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Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. 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 Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis. -
Press Release Corita Kent and the Language of Pop Opens
Press Release Corita Kent and the Language of Pop Opens September 3, 2015, at the Harvard Art Museums Corita Kent, the juiciest tomato of all, 1964. Screenprint. Collection of Jason Simon, New York. © Corita Art Center, Immaculate Heart Community, Los Angeles. Cambridge, MA June 18, 2015 (updated August 14, 2015) The Harvard Art Museums present Corita Kent and the Language of Pop, a special exhibition on display September 3, 2015 to January 3, 2016 at Harvard before travelling to the San Antonio Museum of Art, where it will be on view February 13 to May 8, 2016. The exhibition is curated by Susan Dackerman, the former Carl A. Weyerhaeuser Curator of Prints at the Harvard Art Museums (2005– 2014) and current consultative curator of prints. Corita Kent was an activist nun who juxtaposed spiritual, pop cultural, literary, and political writings alongside symbols of consumer culture and modern life in order to create bold images and prints during the 1960s. Also known as Sister Mary Corita, Kent is often seen as a curiosity or an “anomaly” in the pop art movement. Corita Kent and the Language of Pop positions Kent and her work within the pop art idiom, showing how she is an innovative contemporary of Andy Warhol, Ed Ruscha, and other pop art icons. The exhibition also expands the current scholarship on Kent’s art, elevating the role of her artwork by identifying its place in the artistic and cultural movements of her time. Corita Kent (American, 1918–1986) was a Roman Catholic nun, an artist, and an educator. From 1936 to 1968 she lived, studied, and taught at the Immaculate Heart of Mary in Los Angeles, and she headed the art department at the college there from 1964 to 1968. -
Art in America
MAGAZINE NOV. 01, 2013 THE PARSONS EFFECT by Judith E. Stein, Helène Aylon Betty Bierne Pierson, the rebellious, selfassured offspring of an old New York family, was 13 when she visited the historic Armory Show in 1913 and set her course on becoming an artist. Her conservative parents acquiesced to art lessons but drew the line at higher education for women. At 20, she married Schuyler Livingston Parsons, a man of wealth and social standing. He proved to be as captivated by men Betty Parsons, 1963. as she was by women, and a gambler and an alcoholic to boot. The Photo Alexander Liberman. The Getty couple divorced amicably in Paris, where she spent the 1920s in Research Institute, Los comfort, sharing her life with Adge Baker, a British art student, and Angeles. © J. Paul Getty Trust. taking classes with Ossip Zadkine and Antoine Bourdelle, among others. Her friends included expatriate Americans Hart Crane, Man Ray, Alexander Calder, and Gerald and Sara Murphy, as well as lesbian literati Gertrude Stein, Natalie Barney and Janet Flanner. Disinherited after her divorce, Parsons also lost her alimony support when the stock market crashed. Generous girlhood friends aided her return to the U.S. in 1933, first to Hollywood, where her acquaintances numbered Greta Garbo, Marlene Dietrich, Tallulah Bankhead, Dorothy Parker and Robert Benchley. She then lived in Santa Barbara, teaching art, painting portraits and consulting on French wines at a liquor store. In 1935, she funded a move to New York by selling her engagement ring. Parsons's loyal circle supplemented the slender income she earned from sales of her own art and from commissions by dealers such as Mrs. -
Ebook Download Corita Kent and the Language of Pop Pdf Free Download
CORITA KENT AND THE LANGUAGE OF POP PDF, EPUB, EBOOK Susan Dackerman | 340 pages | 22 Sep 2015 | Yale University Press | 9780300214710 | English | United States Corita Kent and the Language of Pop PDF Book Flower Power: A Subversive Botanical More Details From to she lived, studied, and taught at the Immaculate Heart of Mary in Los Angeles, and she headed the art department at the college there from to , developing many aspects of her signature style while working alongside her students. Corita Kent Bequest. Be the first to ask a question about Corita Kent and the Language of Pop. This project is supported in part by an award from the National Endowment for the Arts and major corporate support from National Grid. Tensta Konsthall Stockholm, Sweden. Retrospective show of prints by Sister Mary Corita American Institute of Graphic Arts. Error rating book. But, at the end of the decade and at the height of her fame and prodigious work rate, she left the convent where she had spent her adult life. Artist, activist, teacher, and devout Catholic Corita Kent eloquently combined her passions for faith and politics during her rich and varied career. Average rating 4. Kauffman Galleries Houston, Texas. Museum on Main Pleasanton, California. Details if other :. Marjorie Kauffman Graphics Houston, Texas. Are you one of the following? With new material by art world heavyweights Susan Friel and Barbara Loste, Learning by Heart brings creative inspiration into the 21st century! Bay Printmakers Society Oakland, California. This is Now Exhibitors are required to cover costs of transportation both ways, framing, installation, and insurance. -
PDF SVA Handbook 2020–21
2020/2021 SVA Handbook SVA • 2020 / 2021 20 /21 SVA Handbook CONTENTS President’s Letter 2 The College 3 Academic Information 9 Student Information 23 Faculty Information 44 General Information 55 Standards, Procedures, Policies and Regulations 69 SVA Essentials 93 2020–2021 Academic Calendar 113 Index 119 SVA.EDU 1 THE SVA HANDBOOK provides faculty, students and administrative staff with information about the College, its administration, services and processes. In addition, the Handbook contains policies mandated by federal and state regulations, which all faculty, students and administrative staff need be aware of. In this regard, I would especially like to call your attention to the sections on attendance (pages 12 and 46), the Family Educational Rights and Privacy Act (FERPA) (page 85), Student Disruptive and Concerning Behavior (page 74), Title IX procedures (page 84) and the SVA policy on alcohol and drugs (page 70). We look forward to the 2020–2021 academic year. Our students, this year from 45 states, one U.S. territory and 49 countries, will once again pursue their studies with the focused guidance of our renowned professional faculty. DAVID RHODES President August 2020 2 SVA HANDBOOK THE COLLEGE Board of Directors 4 Accreditation 4 SVA Mission Statement 4 SVA Core Values 4 History of SVA 5 Academic Freedom 6 First Amendment Rights 6 SVA Student Profile 7 SVA.EDU 3 BOARD OF DIRECTORS The Interior Design program leading to the Brian Palmer Bachelor of Fine Arts in Interior Design is ac- Joseph F. Patterson credited by the Council for Interior Design Anthony P. Rhodes Accreditation (accredit-id.org), 206 Grand- David Rhodes ville Avenue, Suite 350, Grand Rapids, MI Lawrence Rodman 49503-4014. -
Carving up the Elderly OBAMA’S PLAN to DECIMATE SOCIAL SECURITY, P10
THE INDYPENDENT Issue #159, December 15, 2010 - January 11, 2011 A FREE PAPER FOR FREE PEOPLE Carving up the Elderly OBAMA’S PLAN TO DECIMATE SOCIAL SECURITY, P10 LUCY VALKYRIE GLOBAL WARNING, p11 LIVING WAGE, p3 STEALING THE RAINBOW, p12 INDYPENDENT.ORG community calendar PLEASE SEND EVENT ANNOUNCEMENTS TO [email protected]. JAN–FEB WED DEC. 8- MON FEB. 28 the release of After ‘Change You Can TUE JAN 18 • 7:30 PM 8pm • $15-$20 Believe In,’ Wally Shawn Reads From Es- DISCUSSION: GLOBAL CAPITALISM, A PLAY: KORACH: THE BIBLICAL says and Discusses Human Nature With MONTHLY UPDATE WITH RICK WOLFF. ANARCHIST. Written and directed by a Communist, featuring Shawn and Andy Join Professor Wolff for an analysis of the Judith Malina, this play tells the story of Lee. A short excerpt from the film will be major economic events of the last month Korach, who is described in the Bible as screened. Refreshments will be served. and their contexts within the longer-term the leader of a rebellion against Moses Revolution Books, 146 W 26th St economic trends shaping politics and during the Israelites’ 40-year journey 212-691-3345 • revolutionbooksnyc.org society in the United States and abroad. We through the desert. Performances run will focus on the evolving global capitalist THE INDYPENDENT, INC. from Wed.-Sat. TUE DEC 21 economic crisis and its consequences. 666 BROADWAY, SUITE 500 The Living Theatre, 21 Clinton St 7pm • Free Sliding scale: $6/$10/$15 NEW YORK, NY 10012 212-352-0255 • livingtheatre.org DISCUSSION: WIKILEAKS REVELA- TIONS. Join Andy Lee and Carl Dix for a THU FEB 3 • 6-8PM PHONE: 212-904-1282 10pm • $10-$15 discussion of what’s at stake in the strug- CLASS: READING MARX’S CAPITAL, PERFORMANCE: THE FEAST. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Voters Guide
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POWER UP, REASSEMBLED by JULIE AULT This Essay in Its Entirety Originally Appeared in the Brochure for the 2000 Exhibition Powe
POWER UP, REASSEMBLED BY JULIE AULT This essay in its entirety originally appeared in the brochure for the 2000 exhibition Power Up: Sister Corita and Donald Moffett, Interlocking at the Hammer Museum. Power Up: Sister Corita and Donald Moffett, Interlocking Frances Elizabeth Kent was born in Iowa in 1918 to an Irish Catholic family who five years later moved to Los Angeles. Upon completing her Catholic education, Frances entered the Immaculate Heart of Mary Religious Community and took the name Sister Mary Corita. Between 1938 and 1968 Sister Corita lived and worked in the cloistered, communal environment of the Immaculate Heart Community. In 1962, Pope John XXIII's Vatican II decree on the "Adaptation and Renewal of Religious Life" called for movement toward modern values, including fewer restrictions on nuns' daily lives, and a new focusing on social action and service. The IHC, like many Catholic institutions, was thrown into conflict over how previously accepted traditions were to be revised in practice. The nuns largely favored a progressive reading of Vatican II. Dramatic conflicts—amply covered in the media—ensued between the nuns and the relatively conservative, local archdiocese over the decree's interpretation. By 1969 the conflict resulted in an ultimatum from Archbishop James McIntyre to the community: either conform to his authority or seek dispensation from vows. By 1970, the IHC members had chosen the second option and formed an independent entity which exists to this day. They retained their name and structure of the organization, but removed themselves from Catholic Church supervision. The Immaculate Heart Community had become (in)famous for its liberal orientation during the 1960s, as had the IHC College's Art Department for its progressive creative environment. -
Sister Corita's Summer of Love
Sister Corita’s Summer of Love Sister Corita’s Summer of Love Sister Corita teaching at Immaculate Heart College, Los Angeles, ca. 1967. Sister Corita Kent is an artists’ artist. In 2008, Corita’s sensibilities were fostered by Corita’s work is finally getting its due in contemporaries Colin McCahon and Ed Ruscha, while travelling through the United States doing and advanced the concerns of the Second the United States, with numerous recent shows, and by the Wellington Media Collective and research, I kept encountering her work on the Vatican Council (1962–5), commonly known but she remains under-recognised outside the Australian artist Marco Fusinato. Similarly, for walls of artists I was visiting and fell in love with as ‘Vatican II’, which moved to modernise the US. Despite our having the English language the City Gallery Wellington show, their Chief it. Happily, one of those artists steered me toward Catholic Church and make it more relevant to in common—and despite its resonance with Curator Robert Leonard has developed his own the Corita Art Center, in Los Angeles, where I contemporary society. Among other things, it Colin McCahon’s—her work is little known in sidebar exhibition, including works by McCahon could learn more. Our show Sister Corita’s Summer advocated changes to traditional liturgy, including New Zealand. So, having already included her in and Ruscha again, New Zealanders Jim Speers, of Love resulted from that visit and offers a journey conducting Mass in the vernacular instead several exhibitions in Europe, when I began my Michael Parekowhai, and Michael Stevenson, through her life and work. -
34 08 AWP.Indd
LOOK FOR BREAKING NEWS EVERY WEEKDAY AT BROOKLYNPAPER.COM Yo u r Neighborhood — Yo u r News® BrooklynPaper.com • (718) 260–2500 • Brooklyn, NY • ©2011 BROOKLYN HEIGHTS–DOWNTOWN EDITION AWP/14 pages • Vol. 34, No. 8 • February 25–March 3, 2011 • FREE INCLUDING DUMBO NEW PARK TAX? Critics say idea is dead as other housing alternatives emerge By Laura Gottesdiener “The Park Improvement District they The Brooklyn Paper proposed is not going to happen,” said Brooklyn Bridge Park could raise state Sen. Daniel Squadron (D–Brook- one-quarter of its massive mainte- lyn Heights). “There are viable alter- nance budget through a new tax on natives to the current plan” to include local businesses and residents — but housing in the park. that idea is dead in the water, say crit- The construction of housing and other ics, who think there are better ways to revenue-generating uses stems from a raise the money. 2002 agreement between the city and Photo by Stefano Giovannini A consultant hired last year to search state that the $350-million park raise Tamer Hamawi and Emelie Kihilstrom are co-owners of Colonie, for revenue to maintain the park with- its own maintenance budget so it would a restaurant on Atlantic Avenue that donors helped build. out building residences within its wa- not be a drain on city coffers. terfront footprint released a draft report But the proposed 20- to 30-floor on Tuesday that predicted that $1 mil- luxury high-rises have long been the lion to $4 million towards the park’s 1.3-mile waterfront development’s most $16-million maintenance budget could controversial feature, so last year, park Kickstarting come from a new tax on residents and planners created a Committee on Al- business owners within a quarter-mile ternatives to Housing. -
Ellsworth Kelly: Tablet
ELLSWORTH KELLY: TABLET THE MENIL COLLECTION February11-May8,2005 was the companionship of Jean Arp, Constantin Brancusi, A lexander Calder, and Francis Picabia. Kelly returned t o the United States in 1954 and moved to Coenties Slip in lower Manhattan in 1956, where his neighbors included Agnes Martin, James Rosenquist, and Jack Youngerman. His first solo show in New Yo rk was held at the Betty Parsons Gallery in t his year and in 1959 Kel ly was included in the "Sixteen Americans" exhibition at The Museum of Modern Art, New York, establishing him as o ne of the key artists of his generation. n 1973, as he prepared to move his studio out of New York, the artist Ibegan sorting through his belongings and happened upon an archive of hundreds of miscellaneous sketches accumulated over nearly two and half decades. The result is Tablet (1948-1973), an extraordinary body of works on paper in various media-collage, pencil, ink, and oil-that map t he artist's ever-evolving experimentations with form Tablet #54, 1960s. Ink and pencil on paper mounted on mat board, 15112 x 21 inches. The Menil and color, born from his inventive observations of t he worl d around Tab let #3, 1955, 1970, 1973. Ink and pencil on paper mounted on mat board, 151/2 x 21 inches. Collection, fractional interest gift of Louisa S. Sarofim in honor of James A . Elkins, Jr. him, over a twenty-five year period. Kelly organized t he sketches in The Menil Collection, fractional interest gift of Louisa S.