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Complete Issue, Intertext Volume 4, Spring 1996
Intertext Volume 4 Issue 1 Spring 1996 Article 1 1996 Complete issue, Intertext Volume 4, Spring 1996 Follow this and additional works at: https://surface.syr.edu/intertext Part of the Education Commons, and the Nonfiction Commons Recommended Citation (1996) "Complete issue, Intertext Volume 4, Spring 1996," Intertext: Vol. 4 : Iss. 1 , Article 1. Available at: https://surface.syr.edu/intertext/vol4/iss1/1 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in Intertext by an authorized editor of SURFACE. For more information, please contact [email protected]. Volume IV, spring 1996 et al.: Complete issue BACKTRACKS Volume IV, spring 1996 preface || contents || contributors || editors A student publication of the Syracuse University Writing Program Editors Sergio Gregorio Amy E. Hommel Amy Krause Matt McAllister Eric Rodaman Debra Yelen Anatoly Zak Faculty Coordinator Jeanette Jeneault Technical Support George Rhinehart Special Thanks Susan Cronin Nance Hahn Louise Phelps This magazine features the work of writing studio students, and represents both the quality and the variety of writing produced in The Writing Program's undergraduate studios. It is the mission of this publication to further the primary goal of the program, to produce critically engaged writers within the academic writing community. The title refers to the interconnectedness and interdependence of all texts. Intertext, therefore, emphasizes the view that essays speak of and to one another, especially within a community context. The Writing Program is a vital, productive community in the process of many conversations, and each issue will contain glimpses into some of these. -
Oral History Interview with Eugenie Gershoy, 1964 Oct. 15
Oral history interview with Eugenie Gershoy, 1964 Oct. 15 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview EG:: EUGENIE GERSHOY MM:: MARY McCHESNEY RM:: ROBERT McCHESNEY (Miss Gershoy was on the WPA sculpture project in New York City) MM:: First I'd like to ask you, Johnny -- isn't that your nickname? -- where were you born? EG:: In Russia. MM:: What year? EG:: 1901. MM:: What town were you born in? EG:: In a wonderful little place called Krivoi Rog. It's a metal-lurgical center that was very important in the second World War. A great deal of fighting went on there, and it figured very largely in the German-Russian campaign. MM:: When did you come to the United States? EG:: 1903. MM:: You were saying that you came to the United States in 1903, so you were only two years old. EG:: Yes. MM:: Where did you receive your art training? EG:: Very briefly, I had a couple of scholarships to the Art Students League. MM:: In New York City? EG:: Yes. And then I got married and went to Woodstock and worked there by myself. John Flanagan, the sculptor, was a great friend of ours, and he was up there, too. I was very much influenced by him. He used to take the boulders in the field and make his sculptures of them, and also the wood that was indigenous to the neighborhood -- ash, pine, apple wood, and so forth. -
Jesuit Church in G.” a Painter Per- Forms the Heroic Feat First of Constructing Perspective Under Tech- Nically Difficult Conditions
Introduction Laurence A. Rickels “On the Genealogy of Media” invokes a tradition for thinking about technology, which passes from Nietzsche through Heidegger and Freud. As a collection on media, however, these texts gath- ered together in this special issue include few Nietzsche readings— or even Nietzsche references—in their thread count. Indeed, Nietzsche is not typically considered a thinker of media technol- ogies. But his genealogical interpretation of the Mass media as being on one uncanny continuum of valuation from Christianity to nihilism influenced, together with either Freud’s or Heidegger’s input, the media essays of Walter Benjamin as much as the media oeuvre of Friedrich Kittler. Following Nietzsche, then, a genealogy of media means, as in Heidegger’s questioning of technicity, that whatever technology may be it presupposes assumption of a certain (discursive) ready positioning for (and before) its advent as actual machines to which the understanding of technologization cannot be reduced. Freudian psychoanalysis views media technologies as prosthetically modeled after body parts and partings. A primary relationship to loss (as the always-new frontier of mourning where reality, the future, the other begin or begin again) is, on Freud’s turf and terms, the psychic ready position that is there before the event or advent of machinic externalities. In “A Mathematics of Finitude” Friedrich Kittler generates genealogies of “progress” in science, mathematics, and media span- ning centuries out of a single story by E. T. A. Hoffmann. Media machines are shown to intervene as makeshift stopgaps where the Discourse, 31.1 & 2, Winter & Spring 2009, pp. 3–8. -
Urban Landscapes Human Codes
via dufour 1 - 6900 lugano (CH) +41 (0)91 921 17 17 [email protected] PRESS RELEASE [dip] contemporary art is delighted to present I pag. 1 URBAN LANDSCAPES HUMAN CODES Opening: wednesday 22.01.2020 h. 18.00 - 20.30 Visits: 23.01 - 22.02.2020 A group show with Geraldo de Barros (Brazil), Paolo Canevari (Italy), Olga Kisseleva (France/Russia), Wang Tong (China), Avinash Veeraraghavan (India) A selection of works by three generations of artists, spanning four different continents. Different historical, political and artistic periods. Different social and urban contexts. Through their works, these artists depicts expressions of a visual vocabulary that refers to continuous interconnections between art and society: gathering strong inputs, eager to find a synergy between past and future, oscillating between different contexts. In this different explorations, the landscape, especially the urban one, becomes a metaphor for the incessant metamorphosis of society. PRESS RELEASE Geraldo De Barros (Sao Paulo, 1923 – 1998), was a Brazilian painter, I pag. 2 photographer and designer, who also worked in engraving, graphic arts, and industrial design. He was a leader of the concrete art movement in Brazil, cofounding Grupo Ruptura and was known for his trailblazing work in experimental abstract photography and modernism. Geraldo de Barros began his investigations into photography in the mid-1940s in São Paulo. He built a small photo studio and bought a 1939 Rolleiflex and, in According to The Guardian, 1949, he joined the Foto Cine Club Bandeirante, which was one of the few forums De Barros was "one of the most influential Brazilian artists of the for the city’s photography enthusiasts. -
Jazz Trio Plays Spanos Theatre Oct. 4
Cal Poly Arts Season Launches with Jazz Trio Oct. 4 http://www.calpolynews.calpoly.edu/news_releases/2006/September... Skip to Content Search Cal Poly News News California Polytechnic State University Sept. 11, 2006 FOR IMMEDIATE RELEASE Jazz Trio Plays Spanos Theatre Oct. 4 SAN LUIS OBISPO – In a spectacular showcase featuring jazz greats Bill Frisell (guitar/banjo), Jack DeJohnette (drums, percussion, piano) and Jerome Harris (electric bass/vocals), Cal Poly Arts launches its new 2006-07 performing arts season. The trio of master musicians will perform on Wednesday, October 4, 2006 at 8 p.m. in the Spanos Theatre. The evening will include highlights from the acclaimed release, “The Elephant Sleeps But Still Remembers.” Recorded at Seattle’s Earshot Festival in October 2001, “The Elephant Sleeps But Still Remembers” brilliantly captures the collaboration of two unparalleled musical visionaries: Jack DeJohnette -- “our era’s most expansive percussive talent” (Jazz Times) -- and Bill Frisell, “the most important jazz guitarist of the last quarter of the 20th century” (Acoustic Guitar). DeJohnette and Frisell first worked together in 1999. “We immediately had a rapport and we talked about doing more,” DeJohnette recalls. Frisell needed no convincing: “I have been such a fan of Jack’s since the late ’60s when I first heard him,” the guitarist says. “He’s been such an influence and inspiration throughout my musical life.” The two got together the afternoon before the 2001 Earshot concert and at the soundcheck, ran through a couple of numbers, but the encounter was largely improvised. “We had a few themes prepared,” Frisell says, “but it was pretty much just start playing, and go for it.” According to DeJohnette, “Bill and I co-composed in real time, on the spot” for “The Elephant Sleeps...” The album features 11 tracks covering a breadth of sonic territories. -
Community News Harboring the Good Life Table of Contents City News
City of Dana Point Summer 2015 Community News Harboring the Good Life Table of Contents City News ................................................................................................ 2 City Parks & Facilities Map....................................................................32 City Council Community Events ................................................................................24 Mayor Carlos N. Olvera Community Phone Numbers & Websites .............................................33 Mayor Pro-Tem John Tomlinson Community Services & Parks Information .............................................. 9 Council Member Joe Muller Event Calendar ..................................................................................7 & 8 Council Member J. Scott Schoeffel Recreation Activities .............................................................................12 Council Member Richard Viczorek Registration For Classes ............................................................... 10 & 11 Senior Activities ....................................................................................21 City Department Heads City Manager Douglas C. Chotkevys Administrative Services Mike Killebrew City Clerk Kathy Ward Community Development Ursula Luna-Reynosa Community Services & Parks Kevin Evans Emergency Preparedness Mike Rose Police Services Lt. Russ Chilton Public Works & Engineering Brad Fowler Important Contact Information City Hall (949) 248-3501 Administration (949) 248-3524 City Clerk (949) 248-3505 City Manager’s Office -
Nora Griffin
NORA GRIFFIN Nora Griffin was born in New York City in 1982. She received a BA from Oberlin College in 2005 and an MFA from Columbia University in 2011. Nora makes abstract paintings with an emphatic relationship to color, space, and memory. She has shown her work in solo and two-person shows at FIERMAN and Louis B. James in New York. Recent exhibitions include: Chuck Nanney & Nora Griffin at FIERMAN; “Modern Love” at Louis B. James; Intimacy in Discourse: Unreasonable Sized Paintings, curated by Phong Bui at SVA Chelsea Gallery; EXPO Chicago with Louis B. James; Paradise Café, curated by Olivia Smith at Spring/Break Art Show; and NADA NY with Louis B. James. Nora has twice been a resident at the Edward F. Albee Foundation in Montauk, NY and was a fellow at the BAU/Camargo Foundation in Cassis, France. Nora currently teaches painting at Cooper Union in New York and has been a visiting artist at Oberlin College and the Hoffberger School of Painting at MICA. Her writing about contemporary art has appeared in Art in America and The Brooklyn Rail. 127 HENRY ST - NEW YORK [email protected] - [email protected] -
Jean-Michel Basquiat – Gift of the Elegant Clochard
Jean-Michel Basquiat – Gift of the Elegant Clochard KAT BALKOSKI “I’d rather have a Jean-Michel [Basquiat] than a Cy Twombly. I do not live in the classical city. My neighborhood is unsafe. Also, I want my home to look like a pile of junk to burglars.”1 So joked René Ricard in his groundbreaking piece on Jean-Michel Basquiat for Artforum, “The Radiant Child,” in 1981. This kind of characterization of Basquiat’s art as “junk” and Ricard’s later description of the young artist having the affected “elegance of the clochard who lights up a megot with his pinkie raised” helped set the stage for the art world’s problematic fascination with Basquiat as the “true voice of the ghetto.”2 “Famous Moon King,” (fig. 1)—oil and acrylic on canvas, 180 x 261 cm—was painted at the height of Basquiat’s short career, in1984/85. It demonstrates a sophistication of the visual vocabulary and idiosyncratic graffiti style Basquiat was already developing in 1981. The work makes use of heterogeneous representational styles: three darkly filled-in figures with brightly outlined visible innards seem to float above a chaotic background of interpenetrative vignettes of line-drawn faces, body parts, stick figures, words and symbols. There is a logic of accumulation and appropriation to this work, consistent with the medium of graffiti, Diaspora culture, and the hoarding practices of the homeless and dispossessed. Familiarity with Basquiat’s biography is fundamental to the interpretation of his work, which is as much about the elaboration of an aesthetic identity within a worn out cultural vocabulary as it is “about” anything else. -
Oli Sihvonen Ellipse Paintings from the 1960'S
JAMES KELLY CONTEMPORARY - PRESS RELEASE 1601 Paseo de Peralta - Santa Fe, NM 87501 - 505.989.1601 Oli Sihvonen Ellipse Paintings from the 1960's Opening Reception: Friday, October 19, 2007, 5:00-7:00 pm Exhibition Dates: October 19 - December 8, 2007 Contact: Hannah Hughes: [email protected] Oli Sihvonen. Triad on Blue, 1965. Oil on canvas. 72 x 84 inches James Kelly Contemporary is pleased to present an exhibition of Oli Sihvonen's ellipse paintings from the 1960's. The sheer visual power, subtlety and elegance of his work stake a claim for his place in the history of twentieth century painting. His work is a variety of hard-edge painting, indebted to Albers and Mondrian on the one hand, but also to Matisse. As critic Paul Goodman, wrote in 1956, "Sihvonen's loving attention to the precise millimeter and the precise hue on the spectrum pays off in a floating and exciting calm and emotion; the picture is in motion, the colors leave their forms and come back changed. The canvas seems to generate its own light, not otherwise than in a bright noonday sun or in mysterious moonlight; there is a fullness of light." Sihvonen expanded upon a few motifs over long periods of time. This exhibition will focus on the ellipses. Within self-imposed formal limits, Sihvonen was able to invent complex variations embodying his "notions of multi-temporality: flow, rhythm, beat, [and] growth" in a static painting. Oli Sihvonen was born in 1921 in Brooklyn and grew up in Connecticut. He attended Black Mountain College where he was deeply influenced by the teaching of Josef Albers and his friendships with Buckminster Fuller, John Cage, and others. -
Oli Sihvonen Energy Fields, Life As a Painter Selections from His Career
JAMES KELLY CONTEMPORARY - PRESS RELEASE 550 S. Guadalupe St. - Santa Fe, NM 87501 - 505.989.1601 Oli Sihvonen Energy Fields, Life as a Painter Selections from His Career Opening Reception: Friday, February 10, 2012, 5:00-7:00 pm Exhibition Dates: February 10 – March 24, 2012 Contact: James Kelly: [email protected] Oli Sihvonen, “Ladder”, 1984, oil on canvas, 68 x 72 inches James Kelly Contemporary is pleased to present an exhibition of paintings by Oli Sihvonen (1921-1991). This exhibition will be the second presented by the Gallery, the first being a 2007 show of “Ellipse Paintings from the 1960s.” Oli Sihvonen was born in 1921 in Brooklyn, NY of Finnish ancestry. He attended classes at the Art Students League, New York, from 1938 to 1941, before serving in the U.S. Army in WWII. Upon his return to the U.S. after the war, Sihvonen entered the important Black Mountain College in North Carolina, where he met and became lifelong friends with people such as architect Buckminster Fuller, composer John Cage, dancer/choreographer Merce Cunningham and poet Robert Creeley. At Black Mountain College, Sihvonen studied with Josef Albers, former instructor at the Bauhaus, whose color theories had a lifelong influence on the artist’s work. In the late 1950s, Sihvonen moved to Taos, New Mexico, and became an influential member of the group of painters known as the Taos Moderns. He remained in Taos for more than a decade, after which he returned to New York where he lived and worked until his death in 1991. Sihvonen’s work is a kind of Hard-Edge painting, indebted to Albers and Piet Mondrian on the one hand, but also to Pierre Matisse. -
The Art Digest 1945-10-15: Vol 20 Iss 2
THE offs (=S5 am Sentimental Awarded Moment First Prize ’ by Philip Guston - of $1,000 at | " (Oil on Canvas, 1945 Carnegie : 1943) American Show i See Article on Page §& THE NEWS MAGAZINE OF ART eS ae ee WILDENSTEIN and co... MAU SEUM INC. | OF NON-OBJECTIVE PAINTING 24 EAST 54TH STREET NEW YORK CITY EXHIBITION OF CAMILLE PISSARRO HIS PLACE IN ART ror the Beet of MATTERN THE GODDARD NEIGHBORHOOD CENTER | Ky E AY SS 2 tf £ tt October 24 to November 24 19 East 64th Street, New York City Paris London | SOLOMON R. GUGGENHEIM FOUNDATION OPEN SUNDAYS 12-6 DAILY EXCEPT MONDAYS 10-6 WO ENTRANCE FEE DUVEEN BROTHERS, Inc. MASTERPIECES — OF PAINTING SCULPTURE PORCELAIN FURNITURE TAPESTRIES GOTHIC - RENAISSANCE EIGHTEENTH CENTURY New York - 720 Fifth Avenue the Salmagundi Club at which prizes are awarded those who PEYTON BOSWELL make the best record during American Art Week. I have attended several of these dinners, and have always come away Comments: with the feeling there should be prizes for everyone who has contributed time and thought to this worthy cause. This department expresses the personal opinion of Peyton Boswell, Jr., writing as an individual. Philadelphia’s Record Any reader is invited to take issue with what Oo" OF OUR MOST HUMAN TRAITS, perhaps sired of mental he says. Controversy revitalizes the spirit of art. laziness, is the tendency to judge groups by individuals. For example, because a certain museum finds it more con- Television in Color venient to dwell in the past, some of us fall into the habit i ans New York TiMEs on the morning of October 11 of using the words museum and mausoleum interchange- termed it a radio “miracle.” It did so advisedly, for the ably. -
Mira Schor and Jason Andrew with PHONG BUI
ii BROOKLYNRAIL CRI ICA L PE:RSP CTIVES O N A RTS, PO LITICS, AN D CU LTU RE Art October 5th, 2009 INCONVERSATION Mira Schor and Jason Andrew WITH PHONG BUI On the occasion of the painter Jack Tworkov’s retrospective Against Extremes: Five Decades of Painting, which will be on view at The UBS Art Gallery until October 27, 2009, and the publication of The Extreme of the Middle: Writings of Jack Tworkov, published by Yale University Press, both curator, Jason Andrew, and editor, Mira Schor, paid a visit toOff the Rail Hour at Art International Radio to talk with Publisher Phong Bui about Tworkov’s life and work. Phong Bui (Rail): Having read the whole volume of writing and seen the show, I was struck by his incredibly astute observations which seemed to me must have derived from the capacity for self- criticism and self-analysis, and which gave him a sense of deliberate eloquence in his continuity as a painter and thinker. There are two things I remember reading from the book which really stayed with me: one is the first sentence from the journal entry, which he started right after the war, 1947, the same year as his first one-man show at Charles Egan Gallery, “Style is the effect of pressure. […] In the artist, the origin of pressure is in his total life—heredity, experience, and will […]—but the direction flows according to the freedom he allows his creative impulse.” Two is the long article “Notes on My Painting,” which was published in Art in America in 1973 under the invitation of Brian O’Doherty, where in the end he says, “Above all