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Textile Society of America Newsletter 29:2 — Fall 2017 Textile Society of America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2017 Textile Society of America Newsletter 29:2 — Fall 2017 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Materials Conservation Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Industrial and Product Design Commons, Interdisciplinary Arts and Media Commons, and the Metal and Jewelry Arts Commons Textile Society of America, "Textile Society of America Newsletter 29:2 — Fall 2017" (2017). Textile Society of America Newsletters. 80. https://digitalcommons.unl.edu/tsanews/80 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 29. NUMBER 2. FALL 2017 Photo Credit: Tourism Vancouver See story on page 6 Newsletter Team BOARD OF DIRECTORS Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of Communications) Designer: Meredith Affleck Vita Plume Member News Editor: Caroline Charuk (TSA General Manager) President [email protected] Editorial Assistance: Natasha Thoreson and Sarah Molina Lisa Kriner Vice President/President Elect Our Mission [email protected] Roxane Shaughnessy The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for Past President the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, [email protected] political, social, and technical perspectives. Established in 1987, TSA is governed by a Board of Directors from museums and universities in North America. -
Stanley Kubrick's 18Th Century
Stanley Kubrick’s 18th Century: Painting in Motion and Barry Lyndon as an Enlightenment Gallery Alysse Peery Abstract The only period piece by famed Stanley Kubrick, Barry Lyndon, was a 1975 box office flop, as well as the director’s magnum opus. Perhaps one of the most sumptuous and exquisite examples of cinematography to date, this picaresque film effectively recreates the Age of the Enlightenment not merely through facts or events, but in visual aesthetics. Like exploring the past in a museum exhibit, the film has a painterly quality harkening back to the old masters. The major artistic movements that reigned throughout the setting of the story dominate the manner in which Barry Lyndon tells its tale with Kubrick’s legendary eye for detail. Through visual understanding, the once obscure novel by William Makepeace Thackeray becomes a captivating window into the past in a manner similar to the paintings it emulates. In 1975, the famed and monumental director Stanley Kubrick released his one and only box-office flop. A film described as a “coffee table film”, it was his only period piece, based on an obscure novel by William Makepeace Thackeray (Patterson). Ironically, his most forgotten work is now considered his magnum opus by critics, and a complete masterwork of cinematography (BFI, “Art”). A remarkable example of the historical costume drama, it enchants the viewer in a meticulously crafted vision of the Georgian Era. Stanley Kubrick’s film Barry Lyndon encapsulates the painting, aesthetics, and overall feel of the 18th century in such a manner to transform the film into a sort of gallery of period art and society. -
Toronto! Welcome to the 118Th Joint Annual Meeting of the Archaeological Institute of America and the Society for Classical Studies
TORONTO, ONTARIO JANUARY 5–8, 2017 Welcome to Toronto! Welcome to the 118th Joint Annual Meeting of the Archaeological Institute of America and the Society for Classical Studies. This year we return to Toronto, one of North America’s most vibrant and cosmopolitan cities. Our sessions will take place at the Sheraton Centre Toronto Hotel in the heart of the city, near its famed museums and other cultural organizations. Close by, you will find numerous restaurants representing the diverse cuisines of the citizens of this great metropolis. We are delighted to take this opportunity of celebrating the cultural heritage of Canada. The academic program is rich in sessions that explore advances in archaeology in Europe, the Table of Contents Mediterranean, Western Asia, and beyond. Among the highlights are thematic sessions and workshops on archaeological method and theory, museology, and also professional career General Information .........3 challenges. I thank Ellen Perry, Chair, and all the members of the Program for the Annual Meeting Program-at-a-Glance .....4-7 Committee for putting together such an excellent program. I also want to commend and thank our friends in Toronto who have worked so hard to make this meeting a success, including Vice Present Exhibitors .......................8-9 Margaret Morden, Professor Michael Chazan, Professor Catherine Sutton, and Ms. Adele Keyes. Thursday, January 5 The Opening Night Public Lecture will be delivered by Dr. James P. Delgado, one of the world’s Day-at-a-Glance ..........10 most distinguished maritime archaeologists. Among other important responsibilities, Dr. Delgado was Executive Director of the Vancouver Maritime Museum, Canada, for 15 years. -
1 Newsletter Februar 2019 Liebe Netzwerker*Innen, Im Aktuellen
Newsletter Februar 2019 Liebe Netzwerker*innen, im aktuellen Newsletter für Februar sind wieder viele Hinweise und Informationen enthalten. Viel Spaß beim Durchsehen! Wir freuen uns über jeden Beitrag an [email protected]. Sendet uns neue Informationen für den Newsletter März 2019 bitte als Word-Datei bis zum 15. Februar. Herzlichen Dank für eure Mitarbeit! Wir hoffen, ihr hattet einen guten Start in 2019 und senden herzliche Grüße Catharina Obernauer und das Newsletter-Team PS: Ihr könnt den Newsletter jederzeit wieder abbestellen. Sendet dafür bitte einen kurzen Hinweis an [email protected]. Wir werden euch dann umgehend aus dem Verteiler nehmen. Inhalt 1. Infos für Mitglieder S. 2 2. Vorträge, Veranstaltungen und Tagungen S. 4 3. Call for Papers - Ausschreibungen S. 8 4. Stellenangebote /Ausschreibungen S. 12 5. Ausstellungen S. 13 6. Interessantes S. 22 1 1. Infos für Mitglieder Save the date! - 11. Jahresmitgliederversammlung in Berlin Termin: 2. – 5. Mai 2019 Das vorläufige (!) Programm ist jetzt online. Genaue Angaben zu den verschiedenen Programmpunkten folgen, wenn alle Zusagen vorliegen. Sowie die Einladung zur JMV mit Programm und Anmeldeformular per E-Mail bei Ihnen eintrifft, können Sie sich anmelden. Die Verschickung ist für die erste Februarhälfte geplant. Wir freuen uns alle sehr auf ein Wiedersehen in Berlin! Tagungsort: LETTE VEREIN BERLIN Stiftung des öffentlichen Rechts Viktoria-Luise-Platz 610777 Berlin http://www.letteverein.berlin/ Tagungshotel: Motel One Tiergarten An der Urania 12/14, 10787 Berlin Kontingentabruf nach Buchungseingang, Deadline 7. März 2019. Das Buchungsformular ist über die Website abrufbar. Orga-Koordination: Katrin Lindemann ([email protected]) Neues auf der Website • zahlreiche Information über Ausstellungen weltweit, recherchiert und eingestellt von Maria Stabel (Aktuelles/ Ausstellungen) • 5 Call for Papers und Infos über mehr als fünfzig nationale und internationale Tagungen, zusammengestellt von H. -
ORNAMENT 30.3.2007 30.3 TOC 2.FIN 3/18/07 12:39 PM Page 2
30.3 COVERs 3/18/07 2:03 PM Page 1 992-994_30.3_ADS 3/18/07 1:16 PM Page 992 01-011_30.3_ADS 3/16/07 5:18 PM Page 1 JACQUES CARCANAGUES, INC. LEEKAN DESIGNS 21 Greene Street New York, NY 10013 BEADS AND ASIAN FOLKART Jewelry, Textiles, Clothing and Baskets Furniture, Religious and Domestic Artifacts from more than twenty countries. WHOLESALE Retail Gallery 11:30 AM-7:00 PM every day & RETAIL (212) 925-8110 (212) 925-8112 fax Wholesale Showroom by appointment only 93 MERCER STREET, NEW YORK, NY 10012 (212) 431-3116 (212) 274-8780 fax 212.226.7226 fax: 212.226.3419 [email protected] E-mail: [email protected] WHOLESALE CATALOG $5 & TAX I.D. Warehouse 1761 Walnut Street El Cerrito, CA 94530 Office 510.965.9956 Pema & Thupten Fax 510.965.9937 By appointment only Cell 510.812.4241 Call 510.812.4241 [email protected] www.tibetanbeads.com 1 ORNAMENT 30.3.2007 30.3 TOC 2.FIN 3/18/07 12:39 PM Page 2 volumecontents 30 no. 3 Ornament features 34 2007 smithsonian craft show by Carl Little 38 candiss cole. Reaching for the Exceptional by Leslie Clark 42 yazzie johnson and gail bird. Aesthetic Companions by Diana Pardue 48 Biba Schutz 48 biba schutz. Haunting Beauties by Robin Updike Candiss Cole 38 52 mariska karasz. Modern Threads by Ashley Callahan 56 tutankhamun’s beadwork by Jolanda Bos-Seldenthuis 60 carol sauvion’s craft in america by Carolyn L.E. Benesh 64 kristina logan. Master Class in Glass Beadmaking by Jill DeDominicis Cover: BUTTERFLY PINS by Yazzie Johnson and Gail Bir d, from top to bottom: Morenci tur quoise and tufa-cast eighteen karat gold, 7.0 centimeters wide, 2005; Morenci turquoise, lapis, azurite and fourteen karat gold, 5.1 centimeters wide, 1987; Morenci turquoise and tufa-cast eighteen karat gold, 5.7 centimeters wide, 2005; Tyrone turquoise, coral and tufa- cast eighteen karat gold, 7.6 centimeters wide, 2006; Laguna agates and silver, 7.6 centimeters wide, 1986. -
Annual Report 2005
ANNUAL REPORT 2005 “Expanding, Integrating, and Enhancing” March 31, 2006 © CHSRF/CIHR Health Services Chair in Health Care Settings and Canadians, University of Toronto 81 PETER C. COYTE “The CHSRF/CIHR Genesis Research Training Fellowship I received enables me to concentrate exclusively on my current studies and future career in health policy research. The opportunities this fellowship provides to interact with decision-makers in the health policy field are both unique and valuable, and have undoubtedly enriched my academic experiences this year .” - Meghan McMahon PhD. Student, Dept. Health Policy, Management, and Evaluation, University of Toronto “Dr. Coyte has helped me develop my research and analytical skills over the past few months by guiding me in data collection and analysis. Moreover, he has introduced me to various aspects of health care and health economics that I had not previously considered. Working with him has been a valuable learning experience. ” - Karen Arcot, Research Intern, Dept. Health Policy, Management, and Evaluation, University of Toronto “The Home and Community Care Knowledge Translation course provides students with the opportunity to read the latest research in the sector, to critically appraise studies in terms of valid methodology, the importance of disseminating their findings and how to write in an accessible way for policy decision makers. With the help of advisory policy decision makers, they are encouraged to think about the political and health system context to consider topics of interest and use for people in the field. At the same time, each student is given the opportunity to edit an issue of Highlights that offers current findings to the attention of subscribers. -
Annual Report
ANNUAL2011 REPORT-2012 UNIVERSITY OF PENNSYLVANIA MUSEUM OF ARCHAEOLOGY AND ANTHROPOLOGY ANNUAL2011 REPORT-2012 UNIVERSITY OF PENNSYLVANIA MUSEUM OF ARCHAEOLOGY AND ANTHROPOLOGY 3 Letter from the Chair of the Board of Overseers 4 Letter from the Williams Director 5 THE YEAR IN REVIEW Collections and Programs 6 Collections Showcase: New and Traveling Exhibitions 13 A Living Museum: Public Lectures, Special Programs, Family Programs, and Evening Events 21 A Rich History: The Museum Archives 23 Preserving Our Collections: Conservation Work 25 Stewarding Our Collections: The Museum’s NAGPRA Office and Committee 27 Sharing Our Collections: Outgoing Loans and Traveling Exhibitions 30 Expanding Our Collections: New Acquisitions Outreach and Collaboration 32 Community Outreach: Educational Programs and Collaborations 40 Protecting the World’s Cultural Heritage: The Penn Cultural Heritage Center 42 Student Involvement: Academic Enrichment, Advisory Boards, Internships, Docents, and Summer Research Research and Dissemination 45 Generating Knowledge: Research Projects around the World 60 Preserving Knowledge: Digitizing Collections, Archives, and New Endeavors 64 Disseminating Knowledge: Penn Museum Publications 65 Engaging the World: The Museum Website and Social Media Financial and Operational Highlights 67 Statement of Museum Fiscal Activity 67 Operational Highlights: Becoming a Destination 68 IN GRATEFUL ACKNOWLEDGMENT 69 Destination 2012 70 Leadership and Special Gifts 74 Perpetual and Capital Support 76 Annual Sustaining Support 90 Penn Museum People ON THE COVER Exhibition curator Loa P. Traxler (right) demonstrates the touchtable interactive in the MAYA 2012: Lords of Time exhibition as (from left to right) Penn President Amy Gutmann, Philadelphia Mayor Michael A. Nutter, and President Porfirio Lobo de Sosa of Honduras look on. -
What's on at Gainsborough's House
Visitor information What’s on at Gainsborough’s House NOVEMBER 2018 – MAY 2019 OPEN Monday to Saturday 10am–5pm GIRLING STREET Sunday 11am–5pm AST STREET E CLOSED Good Friday and between GREGOR Christmas and the New Year Y ST * WEAVERS ADMISSION (with Gift Aid ) HILLGAINSBOROUGH’S STATUE Adults: £7 DESIGN: TREVOR WILSON DESIGN GAINSBOROUGH’S LANE MARKETKING ST Family: £16 HOUSE CORNARD ROAD Children aged up to 5: free ST BUS Children and students: £2 GAINSBOROUGH STATION STOUR ST STATION ROAD Groups of 10 or more: RIARS ST F £6 per head (booking essential) SUDBURY All admissions, courses and lectures are STATION inclusive of VAT (VAT No. 466111268). Gainsborough’s House is an accredited museum. Charity No. 1170048 and Company Limited by Guarantee No. 10413978. It is supported by Suffolk County Council, Sudbury Town Council, Friends & Patrons of Gainsborough’s House. Gainsborough’s House 46 Gainsborough Street, Sudbury, Suffolk CO10 2EU (entrance in Weavers Lane) Telephone 01787 372958 [email protected] www.gainsborough.org Twitter @GH_Sudbury The House and Garden have wheelchair access and there is a lift to the first floor. * The additional income from Gift Aid does make a big difference but if you prefer not to make this contribution the admission prices are: Adult £6.30, Family £14.50. 1 Gainsborough’s House Gainsborough in Sudbury THOMAS GAINSBOROUGH FRONT COVER: Thomas Gainsborough (1727–88) was born THE ROOMS OF MR & MRS JOHN BROWN AND THEIR in Sudbury and was baptised there at the GAINSBOROUGH’S HOUSE ‘The name of Gainsborough will be transmitted DAUGHTER, ANNA MARIA, Independent Meeting-House in Friars Street to posterity, in the history of art.’ Each of the rooms of the house take a c. -
William Hogarthг Reflected The
го о ск в е ш ы н р е Ч . Г . Н и н е м и т те си р е в и н у R. Z. Nazarova й ы н S. E. Tupikova н е в ст р а уд с о г й и ск в о т а р а С УДК 802.07.01 (075.8) ББК 74.268 (1Англ) А64 ISBN 978-5-9999-0782-0 Назарова Р.З., Тупикова С.Е. English Painting. Английская живопись. Учебное пособие. Саратов: ИЦ «Наука», 2011. - 150 с. го ко Учебное пособие ‘The English Painting’ представляет собой введение в курсыс в живописи и страноведения Великобритании для студентов факультетов иностранныхе языков, отделений романо-германских языков университетов. Представленноеш пособие может найти применение у широкого круга читателей, изучающих английскийы язык, н английскую историю и культуру. р е В пособии рассказывается о становлении английской живописиЧ в XVII веке и ее дальнейшем развитии. Долгое время самостоятельной живописной .традиции в Англии не Г существовало. Перед читателем проходит ряд разнообразнейших. явлений английского искусства. На ранних стадиях развития живописи в культуре Н страны уделялось огромное внимание портрету. Возник особый национальныйи жанр – conversation pieces. н Художники начали постепенно отказываться от егладкой поверхности холста, исследовали богатейшие возможности живописного ммазка. С течением десятилетий формировался жанр английского пейзажа, в XVII и веке считавшийся совершенно неинтересным, недостойным внимания художника.т Первые английские живописцы были те еще скованы традициями придворного искусства.и Но появился Уильям Хогарт, совершивший подлинную революцию в национальнойс живописи. А за ним последовала р плеяда всемирно известных гениев: это,е прежде всего, Джошуа Рейнольдс и Томас в Гейнсборо, их ученики, последователи,и соперники. -
Primary Teachers' Notes 2014-15
PRIMARY TEACHERS’ NOTES 2014–15 ‘MR AND MRS ANDREWS’, c.1750 OIL ON CANVAS 69.8 x 119.4 CM THOMAS GAINSBOROUGH © The National Gallery, London © The National Gallery, ABOUT THE ARTIST Andrews, was a local landowner and his son seems to have devoted his energies to farming and improving the Thomas Gainsborough (1727 – 1788) was born in Sudbury land he inherited. in Suffolk, and educated at the grammar school there until the age of 14. He then went to London to study drawing His wife, also from a local landowning family, was born with the French artist Gravelot who is probably responsible Frances Carter in around 1732. She was only around for introducing him to the circle of artists at the St Martin’s 18 at the time of the painting. The match was probably Lane Academy, run by William Hogarth. engineered by the two fathers in order to consolidate and secure their lands. He married Margaret Burr in 1746 and they returned to Sudbury where their daughters were born. The National The Setting Gallery has a 1748 self-portrait of the artist with his wife Soon after his marriage Robert Andrews inherited the with their first daughter, who died very young, and two house and estate of Auberies, the setting for the painting. charming portraits of the surviving girls whom he painted It has been suggested that this is not just a double portrait throughout their lives. but a triple portrait of Andrews, his wife and his estate. The painting looks out across the landscape, south over the In 1752 Gainsborough set up practice in Ipswich. -
Curriculum Vitae
Curriculum Vitae Freddie Robins (b.1965) lives and works in Essex and London. Currently Senior Tutor and Reader in Textiles at the Royal College of Art in London she works to commission and exhibits nationally and internationally. Exhibitions 2018 Resistant Materials, M100 Exhibition Centre for Contemporary Art, Odense, Denmark. 2017 StrangeLands, Collyer Bristow Gallery, London. Uncertain things, The Sentinel Gallery, Wivenhoe, Essex. A Table of Elements, Greystone Industries, Wickham Market, Suffolk. Between things, Minories Art Gallery, Colchester. Showtime, COLLECT, Saatchi Gallery, London. What do I need to do to make it OK? The National Centre for Craft & Design, Sleaford, Lincolnshire and Rugby Art Gallery & Museum. 2016 Liberties, The Exchange, Penzance, Cornwall. Flat-out Lowlanders, Blackwater Polytechnic, Feering, Essex. Big Steam Print, Museum of Art + Craft, Ditchling and Phoenix Gallery, Brighton. What do I need to do to make it OK? Crafts Study Centre, Farnham, Devon Guild of Craftsmen, Bovey Tracey, Devon, R-Space Gallery, Lisburn, Northern Ireland and Forty Hall, Enfield. Some rocks and a hard place, The Sentinel Gallery, Wivenhoe, Essex. OTHER exhibition, Courtyard Gallery, Royal College of Art, London. COUNTER_FITTERS, Geddes Gallery, London. 2015 Sluice_2015 with the Essex Embassy from the Blackwater Polytechnic, Bargehouse, Oxo Tower Wharf, London. What do I need to do to make it OK? Pump House Gallery, London. Curated by Liz Cooper. Liberties, Collyer Bristow Gallery, London. Curated by Day + Gluckman, Brocki, Blackwater Polytechnic, Feering, Essex. Yan Tan Tethera, Walford Mill, Dorset. Curated by David Littler. Sex Shop, Transition Gallery, London. Curated by Sarah Gillham, Jack Stokoe and Darren Nairn. 2014 Exchange Rates: The Bushwick Expo, Theodore:Art, Brooklyn, New York, USA. -
THE MASTERS of ENGLISH PAINTING Hogarth-Gainsborough-Constable
LICEUL BILINGV “GEORGE COŞBUC” THE MASTERS OF ENGLISH PAINTING Hogarth-Gainsborough-Constable Dimulescu Valentina-Andreea Profesor îndrumător Clasa a XIIa U1 Maria Constantinescu 2004 THE MASTERS OF ENGLISH PAINTING Hogarth-Gainsborough-Constable TABLE OF CONTENTS FOREWORD …....……………………………………………....……………………………............ 1 PART ONE HISTORY OF BRITISH ART ............................................................................................................ 2 PART TWO TRENDS AND STYLE ........................................................................................................................ 4 PART THREE ENGLISH PAINTERS CHAPTER 1 THE FIRST ENGLISH PAINTER ......................................................................................................7 CHAPTER 2 BETWEEN PORTRAIT AND LANDSCAPE ..................................................................................12 CHAPTER 3 ONE OF THE GREATEST BRITISH LANDSCAPE ARTISTS ..................................................16 CONCLUSION ................................................................................................................................... 20 BIBLIOGRAPHY .............................................................................................................................. 22 APPENDIX NOTABLE PAINTINGS ................................................................................................................... 23 ANNEXE 1 .........................................................................................................................................