Art History, Artists, and Photographers
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Ohio State University Libraries: News Notes Online
Ohio State University Libraries: News Notes Online The Ohio State University Libraries NEWS NOTES Online Vol. L No. 9 February 27, 2001 Diversity at OSU: The African-American Experience http://library.osu.edu/sites/staff/Newsnotes/nn022701.html (1 of 15) [6/22/2007 1:59:32 PM] Ohio State University Libraries: News Notes Online Left: Jesse Stephens graduated from the Ohio State University in 1905, the first African American woman to do so. Right: In 1935 & 1936 Jesse Owens astonished crowds with his speed and grace at the Ohio Stadium and then at the Olympics in Berlin where he won four gold medals. Complete Archive To be for one day entirely at leisure is to be for one day an immortal. Chinese Proverb Contents: Calendar of Events Calendar of Events Meetings Announcements 122 Main Library April 12, 2001 Features 3:00pm Meeting Notes Human Resources Suggested agenda items may be submitted to Betty Sawyers [email protected], faculty secretary, no later than noon, April 6, 2001. See also: What's New on the Libraries' Homepage. http://library.osu.edu/sites/staff/Newsnotes/nn022701.html (2 of 15) [6/22/2007 1:59:32 PM] Ohio State University Libraries: News Notes Online Send items to Patricia Exhibits Greene by Friday noon for publication the 1901- The Century Begins following week. Exhibition is free and open to the public during the hours Main Library is open. It will run through April 13, 2001. Prince Valiant An exhibition of original Prince Valiant comic strips by Hal Foster (1892-1982) dating from 1938 to 1969, is featured in The Ohio State University Cartoon Research Library's reading room gallery from February 22, 2001 through June 8, 2001. -
The Art Show 2018 Press
DOWNLOAD HI-RES IMAGES AT: HTTP://BIT.LY/2EVIOWJ THE ART SHOW 2018 HIGHLIGHTS 303 GALLERY D8 ALTMAN SIEGEL D20 Mary Heilmann Liam Everett 303 Gallery presents a solo exhibition of Altman Siegel presents a solo booth of new works by Mary Heilmann, whose highly work by Liam Everett. Building on investiga- inventive approach to abstraction has tions explored in his 2017 solo exhibition at made her one of the foremost painters SFMOMA, Everett will present a suite of new of her generation. Recent paintings, glazed paintings that unfold interrelated systems and ceramics and an arrangement of furniture made interpretations of support. Everett’s installation by the artist appear alongside several examples will continue along these investigative threads: in these mediums from previous decades. By jux- the physical act of supporting a painting and taposing new works with historic ones, the exhibition the routine practice an artist undertakes daily, becomes a storyboard, charting the evolution of her as well as pedagogical rituals shaped through practice while allowing visitors to draw parallels across rehearsal. Focused on what he calls “systems time periods. Brightly colored chairs transform the booth of support,” Everett’s framed paintings—like into a social space akin to a living room or the artist’s studio, previous bodies of work—will implicate the floor, inviting viewers to relax and spend time in Heilmann’s world. wall and body, exposing the animate qualities of 1 3 the artworks and affirming his interest in investi- Mary Heilmann. Shadow Cup 2, 1985. Glazed ceramic, 21 ⁄4 × 24 × 1 ⁄4 in. © Mary Heilmann. -
The Electric Mirror: Reflecting on Video Art in the 1970S
Robyn Farrell The Electric Mirror: Reflecting on Video Art in the 1970s In 1978, artist and filmmaker Lynn to say that television was the sole The desire to experiment with the Hershman Leeson wrote that, “Much antecedent of video art, but rather electronic and visual capabilities of the urgency and inspiration of art a critical relative to the developing of television dates back to 1963 video emanates from various types of medium. Representing the first with Nam June Paik’s first televisual commercial television broadcasting.”1 generation that grew up with television, manipulation in The Exposition of Included in Gregory Battock’s the artists included in this program Electronic Music-Electronic Television critical anthology, New Artists Video, were keenly aware of a viewer’s social at Galerie Parnass in Wuppertal, West Hershman Leeson’s essay “Reflections and psychological experience while Germany. Paik’s motivation to utilize on the Electric Mirror” identified TV watching TV. Their collective works the monitor and screen as a means genres that influenced video artists, encompass the interests of this “TV to assault the image provided the and declared video as “a manifestation generation,” and at the same time, the aesthetic framework for practitioners of contemporary art.”2 She went on post-war, post-pop proclivities of a in the following decade. Works in to describe video as “the extracted changing art landscape that ranged this program operate in this vein, film of television,” and pointed to the from minimal representation and illustrating how one could change a relations between the nascent medium captured action, to technophilic inquiry viewer’s perception through video and television as inextricably linked, and appropriation. -
5 Expos Lesclat Dels Classics L
L’esclat dels clàssics Còmics i tebeos (1900-1950) DIPUTACIÓ DE VALÈNCIA EXPOSICIONS/EXPOSICIONES Textos Vicent Sanchis, Enric Melego, Valeria Suárez President de la Diputació de València/Presidente de la “L’esclat dels clàssics: Contrastos entre els grans mestres de Diputació de València la historieta nord-americana (1900-1945)” Traducció a l’anglés dels textos/Traducción al inglés de los Antoni Francesc Gaspar Ramos textos Comissari/Comisario Begoña García Soler Diputat de l’Àrea de Cultura/Diputado del Área de Cultura Enric Melego i Trilles Xavier Rius i Torres Coordinació tècnica/Coordinación técnica Muntatge/Montaje María José Navarro Josearte SL MUSEU VALENCIÀ DE LA IL·LUSTRACIÓ I DE LA Disseny expositiu/Diseño expositivo Pintura MODERNITAT (MUVIM) Alejandro Muñoz Ariño Teodosio Caballero Rodas Enmarcat/Enmarcado Director Disseny gràfic/Diseño gráfico Pilar Torrijos Rafael Company i Mateo Valeria Suárez Conde Transport/Transporte Subdirectora Textos Art i clar Carmen Ninet Vicent Sanchis, Enric Melego, Alejandro Muñoz, Valeria Suárez Il·luminació/Iluminación Cap d’exposicions/Jefe de exposiciones Grupo Luz Amador Griñó Traducció a l’anglés dels textos/Traducción al inglés de los textos Assegurances/Seguros Cap d’Investigació i Gestió Cultural/Jefe de investigación Begoña García Soler Generalli y gestión cultural Marc Borràs i Barberà Correcció de textos/Corrección de textos Fons procedents de col·leccions privades Unitat de Normalització Lingüística de la Diputació de Fondos procedentes de colecciones privadas Cap de protocol i -
Course Schedule Feminist
Art 305 Women in Art/ WGS 488 Senior Sem. Covid Dr. Christine Filippone Email: [email protected] (Please do not reply to emails I send you through D2L. I may not receive them.) T/Th. 2:25-3:40, W. 12:55-3:00 and 4:15-4:40 Advising link: https://millersville.zoom.us/j/3146969526 Link to Register for the course to receive your Zoom meeting link: Lectures: T/Th 305.01: 1:10-2:25: Zoom: https://millersville.zoom.us/meeting/register/tJcvcOmvrT8vH9KvqTrT6RT1_fnZ M8d-M2wl Lectures: T/Th 305.02: 3:40-4:55 p.m. Zoom: https://millersville.zoom.us/meeting/register/tJIucuugpjstE9Ttjfu2ujfGpJYL6Ir6r SAk Lecture Power Points are available on Desire2Learn. The syllabus, detailed description of the paper, and readings are also posted to Desire2Learn. *Every class is recorded Course Description This course will address the relationships between gender and the visual arts, with an emphasis on art and culture since World War II. This class explores the role of the visual in constructing ideas of “woman” and how women artists have addressed these constructions in their works and in their lives. Students will critically examine the ways Western culture has defined art and artists in gendered terms and will extend this study to contemporary art practice with attention to intersectionality and difference. Through weekly readings, class discussions, written assignments, and oral presentations, students will consider how gender is relevant to the creation and study of art and culture. Important to this course are the relationships between art and critical/literary theory, including feminism (obviously), Marxism, psychoanalysis, post-modernism, and theories of race and gender, all of which radically altered the perception as well as practice of art over the past century and a half. -
T Cartoonists
Publisher of the Worl d’sG r eatest Car toon ists SUMMER 2019 SUMMER 2019 7563 lake city way ne • seattle, wa 98115 • usa telephone: 206-524-1967 • fax: 206-524-2104 customer service: 800-657-1100 [email protected] • www.fantagraphics.com Distributed to the book trade in the In Japan: In Singapore, Malaysia: Distributed to the comic book special- United States by: ty market by Diamond Comics Distrib- Rockbook – Gilles Fauveau Pansing Distribution Pte Ltd utors (www.diamondcomics.com). W.W. NORTON AND COMPANY, INC. Expirime 5F 10-10 Ichibancho 1 New Industrial Road 500 Fifth Avenue Chiyoda-ku Times Centre For information on distribution New York, NY 10110 102-0082 Tokyo Singapore 536196 elsewhere, please contact Martin Tel.: 212-354-5500 Japan Tel (65) 6319 9939 Bland. Fax: 212-869-0856 Tel: (81) 90 9700 2481 Fax (65) 6459 4930 Order Dept. Tel.: 800-233-4830 Tel: (81) 90 3962 4650 email: [email protected] email: [email protected] Order Dept. Fax: 800-458-6515 General Inquiries email: [email protected] Customer Service Dept.: 800-233-4830 In Thailand, Cambodia, Laos, Vietnam, [email protected] Special Sales Dept.: Myanmar: Sales & Distribution Martin Bland 800-286-4044 In Taiwan and Korea: [email protected] www.wwnorton.com Hardy Bigfoss International Co., Ltd. Publicity & Marketing Jacq Cohen B. K. Norton Ltd. 293 Maenam Kwai Road, Tambol Tha [email protected] In the United Kingdom & Europe: 5F, 60 Roosevelt Road Makham Print Buyer Jason Miles Sec. 4, Taipei 100 Amphur Muang [email protected] -
Los Creadores De La Narrativa Gráfica
NARRATIVA GRÁFICA Los creadores de la narrativa gráfica 01. Los inicios .................................................................................................................................................2 Winsor McCay [1869·1934].......................................................................................................................2 George Joseph Herriman [1880·1944]......................................................................................................3 02. Los syndicates...........................................................................................................................................4 Clift Sterret..................................................................................................................................................5 La permanencia de las series.....................................................................................................................6 Chic Young .................................................................................................................................................7 Elzie Crisler Segar [1894·1938] .................................................................................................................7 Chester Gould.............................................................................................................................................8 03. Animales antropomorfos.........................................................................................................................9 -
AMELIA G. JONES Robert A
Last updated 4-15-16 AMELIA G. JONES Robert A. Day Professor of Art & Design Vice Dean of Critical Studies Roski School of Art and Design University of Southern California 850 West 37th Street, Watt Hall 117B Los Angeles, CA 90089 USA m: 213-393-0545 [email protected], [email protected] EDUCATION: UNIVERSITY OF CALIFORNIA, LOS ANGELES. Ph.D., Art History, June 1991. Specialty in modernism, contemporary art, film, and feminist theory; minor in critical theory. Dissertation: “The Fashion(ing) of Duchamp: Authorship, Gender, Postmodernism.” UNIVERSITY OF PENNSYLVANIA, Philadelphia. M.A., Art History, 1987. Specialty in modern & contemporary art; history of photography. Thesis: “Man Ray's Photographic Nudes.” HARVARD UNIVERSITY, Cambridge. A.B., Magna Cum Laude in Art History, 1983. Honors thesis on American Impressionism. EMPLOYMENT: 2014-present UNIVERSITY OF SOUTHERN CALIFORNIA, Roski School of Art and Design, Los Angeles. Robert A. Day Professor of Art & Design and Vice Dean of Critical Studies. 2010-2014 McGILL UNIVERSITY, Art History & Communication Studies (AHCS) Department. Professor and Grierson Chair in Visual Culture. 2010-2014 Graduate Program Director for Art History (2010-13) and for AHCS (2013ff). 2003-2010 UNIVERSITY OF MANCHESTER, Art History & Visual Studies. Professor and Pilkington Chair. 2004-2006 Subject Head (Department Chair). 2007-2009 Postgraduate Coordinator (Graduate Program Director). 1991-2003 UNIVERSITY OF CALIFORNIA, RIVERSIDE, Department of Art History. 1999ff: Professor of Twentieth-Century Art and Theory. 1993-2003 Graduate Program Director for Art History. 1990-1991 ART CENTER COLLEGE OF DESIGN, Pasadena. Instructor and Adviser. Designed and taught two graduate seminars: Contemporary Art; Feminism and Visual Practice. -
STAFF REPORT DATE: July 17, 2013 TO: Honorable Members of The
STAFF REPORT DATE: July 17, 2013 TO: Honorable Members of the Visual Arts Committee FROM: Zoë Taleporos RE: Artist Selection Panelists Our current procedure for selecting arts professionals for public art selection panels is to seek approval from the Arts Commission of a group of individuals on a per-project basis. The intent was to match the expertise of arts professionals with each particular public art opportunity. The proposed procedural change to selecting arts professionals as panelists is to create one large pool with an array of individuals with varying cultural emphasis from a range of art institutions. Public Art staff will draw from this pool for all selection panels in the Fiscal Year 2013/14. This will eliminate the need to repeatedly agenize the approval of panelists on the Visual Arts Committee (VAC) agenda and will reduce staff administration time. If Public Art Staff would like to add an arts professional to the pool, s/he may do so at any time. Additional arts professionals will presented to the VAC for approval. Bios of Arts Professionals for Panelist Pool FY 2013/14 Regina Almaguer Regina Almaguer heads a Public Art Consulting Service based in Orinda, California. She has worked on numerous public art projects for the San Francisco Arts Commission, Bay Area Rapid Transit, and other City agencies. She has over 20 years experience in public art planning, project management, contract administration and producing public art ordinances and program guidelines. She has extensive experience in working with government agencies as well as private developers and architects on complex projects. -
Amelia G. Jones
AMELIA G. JONES Professor and Grierson Chair in Visual Culture Department of Art History and Communication Studies McGill University 853 Sherbrooke Street West, Arts Building, room W285 Montreal, Quebec H3A 2T6 CANADA ph: 514-398-3628 email: [email protected], [email protected] EDUCATION: UNIVERSITY OF CALIFORNIA, LOS ANGELES. Ph.D., Art History, June 1991. Specialty in modernism, contemporary art, film, and feminist theory; minor in critical theory. Dissertation: “The Fashion(ing) of Duchamp: Authorship, Gender, Postmodernism.” UNIVERSITY OF PENNSYLVANIA, Philadelphia. M.A., Art History, 1987. Specialty in modern & contemporary art; history of photography. Thesis: “Man Ray's Photographic Nudes.” HARVARD UNIVERSITY, Cambridge. A.B., Magna Cum Laude in Art History, 1983. Honors thesis on American Impressionism. EMPLOYMENT: 2010- McGILL UNIVERSITY, Art History & Communication Studies Department. Professor and Grierson Chair in Visual Culture. 2010- Graduate Program Director. 2003-2010 UNIVERSITY OF MANCHESTER, Art History & Visual Studies. Professor and Pilkington Chair. 2004-2006 Subject Head (Department Chair). 2009 Postgraduate Coordinator (Graduate Program Director). 1991-2003 UNIVERSITY OF CALIFORNIA, RIVERSIDE, Department of Art History. 1999ff: Professor of Twentieth-Century Art and Theory. 1992 UNIVERSITY OF SOUTHERN CALIFORNIA, Los Angeles, Department of Art and Art History. Instructor. 1990-1991 ART CENTER COLLEGE OF DESIGN, Pasadena. Instructor and Adviser. Designed and taught two graduate seminars: Contemporary Art; Feminism and Visual Practice. VISITING PROFESSORSHIPS: April 2012 YORK UNIVERSITY, TORONTO, Department of Visual Arts “Summer Institute,” visiting professor. June 2009 MAINE COLLEGE OF ART, Honorary Visiting Professor. Amelia Jones c.v. 2012 2 March 2008 TEXAS CHRISTIAN UNIVERSITY, FORT WORTH, Department of Art History, Green Chair for distinguished visiting professor. -
Sfmoma.Org Libby Garrison, 415.357.4177, [email protected] Sandra Farish Sloan, 415.357.4174, [email protected]
For Immediate Release June 15, 2008 Contact: Robyn Wise, 415.357.4172, [email protected] Libby Garrison, 415.357.4177, [email protected] Sandra Farish Sloan, 415.357.4174, [email protected] SFMOMA PRESENTS MAJOR OVERVIEW OF PARTICIPATION-BASED ART On view at the San Francisco Museum of Modern Art (SFMOMA) from November 8, 2008, through February 8, 2009, The Art of Participation: 1950 to Now presents an overview of the rich and varied history of participatory art practice during the past six decades, exploring strategies and situations in which the public has taken a collaborative role in the art- making process. Organized by SFMOMA Curator of Media Arts Rudolf Frieling, this large thematic presentation gathers more than 70 works by some 50 individual artists and collectives, and will feature projects both on-site and online, as well as several new pieces commissioned specifically for the exhibition. From early performance-based and conceptual art to online works rooted in the multiuser dynamics of Web 2.0 platforms, The Art of Participation reflects on the confluence of audience interaction, utopian Erwin Wurm, One Minute Sculptures politics, and mass media, and reclaims the museum as a space for two- (detail), 1997; photo: Kuzuyuki Matsumoto; © 2008 Artists Rights Society way exchange between artists and viewers. (ARS), New York / VBK, Vienna The exhibition proposes that participatory art is generally based on a notion of indeterminacy—an openness to chance or change, as introduced by John Cage in the early 1950s—and refers to projects that, while initiated by individual artists, can be realized only through the contribution of others. -
VENTION Worklist Marina Abramović & Ulay Imponderabilia, 1977 Video
INTER[IN]VENÇÃO INTER[IN]VENTION Worklist Marina Abramović & Ulay Imponderabilia, 1977 Video documentation of the performance, b/w, 9’52’’ ZKM_Collection Monika Fleischmann & Wolfgang Strauss Liquid Views, 1992–1993; 2008 Interactive installation ZKM_Collection Masaki Fujihata Beyond Pages, 1995 Interactive installation ZKM_Collection Kiyoshi Furukawa & Wolfgang Münch Bubbles, 1998–2000 Interactive installation ZKM_Collection Julia Gerlach, Bernd Lintermann & Peter Weibel SoundARt, 2012 Sound installation, seven audio stations in augmented reality ZKM_Collection Shigeko Kubota Duchampiana: Nude Descending a Staircase, 1991 Video sculpture, one-channel, color, loop 27’40’’ ZKM_Collection Marc Lee TV-Bot 2.0, 2010 Web-based installation Courtesy of the artist Rafael Lozano-Hemmer Please Empty Your Pockets, 2010 Interactive Installation ZKM_Collection Franziska Megert Arachne-Vanitas, 1991 Video sculpture, six-channel, color, sound, loop 24’24’’ ZKM_Collection Bruce Nauman Good Boy Bad Boy, 1985 Two-channel video installation, color, two-channel sound, loop, man 60’00’’, woman 52’00’’ ZKM_Collection Tony Oursler Hello?, 1996 Single-channel video installation, color, sound, loop 11’47’’ ZKM_Collection Nam June Paik & Jud Yalkut Beatles Electronique, 1966–1969 Video, color, sound, 3’00’’ ZKM_Collection Nam June Paik Participation TV, 1969; 2008 Interactive installation ZKM_Collection Nam June Paik Canopus, 1989 Single-channel video sculpture, color ZKM_Collection Paul Sermon Telematic Vision, 1993; 2009 Interactive telematic installation ZKM_Collection