Whitfield Lovell
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Revisiting the Media Freedom Debate at Uganda's Independence Golden Jubilee
REVISITING THE MEDIA FREEDOM DEBATE AT UGANDA'S INDEPENDENCE GOLDEN JUBILEE Michael Kakooza REALITY CHECK Revisiting the media freedom debate at Uganda’s independence golden jubilee Written by Dr. Michael Kakooza The views expressed in this publication do not necessarily reflect the views of Konrad-Adenauer-Stiftung and Uganda Media Development Foundation but rather those of the author. REVISITING THE MEDIA FREEDOM DEBATE AT UGANDA’S INDEPENDENCE GOLDEN JUBILEE i REALITY CHECK Revisiting the media freedom debate at Uganda’s independence golden jubilee Published by: Konrad-Adenauer-Stiftung, Uganda 51. A Prince Charles Drive, Kololo P.O. Box 647, Kampala, Tel. +256 414 254611 www.kas.de ISBN: 978 9970 153 08 4 In partnership with: Uganda Media Development Foundation Plot 976 Mugerwa Road. Bukoto P.O.Box 21778 Kampala, Tel. +256 414 532083 www.umdf.co.ug © Konrad-Adenauer-Stiftung e.v. 2012 All rights reserved. No part of this publication may be reproduced, stored in retrieval system, or transmitted in any form or by any means, without the prior written permission of the Konrad-Adenauer-Stiftung. ii REVISITING THE MEDIA FREEDOM DEBATE AT UGANDA’S INDEPENDENCE GOLDEN JUBILEE Table of Contents Foreword ...................................................................................... 1 Preface ............................................................................................3 Profile of the Author ....................................................................... 6 Acknowledgements ....................................................................... -
Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected]
1 Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected] Education Feb. 1973 PhD., Institute of Fine Arts, New York University. Thesis: "The Genre Painting of Eastman Johnson: The Sources and Development of His Style and Themes," (Published by Garland, 1977). Adviser: Professor Robert Goldwater. Jan. 1968 M.A., Hunter College, City University of New York. Thesis: "The Portraits of Thomas Eakins: The Elements of Interpretation." Adviser: Professor Leo Steinberg. June 1957 B.A., Stanford University. Major: Modern European Literature Professional Positions 9/1978 – 7/2014 Department of History of Art & Architecture, Boston University: Acting Chair, Spring 2009; Spring 2012. Chair, 1995-97; Professor 1988-2014; Associate Professor, 1978-88 [retired 2014] Other assignments: Adviser to Graduate Students, Boston University Art Gallery, 2010-2011; Director of Graduate Studies, 1993-94; Director, BU Art Gallery, 1980-89; Director, Museum Studies Program, 1980-91 Affiliated Faculty Member: American and New England Studies Program; African American Studies Program April-July 2013 Terra Foundation Visiting Professor, J. F. Kennedy Institute for North American Studies, Freie Universität, Berlin 9/74 - 7/87 Adjunct Curator, 18th- & 19th-C Art, Whitney Museum of Am. Art, NY 6/81 C. V. Whitney Lectureship, Summer Institute of Western American Studies, Buffalo Bill Historical Center, Cody, Wyoming 9/74 - 8/78 Asso. Prof., Fine Arts/Performing Arts, York College, City University of New York, Queens, and PhD Program in Art History, Graduate Center. 1-6/75 Adjunct Asso. Prof. Grad. School of Arts & Science, Columbia Univ. 1/72-9/74 Asso. -
Presented to the Graduate Council of the North Texas State University In
79I /f NIGERIAN MILITARY GOVERNMENT AND PRESS FREEDOM, 1966-79 THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Ehikioya Agboaye, B.A. Denton, Texas May, 1984 Agboaye, Ehikioya, Nigerian Military Government and Press Freedom, 1966-79. Master of Arts (Journalism), May, 1984, 3 tables, 111 pp., bibliography, 148 titles. The problem of this thesis is to examine the military- press relationship inNigeria from 1966 to 1979 and to determine whether activities of the military government contributed to violation of press freedom by prior restraint, postpublication censorship and penalization. Newspaper and magazine articles related to this study were analyzed. Interviews with some journalists and mili- tary personnel were also conducted. Materials collected show that the military violated some aspects of press freedom, but in most cases, however, journalists were free to criticize government activities. The judiciary prevented the military from arbitrarily using its power against the press. The findings show that although the military occasionally attempted suppressing the press, there are few instances that prove that journalists were denied press freedom. TABLE OF CONTENTS Page LIST OF TABLES............ .P Chapter I. INTRODUCTION . 1 Statement of the Problem Purpose of the Study Significant Questions Definition of Terms Review of the Literature Significance of the Study Limitations Methodology Organization II. PREMILITARY ERA,.... 1865-1966...18 . From Colonial to Indigenous Press The Press in the First Republic III. PRESS ACTIONS IN THE MILITARY'S EARLY YEARS 29 Before the Civil War The Nigeria-Biaf ran War and After IV. -
CB 3 4 Engl Samedi 1.Pmd
CODESRIA Bulletin, Nos 3 & 4, 2008 Page 1 Editorial A Giant Has Moved On This 12th General Assembly is taking place exactly one year and Sociology Department at the University of Dar Es Salaam, Tan- nine months after the death of an illustrious member of zania before moving to The Hague as a Visiting Professor of CODESRIA, one most committed to the problematic of the pub- Social Anthropology of Development and Chairman of the Ru- lic sphere in Africa. Wednesday 28 March 2007 will go down as ral Development, Urban Development and Labour Studies a sad day among social researchers all over Africa and beyond. Programme at the Institute of Social Studies from 1972 to 1975. It was the day Professor Archibald Monwabisi Mafeje (fondly It was here that he met his wife and life-long companion, the known among friends, colleagues and admirers as Archie) passed Egyptian scholar and activist, Dr Shahida El Baz. In 1979, he away in Pretoria, in what was a most quiet exit that has left very joined the American University, in Cairo, as Professor of Sociol- many of us whom he touched directly or indirectly, in a state of ogy. Thereafter, he took up the post of Professor of Sociology sadness and anger. and Anthropology and Director of the Multidisciplinary Re- search Centre at the University of Namibia from 1992 to 1994. Archie Mafeje, the quintessential personality of science and Mafeje was also a senior fellow and visiting or guest professor one of the most versatile, extraordinary minds to emerge from at several other universities and research institutions in Africa, Africa was, in his days, a living legend in every sense. -
2019-2020 Year in Review
YEAR in REVIEW July 1, 2019– June 30, 2020 BOWDOIN COLLEGE MUSEUM OF ART BRUNSWICK, MAINE C FROM THE CO-DIRECTORS The Bowdoin College Museum of Art serves as an invaluable educational resource for the campus and beyond. It is a champion of the visual arts, a place for reflection and dialogue, and an engine for the production and diffusion of knowledge. During the past academic year, the Museum dedicated itself to reaching out to and engaging with students, faculty and staff, and the wider community. On March 16, 2020, the Walker Art Building—home of the Museum of Art—closed to the public as a precaution against COVID-19. Yet, the Museum has continued to embrace its mission. We are proud of the work done by our colleagues to support remote teaching and learning on the part of faculty and students and by the commitment to create educational resources for the public. The Museum’s new landing page features many of our new digital assets, including online exhibitions, program recordings, publications, and our new “Visit from Home” portal. The past year has brought greater public attention to the long-standing problem of systemic racism in the United States. We feel it is imperative to renew our commitment to inclusivity and equity. Towards this end, the Museum has organized an Anti-Racism Task Force and has inaugurated an Anti-Racism Action Plan, which will guide further outreach and change. Through these twin pandemics, we recognize more than ever that artists are essential workers. We miss seeing their work in person, though appreciate that the arts have much to offer in fostering dialogue and building community. -
Whitfield Lovell
Whitfield Lovell Born 1959, New York, NY EDUCATION 1989 New York University Graduate Program, Venice, Italy 1985 Skowhegan School of Painting and Sculpture, Skowhegan, ME 1981 BFA, Cooper Union School of Art, New York, NY SOLO EXHIBITIONS 2015 Whitfield Lovell: First Impressions, Arthur Roger Gallery, New Orleans, LA Whitfield Lovell: Distant Relations, Selections from the Kin Series, DC Moore Gallery, New York, NY 2013 Whitfield Lovell: Deep River, Hunter Museum of American Art, Chattanooga, TN. Traveling to: Jepson Center, Telfair Museum, Savannah, GA (August 2014), Cummer Museum, Jacksonville, FL (May 2015) 2011 More Than You Know: Works By Whitfield Lovell, Smith College Museum of Art, Northampton, MA 2010 Whitfield Lovell, Arthur Roger Gallery, New Orleans, LA 2009 Mercy, Patience and Destiny: The Women of Whitfield Lovell’s Tableaux, Woodruff Arts Center, Savannah College of Art and Design, Atlanta, GA 2008 Whitfield Lovell: Kith and Kin, DC Moore Gallery, New York, NY Whitfield Lovell: All Things in Time, Hudson River Museum, Yonkers, NY 2006 Whitfield Lovell, DC Moore Gallery, New York, NY 2005 Whitfield Lovell: Homegoing, John Michael Kohler Arts Center, Sheboygan, WI 2004 Whitfield Lovell: Tableaux, Olin Art Gallery, Kenyon College, Gambier, OH Arthur Roger Gallery, New Orleans, LA Visitation: The Richmond Project, Museum of Contemporary Art, Sydney, Australia 2003 That You Know Who We Are: Works by Whitfield Lovell, Zora Neale Hurston National Museum of Fine Arts, Eatonville. FL Whitfield Lovell: Ancestors, Flint Institute -
Critical Companion to James Joyce : a Literary Reference to His Life and Work / A
CRITICAL COMPANION TO James Joyce A Literary Reference to His Life and Work A. NICHOLAS FARGNOLI MICHAEL PATRICK GILLESPIE Critical Companion to James Joyce: A Literary Reference to His Life and Work Copyright © 2006 by A. Nicholas Fargnoli and Michael Patrick Gillespie This is a revised edition of James Joyce A to Z: The Essential Reference to His Life and Work. Copyright 1995 by A. Nicholas Fargnoli and Michael Patrick Gillespie All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permis- sion in writing from the publisher. For information contact: Facts On File, Inc. An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Fargnoli, A. Nicholas. Critical companion to James Joyce : a literary reference to his life and work / A. Nicholas Fargnoli and Michael Patrick Gillespie.—[Rev. ed.]. p. cm. Rev. ed. of: James Joyce A to Z : The essential reference to his life and work. 1995. Includes bibliographical references and index. ISBN 0-8160-6232-3 (acid-free paper) 1. Joyce, James, 1882–1941—Handbook, manuals, etc. 2. Novelists, Irish— 20th century—Biography—Handbooks, manuals, etc. 3. Ireland—In literature—Handbooks, manuals, etc. I. Gillespie, Michael Patrick. II. Fargnoli, A. Nicholas. James Joyce A to Z. III. Title. PR6019.O9Z533376 2006 823’.912—dc22 2005015721 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. -
G the Grinnell Magazine
The Grinnell Magazine Spring 2013 G The Memory Books Student Musings Grinnell After Fire What working as a wildland firefighter taught me about college. It started to rain after midnight, cool drops on my In the quick-moving world of firefighting, I found scalp and my eyelids. I slid deeper into my sleeping myself thinking more and more about the books piled bag, watching through the slit at the top as dark shapes on my dresser at our guard station. I began a nightly moved around me, figures hauling ground pads and ritual of listening to storytelling podcasts as I lay beneath personal gear bags across the field to a long row of fire great stretches of sky. I started jotting down scraps in trucks. We were at a wildfire in southern Idaho, camped Spanish when I found the time; I wrote long letters out on a farmer’s land, the nearby hills glowing in the following my thoughts and poems about losing my face dark. The Ridge Top Fire. This was our seventh day. — that sensation that comes from living without mirrors. Car lights clicked on as people wrestled into On my free days, whenever those came, I made a habit backseats to escape the rain; others struggled with tent of driving the steep, curved road into Salt Lake City, bags. Few of us bothered with tents when the sky looked where I would camp out in a bookstore for hours. clear. On the clock from 6 a.m. to 10 p.m., tents — the It took the total absence of Grinnell for me to daily operation of putting them up and then taking understand why it was important to me in the first place. -
WHITFIELD LOVELL DARREN WATERSTON REMOTE Futuresdistant Relations Selections from the Kin Series OCTOBER 4 – NOVEMBER 3, 2012
DC M OORE GALLERY 535 WEST 22ND STREET NEW YORK NEW YORK 10011 212 247.2111 DCMOOREGALLERY.COM FOR IMMEDIATE RELEASE FOR IMMEDIATE RELEASE WHITFIELD LOVELL DARREN WATERSTON REMOTE FUTURESDistant Relations Selections from the Kin Series OCTOBER 4 – NOVEMBER 3, 2012 February 19 – March 21, 2015 OPENING RECEPTION OCTOBER 4, 6Opening – 8 PM Reception Thursday, February 19 AcataloguewithanessaybyJimVoorhies6:00 – 8:00 pm will be available . Agony in theKin Garden XXXIII (, May2012 I .Assume Oil on wood Whatever panel, Form 36 x I 36Want,inches. In Whatever Place My Spirit Wishes), 2011. Conte on paper, vintage white cloth show, 30 x 22 1/2 x 2 3/4 inches. DC MOORE GALLERY is pleased to present its first exhibition by Darren Waterston, Remote Futures. DC Moore Gallery is pleased to present Whitfield Lovell: Distant Relations, Selections from the Kin Series. In this This recent body of work explores the allure and menace of utopian fantasy, where an imagined, idealized paradise holdsexhibition within of it assemblages,a disconcerting Lovell future. juxtaposes masterful drawings of African Americans with found objects to powerfully recast our collective history. Waterston has often engaged with mythological, theological, and natural histories while proposing visual depictions Lovell’s exquisitely drawn Conte crayon visages are sourced from his large archive of vintage I.D. photos, including of the ineffable that transcend the picture plane. In Remote Futures, there is evidence of human life in the fragments passport pictures and mug shots. The harsh lighting of the images and the lack of retouching contribute to the stark of architecture —temples, cathedrals, ziggurats, bridges—that emerge from the organic detritus. -
Widening Circles | Photographs by Reginald Eldridge, Jr
JOAN MITCHELL FOUNDATION MITCHELL JOAN WIDENING CIRCLES CIRCLES WIDENING | PHOTOGRAPHS REGINALD BY ELDRIDGE, JR. Widening Circles Portraits from the Joan Mitchell Foundation Artist Community at 25 Years PHOTOGRAPHS BY REGINALD ELDRIDGE, JR. Sonya Kelliher-Combs Shervone Neckles Widening Circles Portraits from the Joan Mitchell Foundation Artist Community at 25 Years PHOTOGRAPHS BY REGINALD ELDRIDGE, JR. Widening Circles: Portraits from the Joan Mitchell Foundation Artist Community at 25 Years © 2018 Joan Mitchell Foundation Cover image: Joan Mitchell, Faded Air II, 1985 Oil on canvas, 102 x 102 in. (259.08 x 259.08 cm) Private collection, © Estate of Joan Mitchell Published on the occasion of the exhibition of the same name at the Joan Mitchell Foundation in New York, December 6, 2018–May 31, 2019 Catalog designed by Melissa Dean, edited by Jenny Gill, with production support by Janice Teran All photos © 2018 Reginald Eldridge, Jr., excluding pages 5 and 7 All artwork pictured is © of the artist Andrea Chung I live my life in widening circles that reach out across the world. I may not complete this last one but I give myself to it. – RAINER MARIA RILKE Throughout her life, poetry was an important source of inspiration and solace to Joan Mitchell. Her mother was a poet, as were many close friends. We know from well-worn books in Mitchell’s library that Rilke was a favorite. Looking at the artist portraits and stories that follow in this book, we at the Foundation also turned to Rilke, a poet known for his letters of advice to a young artist. -
WHITFIELD LOVELL DARREN WATERSTON REMOTE Futuresdistant Relations Selections from the Kin Series OCTOBER 4 – NOVEMBER 3, 2012
DC M OORE GALLERY 535 WEST 22ND STREET NEW YORK NEW YORK 10011 212 247.2111 DCMOOREGALLERY.COM FOR IMMEDIATE RELEASE FOR IMMEDIATE RELEASE WHITFIELD LOVELL DARREN WATERSTON REMOTE FUTURESDistant Relations Selections from the Kin Series OCTOBER 4 – NOVEMBER 3, 2012 February 19 – March 21, 2015 OPENING RECEPTION OCTOBER 4, 6Opening – 8 PM Reception Thursday, February 19 AcataloguewithanessaybyJimVoorhies6:00 – 8:00 pm will be available . Agony in theKin Garden XXXIII (, May2012 I .Assume Oil on wood Whatever panel, Form 36 x I 36Want,inches. In Whatever Place My Spirit Wishes), 2011. Conte on paper, vintage white cloth shoe, 30 x 22 1/2 x 2 3/4 inches. DC MOORE GALLERY is pleased to present its first exhibition by Darren Waterston, Remote Futures. DC Moore Gallery is pleased to present Whitfield Lovell: Distant Relations, Selections from the Kin Series. In this This recent body of work explores the allure and menace of utopian fantasy, where an imagined, idealized paradise holdsexhibition within of it assemblages,a disconcerting Lovell future. juxtaposes masterful drawings of African Americans with found objects to powerfully recast our collective history. Waterston has often engaged with mythological, theological, and natural histories while proposing visual depictions Lovell’s exquisitely drawn Conte crayon visages are sourced from his large archive of vintage I.D. photos, including of the ineffable that transcend the picture plane. In Remote Futures, there is evidence of human life in the fragments passport pictures and mug shots. The harsh lighting of the images and the lack of retouching contribute to the stark of architecture —temples, cathedrals, ziggurats, bridges—that emerge from the organic detritus. -
Annual Report 2019 Annual Report 2019
Annual Report 2019 Annual Report 2019 1 Annual Report 2019 4 11 Letter from the Director 14 Signature Events 27 Flagships of the Hutchins Center 72 A Synergistic Hub of Intellectual Fellowship 84 Annual Lecture Series 86 Archives, Manuscripts, and Collections 88 Research Projects and Outreach 96 Our Year in Events 102 Staff 104 Come and Visit Us Hutchins Center for African & African American Research Harvard University 27 42 50 52 Project on Race, Class & Cumulative Adversity at the Hutchins Center 59 Harvard University 60 62 65 69 70 71 Director Henry Louis Gates, Jr. Executive Director Abby Wolf The Hutchins Center for African & African American Research is fortunate to have the support of Harvard University President Lawrence S. Bacow, Provost Alan M. Garber, Dean of the Faculty of Arts and Sciences Claudine Gay, Dean of Social Science Lawrence D. Bobo, Administrative Dean for Social Science Beverly Beatty, and Senior Associate Dean for Faculty Development Laura Gordon Fisher. What we are able to accomplish at the Hutchins Center would not be possible without their generosity and engagement. Lawrence S. Bacow Henry Louis Gates, Jr. and Glenn H. Hutchins Alan M. Garber Marcyliena Morgan and Abby Wolf Claudine Gay Cover: Façade of the Hutchins Center 4 EXECUTIVE COMMITTEE Glenn H. Hutchins, ex officio Emmanuel K. Akyeampong Lawrence D. Bobo, ex officio Henry Louis Gates, Jr. Evelyn Brooks Higginbotham William Julius Wilson Emmanuel K. Akyeampong Lawrence D. Bobo Evelyn Brooks Higginbotham William Julius Wilson 5 STEERING COMMITTEE Abby Wolf Executive Director of the Hutchins Center Henry Louis Gates, Jr. Director of the Hutchins Center for African & African Sheldon Cheek American Research Assistant Director of the Image of the Black Archive & Library Glenn H.