DOCSLIB.ORG

School of Art 2006–2007

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
School of Art 2006–2007 ale university May 10, 2006 2007 – Number 1 bulletin of y Series 102 School of Art 2006 bulletin of yale university May 10, 2006 School of Art Periodicals postage paid New Haven, Connecticut 06520-8227 ct bulletin of yale university bulletin of yale New Haven Bulletin of Yale University The University is committed to basing judgments concerning the admission, education, and employment of individuals upon their qualifications and abilities and affirmatively seeks to Postmaster: Send address changes to Bulletin of Yale University, attract to its faculty, staff, and student body qualified persons of diverse backgrounds. In PO Box 208227, New Haven ct 06520-8227 accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against any individual on PO Box 208230, New Haven ct 06520-8230 account of that individual’s sex, race, color, religion, age, disability, status as a special disabled Periodicals postage paid at New Haven, Connecticut veteran, veteran of the Vietnam era, or other covered veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation. Issued seventeen times a year: one time a year in May, November, and December; two times University policy is committed to affirmative action under law in employment of women, a year in June; three times a year in July and September; six times a year in August minority group members, individuals with disabilities, special disabled veterans, veterans of the Vietnam era, and other covered veterans. Managing Editor: Linda Koch Lorimer Inquiries concerning these policies may be referred to Valerie O. Hayes, Special Adviser Editor: David J. Baker to the Provost and Director of the Office for Equal Opportunity Programs, 104 William L. Editorial and Publishing Office: 175 Whitney Avenue, New Haven, Connecticut Harkness Hall, 203.432.0849. Publication number (usps 078-500) In accordance with both federal and state law, the University maintains information con- cerning current security policies and procedures and prepares an annual crime report con- Printed in Canada cerning crimes committed within the geographical limits of the University. Upon request to the Office of the Secretary of the University, PO Box 208230, New Haven 06520-8230, The closing date for material in this bulletin was April 3, 2006. ct 203.432.2310, the University will provide such information to any applicant for admission. The University reserves the right to withdraw or modify the courses of instruction or to change the instructors at any time. In accordance with federal law, the University prepares an annual report on participation rates, financial support, and other information regarding men’s and women’s intercollegiate ©2006 by Yale University. All rights reserved. The material in this bulletin may not be athletic programs. Upon request to the Director of Athletics, PO Box 208216, New Haven reproduced, in whole or in part, in any form, whether in print or electronic media, without ct 06520-8216, 203.432.1414, the University will provide its annual report to any student or written permission from Yale University. prospective student. Content For all other matters related to admission to the School of Art, please telephone the Admissions Office, Questions regarding the editorial content of this publication may be referred to 203.432.2600. Patricia Ann DeChiara, Director of Academic Affairs, Yale School of Art. Telephone Numbers at the Yale School of Art Inquiries Dean’s Office 203.432.2606 All inquiries regarding admission to graduate programs in art and requests for application Academic Affairs 203.432.2600 forms should be addressed to the Office of Academic Affairs, Yale School of Art, 1156 Chapel Financial Affairs 203.432.2605 Street, PO Box 208339, New Haven ct 06520-8339, or telephone 203.432.2600. (School of Graphic Design and Photography Art bulletins are mailed through periodicals postage and usually take at least three weeks to Faculty Offices 203.432.2622 reach their destinations. If first-class postage is preferred, please send $2 with your request.) Design Studios 203.432.2626 Darkrooms 203.432.2611 The text has been printed on recycled paper. Painting/Printmaking, 353 Crown Street Faculty Offices 203.432.9109 Ground-Floor Studios 203.432.9143 First-Floor Studios 203.432.2616 Second-Floor Studios 203.432.1208 Printshop 203.432.2614 Sculpture Studios, Hammond Hall, 14 Mansfield Street 203.432.5286 Faculty Offices 203.432.9109 School of Art 2006–2007 bulletin of yale university Series 102 Number 1 May 10, 2006 er sh Fi et Stre nner tis Ca ur y C m lla Be treet Cottage S ty ni d vi l an 59 Di o u 4 ho rq l f Sc a e o c M ap te si Ch itu u st M In ed cr DQ Sa S reet Lawrence St yale university campus north l na io at se s rn ou tt te H e e In B us Ho 75 y S 1 le t ee b er ry . r a o R G L l itn at l l v o ia a Le r r H se n t o h b a e m rs O wards Stre e n Ed M Ma e S l t 9 ab t r 0 in ec e 3 j e P ta o r s Pr t o Su s od p Fo ge e rm a c a ar t F G S ge t a r S sh al e n- ar ic e so M an t er ot n Pi B de Bishop Street ar et 0 G Stre 34 rds b wa 60 ht a Ed 3 ig r L r ea 80 W cl 3 4 Nu 95 AL 01 1 g E n > ce 3 of di Pla ss ry il side la ist Bu Hill C m h he rc NORTH 4 C ea 50 t 1 es 3 gh 3 R ri ar Hum W le t phrey Street c es Nu W b e try La 0 lin is 31 K em Ch b La er nt Ce n s io as at y g B rm og lin ry fo ol er ist In n 6 St m ch es 27 e Te ic Ch rv b e a ab S 1 y L L 2 ne bs 2 it ib h ue 54 e G W n 2 in y ve ge Kl og A ra et ol a tre Bi er G d S ow lan T od 30 ne Wo 2 oa s Sl ic b ys b La Ph La ne y li og K ol Ge - ge s Sa er 0 ow ge W 1 B l a 2 al -S t h H n n i o la t et rs P n e e re i er y t P d y S ow 54 o on P 19 al ab m A 81 t 2 f nt Pe eu v 1 p e m 20 s o e s u n o as nm M C Cl ro u i e nv ce E en 75 ci r 1 P S te r en o C t s 55 e p n 1 e s e r r ll o t a c sb g t O S In bs r nk S La 8 e i t 5 t R r 1 s e w b M e o e s h a t t an rc e t W n Stre v o s E H l e f hem ll l i Sac on a a e e ats H H r ld W t ter S W S Cen i t n n r l c e rs h e 0 de 1 o e 7 5 c s t un f t t o o n n l i er F l o e ch l o m a L A a h e b ll s ve 0 0 H Sc ag in a t’ n 8 4 an te H en B u 1 M S id radley Street e es n Pr se t o 6 u e s 4 o e ld s H r a n t d n o d y o m S u ar D l M r om 4 7 o b 2 3 t Li C 1 s i 00 r 1 8 B 3 ad ll gr s Ha er on 35 nd si nd U is l o ce m al m Pla Ad H m 4 pect e n a Pros t uc i H ec L ll llw et sp Ha A se r tre ro 0 o e k S P ce 3 R nt oc 8 a e L Pl 7 C 2 from I-91 28 87 Can 7 H al S 7 42 t i 4 re et l e tre l t S h bull 24 3 Trum o -4 43 u 2 s 43 e e t e g ua n n A l s lo ri th l a ad ce a ee v al s l on gr vi e e n a i 5 r M in He ic le H 1 at S 5 er e GROVE STREET ng r n rv e y 42 rn IS nd r S E e u H e O nt Se dl te r/ U ee P e e a In e r F C H nt Ca IE CEMETERY on e d ts C an Wa ll et 5 Ha Le r 40 ve li 5 Audubon Street O 1 b e on La c ct n a e o l B s P s m a ie a M W e v h 6 a n h k 2- D u a 0 D i 1 b t L a n L e P y T n r 6 e a 9 e o A m - m v n r 0 c A s a 9 a s p e L te l e p n c h e d n P w n n l e m r u C Ne de c tla ne e ey e si u t ir r n e r e n K a S it a R S W e ld h l s t l S t u e W e u r f v a t r o n l q H r H e e l o e e e s a r r S S 0 e o H G a e e S 7 R u 3 t k t t S q r S e o yn y Y al a ne tr P it n ty Grove Street h Ce er si W w er s ym Po t iv on G an Un m 5 Pl m 26 Co 0 25 y y th se o t l ol an im h ia y g o m T ig nc s a f lin HEWIT W l li w a e w o r e T al il D in ic 6 k l te te k H S F rv 4 r al a S gs ec t e 2 a H du w n n en S ns P e a s a di ei y QUAD e d ki rs r ie L il B ar dg 3 tu p r o G d u br ri 49 S m e M tu B Li b ey s To w S od tn ie y o o hi it a e T W l W an R us al m o H Hu er H Wall Street nt Continued on next page Ce ra ue z s g l 90 0 66 E le y ra l ke 2- 8 ti ff le p al c ll 8 a S O s ic e S H oe a fk y y’ us y rk t H li a or M ar e S S 0 dw r M r B H 32 e a te ib L L al ro a L ng CC W 1 Y e B he rli l 45 or T te ia t S or ks r g m ry oo te in e ra CROSS CAMPUS e B en rit n M ib al B t L t ro C W io Y s t Wh r ct h es T o u 2 s 43 e e t e g ua n n A l s lo ri th l a ad ce a ee v al s l on gr vi e e n a i 5 r M in He ic le H 1 at S 5 er e GROVE STREET ng r n rv e y 42 rn IS nd r S E e u H e O nt Se dl te r/ U ee P e e a In e r F C H nt Ca IE CEMETERY on e d ts C an Wa ll et 5 Ha Le r 40 ve li 5 Audubon Street O 1 b e on La c ct n a e o l B s P s m a ie a M W e v h 6 a n h k 2- D u a 0 D i 1 b t L a n L e P y T n r 6 e a 9 e o A m - m v n r 0 c A s a e 9 a s p e L t l e p n c h e d n P w n n l e m r u C Ne de c tla ne e ey e si u t ir r n e r e n K a S it a R S W e ld h s t ll S t u e e u r f W v a t r o n l q H r H e e l o e e e s a r r S S 0 e o H G a e e S 7 R u 3 t k t t S q r S e o l yn ey Y a Pa tn tr Grove Street hi en r ity W C e rs m ow ve ns y P nt ni o G la U m 65 P om 2 C 50 y 2 y th se o t l ol an im h ia y g o m T ig nc s a f lin HEWIT W l li w a e w o r e T al il D in ic 6 k l te te k H S F rv 4 r al a S gs ec t e 2 a H du w n n en S ns P e a s a di ei y QUAD e d ki rs r ie L il B ar dg 3 tu p r o G d u br ri 49 S m e M tu B Li b ey s To w S od tn ie y o o hi it a e T W l W an R us al m o H Hu er H Wall Street nt Ce ra ue z s g l 90 0 66 E le y ra l ke 2- 8 ti ff le p al c ll 8 a S O s ic e S H oe a fk y y’ us y rk t H li a or M ar e S S 0 dw r M r B H 32 e a te ib L L al ro a L ng CC W 1 yale university campus south & yale medical center Y e B he rli l 45 or T te ia st S or k r g m ry oo te in e ra CROSS CAMPUS e B en rit n M ib al B t L t ro C W io Y s t W t s e a e ha d r c h e e o r e l w u g e e le a f r t i P 2 r y t e 0 r y r A s e L t v 3 t en In ll t e S u a S e S r H r t o e t e e i h i l S r s r g d i c V e p l r n n t n k ul y u e n r 3 a e e u b l o H l 4 m e h C r o l h m rk al a 9 1 e Y u 4 O H T Tr Be C 1 C n io at Elm Street St ce e ffi e ll Elm Street al O fe te Y st ur at el 04 Po - D B ap 3 an h s 4 k m C a l 25 o n t om e ro La gh am h ap yb ri rn .
Load more

Recommended publications
  • Faculty Bios 2012
    VACI Visual Arts at Chautauqua Institution Strohl Art Center, Chautauqua School of Art, Logan Galleries, Visual Arts Lecture Series ARTISTIC DIRECTOR Don Kimes/MANAGING DIRECTOR Lois Jubeck/GALLERY DIRECTOR Judy Barie ADVISORY COUNCIL TO THE ARTISTIC DIRECTOR: Michael Gitlitz, Director Marlborough Gallery, NYC - Judy Glantzman, Artist – Louis Grachos, Director Albright-Knox Gallery of Art - Donald Kuspit, Distinguished University Professor, SUNY Barbara Rose, Art Critic & Historian - Robert Storr, Dean, Yale School of Art Stephen Westfall, Artist & Critic Art In America - Julian Zugazoitia, Director Nelson Adkins Museum FACULTY AND VISITING ARTISTS (*partial listing – 3 additional faculty to be announced) Resident faculty (rf) teach from 2 to 7 weeks during the summer at Chautauqua. Visiting lecturers and faculty (vl, vf) are at Chautauqua for periods ranging from 1 to 3 days. PAINTING/SCULPTURE and PRINTMAKING TERRY ADKINS: Faculty, University of Pennsylvania Sculptor Terry Adkins teaches undergraduate and graduate sculpture. His work can be found I the collections of the Museum of Modern Art in NYC, the Hirshhorn Museum and Sculpture Garden in Washington, DC, the Metropolitan Museum of Art in NYC, the Hood Museum at Dartmouth College, the Studio Museum in Harlem and many others. He has also taught at SUNY, New Paltz; Adkins has been the recipient of grants from the National Endowment for the Arts, the Joseph H. Hazen Rome Prize and was a USA James Baldwin Fellow, as well as the recipient of an Artist Exchange Fellowship, BINZ 39 Zurich and a residency at PS 1. Among many solo exhibitions of his work have been shows at Dartmouth College, Hanover, NH; Eastern State Penitentiary, Philadelphia, PA; Arthur Ross Gallery of the University of Pennsylvania, the Harn Museum of Art, the Cheekwood Museum of Art in Nashville, TN, John Brown House in Akron, Ohio, ICA in Philadelphia, PPOW Gallery, NY, the Whitney Museum at Philip Morris, NY, the Chrysler Museum in Norfolk, Anderson Gallery at VCU, Galerie Emmerich-Baumann in Zurich.
    [Show full text]
  • Ellen Priest
    ELLEN PRIEST www.ellenpriest.com www.eyeballitart4kids.org The sheer joy and energy of visual experience and of the creative process itself are at the core of my work as an artist and educator. They fuel my belief that that same joy and the possibility to create meaningful visual expression should belong to every human being, es- pecially youth. ART EDUCATION/TEACHING 2013-Present and 1992-1999 Created Eyeball It!™ studio art education program for 7-12 year-old children. Online free to users beginning June 2014 funded by Ellen Priest Projects at Fractured Atlas. Originally written/ devel- oped 1992-1999. Series of discreet art projects for children to do at home with a parent. Adaptable for use by groups (e.g. after-school and summer programs, public libraries). www.eyeballitart4kid- s.org 2009 New York University, New York, New York, Department of Music Colloquium with Edward Si- mon, “Composing the Venezuelan Suite – the Music and the Paintings,” February. 2007-2010 Delaware Center for the Contemporary Arts, Education Committee. 2002-2008 University of the Arts, Philadelphia, Pennsylvania, Professional Institute for Educators. 2002 Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania, Adjunct Faculty, Fall. 1979-1999 Taught studio art in schools (primary and secondary) and community arts centers including: Ocean City Arts Center, Ocean City, New Jersey. 1996-99. Choate-Rosemary Hall, Wallingford, Connecticut. 1979, 1995-96. Saint Thomas’s Day School, New Haven, Connecticut. 1992-93. Educational Center for the Arts, New Haven, Connecticut. 1982-83. (All-arts public high school.) Concord Academy, Concord, Massachusetts. Art Department Chairperson, 1979-80. EDUCATION 1977 Master of Divinity, Yale University Divinity School, New Haven, Connecticut.
    [Show full text]
  • Clifford Ross B. 1952 New York, NY Lives and Works in New York, NY
    Clifford Ross b. 1952 New York, NY Lives and works in New York, NY Education 1973 Skowhegan School of Painting and Sculpture 1974 Yale University, B.A. Solo Exhibitions 2020 Clifford Ross: Sightlines, Portland Museum of Art, Portland, ME, US 2019 Clifford Ross: Waves, Boca Raton Museum of Art, Boca Raton, FL, US 2017 Light | Waves, Parrish Art Museum, Water Mill, New York, US Wood Waves, RYAN LEE, New York, New York, US 2015 The Abstract Edge: Photographs, 1996-2001, RYAN LEE, New York, New York, US Landscape Seen & Imagined, Massachusetts Museum of Contemporary Art (MASS MoCA), North Adams, Massachusetts, US Water | Waves | Wood, BRIC House, Brooklyn, New York, US 2014 Hurricane Waves, Zhejiang Art Museum, Hangzhou, CN Waves and Steel, Galerie Perrin, Paris, FR 2011 Clifford Ross, Guild Hall, East Hampton, New York, US Landscape to Imagination, Sonnabend Gallery, New York, NY, US 2010 Clifford Ross Photographs, The Drawing Room, East Hampton, New York, US Hurricanes, André Simoens Gallery, Knokke, BE 2009 New Hurricanes, Sonnabend Gallery, New York, NY, US Clifford Ross: Mountains and Sea, MADRE/Museo Archeologico Nazionale, Naples, IT Photography: Beyond Realism, Robilant + Voena, London, UK Clifford Ross Photography: Outside Realism (10-Year Survey), Austin Museum of Art, Austin, TX, US 2008 Mountain Redux, Sonnabend Gallery, New York, NY, US 2007 Small Water, The Drawing Room, East Hampton, NY, US 2006 Clifford Ross, Galeria Javier Lopez, Madrid, ES 2005 The Mountain Series, George Eastman House, Rochester, NY, US Mountain, Sonnabend
    [Show full text]
  • Edward Gorey Phantasmagorey, 1974 Pen and Ink with Collage on Paper Collection of Clifford Ross
    Edward Gorey Phantasmagorey, 1974 Pen and ink with collage on paper Collection of Clifford Ross Phantasmagorey is a play on the term “phantasmagoria” which means: “a constantly shifting, complex succession of things seen or imagined.” Like a phantasmagoria, this series of six images reveals dreamlike glimpses into Gorey’s imagination. Each vignette shows a common motif in Gorey’s work, including a ghostly femme fatale, a cat sitting atop a stack of books, and a fur-coated self-portrait. This drawing was made for an exhibition of the same name, held at the Sterling Memorial Library, Yale University, in 1974. An art student named Clifford Ross, now a contemporary artist in his own right, curated the first survey of Gorey’s work for his senior thesis. 501 Harry Benson Scottish, born 1929 Edward Gorey in His New York City Apartment with Cat, 1978 Gelatin silver print Collection of the artist Benson’s photographic portrait offers a glimpse into Gorey’s apartment in Manhattan’s Murray Hill neighborhood, where he lived from 1953 to 1983. Gorey displayed his collection of fine art—including a print by Edvard Munch and drawings by Balthus—next to found objects that he treated as works of art, such as a weathered crucifix and a needlepoint of a skull. Out and about in the city, he took in movies, theater, dance, and art exhibitions. At home, he retreated to his creative sanctuary filled with obscure books, fine art, and his beloved cats. Edvard Munch Norwegian, 1863–1944 The Woman and the Bear, 1908–9 Lithograph on wove paper mounted on wove paper Bequest of Edward Gorey, 2001.13.61 Munch created this image to illustrate his mythical story Alpha and Omega.
    [Show full text]
  • Yale Law School 2019–2020
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut Yale Law School 2019–2020 Yale Law School Yale 2019–2020 BULLETIN OF YALE UNIVERSITY Series 115 Number 11 August 10, 2019 BULLETIN OF YALE UNIVERSITY Series 115 Number 11 August 10, 2019 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse Avenue, New Haven CT 06510. Periodicals postage paid at New Haven, Connecticut. backgrounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment Postmaster: Send address changes to Bulletin of Yale University, against any individual on account of that individual’s sex, race, color, religion, age, PO Box 208227, New Haven CT 06520-8227 disability, status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 4th Floor, 203.432.0849.
    [Show full text]
  • Download Press Release
    Isamu Noguchi, Judith (Tent of Holofernes), 1978, bronze Can It Really Be 20 Years Already? Art in Our Times, Contemporary Masters, and Philanthropy New 20th Anniversary Exhibition October 19, 2019 – April 25, 2020 Regular Hours: Tues–Sat 11am–4pm Extended Hours for Art Basel Miami Beach: Mon–Sat 9am–5pm; Sun 9am–2pm 591 NW 27th Street, Miami, FL 33127 p: 305.576.1051 [email protected] margulieswarehouse.com The Margulies Collection at the Warehouse, a pioneering force in contemporary art in Miami, presents its 20th Year Anniversary of public exhibitions. Since it’s inauguration in 1999 the Warehouse has welcomed visitors from South Florida and all over the world. The Warehouse exhibitions showcase art of our times featuring 20th & 21st century sculpture, photography, video, painting and large-scale installations by international artists culled from the renowned collection of Martin Z. Margulies. With a stated mission of arts education, the Warehouse has produced hundreds of programs for the community including guest speakers, seminars, publications, internships and guided tours. 591 NW 27th Street, Miami, FL 33127 / p: 305.576.1051 / [email protected] / margulieswarehouse.com This season’s 20th year anniversary exhibition will include works by Magdalena Abakanowicz, Radcliffe Bailey, Eric Bainbridge, Domenico Bianchi, Gilles Barbier, Florian Baudrexel, William Beckman, John Beech, Jeff Brouws, Peter Buggenhout, Lawrence Carroll, John Chamberlain, Olafur Eliasson, Willem de Kooning, Donna Dennis, Nathalie Djurberg, Mark
    [Show full text]
  • In the Art World Intheartworld .Com Summer 2011
    M Clifford Ross Harmonium VIII, 2008 © Clifford Ross. Courtesy: Sonnabend Gallery, New York and Clifford Ross Studio. in the art world intheArtworld .com Summer 2011 THROCKMORTON FINE ART GEORGE PLATT LYNES June 9th - September 10th, 2011 Book available: GEORGE PLATT LYNES: THE MALE NUDES: $60.00 Image: George Platt Lynes, Orpheus and Eros, 1939, Gelatin silver print, Vintage 145 EAST 57TH ST, 3RD FL, NY, NY, 10022 tel 212. 223. 1059 fax 212. 223. 1937 www.throckmorton-nyc.com [email protected] tarting this season, you have probably noticed the Subiquious M art maps appearing everywhere in M New York — Downtown, Uptown, Chelsea . Totalling 45,000 bi-monthly copies and distributed to the city’s major art districts and top hotels, they’re hard to miss. EDITORIAL As the original M magazine has evolved over the years, from a local art guide into a highly regarded art journal with increasing international content, 12 Clifford Ross gallery owners and art patrons have expressed the at Sonnabend Gallery need for a simple guide that visitors can pick up in By Camille Hong Xin galleries and hotels and walk around with, take notes 20 Qin Feng on, stick in their pocket. at Ethan Cohen Fine Arts By Chiara Di Lello Indeed, this was the premise of M from its inception in 1998, when we were the first art publication to herald the importance of what was then an emerging art district called Chelsea. Our listings policy is simple: We print the name (not just the reference number) of important galleries and art institutions directly on our easy-to-use neighborhood art map for free.
    [Show full text]
  • A Yale Book of Numbers, 1976 – 2000
    A Yale Book of Numbers, 1976 – 2000 Update of George Pierson’s original book A Yale Book of Numbers, Historical Statistics of the College and University 1701 – 1976 Prepared by Beverly Waters Office of Institutional Research For the Tercentennial’s Yale Reference Series August, 2001 Table of Contents A Yale Book of Numbers - 1976-2000 Update Section A: Student Enrollments/Degrees Conferred -- Total University 1. Student Enrollment, 1976-1999 2. (figure) Student Enrollment, 1875-1999 3. (figure) Student Enrollment (Headcounts), Fall 1999 4. Student Enrollments in the Ivy League and MIT, 1986-1999 5. Degrees Conferred, 1977-1999 6. Honorary Degree Honorands, 1977-2000 7. Number of Women Enrolled, University-Wide, 1871-1999 8. (figure) Number of Women Enrolled University-Wide, 1871-1999 9. Milestones in the Education of Women at Yale 10. Minority and International Student Enrollment by School, 1984-1999 Section B: International Students at Yale University 1. International Students by Country and World Region of Citizenship, Fall 1999 2. (figure) International Graduate and Professional Students and Yale College Students by World Region, Fall 1999 3. (figure) International Student Enrollment, 1899-1999 4. (figure) International Students by Yale School, Fall 1999 5. International Student Enrollment, 1987-1999 6. Admissions Statistics for International Students, 1981-1999 Section C: Students Residing in Yale University Housing 1. Number of Students in University Housing, 1982-1999 2. Yale College Students Housed in Undergraduate Dormitories, 1950-1999 3. (figure) Percentage of Yale College Students Housed in the Residential Colleges, 1950-1999 Section D: Yale Undergraduate Admissions and Information on Yale College Freshmen 1.
    [Show full text]
  • Clifford Ross: Landscape Seen & Imagined
    NEWS RELEASE For Immediate Release 18 February 2015 Contact: Jodi Joseph Director of Communications 413.664.4481 x8113 [email protected] Clifford Ross: Landscape Seen & Imagined Extreme scale, super high-resolution photography, augmented reality, immersive video, and music probe the junction of nature and abstraction North Adams, Massachusetts — In this major mid-career museum survey, Landscape Seen & Imagined documents Clifford Ross’s longstanding project to reconcile realism and abstraction. The exhibition takes place throughout two buildings, six galleries, and an exterior performing arts courtyard. Among other works, the exhibition includes a 24’ high x 114’ long photograph on Center Building Installation Concept, 2015 raw wood that spans the length of MASS MoCA’s Courtesy of Clifford Ross Studio tallest gallery and an immersive installation of animated video on twelve separate 24’ high screens. Ross’s hyper-detailed photographs of hurricane waves and mountains are included along with a new “invisible art” project featuring animated virtual elements only accessible by means of the viewer’s smartphone. The exhibition opens on May 23, 2015, with a reception for the artist, followed by a second phase beginning June 26, 2015, which launches the immersive outdoor video installation and the augmented reality experience. “While this show is about acute observation and the leaps into abstraction that can happen with close viewing, it is also about the divergence between the world as we see it and as we imagine it might be,” notes MASS MoCA Director Joseph Thompson. Large-scale high-resolution photographic works are the source material and centerpiece of Ross’s exhibition. For his Hurricane series, Ross wades into the surf while tethered to land, capturing vivid images of ocean waves during severe coastal storms.
    [Show full text]
  • School of Art 2016–2017
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Art 2016–2017 School of Art 2016–2017 BULLETIN OF YALE UNIVERSITY Series 112 Number 1 May 15, 2016 BULLETIN OF YALE UNIVERSITY Series 112 Number 1 May 15, 2016 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849.
    [Show full text]
  • Art & Architecture Design Cultural Studies
    ART & ARCHITECTURE DESIGN CULTURAL STUDIES NEW AND RECENT TITLES THE MIT PRESS Muriel Cooper David Reinfurt and Robert Wiesenberger Foreword by Lisa Strausfeld Afterword by Nicholas Negroponte Muriel Cooper (1925–1994) was the pioneering designer who created the iconic MIT Press colophon (or logo)— seven bars that represent the lowercase letters “mitp” as abstracted books on a shelf. She designed a modernist monument, the encyclopedic volume The Bauhaus (1969), and the graphically dazzling and controversial first edition of Learning from Las Vegas (1972). She used an offset press as an artistic tool, worked with a large-format Polaroid camera, and had an early vision of e-books. Cooper was the first design director of the MIT Press, the cofounder of the Vis- ible Language Workshop at MIT, and the first woman to be granted tenure at MIT’s Media Lab, where she developed software interfaces and taught a new generation of design- ers. She began her four-decade career at MIT by designing vibrant printed flyers for the Office of Publications; her final projects were digital. This lavishly illustrated volume documents Cooper’s career in abundant detail, with prints, sketches, book covers, posters, mechanicals, student projects, and photographs, from her work in design, teaching, and research at MIT. A humanist among scientists, Cooper embraced dynamism, simultaneity, transparency, and expressiveness across all the media she worked in. More than two decades after her career came to a premature end, Muriel Cooper’s legacy is still unfolding. This beautiful slip-cased volume, designed by Yasuyo Iguchi, looks back at a body of work that is as contemporary now as it was when Cooper was experimenting with IBM Selectric typewriters.
    [Show full text]
  • JENNIFER BARTLETT Painting the Language of Nature and Painting
    JENNIFER BARTLETT Painting The Language Of Nature And Painting October 6–November 11, 2006 Essay by Donald Kuspit It’s Really Beautiful , 2003 enamel over silkscreen grid on baked enamel, steel plate 50 x 50 centimeters (19.7 x 19.7 inches) 5 Jennifer Bartlett: Painting The Language Of Nature And Painting Donald Kuspit “The belief system of the old language of painting had collapsed,” declared Joseph Kosuth, one of the founding figures of Conceptualism or Idea Art. This supposedly happened in the sixties, when Conceptualism, among other anti-paint - ing movements, appeared on the scene. It is why Kosuth “chose language for the ‘material’ of my work because it seemed to be the only possibility with the poten - tial for being a neutral non-material.”(1) (Painting of course died before the six - ties. It was stabbed to death, the way Brutus stabbed Caesar, by Marcel Duchamp’s anti-painting Tu’m , 1918, and buried alive in Alexander Rodchenko’s Last Paintings , 1921. Painting has been mourning for itself ever since, as some critics think, although it is not clear that its corpse has begun to decompose.) So what are we to make of Jennifer Bartlett’s new works, which use both the old language of painting and the neutral non-material of language? Is she trying to renew painting, suggesting that it still has something to say that can be said in no other language? Is her work part of the post-Conceptual resurgence of painting announced by the “New Painting” exhibition held in London in 1981? Or does she intend to remind us that language is not a neutral non-material, however neutral it seems, for it communicates concepts, which are an intellectual material, and always slippery – elusive even in everyday use, which assumes understanding of them? If one didn’t, how is one to get on with the everyday business of life – life in the country, on the seashore – which is what Bartlett’s works deal with.
    [Show full text]