Eleanor Antin by Rachel Mason
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Hour by Hour!
Volume 13 Issue 158 HIPFiSHmonthlyHIPFiSHmonthly March 2012 thethe columbiacolumbia pacificpacific region’sregion’s freefree alternativealternative ERIN HOFSETH A new form of Feminism PG. 4 pg. 8 on A NATURALIZEDWOMAN by William Ham InvestLOWER Your hourTime!COLUMBIA by hour! TIME BANK A NEW community RESOURCE by Lynn Hadley PG. 14 I’LL TRADE ACCOUNTNG ! ! A TALE OF TWO Watt TRIBALChildress CANOES& David Stowe PG. 12 CSA TIME pg. 10 SECOND SATURDAY ARTWALK OPEN MARCH 10. COME IN 10–7 DAILY Showcasing one-of-a-kind vintage finn kimonos. Drop in for styling tips on ware how to incorporate these wearable works-of-art into your wardrobe. A LADIES’ Come See CLOTHING BOUTIQUE What’s Fresh For Spring! In Historic Downtown Astoria @ 1144 COMMERCIAL ST. 503-325-8200 Open Sundays year around 11-4pm finnware.com • 503.325.5720 1116 Commercial St., Astoria Hrs: M-Th 10-5pm/ F 10-5:30pm/Sat 10-5pm Why Suffer? call us today! [ KAREN KAUFMAN • Auto Accidents L.Ac. • Ph.D. •Musculoskeletal • Work Related Injuries pain and strain • Nutritional Evaluations “Stockings and Stripes” by Annette Palmer •Headaches/Allergies • Second Opinions 503.298.8815 •Gynecological Issues [email protected] NUDES DOWNTOWN covered by most insurance • Stress/emotional Issues through April 4 ASTORIA CHIROPRACTIC Original Art • Fine Craft Now Offering Acupuncture Laser Therapy! Dr. Ann Goldeen, D.C. Exceptional Jewelry 503-325-3311 &Traditional OPEN DAILY 2935 Marine Drive • Astoria 1160 Commercial Street Astoria, Oregon Chinese Medicine 503.325.1270 riverseagalleryastoria.com -
The Politics of Urban Cultural Policy Global
THE POLITICS OF URBAN CULTURAL POLICY GLOBAL PERSPECTIVES Carl Grodach and Daniel Silver 2012 CONTENTS List of Figures and Tables iv Contributors v Acknowledgements viii INTRODUCTION Urbanizing Cultural Policy 1 Carl Grodach and Daniel Silver Part I URBAN CULTURAL POLICY AS AN OBJECT OF GOVERNANCE 20 1. A Different Class: Politics and Culture in London 21 Kate Oakley 2. Chicago from the Political Machine to the Entertainment Machine 42 Terry Nichols Clark and Daniel Silver 3. Brecht in Bogotá: How Cultural Policy Transformed a Clientist Political Culture 66 Eleonora Pasotti 4. Notes of Discord: Urban Cultural Policy in the Confrontational City 86 Arie Romein and Jan Jacob Trip 5. Cultural Policy and the State of Urban Development in the Capital of South Korea 111 Jong Youl Lee and Chad Anderson Part II REWRITING THE CREATIVE CITY SCRIPT 130 6. Creativity and Urban Regeneration: The Role of La Tohu and the Cirque du Soleil in the Saint-Michel Neighborhood in Montreal 131 Deborah Leslie and Norma Rantisi 7. City Image and the Politics of Music Policy in the “Live Music Capital of the World” 156 Carl Grodach ii 8. “To Have and to Need”: Reorganizing Cultural Policy as Panacea for 176 Berlin’s Urban and Economic Woes Doreen Jakob 9. Urban Cultural Policy, City Size, and Proximity 195 Chris Gibson and Gordon Waitt Part III THE IMPLICATIONS OF URBAN CULTURAL POLICY AGENDAS FOR CREATIVE PRODUCTION 221 10. The New Cultural Economy and its Discontents: Governance Innovation and Policy Disjuncture in Vancouver 222 Tom Hutton and Catherine Murray 11. Creating Urban Spaces for Culture, Heritage, and the Arts in Singapore: Balancing Policy-Led Development and Organic Growth 245 Lily Kong 12. -
U.S. Government Publishing Office Style Manual
Style Manual An official guide to the form and style of Federal Government publishing | 2016 Keeping America Informed | OFFICIAL | DIGITAL | SECURE [email protected] Production and Distribution Notes This publication was typeset electronically using Helvetica and Minion Pro typefaces. It was printed using vegetable oil-based ink on recycled paper containing 30% post consumer waste. The GPO Style Manual will be distributed to libraries in the Federal Depository Library Program. To find a depository library near you, please go to the Federal depository library directory at http://catalog.gpo.gov/fdlpdir/public.jsp. The electronic text of this publication is available for public use free of charge at https://www.govinfo.gov/gpo-style-manual. Library of Congress Cataloging-in-Publication Data Names: United States. Government Publishing Office, author. Title: Style manual : an official guide to the form and style of federal government publications / U.S. Government Publishing Office. Other titles: Official guide to the form and style of federal government publications | Also known as: GPO style manual Description: 2016; official U.S. Government edition. | Washington, DC : U.S. Government Publishing Office, 2016. | Includes index. Identifiers: LCCN 2016055634| ISBN 9780160936029 (cloth) | ISBN 0160936020 (cloth) | ISBN 9780160936012 (paper) | ISBN 0160936012 (paper) Subjects: LCSH: Printing—United States—Style manuals. | Printing, Public—United States—Handbooks, manuals, etc. | Publishers and publishing—United States—Handbooks, manuals, etc. | Authorship—Style manuals. | Editing—Handbooks, manuals, etc. Classification: LCC Z253 .U58 2016 | DDC 808/.02—dc23 | SUDOC GP 1.23/4:ST 9/2016 LC record available at https://lccn.loc.gov/2016055634 Use of ISBN Prefix This is the official U.S. -
First World War Monuments in Des Moines, Iowa, and Nashville, Tennessee
REMEMBERING THE BOYS: FIRST WORLD WAR MONUMENTS IN DES MOINES, IOWA, AND NASHVILLE, TENNESSEE by Graham Jack Henderson A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in History Middle Tennessee State University May 2017 Thesis Committee: Dr. Bren Martin Chair Dr. Carroll Van West To the men and women who served in the First World War. ii ACKNOWLEDGMENTS I would like to thank my family and friends for their support. The encouragement I received from them in my pursuit of continued education has been a driving force. I would like to thank those I served with as a member of C Company, 2 Battalion, 327th Infantry Regiment "No Slack", 1st Brigade Combat Team "Bastogne", 101st Airborne Division (Air Assault), for instilling upon me an uncompromising no quit attitude. Having the central tenets of, "No breather from work, No relief from combat, No request for respite, NO SLACK!," etched into my being, I knew that no matter how arduous the challenges of graduate school may be, I never had any doubt in my mind that I could take them on. NFS Brothers! Finally, I would also like to thank Dr. Bren Martin, Dr. Katie Sikes, and Dr. Carroll Van West for the personal attention they have given me over the last few years. I am indebted to them for not only the knowledge they have bestowed upon me, but the opportunities they have given me in order to become a well-rounded Public Historian. iii ABSTRACT Following the trend of widespread memorial construction following the Civil War, cities such as Nashville, Tennessee and Des Moines, Iowa built several monuments in remembrance of the First World War. -
Download the Art and Life Elementary (PDF)
Telfair Museum of Art ArtArt && LifeLife Connections55 VIEWING ARTWORK AT THE TELFAIR When you visit the Telfair Museum and explore the galleries to view the collection, notice the identification labels next to each artwork. These provide a record of important information about a work of art, including the artist’s name; year they were born and if relevant, the year they died; the title of the artwork; the medium or materials the artist used to create the artwork; the size of the artwork; and the year the artist completed the artwork. If the artwork is on loan from one museum to another, you will find the name of the artwork’s permanent home as well. If any of this information is unknown, an art historian will research the artist’s biography, other artworks created by the art- ist, and in the case of some artworks, by x-raying the actual artwork to approximate the date of creation. Art conservators use an x-ray process to reveal each layer of paint to expose any possible underlying sketches or changes the artist may have made. These practices help us to attribute a correct date, authenticate the artist’s style and understand the creative process. Why is all this information important to know when studying a work of art? In addition to enjoying the visual pleasure of look- ing at a work of art and applying personal meaning to the experience, art serves as an historical record of a civilization. By knowing more about an artwork and what was going on in world history when the artist created the artwork, we learn how another human being was experiencing life during that time and place. -
Sculpture Walk Program
2018 FLYING HORSE OUTDOOR SCULPTURE EXHIBIT AT PINGREE SCHOOL SEPTEMBER 1 – NOVEMBER 4, 2018 SEPTEMBER 1 – NOVEMBER 4, 2018 | a 2018 DOWNLOAD a free SmartPhone app to guide you through FLYING HORSE the Flying Horse Outdoor Sculpture Exhibit! OUTDOOR SCULPTURE EXHIBIT SEPTEMBER 1 – NOVEMBER 4, 2018 WELCOME FROM THE Find us in the app stores under Pingree Sculpture Show HEAD OF PINGREE SCHOOL What the app provides: A map of the Pingree School campus with Welcome to our ninth annual Flying Horse Outdoor Sculpture Exhibit! After almost a decade, markers showing the location of sculptures we have grown to be one of the largest displays of outdoor art in New England. Information about the individual sculptures This year, we are proud to exhibit more than 50 pieces by artists from as far away as and artists when you click on markers California, Mexico, and New Mexico and as close by as Hamilton, Gloucester, and Beverly. Their work is fabricated with materials as diverse as crocheted nylon thread, cast glass, and bronze. Whether two or ten feet in scale, all of the pieces promise to provoke thought, 1 2 3 4 5 6 7 8 9 10 encourage discussion, spark the imagination, and remind us of the creativity that unites us as humans. Each year, we look forward to seeing how these works change the landscape on our A FLYINGcampus to afford us the opportunity HORSE to see these beautiful surroundings in fresh ways. OUTDOOR SCULPTURE EXHIBIT B Now it’s your turn! Walk around. Open your eyes. Consider2016 a new perspective. -
The AMP: AIDS Memorial Pathway Master Art Plan Seattle, Washington
The AMP: AIDS Memorial Pathway Master Art Plan Seattle, Washington HEALING IN REMEMBERING Prepared by Horatio Hung-Yan Law January, 2019 Art is a path to individual and community healing. 00_Executive Summary Executive Summary The AMP: AIDS Memorial Pathway The AMP: AIDS Memorial Pathway is community-driven and collaboratively- funded, and its goals are: to use public art to create a physical place for remembrance and reflection, to utilize technology to share stories about the epidemic and the diverse community responses to the crisis, and to provide a call to action to end HIV/AIDS, stigma, and discrimination. The AMP Master Art Plan The AMP Master Art Plan is founded on consultations with communities affected by HIV/AIDS, and conversations in public open houses and community engagements. Efforts were made to not only connect with individuals and organizations concerning HIV/AIDS history and efforts in the past, but also with groups currently dealing with HIV/AIDS, especially people of color, transgender individuals, and other under-represented communities. The art plan is also the result of continual dialog with stakeholder-agencies and organizations: Sound Transit, Seattle Parks Department, Seattle Department of Transportation (SDOT), Seattle Public Utilities (SPU), Office of Arts & Culture, Berger Partnership, Schemata Workshop, and Gerding Edlen, the developer of the Transit Oriented Development (TOD). Their input has provided understanding of their concerns and helped set up pertinent parameters for the sites and designated art -
J. Alden Weir's Farm in Connecticut
National Park Service U.S. Department of the Interior Weir Farm National Historic Site Wilton, Connecticut AN ARTISTS’ RETREAT J. ALDEN WEIR’S FARM IN CONNECTICUT WEIR FARM NATIONAL HISTORIC SITE HISTORIC RESOURCE STUDY AN ARTISTS’ RETREAT J. Alden Weir, The Fishing Party, ca. 1915, oil on canvas, 28”x23 1/8”, The Phillips Collection, Washington, D.C. In 1896, Weir created a large pond on his Branchville, Connecticut farm. Here he depicts a group on the rustic bridge leading to the pond. AN ARTISTS’ RETREAT J. ALDEN WEIR’S FARM IN CONNECTICUT HISTORIC RESOURCE STUDY Deborah S. Gardner Christine G. McKay National Park Service U.S. Department of the Interior Printed 2009 Cover illustration: In front of the Weir House, Branchville, Connecticut, October, 1901. Left to Right: Caroline Weir Ely, Cora Weir Burlingham, unidentified friend, Ella Baker Weir, John Ferguson Weir, Dorothy Weir Young, Julian Alden Weir. (WEFA 9445) This report was completed in 2005 but not edited and formatted for printing until 2009. TABLE OF CONTENTS List of Illustrations ................................................................................................................................... ix Preface ........................................................................................................................................................ xi List of Acronyms .....................................................................................................................................xiii Acknowledgments .................................................................................................................................. -
Albín Polášek: Boundaries of Continents and Ages
FILOSOFICKÁ FAKULTA MASARYKOVY UNIVERZITY Dějiny umění Seminář dějin umění Bachelor thesis ALBÍN POLÁŠEK: BOUNDARIES OF CONTINENTS AND AGES Author: Mgr. Anna Jaegerová Thesis advisor: doc. Mgr. Pavel Suchánek, Ph.D. Brno 2017 1 I hereby declare that I have authored this thesis independently and that I have not used other than the cited sources and literature. Mgr. Anna Jaegerová 2 Firstly, I would like to express my sincere gratitude to my thesis advisor, doc. Mgr. Pavel Suchánek, Ph.D., for the continuous support, guidance and great patience. The door to doc. Suchánek’s office was always open whenever I ran into trouble or had a question about my research or writing. He allowed the thesis to be my own work, but steered me in the right direction whenever he thought I needed it. I could not have imagined having a better advisor and mentor for my work. Enormous thanks goes also to my father, Steven Jaeger, who has helped me with researching sources in the United States and with making my understanding clearer by leading long discussions about sculpture with me. He has dedicated a tremendous amount of time in the past few months to support me in any way he could to make my thesis the best it could be, for which I am very thankful. I would like to thank Dominik Matus, DiS., who helped me with archival research in the Czech Republic and who took valuable photographs for my study and for the appendix of images. Last, but not least, I would like to thank my family and my fellow schoolmates for their feedback, support and of course their friendship.