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Affective Temporalities in Gob Squad’S Kitchen (You’Ve Never Had It So Good)
56 ANA PAIS AFFECTIVE TEMPORALITIES IN GOB SQUAD’S KITCHEN (YOU’VE NEVER HAD IT SO GOOD) In this article I will be drawing upon affect theory to unpack issues of authenticity, mediation, participation in the production Gob Squads’s Kitchen, by Gob Squad. English/German collective reconstructed Andy Warhol’s early film Kitchen, shot 47 years before, in the flamboyant Factory, starring ephemeral celebrities such as Eve Sedgwick. Alongside Eat (1964), Sleep (1963) and Screen Test (1964-66). Although it premièred in Berlin, in 2007, the show has been touring in several countries and, in 2012, it received the New York Drama Desk Award for Unique Theatrical Experience.I will be examining how the production’s spatial dispositive creates a mediated intimacy that generates affective temporalities and how their performativity allows us to think of the audience as actively engaged in an affective resonance with the stage. Intimacy creates worlds (Berlant 2000). It brings audience and performer closer not only to each other but also to the shifting moment of Performance Art’s capture by institutional discourses and market value. Unleashing affective temporalities allows the audience to embody its potency, to be, again, “at the beginning”.Drawing upon André Lepecki’s notion of reenactments as activations of creative possibilities, I will be suggesting that Gob Squads’s Kitchen merges past and present by disclosing accumulated affects, promises and deceptions attached to the thrilling period of the sixties in order to reperform a possibility of a new beginning at the heart of a nowthen time. In conclusion, this article will shed new light on the performative possibilities of affect to surmount theatrical separation and weave intensive attachments. -
An Alternative Reading of Warhol's Early Cinema
Nothing/Something: An Alternative Reading of Warhol’s Early Cinema by James Anthony Chamberlain Nothing/Something nothing, pron., and n. 1. Not any (material or immaterial) thing; nought. 2. No part, share, or quantity of a thing; no aspect, evidence, or quality of a thing or person. 3. Not anything, or anybody, of importance, significance, value, or concern; something or somebody of no importance, etc. 4. That which is not any number or quantity; a figure or character representing this; zero. 5. a. That which has no existence or being; nothingness. b. That which no longer exists; a person who or thing which has been extinguished or destroyed. c. to nothing: to the final point, stage, or state of a process of reduction, destruction, dissolution, etc. 6. a. A thing of no importance, value, or concern; a non-existent thing; a trifling event. b. A trivial remark. c. An insignificant person; a nobody. 7. Triviality, worthlessness, insignificance. 8. In predicative use: that which cannot be denominated; spec. a person of no religious denomination. something, n. (a.) 1. a. Some unspecified or indeterminate thing (material or immaterial). b. Used as a substitute for a name or part of one, or other particular, which is not remembered or is immaterial, etc. c. Some liquor, drink, or food; esp. in phr. to take something. d. Used (with between) to denote an intermediate stage or grade. e. Used to denote an undefined or unknown occupation, or a person in respect of this. f. or something (colloq.), used to express an indistinct or unknown alternative. -
NO RAMBLING ON: the LISTLESS COWBOYS of HORSE Jon Davies
WARHOL pages_BFI 25/06/2013 10:57 Page 108 If Andy Warhol’s queer cinema of the 1960s allowed for a flourishing of newly articulated sexual and gender possibilities, it also fostered a performative dichotomy: those who command the voice and those who do not. Many of his sound films stage a dynamic of stoicism and loquaciousness that produces a complex and compelling web of power and desire. The artist has summed the binary up succinctly: ‘Talk ers are doing something. Beaut ies are being something’ 1 and, as Viva explained about this tendency in reference to Warhol’s 1968 Lonesome Cowboys : ‘Men seem to have trouble doing these nonscript things. It’s a natural 5_ 10 2 for women and fags – they ramble on. But straight men can’t.’ The brilliant writer and progenitor of the Theatre of the Ridiculous Ronald Tavel’s first two films as scenarist for Warhol are paradigmatic in this regard: Screen Test #1 and Screen Test #2 (both 1965). In Screen Test #1 , the performer, Warhol’s then lover Philip Fagan, is completely closed off to Tavel’s attempts at spurring him to act out and to reveal himself. 3 According to Tavel, he was so up-tight. He just crawled into himself, and the more I asked him, the more up-tight he became and less was recorded on film, and, so, I got more personal about touchy things, which became the principle for me for the next six months. 4 When Tavel turned his self-described ‘sadism’ on a true cinematic superstar, however, in Screen Test #2 , the results were extraordinary. -
Chelsea Boy Dies Friday Following 2-Car Crash Recycle Chelsea
#m'**#**#*CAR-RT-!:>0RT**nR3 1476 10/1/89 U 23 McKune Memorial Library •$# 221 S. Main St, Che I sear MI 48118 QUOTE "A man travels the world c over in search #of what he 35 needs and returns home to find it." per copy y ONE HUNDRED-NINETEENTH YEAR—No. 7 CHELSEA, MICHIGAN, WEDNESDAY, JULY \% 1989 24 Pages This Week y Recycle Chelsea •am Alreadyin Danger as m. Funds Dry Up Chelsea's recycling program, which materials are being hauled away and level and should be up to the local began late last year, could be out of the distance from each station to, units of government. Look at it this business by the end of the month Recycle Ann Arbor. Glass and cans way, if you were going to continue a m unless local governmental agencies have become the most profitable recycling service with a big company, pi come to its rescue. items as the state is staring at a someone would have to pay for it. It's "Recycle Chelse'a," the village's newspaper glut, making newspaper got to be paid for one way or another. participation in the Washtenaw worth almost nothing, which in And it could cost as much or more to county-wide recycling program, ap creases the cost of the program even get rid of garbage through recycling parently will need an infusion of more. However, the newspaper sec than the way we've always done it." money in order to survive. The county tion of the bin is always the first to fill Village president Jerry Satter plans to stop picking up the recycling up and it would be hard to justify pick thwaite, who has strongly supported bin in Polly's Market, as well as in its ing up a bin that is mostly full of wor setting up a local, independent recycl other sites around the county, in thless newspaper. -
Warhol, Andy (As Filmmaker) (1928-1987) Andy Warhol
Warhol, Andy (as filmmaker) (1928-1987) Andy Warhol. by David Ehrenstein Image appears under the Creative Commons Encyclopedia Copyright © 2015, glbtq, Inc. Attribution-Share Alike 3.0 Unported license. Entry Copyright © 2002, glbtq, Inc. Courtesy Jack Mitchell. Reprinted from http://www.glbtq.com As a painter Andy Warhol (the name he assumed after moving to New York as a young man) has been compared to everyone from Salvador Dalí to Norman Rockwell. But when it comes to his role as a filmmaker he is generally remembered either for a single film--Sleep (1963)--or for works that he did not actually direct. Born into a blue-collar family in Forest City, Pennsylvania on August 6, 1928, Andrew Warhola, Jr. attended art school at the Carnegie Institute of Technology in Pittsburgh. He moved to New York in 1949, where he changed his name to Andy Warhol and became an international icon of Pop Art. Between 1963 and 1967 Warhol turned out a dizzying number and variety of films involving many different collaborators, but after a 1968 attempt on his life, he retired from active duty behind the camera, becoming a producer/ "presenter" of films, almost all of which were written and directed by Paul Morrissey. Morrissey's Flesh (1968), Trash (1970), and Heat (1972) are estimable works. And Bad (1977), the sole opus of Warhol's lover Jed Johnson, is not bad either. But none of these films can compare to the Warhol films that preceded them, particularly My Hustler (1965), an unprecedented slice of urban gay life; Beauty #2 (1965), the best of the films featuring Edie Sedgwick; The Chelsea Girls (1966), the only experimental film to gain widespread theatrical release; and **** (Four Stars) (1967), the 25-hour long culmination of Warhol's career as a filmmaker. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Murals & Portraits
RICHARD AVEDON Murals & Portraits May 4 – July 6, 2012 B C A D Galleries: A) Andy Warhol and members of The Factory B) The Chicago Seven C) The Mission Council D) Allen Ginsberg’s family Murals: A) Andy Warhol and members of The Factory: Paul Morrissey, director; Joe Dallesandro, actor; Candy Darling, actor; Eric Emerson, actor; Jay Johnson, actor; Tom Hompertz, actor; Gerard Malanga, poet; Viva, actress; Paul Morrissey; Taylor Mead, actor; Brigid Polk, actress; Joe Dallesandro; Andy Warhol, artist, New York, October 30, 1969, printed 1975 Silver gelatin prints, three panels mounted on linen 123 x 374 1/2 inches (312.4 x 951.2 cm) AP 1/2, edition of 2 B) The Chicago Seven: Lee Weiner, John Froines, Abbie Hoffman, Rennie Davis, Jerry Rubin, Tom Hayden, Dave Dellinger, Chicago, Illinois, November 5, 1969, printed 1969 Silver gelatin prints, three panels mounted on linen 121 3/4 x 242 3/4 inches (309.2 x 616.6 cm) Edition 2/2 + 1 AP C) The Mission Council: Hawthorne Q. Mills, Mission Coordinator; Ernest J. Colantonio, Counselor of Embassy for Administrative Affairs; Edward J. Nickel, Minister Counselor for Public Affairs; John E. McGowan, Minister Counselor for Press Affairs; George D. Jacobson, Assistant Chief of Staff, Civil Operations and Rural Development Support; General Creighton W. Abrams, Jr., Commander, United States Military Assistance Command, Vietnam; Ambassador Ellsworth Bunker; Deputy Ambassador Samuel D. Berger; John R. Mossler, Minister and Director, United States Agency for International Development; Charles A. Cooper, Minister -
Post-War and Contemporary Art Evening Sale at Christie’S New York Realizes $325 Million
For Immediate Release November 13, 2007 Contact: Bendetta Roux 212 636 2680 [email protected] POST-WAR AND CONTEMPORARY ART EVENING SALE AT CHRISTIE’S NEW YORK REALIZES $325 MILLION New York – Christie’s Evening Sale of Post-War and Contemporary Art totaled $325,006,000 this evening, the second highest ever for a sale in the field. Sixteen new world auction records were set including for artists such as Jeff Koons, Lucian Freud, Ed Ruscha, Richard Prince and Gerhard Richter. The sale was 94% sold by value and 93% by lot. Buyers were 51% American, 26% European, 7% Asian and 16% others. “Tonight’s auction surpassed all of our expectations. It was a robust, sophisticated and well-edited auction, which established multiple records for the most significant artists of the 20th and 21st centuries. The sale realized the second highest total ever for the field and it provided excitement, awe and energy,” said Marc Porter, President Christie’s Americas. “In a market as watchful and alert as today’s, this sale was a clear and resounding vote of confidence of a deep and global client base, which is willing to spend millions of dollars on great works of art.” Mark Rothko’s superbly magical and reflective work never fails to stun one in its serene but almost tangible power. Untitled (Red Blue Orange) realized $34,201,000, second only to the Rockefeller Rothko which sold for $72 million in May of this year, and No.7 (Dark Over Light), 1954 fetched $21,041,000. Both derive from Rothko’s classic period and they reflect the artist’s spare but emotive vocabulary of luminous rectangles stacked and set afloat within a radiantly hued ground. -
Reese Man Killed in Train-Car Crash
-- -- -_. Am- _-- *, i- .Or\JICLE VOLUME 83, NUMBER 35 CASS CITY MICHIGAN -WEDNESDAY,DECEMBER 6,1984 _- -- 1 MIK 1 Y LkN1.S-- ~ , 16 PAGES PLUS SUPPLEMENT CASS CITY I- -_ Dee. 19 petition Reese man killed deadline - -’- -- Area residents interested in running for village office in train-car crash. have about 2 weeks left to file nominating petitions. A 22-year-old Reese man dragged down the tracks ‘ vehicle in front of her went just south of CasCity Satur- The deadline for filing is 4 was killed Monday night approximately 600 feet be- rightjust prior to the impact. day - p.m. Dec. 19. Primary when the vehicle he was fore coming to a stop. Hosner and a passenger in Troopers said Carlysle F. elections, if necessary, will driving slammed into a CSX Another motorist, Ray- her vehicle, Irene M. Periso, May hew, 68,6430 Third S t., be held Feb. 19, and the train about 2 miles south of mond G.Roy, 52, of Vassar, 22, 6665 Lincoln St., Cass City, was northbound General Election will be Richville in Tuscola Town- also was injured at the same Gagetown, were wearing on Cemetery Road north of conducted March 12. ship. location in what authorities seat belts when the 6:45 pm. River Road at about 8:45 The railroad crossing, believe may have been a crash occurred, reports p.m. when his vehicle began In Cass City, peutions can which is marked by a yield related accident. be picked up at the village state. to fishtail. The driver lost sign and railroad crossarms, Roy, who also was north- They and Luther, who was control and the vehicle left municipal building during is the same location where 2 bound on Hart Road, appar- regular business hours, 8 not wearing a seat belt, were the roadway and struck a persons were killed and 2 ently saw the train and transported to Car0 Com- .m. -
California State University, Northridge Exploitation
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE EXPLOITATION, WOMEN AND WARHOL A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Kathleen Frances Burke May 1986 The Thesis of Kathleen Frances Burke is approved: Louise Leyis, M.A. Dianne E. Irwin, Ph.D. r<Iary/ Kenan Ph.D. , Chair California State. University, Northridge ii DEDICATION This thesis is dedicated to Dr. Mary Kenon Breazeale, whose tireless efforts have brought it to fruition. She taught me to "see" and interpret art history in a different way, as a feminist, proving that women's perspectives need not always agree with more traditional views. In addition, I've learned that personal politics does not have to be sacrificed, or compartmentalized in my life, but that it can be joined with a professional career and scholarly discipline. My time as a graduate student with Dr. Breazeale has had a profound effect on my personal life and career, and will continue to do so whatever paths my life travels. For this I will always be grateful. ACKNOWLEDGEMENTS In addition, I would like to acknowledge the other members of my committee: Louise Lewis and Dr. Dianne Irwin. They provided extensive editorial comments which helped me to express my ideas more clearly and succinctly. I would like to thank the six branches of the Glendale iii Public Library and their staffs, in particular: Virginia Barbieri, Claire Crandall, Fleur Osmanson, Nora Goldsmith, Cynthia Carr and Joseph Fuchs. They provided me with materials and research assistance for this project. I would also like to thank the members of my family. -
Geodesy. Latitude Observations with Photographic Zenith Tube At
Serial No. 7 ^.DEPARTMENT OF COMMERCE ) U. S. COAST AND GEODETIC SURVEY HI E. LESTER JONES, Superintendent GEODESY LATITUDE OBSERVATIONS WITH PHOTOGRAPHIC ZENITH TUBE AT GAITHERSBURG, MD. BY FRAIfK K. ROSS, Ph. I>. IN COOPERATION WITH THE INTERNATIONAL GEODETIC ASSOCIATION SPECIAL PUBLICATIONNINO.I 27 1 WASHINGTON GOVERNMENT PRINTING OP1TOK 1913 Serial No. 7 DEPARTMENT OF COMMERCE U. S. COAST AND GEODETIC SUEVEY E. LESTER JONES, Superintendent GEODESY LATITUDE OBSERVATIONS WITH PHOTOGRAPHIC ZENITH TUBE AT GAITHERSBURG, MD. BY FRAJSTK TG. ROSS, Pli. D. IN COOPERATION WITH THE INTERNATIONAL GEODETIC ASSOCIATION SPECIAL PUBLICATION No. 27 WASHINGTON GOVERNMENT PRINTING OFFICE 1815 ADDITIONAL COPIES OF THIS PUBLICATION MAY BE PROCURED FROM THE SUPERINTENDENT OF DOCUMENTS GOVERNMENT PRINTING OFFICE WASHINGTON, D. C. AT 25 CENTS PER COPY V 137 CONTENTS. Pago. Introduction 7 Some considerations leading to a choice of instrument 9 Description of instrument and adjustments 16 Specimen measurement and reduction sheet 25 The Elizabeth Thompson comparator 27 Reseau 30 Adjustments of the zenith tube 33 Scale value 38 Temperature coefficient (semi-theoretical) 40 Film distortion '. 42 Position of the second Gaussian point 46 Investigation of the accuracy of the carriage motion 46 Program and latitude observations, photographic 49 Star program 49 Results of observations, photographic 51 Group differences and closing sum 70 Constant of aberration 72 Solar parallax 72 Daily mean latitudes, definitive 73 Comparison of photographic variation of latitude curve with the normal curve 76 The Kimura term 78 Discussion of errors 81 Probable errors 81 Temperature conditions 82 Probable errors arranged according to zenith distance 85 Probable error of the daily mean latitude 85 Relative accuracy of observations before and after midnight 86 Systematic and accidental errors in plate measurement 87 Probable error of the photographic impression of stellar images. -
University of Copenhagen Faculty of Humanities
Disincarnation Jack Smith and the character as assemblage Tranholm, Mette Risgård Publication date: 2017 Document version Other version Document license: CC BY-NC-ND Citation for published version (APA): Tranholm, M. R. (2017). Disincarnation: Jack Smith and the character as assemblage. Det Humanistiske Fakultet, Københavns Universitet. Download date: 26. sep.. 2021 UNIVERSITY OF COPENHAGEN FACULTY OF HUMANITIES PhD Dissertation Mette Tranholm Disincarnation Jack Smith and the character as assemblage Supervisor: Laura Luise Schultz Submitted on: 26 May 2017 Name of department: Department of Arts and Cultural Studies Author(s): Mette Tranholm Title and subtitle: Disincarnation: Jack Smith and the character as assemblage Topic description: The topic of this dissertation is the American performer, photographer, writer, and filmmaker Jack Smith. The purpose of this dissertation is - through Smith - to reach a more nuanced understading of the concept of character in performance theater. Supervisor: Laura Luise Schultz Submitted on: 26 May 2017 2 Table of contents Acknowledgements.............................................................................................................................................................7 Overall aim and research questions.................................................................................................................................9 Disincarnation in Roy Cohn/Jack Smith........................................................................................................................13