DOCSLIB.ORG

TEFAF Catalogue, Entitled Sei (Awakening), Marks the Kanata Aesthetic, and We Are Proud to Have Represented Him for Over 25 Years

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TEFAF Catalogue, Entitled Sei (Awakening), Marks the Kanata Aesthetic, and We Are Proud to Have Represented Him for Over 25 Years TEFAF MAASTRICHT 2021 TEFAF 2021 A LIGHTHOUSE A LIGHTHOUSE CALLED KANATA CALLED KANATA TEFAF Maastricht 2021 11th - 19th September Early Access (9th) VIP Preview (10th) Our Raison D'etre Yufuku Gallery ended its 27 years of existence in June 2020, and from its ashes was borne Indeed, a foreign audience has long supported Japanese aesthetics, and were often the first A Lighthouse called Kanata. to pick up on the beauty of things that the Japanese themselves could not see. Ukiyoe, Jakuchu, the Gutai School and the Mono-ha, Sugimoto, Kusama … these Japanese artists Kanata means “Beyond” or “Far Away” in Japanese, a romantic ideal imbued by the two and movements were virtually forgotten within Japan, yet had garnered global recognition CLAY GLASS characters that comprise it, literally meaning “Towards” and “You.” Towards you, I wish by its appreciation in Europe and America. Likewise, by highlighting Japanese aesthetics to be, but you are far away. This is a quintessentially Japanese ideal, filled with ambiguity outside of Japan, we hope for greater recognition of today’s artists by those who are willing Sueharu Fukami 8 Niyoko Ikuta 24 and nuance. to support them. And ultimately, it is our hope that such international recognition will go on to influence Japanese audiences, thereby reintroducing and reimporting our aesthetics Ken Mihara 10 Sachi Fujikake 26 Like much in our language, it gives the impression that you, of all persons, is far from me, within and throughout Japan. This will then lead to instil in future generations the beauty Keizo Sugitani 12 Masaaki Yonemoto 28 and yet, we long and yearn to be together. It is adoration, adulation, respect and reverence that is already lying in front of us, waiting to be discovered. yet from a distance, voyeuristic, metaphysical and ultimately indivisible. Shigekazu Nagae 14 Hidenori Tsumori 30 And lastly, these are challenging times, the future uncertain. The night is dark and full Yet perhaps more succinctly, I simply find beautiful the way it rolls off one’s tongue. of shadows. This is exactly why our artists need this gallery more than ever. And we will Eiko Kishi 16 Yoko Togashi 32 continue to shine a light at the dark and cold waters of the vast ocean we call life, hoping Kanjiro Moriyama 18 Kanata. KA. NA. TA. to steer these ships to safety, to the future, and to the beyond. My gallery will serve, and will continue to serve, as a beacon of hope for today’s artists and the artists of tomorrow. Yoshiro Kimura 20 And perhaps rather coincidentally, the word is also comprised of the initials of my family: my daughter Kii, my wife Namiko, and my son Towa. And I will be unable to shine this light without the support of you, our dear friends and clients, who have supported our mission with grace and generosity. This new gallery is not But, of course, this is merely coincidence. only for our artists. It is for you. PAINTING METAL & LACQUER And why a lighthouse? The lighthouse symbolises many ideals we hold dearly. And lastly, it is for us, the dear members of my team, the people who make us “us”. You Takafumi Asakura 36 Satoru Ozaki 50 are doing incredible things, and this new home is for you to dream anew. Firstly, there is a saying in Japanese called “Ichigu wo Terasu”, or to “Illuminate a Corner”, Kentaro Sato 38 Naoki Takeyama 52 words spoken by Saicho, the founder of the Tendai school of Japanese Buddhism. There At a Lighthouse called Kanata, a new dawn rises. Ayane Mikagi 40 Kosuke Kato 54 are many talented artists in Japan today who are unknown, forgotten. We will continue The light nears. to shine a light on these artists, regardless of accolades or name recognition, age or sex. Masanori Maeda 42 Nobuyuki Tanaka 56 The only judgement we will make is simply based on the beauty that they create. Indeed, All of us truly look forward to welcoming you to A Lighthouse called Kanata’s debut Kiyo Hasegawa 44 Mayu Nakata 58 all of our artists today have been found in this manner, and we will continue to do so. presentation at TEFAF Maastricht 2021 this September. The lighthouse serves to illuminate dark and forgotten corners where artists await to be Masaki Tanikawa 46 discovered. Wahei Aoyama Secondly, there is another old saying in Japanese that reads “Todai Moto Kurashi”, or “It Owner is dark underneath the lighthouse”. The closer you are to something, one will be unable A Lighthouse called Kanata OTHER MATERIALS ARTIST PROFILES to see what’s standing right before your very eyes. Sadly, I find that many Japanese are oblivious to the wonders of their own culture and aesthetics. Yet those who are far away Osamu Yokoyama 62 70 can see the light. Kazumi Nagano 64 Joseph Walsh 66 2 3 “That which they call abstract is, in fact, the most real. For what is real is not the exterior of things, but the essence of things.” Constantin Brancusi CLAY SUEHARU FUKAMI 深見陶治 Ao (Blue) 2020 Porcelain with celadon glaze H133.3 × W6.3 × D7.3 cm Details on page 70 8 9 KEN MIHARA 三原研 Sei (Awakening) XXI 2021 Unglazed stoneware H63.5 × W52 × D20 cm Details on page 71 10 11 KEIZO SUGITANI 杉谷恵造 umbra vitae 2021 Stoneware with glaze H68 × W48 × D19.5 cm Details on page 72 13 SHIGEKAZU NAGAE 長江重和 Forms that Resonate 2020 Porcelain with glaze H63 × W44 × D39 cm Details on page 73 14 15 EIKO KISHI 岸映子 Shinsho Wo Tsumu (Forms Within) 2021 Stoneware with coloured chamotte H89 × W88 × D29 cm Details on page 74 17 KANJIRO MORIYAMA 森山寛二郎 Kai (Turn) VII 2020 Stoneware with glaze H92 × W53 × D56 cm Details on page 75 18 19 YOSHIRO KIMURA 木村芳郎 Charger with Blue Glaze 2021 Half-porcelain, cobalt blue glaze H5.5 × Φ58 cm Details on page 76 20 21 GLASS NIYOKO IKUTA 生田丹代子 Ku-150 (Free Essence-150) 2021 Cut, laminated sheet glass H41 × W37 × D46 cm Details on page 77 24 25 SACHI FUJIKAKE 藤掛幸智 Vestige 2021 Blown, sandblasted sheet glass H37 × W34 × D29 cm 26 Details on page 78 27 MASAAKI YONEMOTO 米元優曜 Skyscraper XLIV 2021 Polished, laminated sheet glass H85 × W21 × D17 cm Details on page 79 28 29 HIDENORI TSUMORI 津守秀憲 Remnants Of 2021 Glass mixed with stoneware H56 × W37 × D37 cm Details on page 80 30 YOKO TOGASHI 冨樫葉子 Spiral 2021 Blown, cut glass left: H27 × W26.5 × D12.5 cm right: H22.5 × W22 × D13 cm Details on page 81 32 33 PAINTING TAKAFUMI ASAKURA 朝倉隆文 The Transcendence of the Primordial Heavens 2021 Black ink on aluminum leaf, mounted on 3 panels H184.2 × W280.5 cm Details on page 82 36 37 2021 KENTARO SATO Japanese pigments on Japanese paper, mounted on 4 panels Serenity VIII 佐藤健太郎 H182 × W364 cm Details on page 83 AYANE MIKAGI 三鑰彩音 Flowers in the Mist 2020 Japanese pigments on Japanese paper, mounted on 4 panels H190 × W344 cm Details on page 84 40 41 MASANORI MAEDA 前田正憲 both forgotten / light 2021 Japanese pigments on aluminum leaf, mounted on canvas H99.5 × W116.7 cm Details on page 85 42 43 2021 KIYO HASEGAWA Japanese pigments on gold leaf, mounted on 6 panels l’effervescence 長谷川幾与 H145.5 × W273 (in total) / W45.5 (individual) cm Details on page 86 44 45 MASAKI TANIKAWA 谷川将樹 le silence de l'espoir 2021 Japanese pigments on Japanese paper, mounted on canvas H100 × W100 cm Details on page 73 46 47 METAL & LACQUER SATORU OZAKI 尾崎悟 Now and Here VIII 2021 Hammered, polished stainless steel H125 × W82 × D65 cm 50 Details on page 88 51 NAOKI TAKEYAMA 武山直樹 Hakutai (A Thousand Years) 2021 Enamelled copper, gold leaf H36 × W40 × D33 cm Details on page 89 53 KOSUKE KATO 加藤貢介 Crescendo I 2021 Damascus steel, lacquered iron base H115 × W26 × D28 cm Details on page 90 54 55 NOBUYUKI TANAKA 田中信行 Tactile Memory 2019 2019 Dry lacquer on hemp H101 × W58 × D30 cm Details on page 91 56 57 MAYU NAKATA 中田真裕 Bloom 2021 Lacquer, linen, pigments, tin powder H35.5 × Φ35.7 cm Details on page 92 58 59 OTHER MATERIALS OSAMU YOKOYAMA 横山修 scribble 2021 Bamboo, rattan H115 × W60 × D52 cm Details on page 93 62 63 KAZUMI NAGANO 永野和美 Necklace 2021 Yellow gold 18ct, nylon thread, yellow gold 14ct plate Clasp: yellow gold 14ct magnet H2.6 × W13 × D12 cm Details on page 94 64 65 JOSEPH WALSH ジョセフ ウォルシュ Enignum Locus – Tsubaki III 2017 Ash, bleach and oil H80 × W55.5 × D73 cm each Details on page 95 66 67 ARTIST PROFILES SUEHARU FUKAMI “To create a sense of noble simplicity and great silence, I search for a world of fundamental depth.” “The sounds of the soul, I embrace in clay. It is this moment, to capture the flowing of life itself, I hope.” KEN MIHARA 深見陶治 三原研 About the Artist About the Work About the Artist About the Work One of the most distinguished Japanese ceramists of his generation, Kyoto’s Sueharu The artist is known for his genre-defining high-pressure slip-casting techniques. Fukami’s Pristine forests, rugged ravines, gentle rivers and quiet mountains. Such are the landscapes The aesthetic qualities of serenity and the sublime coalesce within Mihara’s work. In Fukami (b. 1947 –) wishes to express the ‘infinite space’ that lies beyond the supple curves works are first realised by creating a 3-tiered plaster mould of considerable size and weight. that artist Ken Mihara (b. 1958 –) witnessed as a child, growing up in the majestic scenery essence, these qualities are the scents of Japan, a culture that has traditionally searched for and sharp silhouettes of his abstract porcelain sculptures, lusciously drenched in the delicate Porcelain slip is poured into this mould using a pressurised air compressor to ensure that of Izumo in Western Japan.
Load more

Recommended publications
  • University of Nevada, Reno American Shinto Community of Practice
    University of Nevada, Reno American Shinto Community of Practice: Community formation outside original context A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Anthropology By Craig E. Rodrigue Jr. Dr. Erin E. Stiles/Thesis Advisor May, 2017 THE GRADUATE SCHOOL We recommend that the thesis prepared under our supervision by CRAIG E. RODRIGUE JR. Entitled American Shinto Community Of Practice: Community Formation Outside Original Context be accepted in partial fulfillment of the requirements for the degree of MASTER OF ARTS Erin E. Stiles, Advisor Jenanne K. Ferguson, Committee Member Meredith Oda, Graduate School Representative David W. Zeh, Ph.D., Dean, Graduate School May, 2017 i Abstract Shinto is a native Japanese religion with a history that goes back thousands of years. Because of its close ties to Japanese culture, and Shinto’s strong emphasis on place in its practice, it does not seem to be the kind of religion that would migrate to other areas of the world and convert new practitioners. However, not only are there examples of Shinto being practiced outside of Japan, the people doing the practice are not always of Japanese heritage. The Tsubaki Grand Shrine of America is one of the only fully functional Shinto shrines in the United States and is run by the first non-Japanese Shinto priest. This thesis looks at the community of practice that surrounds this American shrine and examines how membership is negotiated through action. There are three main practices that form the larger community: language use, rituals, and Aikido. Through participation in these activities members engage with an American Shinto community of practice.
    [Show full text]
  • Art, Technology, Consciousness Mind@Large
    Art, Technology, Consciousness mind@large Edited by Roy Ascott intellect Art, Technology, Consciousness mind@large Edited by Roy Ascott First Published in Hardback in 2000 in Great Britain by Intellect Books, PO Box 862, Bristol BS99 1DE, UK Intellect Books, ISBS, 5804 N.E. Hassalo St, Portland, Oregon 97213-3644, USA Copyright ©2000 Intellect Ltd All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopy- ing, recording, or otherwise, without written permission. Consulting Editor: Masoud Yazdani Copy Editor: Peter Young A catalogue record for this book is available from the British Library Electronic ISBN 1-84150-814-4 / Hardback ISBN 1-84150-041-0 Printed and bound in Great Britain by Cromwell Press, Wiltshire Acknowledgements There are many individuals to thank for their help in bringing this book into being. In addition to the authors themselves, my colleagues and students in CAiiA-STAR, the editorial support team at ACES, and the staff of Intellect, thanks are due to Professor Ken Overshott, Principal of the University of Wales College Newport, for his continuing support. Contents Preface Beyond Boundaries 2 Edge-Life: technoetic structures and moist media – Roy Ascott Towards a Third Culture | Being in Between – Victoria Vesna The Posthuman Conception of Consciousness: a 10-point guide – Robert Pepperell Genesis: a transgenic artwork – Eduardo Kac Techno-Darwinism: artificial selection in the Electronic age – Bill
    [Show full text]
  • Dick Polich in Art History
    ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship.
    [Show full text]
  • The Making of an American Shinto Community
    THE MAKING OF AN AMERICAN SHINTO COMMUNITY By SARAH SPAID ISHIDA A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2008 1 © 2007 Sarah Spaid Ishida 2 To my brother, Travis 3 ACKNOWLEDGMENTS Many people assisted in the production of this project. I would like to express my thanks to the many wonderful professors who I have learned from both at Wittenberg University and at the University of Florida, specifically the members of my thesis committee, Dr. Mario Poceski and Dr. Jason Neelis. For their time, advice and assistance, I would like to thank Dr. Travis Smith, Dr. Manuel Vásquez, Eleanor Finnegan, and Phillip Green. I would also like to thank Annie Newman for her continued help and efforts, David Hickey who assisted me in my research, and Paul Gomes III of the University of Hawai’i for volunteering his research to me. Additionally I want to thank all of my friends at the University of Florida and my husband, Kyohei, for their companionship, understanding, and late-night counseling. Lastly and most importantly, I would like to extend a sincere thanks to the Shinto community of the Tsubaki Grand Shrine of America and Reverend Koichi Barrish. Without them, this would not have been possible. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT.....................................................................................................................................7
    [Show full text]
  • MUSEUMS and ART GALLERIES PAGE 1 / 10
    MUSEUMS and ART GALLERIES PAGE 1 / 10 PG-801 MUSEUMS and ART 10th Fl., Tokyo Kotsu Kaikan Bldg., 2-10-1, Yurakucho, Chiyoda-ku, Tokyo 100-0006 GALLERIES Tel. (03)3201-3331 In Japan, there are more than 1,500 museums and art galleries Notes: and their numbers are increasing year by year. 1) Admission fees will be higher than indicated when special exhibi- The present leaflet, however, mainly introduces those found tions are held. in and around such major tourist centers as Tokyo, Kyoto and 2) The museums are closed temporarily during changes of exhibi- Osaka, which are easily accessible to visitors. Regarding similar tions. institutions in other districts, only those comparatively well 3) The museums are generally closed from Dec. 28 to Jan. 4. favored by visitors from abroad have been listed. 4) “Open:” shows opening hour and closing hour, but ticket win- Listed are art galleries, folk history museums, treasure houses dows are usually closed 30 minutes before closing time. and folk art museums. Major science museums and those of a 5) At most museums, identification labels for objects and pam- unique nature are also introduced. phlets are written in Japanese. These institutions are arranged geographically from north to 6) Telephone numbers in parentheses are the area codes for long- south and are classified roughly by district and city according to distance calls. their location. 7) Mon. (Tue)* = Closed on Mon. however, when Mon. falls on a The information contained in this leaflet is based on current national holiday, the museum is open and it is closed on the fol- data as of July 2007.
    [Show full text]
  • Policy of Cultural Affairs in Japan
    Policy of Cultural Affairs in Japan Fiscal 2016 Contents I Foundations for Cultural Administration 1 The Organization of the Agency for Cultural Affairs .......................................................................................... 1 2 Fundamental Law for the Promotion of Culture and the Arts and Basic Policy on the Promotion of Culture and the Art ...... 2 3 Council for Cultural Affairs ........................................................................................................................................................ 5 4 Brief Overview of the Budget for the Agency for Cultural Affairs for FY 2016 .......................... 6 5 Commending Artistic and Related Personnel Achievement ...................................................................... 11 6 Cultural Publicity ............................................................................................................................................................................... 12 7 Private-Sector Support for the Arts and Culture .................................................................................................. 13 Policy of Cultural Affairs 8 Cultural Programs for Tokyo 2020 Olympic and Paralympic Games .................................................. 15 9 Efforts for Cultural Programs Taking into Account Changes Surrounding Culture and Arts ... 16 in Japan II Nurturing the Dramatic Arts 1 Effective Support for the Creative Activities of Performing Arts .......................................................... 17 2
    [Show full text]
  • Get Smart with Art Is Made Possible with Support from the William K
    From the Headlines About the Artist From the Artist Based on the critics’ comments, what aspects of Albert Bierstadt (1830–1902) is Germany in 1830, Albert Bierstadt Bierstadt’s paintings defined his popularity? best known for capturing majestic moved to Massachusetts when he western landscapes with his was a year old. He demonstrated an paintings of awe-inspiring mountain early interest in art and at the age The striking merit of Bierstadt in his treatment of ranges, vast canyons, and tumbling of twenty-one had his first exhibit Yosemite, as of other western landscapes, lies in his waterfalls. The sheer physical at the New England Art Union in power of grasping distances, handling wide spaces, beauty of the newly explored West Boston. After spending several years truthfully massing huge objects, and realizing splendid is evident in his paintings. Born in studying in Germany at the German atmospheric effects. The success with which he does Art Academy in Düsseldorf, Bierstadt this, and so reproduces the noblest aspects of grand returned to the United States. ALBERT BIERSTADT scenery, filling the mind of the spectator with the very (1830–1902) sentiment of the original, is the proof of his genius. A great adventurer with a pioneering California Spring, 1875 Oil on canvas, 54¼ x 84¼ in. There are others who are more literal, who realize details spirit, Bierstadt joined Frederick W. Lander’s Military Expeditionary Presented to the City and County of more carefully, who paint figures and animals better, San Francisco by Gordon Blanding force, traveling west on the overland who finish more smoothly; but none except Church, and 1941.6 he in a different manner, is so happy as Bierstadt in the wagon route from Saint Joseph, Watkins Yosemite Art Gallery, San Francisco.
    [Show full text]
  • TEFAF Catalogue, Kigen (Genesis), Building, Japan / the Gotoh Museum, Japan / Herbert F
    TEFAF Maastricht 2017 10th March – 19th March 2017 Opening Preview on 9th March Stand 237 (new location) The Yufuku Collection 2017 Our Raison D'etre 06 Hisao Domoto 42 Naoki Takeyama In recent years, the emergence of a group of Japanese artists who have spearheaded a new way of thinking in the realm of contemporary art has helped to shift paradigms and vanquish stereotypes borne from the 19th century, their art and aesthetic understood as making vital contributions to the broader history of modern and contemporary art. This new current, linked by the phrase Keisho-ha (School of Form), Sueharu Fukami Hidenori Tsumori 10 46 encompasses a movement of artists who, through the conscious selection of material and technique, create boldly innovative works that cannot be manifested by any other means. The term craft holds no true meaning to this movement, nor do the traditional dichotomies that have traditionally separated fine art 14 Satoru Ozaki 50 Nobuyuki Tanaka from craft art. In the words of Nietzsche, "Craft is dead." A new age beckons. No country exemplifies this expanding role more so than the artists of contemporary Japan, a country that continues to place premium on elegance in execution coupled with cutting-edge innovation within 18 Niyoko Ikuta 54 Kanjiro Moriyama tradition. No gallery represents this new movement more so than Yufuku, a gallery that has nurtured and represented the Keisho School from its conceptual inception. Michelangelo once said, "every block of stone has a statue inside, and it is the task of the sculptor to 22 Ken Mihara 58 Takahiro Yede discover it." Our artists are no different, wielding material and technique to create a unique aesthetic that can inspire future generations, yet would resonate with generations before us, regardless of age, creed or culture.
    [Show full text]
  • Flnitflrcililcl
    flNiTflRCililCl A NEWS BULLETIN published quarterly by the NEW ZEALAND ANTARCTIC SOCIETY (INC) svs-r^s* ■jffim Nine noses pointing home. A team of New Zealand huskies on the way back to Scott Base after a run on the sea ice of McMurdo Sound. Black Island is in the background. Pholo by Colin Monteath \f**lVOL Oy, KUNO. O OHegisierea Wellington, atNew kosi Zealand, uttice asHeadquarters, a magazine. n-.._.u—December, -*r\n*1981 SOUTH GEORGIA SOUTH SANDWICH Is- / SOUTH ORKNEY Is £ \ ^c-c--- /o Orcadas arg \ XJ FALKLAND Is /«Signy I.uk > SOUTH AMERICA / /A #Borga ) S y o w a j a p a n \ £\ ^> Molodezhnaya 4 S O U T H Q . f t / ' W E D D E L L \ f * * / ts\ xr\ussR & SHETLAND>.Ra / / lj/ n,. a nn\J c y DDRONNING d y ^ j MAUD LAND E N D E R B Y \ ) y ^ / Is J C^x. ' S/ E A /CCA« « • * C",.,/? O AT S LrriATCN d I / LAND TV^ ANTARCTIC \V DrushsnRY,a«feneral Be|!rano ARG y\\ Mawson MAC ROBERTSON LAND\ \ aust /PENINSULA'5^ *^Rcjnne J <S\ (see map below) VliAr^PSobral arg \ ^ \ V D a v i s a u s t . 3_ Siple _ South Pole • | U SA l V M I IAmundsen-Scott I U I I U i L ' l I QUEEN MARY LAND ^Mir"Y {ViELLSWORTHTTH \ -^ USA / j ,pt USSR. ND \ *, \ Vfrs'L LAND *; / °VoStOk USSR./ ft' /"^/ A\ /■■"j■ - D:':-V ^%. J ^ , MARIE BYRD\Jx^:/ce She/f-V^ WILKES LAND ,-TERRE , LAND \y ADELIE ,'J GEORGE VLrJ --Dumont d'Urville france Leningradskaya USSR ,- 'BALLENY Is ANTARCTIC PENIMSULA 1 Teniente Matienzo arg 2 Esperanza arg 3 Almirante Brown arg 4 Petrel arg 5 Deception arg 6 Vicecomodoro Marambio arg ' ANTARCTICA 7 Arturo Prat chile 8 Bernardo O'Higgins chile 9 P r e s i d e n t e F r e i c h i l e : O 5 0 0 1 0 0 0 K i l o m e t r e s 10 Stonington I.
    [Show full text]
  • Art Trails in Alabama Public Art Members Alabama State Council on the Arts
    ALABAMA Volume XXI, Number 2ARTS Art Trails in Alabama Public Art Members Alabama State Council on the Arts BERNICE PRICE CHAIRMAN Montgomery REBECCA T. B. QUINN VICE CHAIRMAN Huntsville FRANK HELDERMAN SECRETARY Florence EVELYN ALLEN Birmingham JULIE HALL FRIEDMAN Fairhope RALPH FROHSIN, JR. Alexander City DOUG GHEE Anniston ELAINE JOHNSON Dothan DORA JAMES LITTLE Auburn JUDGE VANZETTA PENN MCPHERSON Montgomery VAUGHAN MORRISSETTE Mobile DYANN ROBINSON Tuskegee JUDGE JAMES SCOTT SLEDGE Gadsden CEIL JENKINS SNOW Birmingham CAROL PREJEAN ZIPPERT Eutaw Opinions expressed in AlabamaArts do not necessarily reflect those of the Alabama State Council on the Arts or the State of Alabama. ALABAMAARTS In this Issue Volume XXI Public Art Trails in Alabama Number 2 Public Art in Alabama 3 Al Head, Executive Director, ASCA 4 Discovering Public Art: Public Art Trails in Alabama Georgine Clarke, Visual Arts Program Manager, ASCA 6 Continuing the Trail New Deal Art in Alabama Post Offices 42 and Federal Buildings On the cover: Roger Brown Autobiography in the Shape of Alabama (Mammy’s Door) (recto), 1974 Oil on canvas, mirror, wood, Plexiglas, photographs, postcards, and cloth shirt 89 x 48 x 18 inches Collection of Museum of Contemporary Art, Chicago, gift of Maxine and Jerry Silberman Photography © Museum of Contemporary Art, Chicago ©The School of the Art Institute of Chicago and the Brown family. Roger Brown, (1941-1997) was born in Hamilton, Alabama and later moved to Opelika. From the 1960’s he made his home in Chicago, where he graduated from The School of the Art Institute of Chicago and played a significant role in the city’s art scene for over 30 years as one of the Chicago Imagist artists.
    [Show full text]
  • Show of Hands
    Show of Hands Northwest Women Artists 1880–2010 Maria Frank Abrams Ruth Kelsey Kathleen Gemberling Adkison Alison Keogh Eliza Barchus Maude Kerns Harriet Foster Beecher Sheila Klein Ross Palmer Beecher Gwendolyn Knight Susan Bennerstrom Margot Quan Knight Marsha Burns Margie Livingston Margaret Camfferman Helen Loggie Emily M. Carr Blanche Morgan Losey Lauri Chambers Sherry Markovitz Doris Chase Agnes Martin Diem Chau Ella McBride Elizabeth Colborne Lucinda Parker Show of Hands Northwest Women Artists 1880–2010 Claire Cowie Viola Patterson Louise Crow Mary Ann Peters Imogen Cunningham Susan Point Barbara Matilsky Marita Dingus Mary Randlett Caryn Friedlander Ebba Rapp Anna Gellenbeck Susan Robb Virna Haffer Elizabeth Sandvig Sally Haley Norie Sato Victoria Haven Barbara Sternberger Zama Vanessa Helder Maki Tamura Karin Helmich Barbara Earl Thomas Mary Henry Margaret Tomkins Abby Williams Hill Gail Tremblay Anne Hirondelle Patti Warashina Yvonne Twining Humber Marie Watt Elizabeth Jameson Myra Albert Wiggins Fay Jones Ellen Ziegler Helmi Dagmar Juvonen whatcom museum, bellingham, wa contents This book is published in conjunction with the 6 Foreword exhibition Show of Hands: Northwest Women Artists 1880–2010, organized by the Whatcom Patricia Leach Museum and on view from April 24–August 8, 2010. Funding for the exhibition and the 8 Acknowledgments accompanying catalogue was supported in part with funds provided by the Western 10 A Gathering of Women States Arts Federation (WESTAF) and the Barbara Matilsky National Endowment for the Arts (NEA). The City of Bellingham also generously funded the 52 Checklist of the Exhibition catalogue. Additional support was provided by the Washington Art Consortium (WAC). Published in the United States by 55 Bibliography Whatcom Museum 56 Photographic Credits © 2010 by the Whatcom Museum 121 Prospect Street Bellingham, WA 98225 The copyright of works of art reproduced in www.whatcommuseum.org 56 Lenders to the Exhibition this catalogue is retained by the artists, their heirs, successors, and assignees.
    [Show full text]
  • God As Enemy—
    THINKING THE UNTHINKABLE: GOD AS ENEMY— AN IMAGE OF GOD IN THE BOOK OF JOB AND OTHER BOOKS OF THE HEBREW BIBLE by Alphonetta Beth Terry Wines Bachelor of Arts, 1971 University of Houston Houston, TX Master of Divinity, 2002 Brite Divinity School Fort Worth, TX Dissertation Presented to the Faculty of the Brite Divinity School in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Biblical Interpretation Fort Worth, TX May 2011 THINKING THE UNTHINKABLE: GOD AS ENEMY— AN IMAGE OF GOD IN THE BOOK OF JOB AND OTHER BOOKS OF THE HEBREW BIBLE APPROVED BY DISSERTATION COMMITTEE _______________________________________DR. LEO PERDUE Dissertation Director ______________________________________DR. TONI CRAVEN Reader ____________________________________ ____DR. KERI DAY Reader _______________________________DR. JEFFREY WILLIAMS Associate Dean for Academic Affairs ________________________________DR. NANCY J. RAMSAY Dean Copyright @2011 by Alphonetta Beth Terry Wines All rights reserved ABSTRACT AND METHODOLOGY Images of God, positive and negative, create an ongoing tension in the biblical text. This tension is due to the paradoxical character of God as seen in Exod 34:6-7. The cognitive dissonance created by the juxtaposition of positive and negative images of the divine is unsettling for many people. Consequently, these negative images are often overlooked. This project addresses one of the neglected images, the image of God as enemy. It seems peculiar that, despite the regularity of Israel’s complaints against the divine and its familiarity with enemy language, the word enemy is not used more frequently in reference to God. This project considers the idea that while enemy language was part of Israel’s cultural milieu, the word enemy was seldom used to describe God because the image of God as enemy borders on picturing God as demonic—a precipice that neither Job nor the writers of the Hebrew Bible wanted to cross.
    [Show full text]