DOCSLIB.ORG

THE BECKETT CIRCLE LE CERCLE DE BECKETT O N E W S L E T T E R O F T H E S a M U E L B E C K E T T S O C I E T Y Krapp at the Gate

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE BECKETT CIRCLE LE CERCLE DE BECKETT O N E W S L E T T E R O F T H E S a M U E L B E C K E T T S O C I E T Y Krapp at the Gate THE BECKETT CIRCLE LE CERCLE DE BECKETT O N e w s l e t t e r o f t h e S a m u e l B e c k e t t S o c i e t y Krapp at The Gate Michael Colgan, director of Dublin’s Gate The- pearances on The Gate stage in recent years. The atre, regularly rises to the occasion of Beckett possibility that he might essay the role of Krapp Festivals every number of years (most recently would have been suggested by his appearance for the centenary of the playwright’s birth). His in Beckett’s Eh Joe, director Atom Egoyan’s rei- fidelity to the works and memory of the man magining of that TV film as a stage play. The role never wavers or diminishes, as evidenced by sin- consisted primarily of Joe—in the lugubrious gle productions of individual plays between the form of Gambon—padding around and explor- festivals. Not that those individual productions ing his room before settling on the bed. Egoyan are anything less of an event. For this new stag- presented what was essentially a mixed media ing of Krapp’s Last Tape Colgan lined up Michael production, since a close up of Gambon’s face Gambon and great anticipation surrounded the was projected on to a screen (as in the TV ver- casting of one of the very greatest contemporary sion) while we simultaneously saw his corporeal stage and film actors in the role. It is the first time body in front of us. We had the opportunity to In This Issue: Gambon has played it; the most recent interpret- study Gambon’s changing expression, and what er (in the past decade or so) was John Hurt, twice Beckett’s text calls ‘the mounting tension of lis- at The Gate as well as in the ‘Beckett on Film’ tening’ as he silently attends to the voice of a Tribute to Avigdor project. Gambon has made several notable ap- woman. A fifty-something man alone in his room Arikha Performance Reviews from Dublin, Melbourne and Chicago Conferences Reviews from Munich, Montréal and Gda´nsk Reviews of Books by Friedman and McDonald Fall 2010 Volume 33 No.2 Michael Gambon in Gate Krapp. Photo by Pat Redmond. listening to a voice that is not present: this is what unites the the opening movements. There is of course the business two Beckett characters. with the banana, with Krapp orally fixating on it before The difference, of course, is the voice. The role of Joe is slipping on the peel. (The banana was thrown into the a silent one, combining initial physical mime with screen wings, not into the audience, perhaps reflecting health acting in close up. Krapp, on the other hand, after his open- concerns.) This was beautifully complemented by Gam- ing business with the bananas and the setting up of the tape bon’s reading of the line, declaring his resolve regarding recorder, gets to speak and to try out his vocal chords on a bananas—‘Cut ‘em out!’—through understatement rather word like ‘spool’. Famously, Krapp is a man of more than than vehemence. When he was on his feet Krapp played one voice. As he plays a tape from thirty years before, the with the light and shade surrounding his table, stepping old man’s ‘cracked voice [and] distinctive enunciation’ is from one to the other and then back again, before repeating replaced by a ‘strong voice’ and a ‘rather pompous’ one the movement several times. at that. Gambon’s younger voice was distinctly plummier The lighting (by James McConnell) did not have the than the more guttural voice of the present, shedding affec- stark alternation between light and dark which is specified tation. But more interestingly the first was a recognizably in the text and which earlier productions have tended to Anglo-Irish voice in its intonation, the second a grittier follow. Instead, there was a diffusion of faint light growing Dublinese. This ‘distinctive’ Anglo-Irishness linked Gam- less as the table receded but still rendering the whole room bon to the originator of the role and the man for whom it dimly visible. (No set designer was credited.) This made was written, Patrick Magee. Both Gambon and Magee have for a less immediately dramatic opening, as did Gambon’s and had long and distinguished apparently aimless wanderings careers on the English stage, around and on and off the and can elocute with the “Krapp’s concentration on the stage (where it was less best of them. But there is a clear Krapp was fortify- distinctive Irish intonation various women from his past even ing himself with drink). in their vocal array which more sharply reveals them as The effect was to natu- they can modulate at will. mother figures, with the urgent and ralise the environment Gambon, who like Colgan and hence the character, to was born and raised on replayed ‘let me in’ a desire to be make the audience feel as Dublin’s Northside, made let back into the womb.” if we had entered his liv- his Irish stage debut at The ing space and were drawn Gate in 1962. In this produc- into intimate communion with tion at the same venue in 2010, there was a real sense of him. By the time he played his tape, we had settled down an actor getting back in touch with his roots, deploying with Krapp to listen to it with a heightened interest and everything he had learned along the way but also centering sensitivity. himself in a more Dublin-oriented older Krapp. Gambon’s What I had not been prepared for was how much emo- sense of biological and theatrical origins may be part of tion is conveyed by Krapp’s description of his mother’s why Michael Colgan has been so successful in getting him death. I will never forget the palpable thickening in Gam- to forego lucrative movie contracts long enough to take bon’s voice as he read the lines about the ‘moments’ after a succession of leading roles at The Gate. On this occa- the blind went down. The brilliance of the passage lies sion, what also caused surprise was to see Colgan himself in its concentration on Krapp’s activity with the dog, the listed as director of the production. But it is often forgot- latter ‘yelping and pawing’ until finally he is given the ten that he began his career (at The Abbey) as a director, ball. It serves of course as a displacement of what Krapp in charge of the Kerry storyteller Eamonn Kelly and his is feeling with regard to his mother, but the lines also ex- one-man shows. What was required then of him as a di- press a compassion for all living creatures that goes beyond rector was what was equally required on this occasion: to egotism. The centrality of the death of the mother was create the conditions and encourage the atmosphere in also foregrounded in this production by its one textual which a master actor could exercise his talents to the full. curiosity: the omission of the reference to the ‘last illness This was achieved on the opening night at The Gate, and of his father’ when the thirty-nine-year old Krapp refers subsequently, with full houses held in thrall as Gambon to an even earlier tape he had been listening to. (There are made the stage his own. arguably three lines about him if we identify the father as He did so from a deliberately slow and tentative begin- the one who says ‘Take his mind off his homework’ and ning. Not only sitting at the table, as the stage directions as the ‘he’ in the reiterated ‘maybe he was right’.) On require, but lying on it, with his head buried, either asleep opening night (29 April 2010), had Gambon forgotten this or hiding. Then slowly a hand emerges, like a creature line? It was not included at a later performance either, so with an independent existence, sinuously exploring the in the end its omission has to be seen as intentional. Ac- space. When Krapp’s face appears, it has all the decrepi- cordingly, Krapp’s concentration on the various women tude one would require, with its askew thinning grey hair from his past even more sharply reveals them as mother and its furrowed brows. But there is also a wide-awake figures, with the urgent and replayed ‘let me in’ a desire stare with open eyes that suggests the face of a baby first to be let back into the womb. This interpretation is of a encountering the world. A sense of playfulness animated piece with the child-like, wondering, exploring aspect of 2 Gambon’s Krapp, struggling to be born anew as he sits among discarded tapes and scrunched up pieces of paper, ‘CALL FOR PAPERS’ the detritus of discarded selves. Samuel Beckett Working Group The last time I reviewed Krapp’s Last Tape at The Gate, Osaka, Japan the live broadcast of the review on Irish radio coincided 7-12 August 2011 with 9/11, between the falling of the two towers. Although this event was not mentioned overtly in the review, it in- Next year’s Working Group will be meeting formed everything the interviewer and I said. What struck at the International Federation of Theatre me later was the greatness of Beckett’s play in being ad- Research (IFTR) Annual Conference in Osaka, equate to the awfulness of the historic moment, its ongoing Japan, 7-12 August 2011 (the Working Group prophetic ability to address world events long after its will meet on the 7th and 8th August).
Load more

Recommended publications
  • Landscapes 20 January — 24 February 2018
    Avigdor Arikha Landscapes 20 January — 24 February 2018 Private View: Friday 19 January, 6-9pm Blain|Southern Potsdamer Straße 77–87 Avigdor Arikha, View from Rue de la Chaise, 2005 10785 Berlin Courtesy the Estate of Avigdor Arikha and Blain|Southern Blain|Southern presents Landscapes, a selection of landscape paintings and drawings by Avigdor Arikha (1929-2010), one of the great observational artists of the late twentieth century. The gallery now represents the Estate of Avigdor Arikha and Landscapes is the first exhibition of the artist’s work. The exhibition is on view in the Long Gallery, beginning a new programme of simultaneous exhibitions at the Berlin gallery. While Avigdor Arikha is highly regarded for his interiors, still lifes and portraits, most of which he painted in his Paris studio, he also spent long periods in Israel and New York, and he never failed to take his pencil or brush along with him. Spending summers in Israel, he painted the warm walls, arid hills and desert vegetation, and during his frequent trips to New York City, the city’s rhythmic, rising grids became a new view to stimulate his eye and hand. His adopted hometown of Paris was his most frequent subject, from iconic Haussmann cityscapes, to seemingly overlooked patches of the city. Wherever he landed his eye, he found a subject, or a structure, worthy of a picture. Landscapes allows viewers to travel with the artist, and to see places and perspectives that were important throughout the artist’s life. Window frames inspired the artist wherever he travelled. In View from Rue de la Chaise (2005), the warm glow of the interior window frames are contrasted with the cool burst of green from the tree beyond.
    [Show full text]
  • Stephen Ongpin Fine Art
    STEPHEN ONGPIN FINE ART AVIGDOR ARIKHA Rădăuți (Bukovina) 1929-2010 Paris Interior with Drawings Pastel on emery paper. Signed and dated Arikha Nov.88 in pencil at the lower centre edge. 505 x 300 mm. (19 7/8 x 11 3/4 in.) Provenance The estate of the artist Marlborough Fine Art, London. Exhibited New York, Marlborough Gallery Inc., Avigdor Arikha: twenty-five pastels, November 2007, no.3. Arguably one of the finest draughtsmen of the second half of the 20th century, Avigdor Arikha was born to German-speaking Jewish parents in Romania in 1929. The drawings he produced as a thirteen-year old boy while imprisoned in a Ukrainian labour camp brought him to the attention of the International Red Cross, who rescued him and sent him to a kibbutz in Palestine in 1944. After studying art at the Bezalel School of Arts and Crafts in Jerusalem, Arikha went to Paris in 1949, where he completed his training at the Ecole des Beaux-Arts. He eventually settled in Paris in 1954, studying philosophy at the Sorbonne and establishing lifelong and intimate friendships with Samuel Beckett and Alberto Giacometti. Arikha began his career as an abstract painter, but in 1965 abandoned painting completely, and spent the next eight years working on black and white drawings from life, as well as a series of monochromatic etchings. By the time he returned to painting in 1973, he had become a committed figurative painter, producing portraits of family and friends, interior scenes and still life subjects. Arikha’s drawings, invariably made from life, have always been much admired.
    [Show full text]
  • Downloads: Chuck Close Prints: Process and Collaboration by Terrie Sultan with Contributions from Richard Schiff Hardcover
    US $25 The Global Journal of Prints and Ideas July – August 2014 Volume 4, Number 2 On Screenprint • The Theater of Printing • Arturo Herrera • Philippe Apeloig • Jane Kent • Hank Willis Thomas Ryan McGinness • Aldo Crommelynck • Djamel Tatah • Al Taylor • Ray Yoshida • Prix de Print: Ann Aspinwall • News C.G. Boerner is delighted to announce that a selection of recent work by Jane Kent is on view at the International Print Biennale, Hatton Gallery, Newcastle upon Tyne, June 27–August 8, 2014. Jane Kent, Blue Nose, 2013, silkscreen in 9 colors, 67 x 47 cm (26 ⅜ x 18 ½ inches) edition 35, printed and published by Aspinwall Editions, NY 23 East 73rd Street New York, NY 10021 www.cgboerner.com July – August 2014 In This Issue Volume 4, Number 2 Editor-in-Chief Susan Tallman 2 Susan Tallman On Screenprint Associate Publisher Susan Tallman and Michael Ferut 4 Julie Bernatz Screenprint 2014 Managing Editor Jason Urban 11 Dana Johnson Stagecraft: The Theater of Print in a Digital World News Editor Christine Nippe 15 Isabella Kendrick Arturo Herrera in Berlin Manuscript Editor Caitlin Condell 19 Prudence Crowther Type and Transcendence: Philippe Apeloig Online Columnist Sarah Kirk Hanley Treasures from the Vault 23 Mark Pascale Design Director Ray Yoshida: The Secret Screenprints Skip Langer Prix de Print, No. 6 26 Editorial Associate Peter Power Michael Ferut Ann Aspinwall: Fortuny Reviews Elleree Erdos Jane Kent 28 Hank Willis Thomas 30 Ryan McGinness 32 Michael Ferut 33 Hartt, Cordova, Barrow: Three from Threewalls Caitlin Condell 34 Richard Forster’s Littoral Beauties Laurie Hurwitz 35 Aldo Crommelynck Kate McCrickard 39 Djamel Tatah in the Atelier Jaclyn Jacunski On the Cover: Kelley Walker, Bug_156S Paper as Politics and Process 42 (2013-2014), four-color process screenprint John Sparagana Reads the News on aluminum.
    [Show full text]
  • Avigdor Arikha
    EXPOSITION 12 juin - 12 septembre 2014 Images du royaume des morts Dessins d’enfance faits en déportation 1942 - 1943 AVIGDOR ARIKHA © Anne Arikha Lieu de Mémoire 43400 Le Chambon-sur-Lignon DOSSIER DE PRESSE Dossier de Presse Sommaire Communiqué de presse 3 Parcours de l’exposition 5 Jean Clair, commissaire de l’exposition 6 Avigdor Arikha, une enfance dans la guerre 7 Avigdor Arikha, le parcours d’un artiste 8 Avigdor Arikha dans les collections publiques 9 Bibliographie Le Lieu de Mémoire au Chambon-sur-Lignon 10 Un lieu en hommage aux Justes 11 Renseignements pratiques 12 Communiqué de Presse Images du royaume des morts Dessins d’enfance faits en déportation 1942 - 1943 AVIGDOR ARIKHA Dans l’œuvre abondante d’Avigdor Arikha, l’un des plus grands peintres et graveurs de la deuxième moitié du XXème siècle, exposé dans les grands musées du monde, il est une part inconnue, longtemps enfouie dans sa mémoire et dans un carton de son apppartement-atelier parisien. Sur quelques fragiles feuilles de papier jauni par le temps, des dessins griffonnés par un garçon tout juste sorti de l’enfance. Œuvres de jeunesse ? Mais quelle jeunesse ? Celle d’un petit garçon juif, qui a 10 ans, pris dans les horreurs de la guerre et de l’antisémitisme qui dévastent ces confins d’Europe orientale où il est né , fuit sur les routes avec sa famille , voit son père mourir sous les coups, est arrêté et interné au camp de Mogilev (aujourd’hui en Ukraine) avec sa mère et sa sœur en 1942. Et là, dans l’inhumanité de l’univers concentrationnaire, un geste, celui d’un gardien roumain qui lui donne un crayon et quelques feuilles de papier.
    [Show full text]
  • The Place of Diasporic Imagery in the Canon of Israeli National Art
    arts Article The National, the Diasporic, and the Canonical: The Place of Diasporic Imagery in the Canon of Israeli National Art Noa Avron Barak Department of Arts, Ben-Gurion University of the Negev, Beer-Sheba 8499000, Israel; [email protected] Received: 9 January 2020; Accepted: 15 March 2020; Published: 26 March 2020 Abstract: This article explores Jerusalem-based art practice from the 1930s to the 1960s, focusing particularly on the German immigrant artists that dominated this field in that period. I describe the distinct aesthetics of this art and explain its role in the Zionist nation-building project. Although Jerusalem’s art scene participated significantly in creating a Jewish–Israeli national identity, it has been accorded little or no place in the canon of national art. Adopting a historiographic approach, I focus on the artist Mordecai Ardon and the activities of the New Bezalel School and the Jerusalem Artists Society. Examining texts and artworks associated with these institutions through the prism of migratory aesthetics, I claim that the art made by Jerusalem’s artists was rooted in their diasporic identities as East or Central European Jews, some German-born, others having settled in Germany as children or young adults. These diasporic identities were formed through their everyday lives as members of a Jewish diaspora in a host country—whether that be the Russian Empire, Poland, or Germany. Under their arrival in Palestine, however, the diasporic Jewish identities of these immigrants (many of whom were not initially Zionists) clashed with the Zionist–Jewish identity that was hegemonic in the nascent field of Israeli art.
    [Show full text]
  • Avigdor Arikha Frank Auerbach R.B. Kitaj Euan Uglow Avigdor Arikha Frank Auerbach R.B
    AVIGDOR ARIKHA FRANK AUERBACH R.B. KITAJ EUAN UGLOW AVIGDOR ARIKHA FRANK AUERBACH R.B. KITAJ EUAN UGLOW 11 de mayo - 23 de junio de 2016 ENRIC GRANADOS 68, 08008 BARCELONA T. 93 467 44 54 · F. 93 467 44 51 GALERIAMARLBOROUGH.COM “A LATE QUARTET” ÀLEX SUSANNA Reunir en una misma exposición una selección de obras de estos cuatro pintores no es caprichoso ni aleatorio, Kitaj es un norteamericano trasplantado en Europa en busca de sus orígenes: la Viena de su padre adoptivo, pero pero tampoco inevitable. Y, en cambio, el cóctel es explosivo y tremendamente estimulante. De los cuatro sólo todavía más la de Aby Warburg, figura clave para desentrañar la sintaxis de su imaginario. En 1962 se instala en uno les sobrevive, pero todos pertenecen a la misma generación y, si bien nacidos en países distintos, tienen Londres y en 1976 impulsa la exposición colectiva “The Human Clay”, en la que reivindica una nueva figuración trayectorias en cierto modo convergentes: Avigdor Arikha (Rădăuţi, Rumanía, 1929-2010), Frank Auerbach –la de Bacon, Freud, Auerbach, Kossoff y Hockney, entre otros– y se refiere por primera vez a la Escuela de (Berlín, 1931), R.B. Kitaj (Cleveland, Ohio, 1932-2007) y Euan Uglow (Londres, 1932-2000). Londres. Como artista, su propósito es bien claro: “Me gustaría intentar no sólo volver a hacer Cézanne y Dégas después del surrealismo, si no después de Auschwitz y del Gulag”. Su obra parte, pues, de un feroz diálogo Presentarlos juntos es toda una declaración de intenciones y una provocación, sobre todo en estos tiempos en tanto con sus predecesores –la ansiedad de las influencias– como con la historia más reciente y traumática: bajo que la práctica de la pintura cada día parece más negligida a ojos de los que se creen y proclaman portavoces una piel de una erizada vivacidad plástica, cada obra se nos aparece como un palimpsesto de múltiples capas, de la más apremiante contemporaneidad.
    [Show full text]
  • Hebrew.” Root Their Jewish Origins in Legendary, Rather Than Traveled to Ethiopia to Visit the Beta Israel Historical Material
    Walter Laqueur Did One Million Russians Change the Middle East? JEWISH REVIEW OF BOOKS Volume 4, Number 2 Summer 2013 $7.95 Benny Morris The Alarming Signif icance of a Trivial Book SUMMER READING Adam Kirsch Proust & Bialik Alan Mintz A.B. Yehoshua at the Movies Jeffrey SaksS.Y. Agnon in Comics Daniel Johnson Francesca Segal's Brilliant First Novel Amy Newman Smith A Short, Strange, Heroic Life Editor Abraham Socher Senior Contributing Editor Allan Arkush Art Director Betsy Klarfeld Assistant Editor Amy Newman Smith Administrative Assistant Rebecca Weiss Intern Zachary Crockford Editorial Board Robert Alter Shlomo Avineri Leora Batnitzky Ruth Gavison Moshe Halbertal Hillel Halkin Jon D. Levenson Anita Shapira Michael Walzer J. H.H. Weiler Leon Wieseltier Ruth R. Wisse Steven J. Zipperstein Publisher Eric Cohen Associate Publisher & Director of Marketing Lori Dorr Marketing Associate Chaya Glasner The Jewish Review of Books (Print ISSN 2153-1978, Online ISSN 2153-1994) is a quarterly publication of ideas and criticism published in Spring, Summer, Fall, and Winter, by Bee.Ideas, LLC., 165 East 56th Street, 4th Floor, New York, NY 10022. For all subscriptions, please visit www.jewishreviewofbooks.com or send $29.95 The Posen Society of Fellows is a unique international fellowship for ($39.95 outside of the U.S.) to: Jewish Review of junior scholars and emerging fiction writers. The Fellowship provides Books, PO Box 3000, Denville, NJ 07834. Please send notifications of address changes to the same address recipients with $40,000 over the course of two years, and the opportu- or to [email protected]. nity to work with seasoned scholars and writers.
    [Show full text]
  • Association of Jewish Libraries N E W S L E T T E R May/June 2010 Volume XXIX, No
    Association of Jewish Libraries N E W S L E T T E R May/June 2010 Volume XXIX, No. 4 Spotlight on a Judaica Special Collection The Tel Aviv Collection at the Stanford University Libraries ZACHARY BAKER This article first appeared in the 2007-2009 issue of the newslet- Tel Aviv [Haifa: Haifa University Press, 2007, in Hebrew]), who ter published by the Taube Center for Jewish Studies at Stanford spoke about “Sport, the New Jew, and the First Hebrew City.” The University. It is reprinted here with the permission of the Center. symposium concluded with a presentation by Barbara E. Mann (Jewish Theological Seminary of America; author of A Place in In 2006 we reported on an exciting acquisition by the Stanford History: Modernism, Tel Aviv, and the Creation of Jewish Urban Space University Libraries: the Eliasaf Robinson Collection on Tel [Stanford: Stanford University Press, 2005]), on “What We Write Aviv. Over a period of nearly four decades, Robinson, who about When We Write about Tel Aviv.” is one of Israel’s leading T h e s y m p o s i u m antiquarian booksellers, also marked the official collected close to 500 books launch of the library’s and thousands of archival Tel Aviv Web site: http:// documents, photographs, lib.stanford.edu/telaviv. postcards, ephemera, post- The home page for the ers, maps, architectural Tel Aviv Web site pro- plans, building permits, vides links to the online and even sewer diagrams, inventory for the archi- dating from the formative val segment of the collec- decades of Tel Aviv.
    [Show full text]
  • Israeli & International Fine Art Auction 20 Dec 2015 7:30 Pm
    139 ISRAELI & INTERNATIONAL FINE ART AUCTION 20 DEC 2015 7:30 PM ISRAELI & INTERNATIONAL FINE ART AUCTION TEL AVIV, DECEMBER 20, 2015, 7:30 PM SALE 139 PREVIEW IN TEL AVIV Thu 10 December 5 pm - 9 pm Fri 11 December 10 am - 2 pm Sun-Thu /13-17 December 10 am - 6 pm Fri 18 December 10 am - 2 pm Sat 19 December 8 pm - 11 pm Sun. 20 December 10 am - 8 pm PREVIEW IN NEW YORK BY APPOINTMENT PREVIEW & AUCTION MATSART GALLERY 15 Frishman St., Tel Aviv tel +972-3-6810001 www.matsart.net בס"ד MATSART AUCTIONEERS & APPRAISERS 21 King David St., Jerusalem 9410145 +972-2-6251049 15 Frishman St., Tel Aviv 6357815 +972-3-6810001 415 East 72 St., New York, NY 10021 +1-718-289-0889 Lucien Krief Owner, Director, Expert MODERN & [email protected] CONTEMPORARY ISRAELI FINE ART DEPARTMENT FINE ART DEPARTMENT Stella Costa Alice Martinov Levin Oren Migdal Senior Director Head of Department Head of Department [email protected] [email protected] Tel Aviv Branch Manager [email protected] Evgeny Kolosov Masha Zakharova Yehudit Ratzabi Assistant Director Auction Administrator Auction Administrator [email protected] [email protected] [email protected] CLIENT SERVICES Miriam Perkal Reizy Goodwin Yoel Noorani Client Accounts Logistics & Shipping Client Services [email protected] Manager Tel Aviv Branch [email protected] [email protected] All lots are sold “as is” and subject to a reserve. Please review the conditions as they appear in the rear of the catalogue or contact us with any questions you may have. Please note that some of the works are located abroad where additional import charges may apply.
    [Show full text]
  • CURRICULUM VITAE Jonathan M. Wilson English
    CURRICULUM VITAE Jonathan M. Wilson English Department East Hall, 215 Tel.:617-627-2458 e mail: [email protected] EDUCATION: 1979-82: Ph.D., English, Hebrew University of Jerusalem, Israel 1974-77: St. Catherine's College, Oxford, England 1976: Columbia University, New York, U.S.A. Visiting Scholar 1970-74: B.A. (Hons.) First Class. University of Essex, Wivenhoe Park, England. Major: English and European Literature Minor: Art History DISSERTATION: "The Novels of Saul Bellow: A Critical Study" ACADEMIC HONORS: Writer in Residence, Hermitage Artists Retreat 2017 Honorary Professor, Sichuan International University, China, 2010 Bolli Distinguished Speakers Award, Brandeis University, 2008. Phi Beta Kappa, Liberal Scholarship Award, 2001. Department of Education and Science Major Government Award: St. Catherine's College, Oxford, 1974-77. Department of Education and Science Travel Scholarship: St. Catherine's College, Oxford/Columbia University, 1976-77. TEACHING and ADMINISTRATIVE EXPERIENCE: Interim Director of Creative Writing, Tufts, Spring 2019. Visiting Prof. Columbia University MFA Masterclass, Spring 2018 Visiting Professor Columbia University MFA Program, Fall 2016. Director, Center for the Humanities at Tufts, 2007-2016 Professor of English Fletcher Professor of Rhetoric and Debate, Tufts University, 2000- The Present Director of Creative Writing 2005-2007 Distinguished Visiting Writer, Bar Ilan University, Spring 2006 Chair, English Department, Tufts University 1998-2005 Visiting Professor, Boston University 2002 Associate Professor, English Department, Tufts University, 1991-2000. Assistant Professor, English Department, Tufts University, 1984-1991. Lecturer (part-time), English Department, Tufts University 1982- 1984 Teaching Assistant, English Department, Hebrew University of Jerusalem, 1977-81 GRANTS AND AWARDS: Judge, Sammy Rohr Fiction Prize, 2017-2019.
    [Show full text]
  • Avigdor Arikha View from 57Th Street and Second, South 1995 Graphite
    11—14 April 2019 Jonas Burgert Tim Noble & Sue Webster Francesco Clemente Jake & Dinos Chapman François Morellet Abdoulaye Konaté Chiharu Shiota Bernar Venet Avigdor Arikha Lynn Chadwick Rachel Howard Michael Joo Joan Snyder Henning Strassburger Frank Thiel Booth F23 1807 Ross Avenue Dallas, TX 1 Jonas Burgert (b.1969, DE) paints a stage every time that he lifts his brush: with every stroke, with every composition. His works depict the inexhaustible theatre play that Burgert considers to be human existence: man’s need to make sense of his purpose in life. It is a quest that seems inconclusive, but which opens doors to every sphere of reasoning, imagination and desire. References to Renaissance painting and Flemish masters like Hieronymus Bosch are apparent in Burgert’s work; Freud’s psychoanalytical theories come alive with imagery that recalls 20th century Surrealism. And yet, contemporary pop culture is equally present: from works by Mike Kelly to movies by David Lynch, comic strips and the absurd logic of science fiction: the timeless uncanny dictates Burgert’s paintings. They are a fragmentation of scenes that the viewer thinks to recognise because they tap into the unconscious by combining styles of the past with a fiction of today. Contradictions fuse and become a heavily referential spectacle – slightly absurd, like a beautiful nightmare. Jonas Burgert graduated from the Academy of Fine Arts, Berlin, in 1996 and consecutively studied for a post graduate title (Meisterschueler) under Professor Dieter Hacker in Berlin. 2 Handler 2019 Oil on canvas 280 x 220 cm / 110¼ x 86⅝ in (Framed – 288.5 x 228.5 cm /113⅝ x 89⅞ in) Ref: 63251 3 leichter 2019 Oil on canvas 90 x 80 cm / 35⅜ x 31½ in (Framed – 96 x 86 cm / 37¾ x 33⅞ in) Ref: 63395 4 Tim Noble (b.
    [Show full text]
  • The Science of Paintings
    The Science of Paintings W. STANLEY TAFT, JR. JAMES W. MAYER Springer THE SCIENCE OF PAINTINGS THE SCIENCE OF PAINTINGS W. S TANLEY TAFT, JR. JAMES W. M AYER With Contributions from: PETER IAN KUNIHOLM RICHARD NEWMAN DUSAN C. STULIK With 166 Illustrations, 28 in full color W. Stanley Taft, Jr. James W. Mayer Department of Art Center for Solid State Science Cornell University Arizona State University 224 Tjaden Hall P.O. Box 871704 Ithaca, NY 14853 Tempe, AZ 85287 USA USA [email protected] [email protected] Contributors Peter Ian Kuniholm Richard Newman Dusan C. Stulik Department of Art History Museum of Fine Arts, The Getty Conservation Cornell University Boston Institute Library of Congress Cataloging-in-Publication Data Taft, W. Stanley. The science of paintings / Stanley Taft, James W. Mayer ; with contributions by Peter Kuniholm, Richard Newman, and Dusan Stulik. p. cm. Includes bibliographical references and index. ISBN 0-387-98722-3 (hardcover : alk. paper) 1. Painting—Appreciation. I. Mayer, James W., 1930– . II. Newman, Richard, 1951– . III. Stulik, Dusan, 1956– . IV. Kuniholm, Peter. V. Title. ND 1143.T34 2000 751—dc21 99-39642 Printed on acid-free paper. © 2000 Springer-Verlag New York, Inc. All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer-Verlag New York, Inc., 175 Fifth Avenue, New York, NY 10010, USA), except for brief excerpts in connection with reviews or schol- arly analysis. Use in connection with any form of information storage and retrieval, elec- tronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden.
    [Show full text]