Frank Gehry's Self-Twisting Uninterrupted Line: Gesture-Drawings As Indexes
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Painting Identity: the Disconnect Between Theories and Practices of Art by the LGBTQ Community
Painting Identity: The Disconnect Between Theories and Practices Of Art by the LGBTQ Community Meg Long Advisor: Sarah Willie-LeBreton May 7,2012 2 Table of Contents Acl(nowledgements ........................................................................... 3 1. Introduction .............................................................................. 4 2. Perspectives on Racial and Sexual Identity in Modem and Contemporary Art .......................................................................................... 10 3. Influence of Self Identity for Contemporary Artists .......................................... 33 4. Discourse Analysis: Art and Sexual Identity ......................................... 55 5. Conclusion .................................................................................76 Worl(s Cited .............................................................................. 84 Appendix A ............................................................................... 86 Appendix B ............................................................................... 87 3 Acknowledgements First and foremost, thank you to my father for his endless support throughout this process; as always in life, I would be lost without him. Likewise, thank you to my mother for her energy and encouragement. I also cannot be appreciative enough of my advisor, Professor Sarah Willie-LeBreton for helping me in more ways than I can enumerate, even when my process was dubious at best. Thank you to the participants who shared their stories -
Press Release (PDF)
G A G O S I A N G A L L E R Y August 29, 2016 The critic and curator Philip Rawson, an eloquent guide to the means and methods of drawing over the ages, points out that until the Italian Quattrocento, no European sculptor was supposed to be able to draw. In the medieval period, only those sculptors who also worked in two dimensions drew habitually; any other sculptor who needed, say, to show a client a proposed design hired a draftsman to make one. And when sculptors began to make drawings (for their own use or to guide assistants), they tended to do so without thinking of the format of the paper as a frame to which the image should relate. Instead, the image was generally treated as an independent motif, composed of mutually related units and placed anywhere on the sheet. In this approach, the space of the paper outside the image was not incorporated into the design but functioned like the open, empty space around actual sculptures. ... In contrast, Rawson observes, painters' drawings have tended to treat the usually rectangular format of the paper as a frame to which the image content relates. —John Elderfield Gagosian Gallery is pleased to present “Plane.Site,” a cross-generational exhibition of modern and contemporary artists organized by Sam Orlofsky to inaugurate the San Francisco gallery. (Continue to page2) 6 5 7 H O W A R D S T R E E T S A N F R A N C I S C O C A 9 4 1 0 5 T . -
American Masters 200 List Finaljan2014
Premiere Date # American Masters Program Title (Month-YY) Subject Name 1 ARTHUR MILLER: PRIVATE CONVERSATIONS On the Set of "Death of a Salesman" June-86 Arthur Miller 2 PHILIP JOHNSON: A SELF PORTRAIT June-86 Philip Johnson 3 KATHERINE ANNE PORTER: THE EYE OF MEMORY July-86 Katherine Anne Porter 4 UNKNOWN CHAPLIN (Part 1) July-86 Charlie Chaplin 5 UNKNOWN CHAPLIN (Part 2) July-86 Charlie Chaplin 6 UNKNOWN CHAPLIN (Part 3) July-86 Charlie Chaplin 7 BILLIE HOLIDAY: THE LONG NIGHT OF LADY DAY August-86 Billie Holiday 8 JAMES LEVINE: THE LIFE IN MUSIC August-86 James Levine 9 AARON COPLAND: A SELF PORTRAIT August-86 Aaron Copland 10 THOMAS EAKINS: A MOTION PORTRAIT August-86 Thomas Eakins 11 GEORGIA O'KEEFFE September-86 Georgia O'Keeffe 12 EUGENE O'NEILL: A GLORY OF GHOSTS September-86 Eugene O'Neill 13 ISAAC IN AMERICA: A JOURNEY WITH ISAAC BASHEVIS SINGER July-87 Isaac Bashevis Singer 14 DIRECTED BY WILLIAM WYLER July-87 William Wyler 15 ARTHUR RUBENSTEIN: RUBENSTEIN REMEMBERED July-87 Arthur Rubinstein 16 ALWIN NIKOLAIS AND MURRAY LOUIS: NIK AND MURRAY July-87 Alwin Nikolais/Murray Louis 17 GEORGE GERSHWIN REMEMBERED August-87 George Gershwin 18 MAURICE SENDAK: MON CHER PAPA August-87 Maurice Sendak 19 THE NEGRO ENSEMBLE COMPANY September-87 Negro Ensemble Co. 20 UNANSWERED PRAYERS: THE LIFE AND TIMES OF TRUMAN CAPOTE September-87 Truman Capote 21 THE TEN YEAR LUNCH: THE WIT AND LEGEND OF THE ALGONQUIN ROUND TABLE September-87 Algonquin Round Table 22 BUSTER KEATON: A HARD ACT TO FOLLOW (Part 1) November-87 Buster Keaton 23 BUSTER KEATON: -
Johnny O'neal
OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society. -
Endless House: Intersections of Art and Architecture June 27, 2015–March 6, 2016 the Robert Menschel Architecture and Design Gallery, Third Floor
Endless House: Intersections of Art and Architecture June 27, 2015–March 6, 2016 The Robert Menschel Architecture and Design Gallery, third floor Endless House considers the single-family home and archetypes of dwelling as a theme for the creative endeavors of architects and artists. Through drawings, photographs, video, installations, and architectural models drawn from MoMA’s collection, the exhibition highlights how artists have used the house as a means to explore universal topics, and how architects have tackled the design of residences to expand their discipline in new ways. The exhibition also marks the 50th anniversary of the death of Viennese-born artist and architect Frederick Kiesler (1890–1965). Taking its name from an unrealized project by Kiesler, Endless House celebrates his legacy and the cross-pollination of art and architecture that made Kiesler’s 15-year project a reference point for generations to come. Work by architects and artists spanning more than seven decades are exhibited alongside materials from Kiesler’s Endless House design and images of its presentation in MoMA’s 1960 Visionary Architecture exhibition. Intriguing house designs—ranging from historical projects by Mies van der Rohe, Frank Gehry, Peter Eisenman, and Rem Koolhaas, to new acquisitions from Smiljan Radic and Asymptote Architecture—are juxtaposed with visions from artists such as Louise Bourgeois, Bruce Nauman, Mario Merz, and Rachel Whiteread. Together these works demonstrate how the dwelling occupies a central place in a cultural exchange across generations and disciplines. Organized by Pedro Gadanho, Curator, Department of Architecture and Design, The Museum of Modern Art Architecture and Design Collection Exhibitions are made possible by Hyundai Card and Hyundai Capital America. -
Press Release Frank Gehry First Major European
1st August 2014 PRESS RELEASE communications and partnerships department 75191 Paris cedex 04 FRANK GEHRY director Benoît Parayre telephone FIRST MAJOR EUROPEAN 00 33 (0)1 44 78 12 87 e-mail [email protected] RETROSPECTIVE press officer 8 OCTOBER 2014 - 26 JANUARY 2015 Anne-Marie Pereira telephone GALERIE SUD, LEVEL 1 00 33 (0)1 44 78 40 69 e-mail [email protected] www.centrepompidou.fr For the first time in Europe, the Centre Pompidou is to present a comprehensive retrospective of the work of Frank Gehry, one of the great figures of contemporary architecture. Known all over the world for his buildings, many of which have attained iconic status, Frank Gehry has revolutionised architecture’s aesthetics, its social and cultural role, and its relationship to the city. It was in Los Angeles, in the early 1960s, that Gehry opened his own office as an architect. There he engaged with the California art scene, becoming friends with artists such as Ed Ruscha, Richard Serra, Claes Oldenburg, Larry Bell, and Ron Davis. His encounter with the works of Robert Rauschenberg and Jasper Johns would open the way to a transformation of his practice as an architect, for which his own, now world-famous, house at Santa Monica would serve as a manifesto. Frank Gehry’s work has since then been based on the interrogation of architecture’s means of expression, a process that has brought with it new methods of design and a new approach to materials, with for example the use of such “poor” materials as cardboard, sheet steel and industrial wire mesh. -
Andy Warhol Who Later Became the Most
Jill Crotty FSEM Warhol: The Businessman and the Artist At the start of the 1960s Roy Lichtenstein, Claes Oldenburg and Robert Rauschenberg were the kings of the emerging Pop Art era. These artists transformed ordinary items of American culture into famous pieces of art. Despite their significant contributions to this time period, it was Andy Warhol who later became the most recognizable icon of the Pop Art Era. By the mid sixties Lichtenstein, Oldenburg and Rauschenberg each had their own niche in the Pop Art market, unlike Warhol who was still struggling to make sales. At one point it was up to Ivan Karp, his dealer, to “keep moving things moving forward until the artist found representation whether with Castelli or another gallery.” 1Meanwhile Lichtenstein became known for his painted comics, Oldenburg made sculptures of mass produced food and Rauschenberg did combines (mixtures of everyday three dimensional objects) and gestural paintings. 2 These pieces were marketable because of consumer desire, public recognition and aesthetic value. In later years Warhol’s most well known works such as Turquoise Marilyn (1964) contained all of these aspects. Some marketable factors were his silk screening technique, his choice of known subjects, his willingness to adapt his work, his self promotion, and his connection to art dealers. However, which factor of Warhol’s was the most marketable is heavily debated. I believe Warhol’s use of silk screening, well known subjects, and self 1 Polsky, R. (2011). The Art Prophets. (p. 15). New York: Other Press New York. 2 Schwendener, Martha. (2012) "Reinventing Venus And a Lying Puppet." New York Times, April 15. -
Office of Staff Secretary; Series: Presidential Files; Folder: 6/14/77 [2]; Container 25
6/14/77 [2] Folder Citation: Collection: Office of Staff Secretary; Series: Presidential Files; Folder: 6/14/77 [2]; Container 25 To See Complete Finding Aid: http://www.jimmycarterlibrary.gov/library/findingaids/Staff_Secretary.pdf THE PRESIDENT'S SCHEDULE Tuesday - June 14, 1977 8:15 Dr. Zbigniew Brzezinski - The Oval Office. 8:45 Mr. Frank Moore The Oval Office. 9:30 Mr. Jody Powell The Oval Office. .i:45 Drop-By Meeting of Leaders of Veteran/ (10 min.) Military Groups. (Ms. Midge Costanza). The Roosevelt Room. 10:00 Budget Revie\'1 Meeting. (Mr. Bert Lance) . (2 hrs.) The Cabinet Room. 1:30 Budget Review Meeting. (Mr. Bert Lance). (90 min.) The Cabinet Room. 3:15 Secretary Harold Brown ....... ,The· Office. :oval. (15 min.) ~ :00 Meeting with Senator Joseph R. Biden, Jr. (15 min.) and the Delaware Delegation. (Mr. Frank Moore) - The Cabinet Room. 4:20 Drop-By White House Conference on HIRE. (15 min.) . .. ~he East Room. Lo Reception for the Inaugural Portfolio (10 min.) Artists The Rose Garden. .l' THE WHITE HOUSE WASHINGTON June 14, 1977 < / Gretchen Poston The attached was returned in the President's outbox. It is forwarded to you for appropriate handling. Rick Hutcheson cc: Z. Brzezinski Frank Moore THE WHITE HOUSE WASHINGTON z 0 H 8 H C) :>I ,::C Iii MONDALE COSTANZA EIZENSTAT JORDAN EXECUTIVE ORDER LIPSHUTZ Comments due to I")( MOORE Carp/Euron within POWELL 48 hours; due to WATSON Staff Secretary next day FOR STAFFING FOR INFORMATION ~ FROM PRESIDENT'S OUTBOX LOG IN/TO PRESIDENT TODAY IMMEDIATE TURNAROUND ARAGON BOURNE HOYT HUTCHESON JAGODA WEL S KING VOORDE < • MEMORAND UM THE WHITE HO U SE W AS HIN G T O N June 13, 1977 MEMORANDUM FOR: THE PRESIDENT FROM: GRETCHEN POSTON RE: GUEST LIST FOR PM FRASER LUNCHEON 12:30 p.m. -
Murray Ave School Art Appreciation Presentation: Robert Rauschenberg
Murray Ave School Art Appreciation Presentation: Robert Rauschenberg Lesson Plan Biography: (show picture 1, photo of him in his studio) Considered by many to be one of the most influential American artists due to his radical blending of materials and methods, Robert Rauschenberg was one of the key Neo-Dada movement artists in the 1950s and 60s. He would pick up trash he found on the street, use pages ripped from the phone book, photographs, and even 3 dimensional objects like spoons. He would then affix these objects to his canvas, and paint over them to create a layered effect. He was quoted as saying "I really feel sorry for people who think things like soap dishes or mirrors or Coke bottles are ugly because they're surrounded by things like that all day long, and it must make them miserable.” Robert Rauschenberg was born in the small town of Port Arthur, Texas. His father, was a strict and serious man and his mother was a very frugal woman. She made the family's clothes from scraps. That embarrassed little Robert, but possibly influenced his artwork later in life with his collages. He asked for a store-bought shirt for his high school graduation present, the very first in his young life!! During WWII, Robert was drafted into the Navy. While stationed in San Diego, he was assigned the job as a medical technician to care for wounded soldiers. On a break one day, he walked into an art gallery and saw oil paintings in person for the first time, and became instantly fascinated by art. -
El Croquis 189: Alfredo Paya, Toni Girones, Jose Maria Sanchez Garcia the Secret Life of Date Palms
I D E A B O O K S Architecture & Landscape I D E A B O O K S Architecture & Landscape El Croquis 189: Alfredo Paya, Toni Girones, Jose Maria Sanchez Garcia The Secret Life Of Date Palms El Croquis El Escorial 2017 Archizoom Lausanne 2017 ISBN 9788488386953 ISBN 9782970113201 $ 67.55* -- Idea Code 17231 $ 35.75* -- Idea Code 17188 author: Cyril Veillon Ed José María Sánchez García, Alfredo Payá, and Toni Gironès are the subjects of this triple focus on young Spanish architects. Although based in different cities and regions, they all launched their Six date palm characteristics provide the structure of this book: Form, Fruit, Hydration, careers in the 21st century, and each has since built notable projects throughout Spain and its Metamorphosis, Shade and Shadow, and Gender. Each investigation draws on Emirati traditions territories. Each architect’s profile includes a biography, a conversation with the architect, an essay and tacit knowledge to share a narrative that is infused with sensitivity, genuine curiosity, and by the architect, and several examples of built works. Gain insight on these three architects and human inventiveness. This is the story of a species that continues to provide great value to the recent highlights from the Spanish architecture scene, including the Rowing Pavilion in Alange, the Middle East. The hope is that the spirit of engagement and ingenuity employed throughout history Ibiza and Formentera Music and Dance Conservatory, and the Climate Museum in Lleida. inspires others to find value in their own regional -
Final 2011-12 Winter Chronological Listings
WALT DISNEY CONCERT HALL 2011/12 CHRONOLOGICAL LISTING OF EVENTS SEPTEMBER 2011 LOS ANGELES PHILHARMONIC Tuesday, September 27, 2011, at 7 PM -OPENING NIGHT GALA- Walt Disney Concert Hall OPENING NIGHT GALA (Non-subscription) Gustavo Dudamel, conductor Herbie Hancock, piano GERSHWIN Cuban Overture GERSHWIN An American in Paris GERSHWIN Rhapsody in Blue The gala evening benefits the Los Angeles Philharmonic Association. LOS ANGELES PHILHARMONIC Friday, September 30, 2011, at 8 PM Walt Disney Concert Hall Gustavo Dudamel, conductor ADAMS Short Ride in a Fast Machine STRAVINSKY SympHony in C BERLIOZ Symphonie fantastique OCTOBER 2011 LOS ANGELES PHILHARMONIC Saturday, October 1, 2011, at 8 PM Walt Disney Concert Hall Sunday, October 2, 2011, at 2 PM Gustavo Dudamel, conductor ADAMS Short Ride in a Fast Machine STRAVINSKY SympHony in C BERLIOZ Symphonie fantastique GREEN UMBRELLA Tuesday, October 4, 2011, at 8 PM Walt Disney Concert Hall LA Phil New Music Group Otto Tausk, conductor DI CASTRI La forma dello spazio for solo violin FELDMAN Viola in My Life Nos. 1 and 2 TAKEMITSU Rain Coming HAAS new work (U.S. premiere, LAPA commission) LOS ANGELES PHILHARMONIC Thursday, October 6, 2011, at 8 PM Walt Disney Concert Hall Friday, October 7, 2011, at 11 AM Saturday, October 8, 2011, at 8 PM Sunday, October 9, 2011, at 2 PM Gustavo Dudamel, conductor Janine Jansen, violin MENDELSSOHN Hebrides Overture MENDELSSOHN Violin Concerto MENDELSOHN SympHony No. 3, “ScottisH” BAROQUE VARIATIONS Tuesday, October 11, 2011, at 8 PM Walt Disney Concert Hall -
Designing and Manufacturing Architecture in the Digital Age KOLAREVIC, Branko University of Pennsylvania, USA
Go contents 05 Designing and Manufacturing Architecture in the Digital Age KOLAREVIC, Branko University of Pennsylvania, USA http://www.upenn.edu/gsfa The paper describes and examines the implications of the recent developments in the architectural application of the latest digital design and fabrication technologies, which offer alternatives to the established understandings of architectural design and production processes and their material and economic constraints. It offers a possibility of a revised understanding of the historic relationship between architecture and its means of production. Keywords: Digital design, digital fabrication, CAD/CAM. Introduction industries, is opening up new dimensions in “Having abandoned the discourse of style, the architectural design. The implications are vast, as architecture of modern times is characterized by “architecture is recasting itself, becoming in part an its capacity to take advantage of the specific experimental investigation of topological geometries, achievements of that same modernity: the partly a computational orchestration of robotic material innovations offered it by present-day science and production and partly a generative, kinematic sculpting technology. The relationship between new of space,” as observed by Peter Zellner in “Hybrid technology and new architecture even comprises Space” (1999). a fundamental datum of what are referred to as It was only within the last few years that the avant-garde architectures, so fundamental as to advances in computer-aided design (CAD) and