DOCSLIB.ORG

Hammer Museum Fall 2011 Non Profit Org

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Hammer Museum Fall 2011 Non Profit Org. US Postage 10899 Wilshire Boulevard Los Angeles, California 90024 USA Fall 2011 Calendar For additional program information: 310-443-7000 PAID Los Angeles, CA www.hammer.ucla.edu Permit no. 202 100% recycled paper (DETAIL), 1969. ASSEMBLAGE. (DETAIL), 2½ IN. COURTESY OF MICHAEL ROSENFIELD GALLERY, NY. OF MICHAEL ROSENFIELD GALLERY, 2½ IN. COURTESY BLACK GIRL’S WINDOW BLACK GIRL’S x 8 ⁄ 1 18 x BETYE SAAR. 35 ¾ 24 25 2 3 news director HAMMER NEWS the 1 from MEMBERSHIP THANK YOU message COMING UP: STUDIO VISIT a JOIN The Hammer Museum wishes to thank those who have Hammer Patrons this fall and attend the annual Patrons Studio Visit on Saturday, September 10. This year contributed acquisition funds or made gifts of works we will visit the Highland Park studios of Matt Monahan, of art since July 1, 2010. HAMMER STAFF WITH 2011 ARTIST COUNCIL 1 Lara Schnitger, and My Barbarian. Enjoy the afternoon A MESSAGE FROM THE DIRECTOR visiting with our hosts and exploring their creative spaces. Matt Aberle Glenn Kaino Amy Adelson and Dean Valentine Margery and Maurice Katz Pacific Standard Time: Art in L.A. 1945–1980 is finally here. performance by Bruno Mars. The Gala sells out every year, The Buddy Taub Foundation Patti and Frank Kolodny More than five years in the making, this citywide initiative so if you are interested in supporting the event, please UPGRADE! Seth Cohen Luisa Lambri Nan and Eugene Corman Kourosh Larizadeh and Luis Pardo spearheaded by the Getty will officially open the first weekend call 310-443-7026—but make haste! Upgrade now or join at the Supporter level ($350) or Cecilia Dan LA><ART in October to great fanfare. The Hammer’s exhibition higher and attend the Hammer’s next private Director’s The Dakis Joannou Susan and Larry Marx Collection Foundation Joy and Jerry Monkarsh Now Dig This! Art and Black Los Angeles 1960–1980 (see In this issue of the Calendar you will also find something Reception on Saturday, October 1. Mix, mingle, and party Rosette V. Delug Heidi and Erik Murkoff pages 4–5) explores a group of pioneering African American new—an artist project developed specifically for this with artists and curators at the Now Dig This! opening. James Frey Susan and Leonard Nimoy artists whose work and connections with other artists of publication. Average, a work by artist Kate Pocrass, is You won’t want to miss it! Gemini G.E.L. Edgar Orlaineta Erika Glazer Ann Philbin varied ethnic backgrounds made an undeniable impact on the the latest experiment to come from our Public Engagement For more information on membership or the 2011 Robert Gober Joel Portnoy larger creative community at the time. Accompanying this department. Once again we enter uncharted territory, this time The Greenberg Foundation Brenda R. Potter Patron Studio Tour, please contact Laura Sils, Membership significant and long overdue exhibition are a wide variety exploring this publication as a space for creativity. I think Johan Grimonprez Regen Projects Manager, at 310-443-7023 or [email protected]. Dan Halsted Kristin Rey and Michael Rubel of free public programs including performances, lectures, you will find Kate’s special, limited-edition insert a Anton Henning Sara Meltzer Gallery and panel discussions that will examine the practices of the delightful and unusual peek inside our world at the Hammer. David Hoberman Lisa Schiff David Hockney Kim and David Schrader artists as well as explore the social and political backdrop of JORGE PARDO INSTALLATION James Gallery at CUNY Marc Selwyn the civil rights movement which informed much of this work. Finally, late last spring we were saddened by the loss of Linda and Jerry Janger Betty-Jo Tilley and I encourage you not only to see Now Dig This! but also to visit Roy Aaron. Roy had a deep connection with UCLA, and one This year’s Gala in the Garden installation will feature Luis De Jesus and L. Jay Wingate Richard Kuhlenschmidt Kadima Foundation Kevin West some of the more than 60 other exhibitions at institutions of the many ways he served his beloved university was to sit garlands of brightly-colored, hanging lanterns by L.A.-based, across Southern California that make up Pacific Standard Time. on the Hammer’s Board of Directors, which he did for nine MacArthur Award-winning artist Jorge Pardo. Lamps are It is a rare and unprecedented opportunity for us all to explore years. Roy was one of the first people I met when I moved a favored form of Pardo’s and for the Hammer installation, The museum also thanks the members of the Hammer Board the rich cultural history of this city. here from New York eleven years ago. His warmth, kindness, he has created entirely new designs in powder-coated of Overseers, who have supported the Contemporary Collection superb diplomacy, and calm demeanor were so valued by all steel. These indoor/outdoor works will debut at the Gala on since its inception, as well as CARTA and the Friends of the Our annual Gala in the Garden is also just around the corner, of us who worked with him. Our staff and Board of Directors September 24 and remain on view through early October. Graphic Arts, whose dues support Grunwald Center acquisitions. on September 24. Each year our closest friends and supporters will always be grateful to him for his generosity of spirit and They will be available for sale through Gagosian Gallery gather for a delicious al fresco dinner in our courtyard catered sound leadership. He is missed very much. and a portion of the proceeds will benefit the Hammer’s OPPOSITE PAGE, TOP ROW: DOUGLAS FOGLE, JULIA BRYAN-WILSON (GUEST SPEAKER), exhibitions and public programs. For more information, YOSHUA OKÓN, GLENN KAINO, MALIK GAINES, HIRSCH PERLMAN, ALEXIS SMITH, by Suzanne Goin of Lucques and Tavern. This year we are TEDDY CRUZ, ALLEGRA PESENTI, LAURA OWENS, ANNE ELLEGOOD, ALLISON AGSTEN. please call 310-271-9400. SECOND ROW: CLAUDIA BESTOR, JENNIFER BOLANDE, LISA ANNE AUERBACH, SARAH STIFLER, honoring Matt Groening, creator of The Simpsons and Los Ann Philbin, Director MARISA LEMORANDE, ANN PHILBIN. ARTISTS NOT PICTURED BUT WHO ARE IN THE Angeles artist Lari Pittman, and we will feature a special ARTIST COUNCIL: EDGAR ARCENEAUX AND ANDREA BOWERS. BACKGROUND: MEMBERS’ OPENING PARTY FOR PAUL THEK: DIVER, A RETROSPECTIVE. PHOTO: STEFANIE KEENAN. JOHN ALTOON SISTER KAREN BOCCALERO/SELF HELP GRAPHICS 5 4 MARIE JOHNSON CALLOWAY GEORGE CLACK 5 10 11 DAN CONCHOLAR HOUSTON CONWILL 8 1 2 4 9 exhibitions exhibitions ALONZO DAVIS DALE BROCKMAN DAVIS EXHIBITION-RELATED PROGRAMS 7 6 3 1 1 SHEILA LEVRANT DE BRETTEVILLE 13 12 MARK DI SUVERO Sunday, October 2, 1PM Exhibition walkthrough MELVIN EDWARDS NOW DIG THIS! with curator Kellie Jones FRED EVERSLEY 14 Sunday, October 2, 2PM ART & BLACK CHARLES GAINES Hammer Presents See page 12 LOS ANGELES 1960–1980 DAVID HAMMONS Opening Day Performance: Kiss MAREN HASSINGER Wednesday, October 5, 7pm SUZANNE JACKSON 16 October 2, 2011 – January 8, 2012 Hammer Presents See page 12 15 This comprehensive exhibition examines the vital legacy of VIRGINIA JARAMILLO Twenty twenty the city’s African American visual artists, who—through their ULYSSES JENKINS work and their connections with other artists from a variety of Tuesday, November 1, 7pm DANIEL LARUE JOHNSON ethnic backgrounds—made up an important part of the creative Hammer Presents See page 12 community. Including 140 works by 35 artists, many of whom ELIZABETH LEIGH-TAYLOR CONSTANT ELEVATION: are not well known to the public, Now Dig This! expands the art SAMELLA LEWIS THE L.A. BLACK ARTS MOVEMENT historical record, placing the work of these African American THROUGH SPOKEN WORD practitioners within the context of the movements, trends, and RON MIYASHIRO ideas that fueled the arts in Los Angeles during this period. SENGA NENGUDI Sunday, November 13, 3pm Many of these artists also responded to the civil rights and Black Hammer Lectures See page 19 JOHN OUTTERBRIDGE Power movements, and their work reflects the changing sense of High Voltage: The Watts Legacy what constituted African American identity and American culture. JOE OVERSTREET 20 1) ANNOUNCEMENT FOR SAMELLA LEWIS AND GEORGE CLACK EXHIBITION TUESDAY, NOVEMBER 15, 7PM Organized by Kellie Jones, associate professor of art history at WILLIAM PAJAUD AT BROCKMAN GALLERY, LA, 1969 2) CHARLES WHITE 3) VIRGINIA JARAMILLO 4) MAREN HASSINGER. PHOTO COURTESY OF THE ARTIST Sunday, October 2 Columbia University. Hammer Lectures See page 19 5) JUDSON POWELL’S ART CLASS AT WATTS TOWERS ARTS CENTER Museum Free Day NOAH PURIFOY 6) WILLIAM PAJAUD 7) BETYE SAAR 8) FRED EVERSLEY. PHOTO © JERRY MCMILLAN, COURTESY OF CRAIG KRULL GALLERY, SANTA Taste and Style Just Aren’t Enough Through the generosity Now Dig This! Art and Black Los Angeles 1960–1980 has been made possible by JOHN T. RIDDLE JR. MONICA 9) STAN SANDERS, JOHN RIDDLE, AND CLAUDE BOOKER OF of Bank of America, the major grants from the Getty Foundation. THE BLACK ARTS COUNCIL. PHOTO COURTESY OF ANN BOOKER 10) DALE DAVIS 11) DAVID HAMMONS 12) OPERATION TEACUP Hammer is pleased to offer BETYE SAAR (TOWER EASTER WEEK CLEAN-UP), ORGANIZED BY THE STUDENT Generous support has been provided by the Henry Luce Foundation; the National COMMITTEE FOR IMPROVEMENT IN WATTS, AT WATTS TOWERS ART complimentary museum Endowment for the Arts, a federal agency; The Andy Warhol Foundation for the Visual Arts, RAYMOND SAUNDERS CENTER AND 107TH STREET, LOS ANGELES, APRIL 1965 13) JOHN RIDDLE 14) MELVIN EDWARDS. COURTESY OF MELVIN EDWARDS AND ALEXANDER admission on Sunday, which funded a Curatorial Research Fellowship; and The Broad Art Foundation.
Recommended publications
  • The Directors of Thomas Dane Gallery Are Pleased to Announce the Second Exhibition of Italian Photographer, Luisa Lambri

    The Directors of Thomas Dane Gallery Are Pleased to Announce the Second Exhibition of Italian Photographer, Luisa Lambri

    The Directors of Thomas Dane Gallery are pleased to announce the second exhibition of Italian photographer, Luisa Lambri. The exhibition features a selection of photographs from her body of work currently at the Hammer Museum, Los Angeles. The artist has long been captivated by the light of Southern California as well as by its architecture - particularly modernist houses designed by expatriate European architects. The mid-century photographs of these houses by Julius Shulman, describing flawless, pristine spaces have caused her to reflect on what a more personal experience of these spaces might be. Suspended between abstraction and figuration, her images are highly subjective responses to the Modernist ethos as evoked in these buildings. Characteristically, Lambri records the subtleties of their interiors as a means of exploring her own relationship to the space, to memory and to changes in perception over time. Eschewing the heroic, she photographs the less obvious details - apertures, windows, doors ajar, corners. In this exhibition, she has chosen skylights as a device, with hundreds of exposures in different qualities of light. Figures never appear in her work, but the human presence is evoked - "it is the ghost of the human being that is always in the photograph' says Hammer Chief Curator, Douglas Fogle. The images vary in their light and detail, from the very obscure, to the bleached out, effects also achieved through painstakingly adjusting the saturation and tone of each image in post-production. In this respect, Lambri reveals her ongoing interest in the work of light-and-space artists such as Robert Irwin and Larry Bell.
  • Uva-DARE (Digital Academic Repository)

    Uva-DARE (Digital Academic Repository)

    UvA-DARE (Digital Academic Repository) ‘Whose Vietnam?’ - ‘Lessons learned’ and the dynamics of memory in American foreign policy after the Vietnam War Beukenhorst, H.B. Publication date 2012 Link to publication Citation for published version (APA): Beukenhorst, H. B. (2012). ‘Whose Vietnam?’ - ‘Lessons learned’ and the dynamics of memory in American foreign policy after the Vietnam War. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:02 Oct 2021 Bibliography Primary sources cited (Archival material, government publications, reports, surveys, etc.) ___________________________________________________________ Ronald Reagan Presidential Library (RRPL), Simi Valley, California NSC 1, February 6, 1981: Executive Secretariat, NSC: folder NSC 1, NSC Meeting Files, Ronald Reagan Presidential Library (RRPL). ‘News clippings’, Folder: ‘Central American Speech April 27, 1983 – May 21, 1983’, Box 2: Central American Speech – Exercise reports, Clark, William P.: Files, Ronald Reagan Presidential Library (RRPL).
  • Betye Saar – Art Icon Award Waco Theater Center, Wearable Art Gala - 2019

    Betye Saar – Art Icon Award Waco Theater Center, Wearable Art Gala - 2019

    BETYE SAAR – ART ICON AWARD WACO THEATER CENTER, WEARABLE ART GALA - 2019 On Saturday, June 1, 2019, artist Betye Saar will receive the Art Icon Award at WACO Theater Center’s Wearable Art Gala in Los Angeles. As one of the artists who ushered in the development of Assemblage art, Betye Saar’s practice reflects on African American identity, spirituality and the connectedness between different cultures. Her symbolically rich body of work has evolved over time to succinctly reflect the environmental, cultural, political, racial, technological, economic, and historical context in which it exists. Saar was born Betye Irene Brown on July 30, 1926 to Jefferson Maze Brown and Beatrice Lillian Parson in Los Angeles, California. Both parents attended the University of California, Los Angeles, where they met. After her father's death in 1931, Saar and her mother, brother, and sister moved in with her paternal grandmother, Irene Hannah Maze in the Watts neighborhood in Los Angeles. As a child, Saar witnessed Simon Rhodia’s construction of the Watts Towers in Los Angeles, which introduced ideas of creating art from found objects to embody both the spiritual and the technological. This early influence, combined with her interest in metaphysics, magic, and the occult formed the basis of Saar’s early assemblage work. With assemblages such as the iconic The Liberation of Aunt Jemima (1972), Saar sought to reveal marginalized and hidden histories. Her work has examined social invisibility of black Americans in service jobs, colorism, and the ways objects can retain memories and histories of their owners. Saar’s work can be found in the permanent collections of more than 60 museums, including the Museum of Modern Art in New York, The Metropolitan Museum of Art, the Whitney Museum, the Museum of Contemporary Art, Los Angeles, and LACMA, among others.
  • ISSUE 10 - Proving the Power of Art and Artists Pg.16 - Magnet for Controversy VOL.10 310.665.6800 / OTIS.EDU Pg.20 09 14 22 28

    ISSUE 10 - Proving the Power of Art and Artists Pg.16 - Magnet for Controversy VOL.10 310.665.6800 / OTIS.EDU Pg.20 09 14 22 28

    OTIS COLLEGE OF ART AND DESIGN MAGAZINE 310.665.6800 / OTIS.EDU in this issue: Non-Profit Org U.S. Postage Otis College of Art and Design PAID Spring 2011 No Finish Line 9045 Lincoln Boulevard, Los Angeles, California 90045 Los Angeles, CA Permit No. 427 pg.10 ISSUE 10 - Proving the Power of Art and Artists pg.16 - Magnet for Controversy VOL.10 310.665.6800 / OTIS.EDU pg.20 09 14 22 28 A Foundation for the Future This issue of OMAG highlights the Foundation connected. Through the Foundation Integrated Otis prepares diverse students of Program, a beloved first-year educational Learning course, freshmen work with an art and design to enrich our world VOL.10 IN THIS ISSUE: SPRING 2011 experience that generations of Otis alumni have external, real world “site partner.” The site- through their creativity, their skill, credited for much of their success and penchant partner project focuses on sustainability and and their vision. for lifelong learning. Otis is the only college of the environment, and embodies another Foundation Development art and design on the West Coast that offers a tenet of Foundation: Knowledge carries with Founded in 1918, Otis is L.A.’s first 02 24 full Foundation Year curriculum. The program is it a responsibility to use it mindfully within independent professional school of Makers + Thinkers Mei-Lee and the Art of Legacy also unique in its approach to preparing students the community. visual arts. Otis’ 1200 students pursue for the competitive, fast-paced 21st century while Students share their first-year engagement BFA degrees in advertising design, continuing to honor time-tested fundamentals.
  • Tommy Clarke 18 Wolf Ademeit 20 Yann Arthus-Bertrand

    Tommy Clarke 18 Wolf Ademeit 20 Yann Arthus-Bertrand

    Contents 2 The Frame & Arts 4 Samsung Collection 6 Curation Story Artist Profiles 8 Bohnchang Koo 10 Luisa Lambri 12 ruby onyinyechi amanze 14 Todd Eberle 16 Tommy Clarke 18 Wolf Ademeit 20 Yann Arthus-Bertrand 22 Samsung Collection at a Glance 29 Art Store Gallery Partners 30 ALBERTINA 32 Artspace 34 LUMAS 36 MAGNUM PHOTOS 38 Museo Del Prado Collection 40 Saatchi Art 42 Sedition 44 How to Use 46 My Collection 50 The Frame Specifications Tommy Clarke, Playa Shoreline (2015) 1 The Frame & ArtsArt The Frame. Art when it's off, TV when it's on. Introducing The Frame, a TV that elegantly enables you to make anye spac more welcoming, more entertaining and more inspiring. Turn on The Frame in TV mode and watch a beautiful 4K UHD Smart TV with outstanding detail and picture quality. Turn off and you seamlessly switch into Art Mode, transforming The Frame into a unique work of art that enriches your living space. The Frame with Walnut Customizable Frame Scott Ramsay, Mana Pools Bee-Eaters (2015) Curated art for your inspiration. Destined to expand your horizons, The Frame’s Art Mode showcases selections of museum-quality artwork professionally curated for you in the exclusive Samsung Collection and online Art Store. Or use My Collection Art Mode TV Mode to display cherished photos of special moments with family and friends. The perfect mode for any mood, Art Mode introduces TV with a sense of your own inimitable style and a knack for enhancing any décor. The Frame, Designed for your space. 2 The Frame 3 The Frame grants you exclusive access to 100 remarkable artworks across 10 categories from 37 renowned artists from the four corners of the world.
  • Silhouetted Stereotypes in the Art of Kara Walker

    Silhouetted Stereotypes in the Art of Kara Walker

    standards. They must give up their personal desires and Walker insists that her work “mimics the past, but it’s all live for the common good of the community. Hester about the present” (Tang 161). After her earning her strays from this conformity the first time when she has B.F.A. at Atlanta College of Art and further study at the sexual relations with her minister, a major violation of Rhode Island School of Design, Walker rose to community standards. She not only defiled herself, but prominence by winning the MacArthur Genius Grant in she defiled the leader of the community, and therefore, 1997 at the young age of 27 (Richardson 50). This the entire community. She does not conform again when prominent award poised Walker for great she bears the scarlet letter A with pride and dignity. The accomplishments, yet also exposed her to harsh community’s intention for punishing Hester is to force criticism from fellow African American women artists, her to fully repent. Hester seems to go through the such as Betye Saar, who launched a critical letter­writing motions of repentance. She stands on the scaffold, she campaign to boycott Walker’s work (Wall 277). Walker’s wears the letter A, and she lives on the outskirts of town. critics are quick to demonize aspects of her personal However, Hester’s “haughtiness,” “pride,” and “strong, life, like her marriage to a white European man, and calm, steadfastly enduring spirit” undermines the even her mental state, accusing her of mental distress community’s objective (Hawthorne, 213).
  • Related Acquisitions

    Related Acquisitions

    6HOHFWHG:RUNVE\$IULFDQ$PHULFDQ$UWLVWVLQ/$&0$¶V3HUPDQHQW Collection *Artists included in Two Centuries of Black American Art Edgar Arceneaux (United States, b. 1972) Mask, 1997 Gouache, graphite, charcoal and ink 11 1/8 x 17 in. (28.26 x 43.18 cm) Gift of Jeff Vaughn AC1997.256.1.16 * Richmond Barthé (United States, 1901 - 1989) Inner Music, 1956 Bronze Height: 24 1/2 in. (62.2 cm) Gift of the 1989 Collectors Committee M.89.25 * Romare Bearden (United States, 1911-1988) In Black America, 1971 Screenprint Sheet: 35 1/2 x 25 1/16 in. (90.17 x 63.66 cm) Gift of Henri Ghent in memory of Henry J. Seldis M.78.57 * Romare Bearden (United States, 1911-1988) Pilate (Misty Island), 1979 Lithograph Image: 22 x 15 in. (55.88 x 38.1 cm) Gift of Joan Palevsky M.2001.76 * Romare Bearden (United States, 1911-1988) Falling Star, 1979 Color lithograph Sheet: 28 1/4 x 28 1/2 in. (71.76 x 72.39 cm) Purchased with funds provided by Joan Palevsky AC1997.100.1 Dawoud Bey (United States, b. 1953) Amishi, 1993 Internal dye-diffusion (Polarcolor ER) print Sheet: 29 1/4 x 21 3/4 in. (74.3 x 55.25 cm) each Ralph M. Parsons Fund M.2000.33.1-.4 * John Biggers (United States, 1924 - 2001) Cotton Pickers, 1947 Conté crayon and gouache on paperboard Image and sheet: 9 5/8 x 29 3/4 in. (100.65 x 75.57 cm); Framed: 47 x 37 x 2 in. (119.38 x 93.98 x 5.08 cm) Purchased with funds provided by Mr.
  • Alison Saar Foison and Fallow

    Alison Saar Foison and Fallow

    FOR IMMEDIATE RELEASE August 2010 Media Contact: Elizabeth East Telephone: 310-822-4955 Email: [email protected] Alison Saar Foison and Fallow 15 September through 30 October 2010 Opening reception for the artist: Wednesday 15 September, 6-8 p.m. Venice, CA –- L.A. Louver is pleased to announce an exhibition of new three-dimensional mixed media works on paper and sculpture by Alison Saar. In this new work Saar explores the cycle of birth, maturation, death and regeneration through the changing season and her own experience of aging. The two drawings Foison, 2010 and Fallow, 2010, which also give their titles to the exhibition, derive from Saar’s recent fascination with early anatomy illustration. As Saar has stated “The artists of the time seemed compelled to breathe life back into the cadavers, depicting them dancing with their entrails, their skin draped over their arm like a cloak, or fe- tuses blooming from their mother’s womb.” In these drawings, Saar has replaced the innards of the fi gures with incongruous elements, to create a small diorama: Foison, 2010 depicts ripe, fruitful cotton balls and their nemesis the cotton moth, in caterpillar, chrysalis and mature moth stage; while Fallow, 2010 portrays a fallow fawn fetus entwined in brambles. In creating these works Saar references and reexamines her early work Alison Saar that often featured fi gures with “cabinets’ in their chest containing relics Fallow, 2010 mixed media of their life. 55 1/2 x 29 x 1 in. (141 x 73.7 x 2.5 cm) My work has always dealt with dualities -- usually of the wild, feral side in battle with the civil self -----Alison Saar One of two sculptures in the exhibition, En Pointe, 2010 depicts a fi gure hanging by her feet and sprouting massive bronze antlers.
  • Representation in Art and Film: Identity and Stereotype

    Representation in Art and Film: Identity and Stereotype

    Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1996 Volume III: Race and Representation in American Cinema Representation in Art and Film: Identity and Stereotype Curriculum Unit 96.03.10 by Martha Savage Objectives This unit is designed to make older middle school students look at and reflect upon art and film and to create art work with a deepening awareness of identity and an understanding of stereotype. Examining stereotype in contemporary life, in personal experience, as a tool used by artists to heighten understanding, and the uses and absence of stereotype in depiction of characters in cinema are key components of this series of lessons. In addition to looking at and being critical, students are asked to create art work which expresses and elaborates upon these ideas. Through analysis of image and stereotype, students will consider and evolve a more complex perception of personal identity. At the core of the curriculum and educational mission of the Visual Art Department at Betsy Ross Arts Magnet School are certain ubiquitous goals which drive all aspects of the program. Among these goals is to imbue units and individual lessons with subject-matter which causes reflection on personal identity and diversity, individual differences and similarities. The Visual Art curriculum seeks to investigate world cultures throughout the four year program. The cultures of the students in attendance at the school are emphasized as well as Native American cultures. Comparisons and connections are made. Students identify and examine their personal heritage and culture. Students look at their differences and similarities. Art work is generated from this inquiry.
  • Afro-Caribbeans and the New Great Migration to Atlanta

    Afro-Caribbeans and the New Great Migration to Atlanta

    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2015 On the Midnight Train to Georgia: Afro-Caribbeans and the New Great Migration to Atlanta LaToya Asantelle Tavernier 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/630 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] ON THE MIDNIGHT TRAIN TO GEORGIA: AFRO-CARIBBEANS AND THE NEW GREAT MIGRATION TO ATLANTA by LATOYA A. TAVERNIER A dissertation submitted to the Graduate Faculty in Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York. 2015 © 2015 LATOYA A. TAVERNIER All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Sociology in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Prof. Vilna Bashi Treitler Date Chair of Examining Committee Professor Philip Kasinitz Date Executive Officer Prof. Philip Kasinitz Prof. Nancy Foner Prof. Charles Green Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract ON THE MIDNIGHT TRAIN TO GEORGIA: AFRO-CARIBBEANS AND THE NEW GREAT MIGRATION TO ATLANTA by LaToya A. Tavernier Advisor: Vilna Bashi Treitler In the 21 st century, Atlanta, Georgia has become a major new immigrant destination. This study focuses on the migration of Afro-Caribbeans to Atlanta and uses data collected from in-depth interviews, ethnography, and the US Census to understand: 1) the factors that have contributed to the emergence of Atlanta as a new destination for Afro-Caribbean immigrants and 2) the ways in which Atlanta’s large African American population, and its growing immigrant population, shape the incorporation of Afro-Caribbeans, as black immigrants, into the southern city.
  • Holiday Sale Members Only! Hammer Members Receive 20% Off in the Hammer Store December 8–15

    Holiday Sale Members Only! Hammer Members Receive 20% Off in the Hammer Store December 8–15

    Hammer Museum Winter 2011/12 Non Profit Org. 10899 Wilshire Boulevard Los Angeles, California 90024 USA US Postage PAID Winter 2011/12 Calendar For additional program information: 310-443-7000 Los Angeles, CA www.hammer.ucla.edu Permit no. 202 100% recycled paper HOLIDAY SALE MEMBERS ONLY! HAMMER MEMBERS RECEIVE 20% OFF IN THE HAMMER STORE DECEMBER 8–15. (DETAIL), 1964. INK AND CHARCOAL ON PAPER. 71 7/16 X 1964. INK AND CHARCOAL ON PAPER. (DETAIL), BIRMINGHAM TOTEM CHARLES WHITE. GEORGIA; PURCHASE WITH FUNDS ATLANTA, 40 1/16 IN. (181.5 X 101.8 CM). HIGH MUSEUM OF ART, ENDOWMENT FOR THE ARTS. FROM EDITH G. AND PHILIP A. RHODES THE NATIONAL 2 3 news director the 1 A MESSAGE FROM THE DIRECTOR from If you have been to the museum recently I am sure you Amiri Baraka. Other highlights of the season include two noticed the construction taking place in the courtyard. We additional Conversations—one with the legendary Angela Davis are very excited to see some important and long overdue and author Robin Levi, and another with writer Hilton Als message improvements to our space finally realized. Although it and artist extrordinaire Kara Walker. a will not interrupt any of our programs and activities, the construction will continue through the spring of 2012 and Additionally, as part of the Pacific Standard Time Performance will improve the overall look and function of the courtyard Festival, in January the Hammer will present two important spaces. We will be adding a new space—The Lab—which performances—one by the legendary Eleanor Antin, and 1 FREE SUNDAYS! will provide a much needed area for student workshops, one by Now Dig This! artists Maren Hassinger, Senga Nengudi Through January 8, 2012 seminars, and other educational and community activities.
  • Luisa Lambri Photographs April 8 – 29, 2006 Luhring Augustine Is

    Luisa Lambri Photographs April 8 – 29, 2006 Luhring Augustine Is

    FOR IMMEDIATE RELEASE Luisa Lambri Photographs April 8 – 29, 2006 Luhring Augustine is pleased to announce an exhibition of photographs by Italian photographer Luisa Lambri. This will be the first solo exhibition of her work in New York and will feature photographs of iconic buildings by Modernist architects such as Luis Barragan, Walter Gropius and Marcel Breuer. Luisa Lambri's ephemeral photographs stand in clear contrast to the established practice of architectural photography which has traditionally focused attention on the exteriors of the buildings. Her unique approach to the subject is the investigation and documentation of the structures from within, interpreting the atmosphere of the space. She primarily photographs private houses, focusing on the view from the inside to the outside thereby establishing a physical and conceptual position for herself and the viewer. These delicately crafted images oscillate between objective representations of space and Lambri’s perceptions and reactions. The work realizes its full meaning when it is installed in a new space and in so doing establishes a new relationship between the viewer, the object and the space. Lambri utilizes traditional as well as new digital printing techniques to move her photographs beyond pure documentation. Her photographs of Luis Barragan’s house in Mexico City are a study of one window in which the changing position of the shutters dramatically affects the conditions of light. The photographs reference minimalism and abstract painting, evoking moments of transcendence. Similarly, her studies of the diamond shaped windows of Konstantin Melnikov’s house in Moscow, built 1927-29, are investigations of the temporally sublime.