Using a variety of Tarot Card examples, students will make their own version of a Tarot Card. Students will use color theory, symbolism, and the principles and elements of design to paint their own rendering of a Major Arcana Tarot Card ART VOCABULARY: Sculpture: Making a 3-dimensional art piece by carving or casting Prints & Lithographs: A finished product that comes from the process of reproducing original drawings with printmaking machinery Symbols: A drawing, sign, or word that signifies or is understood as representing an idea, object, or Niki de Saint Phalle - Tarot Cards, lithograph relationship Here is a full spread of the 22 Trump Cards of the Tarot Deck by Niki. Notice that they are all Foreground: The images that are located closest but the Star are Closed Compositions! to the viewer or towards the bottom of the image are what makes up the foreground, colors are Open Composition: An image that extends usually more vibrant beyond the boundaries of a frame Middle ground: The space between the Closed Composition: An image that is contained background and the foreground within the frame Background: The scene that is furthest away, Color Theory: The study of how colors work with slightly duller colors and smaller objects with together to create a composition and to less detail communicate imagery further LEARN ABOUT NIKI DE SAINT PHALLE Background: •Niki de Saint Phalle, born Catherine Marie Agnès Fal de Saint Phalle on October 29th 1930, was a Franco-American artist.
    [Show full text]
  • Fall 2008 in This Issue: Chris Butler Interview
    The American Tarot Association Quarterly Journal Fall 2008 In This Issue: Chris Butler Interview The Devil, Aces and Queens Publishing Tips Weiser Decks Venus Cards Clutter Consulting With Tarot Website and Deck Reviews Fall 2008 Issue - Table of Contents ATA News President‘s Corner page 1 Board Elections and Mentoring Program page 2 Features Interview with Chris Butler by Melanie Harris page 3 In View of the Devil by Leah Samul page 6 Functionality of the Tarot Aces by Bonnie Cehovet page 9 Clutter Consulting with the Tarot by Bev Hitchins page 12 The Queens: The Source of Power by Linda Gail Walters page 14 Insider Tips to Get Your Tarot Book Published by Melanie Harris page 16 Stars and Cards: Venus Cards by Elizabeth Hazel page 19 The History Geek page 23 Collector‘s Corner: Weiser Decks by Casey DuHamel page 24 Timeless Classics: The Greater Trumps by Sherryl Smith page 27 Reviews Tarot Website Reviews by Linda Gail Walters page 29 The Mystic Dreamer Tarot by Stephanie Arwen Lynch page 32 The Whispering Tarot by Leah Samul page 33 Fantastical Creatures Tarot by Leah Samul page 34 Back Matter Letter from the Editor and Submission Guidelines page 36 Organization Information back page On the Cover: The Ace of Pentacles from the Mystic Dreamer Tarot. Based on the Rider-Waite tradition, featuring updated symbols and imagery, this beautiful deck is designed to stimulate intuition, introspection and in- spiration. Mystic Dreamer Tarot, text by Barbara Moore, artwork by Heidi Darras © 2008. Llewellyn Worldwide Ltd, 2043 Wooddale Drive, Woodbury, MN 55125.
    [Show full text]
  • Architecture and Feminism
    Architecture and Feminism Architecture and Feminism YALE PUBLICATIONS ON ARCHITECTURE EDITORS Debra Coleman I Elizabeth Danze I Carol Henderson PRINCETON ARCHITECTURAL PRESS PUBLISHED BY Princeton Architectural Press 37 East 7th Street New York, NY 10003 2lll.995.962o ©1996 Debra L. Coleman, Elizabeth Ann Danze, and Carol jane Henderson ISBN 1-56898·043-4 All rights reserved. 99 98 97 96 4 3 2 l FIRST EDITION No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews. Printed and bound in the United States Book design and production editing: Sara E. Stemen special thanks to Caroline Green, Clare Jacobson, Therese Kelly, Mark Lamsler, and Annie Nitschke-Kevin C. Lippert, Publisher LIBRARY OF CONGRESS CATALOGING-IN· PUBLICATION DATA Architecture and Feminism: Yale Publications on Architecture/ editors, Debra Coleman, Elizabeth Danze, Carol Henderson p.cm. Includes bibliographical references ISBN 1-56898·043-4 (pbk.) I. Feminism and architecture. I Coleman, Debra, 1959- 11. Danze, Elizabeth, 1956- . III. Henderson, Carol, 1962- IV. Yale University. School of Architecture. NA2543.F45A73 1996 720' .82-dc20 96-34510 CIP For a free catalog of other books published by Princeton Architectural Press, call toll-free 800.722.6657 Visit Princeton Architectural Press on the World Wide Web at http://www.papress.com Contents Acknowledg;ments vii Introduction ix DEBRA COLEMAN Everyday and "Other" Spaces MARY McLEOD The Knowledge of the Body and the Presence ofHistory- Toward a Feminist Architecture 3 a DEBORAH FAUSCH see angel touch so AMY LANDESBERG AND LISA QUATRALE Project Manual for the Glass House 12 CHRISTINE S.
    [Show full text]
  • Reacfover 300,000 REAI for LESS
    ;B-8 The Chronicle May 22,1996 • "% See the color and pageantry of Monday's parades. Page A-8, To subscribe, call (800) 300*9321 WANTED TO LEASE by VS. POSTAL SERVICE Wednesday, May 29,1996 Warren Branch, Plalnfield, NJ .. HILLSBOROUGH 106, No. 22 A Forbes Newspaper 50 cents The U.S. foaal Service is soliciting proposals to lease an SPECIAL OFFER existing building or lease a building newly constructed to USPS CRANFORD • GARW00D • KENILWORTH specifications with an option to purchase at any lime during BUY $ lease term. The building size requirement is approximately 3,500 SF OFFICE BLDO 19,000 net interior sq.ft. plus approximately 600 SFofplalfomi 1 Block Irom Courthouse. |f' 55O area on a site approximately 90,692 sq. ft The minimum basic Includes adjacent lot. A/C. lease term is 20 years with four successive S year renewal CLASSIFIED Oversized Luxurious Garden Apartments 1 BEDROOM APTS.* options. The preferred geographic perimeter area is within Briefs INCLUDES HEAT & HOT WATER Warren Branch, PLainfield. NJ, 070S9 mail delivery area as approximately bounded by the following: • Substantial Playground LEASE INQUIRE ABOUT LARGER APTS. North' Mountain Avenue, South - Washington Valley Road, • Largest Swim Club In Area at PRIME OFFICE SPACE East - Old Sterling Road. West - Liberty Comer Road. ' 1,600 SF. Route 202 expo- inior expo . Offers must be submitted in accordance with the terms ofihe NomlnaLf.ee. sure. $2,000/mo. aoUcttationpackagewhichnuybeobtainedfiDmtheundenigned at a non-refundable fee of $75.00. Payment of this fee must be To aid senior citizens as they BRGOKSTOBT by bank check or money order made payable to the "Disbursing 908-874-6644 or 359-7180 May as Older American Officer - USPS".
    [Show full text]