The Joan and Lester Avnet Collection in the Museum of Modern Art : Exhibited, Apr
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People for Profit: North Korean Forced Labour on a Global Scale Edited by Remco E
PEOPLE FOR PROFIT People for Profit North Korean Forced Labour on a Global Scale Edited by Remco E. Breuker & Imke B.L.H. van Gardingen Contributors Jan Blinka Britt C.H. Blom Marte C.H. Boonen Klara Boonstra Rosa Brandse Remco E. Breuker Imke B.L.H. van Gardingen Larissa van den Herik Tycho A. van der Hoog Marieke P. Meurs Cedric Ryngaert Shannon R. Stewart Anoma P. van der Veere This is an open source publication by LeidenAsiaCentre. Copyright © 2018 (authors). People for Profit: North Korean Forced Labour on a Global Scale Edited by Remco E. Breuker and Imke B.L.H. van Gardingen ISBN 978-90-826167-1-2 (hardback) ISBN 978-90-826167-3-6 (e-book) LeidenAsiaCentre is an independent research centre affiliated with Leiden University and made possible by a grant from the Vaes Elias Fund. The centre focuses on academic research with direct application to society. All research projects are conducted in close cooperation with a wide variety of partners from Dutch society. More information can be found on our website: www.leidenasiacentre.nl For contact or orders: [email protected] M. de Vrieshof 3, 2311 BZ Leiden, The Netherlands Book design: A.P. van der Veere Contents Contributors IX Acknowledgements XII Introduction Remco E. Breuker and Imke B.L.H. van Gardingen 1 Chapter I Setting the Background: Labour Conditions in the DPRK Remco E. Breuker 6 Chapter II Accountability for DPRK Workers in the Value Chain: The Case of Partner Shipyard, a Polish Shipbuilder and its Dutch Partners Imke B.L.H. -
Bideford Bay (1946) David Bomberg
Chapter 5: Compositional Effects of Color Color (hue, chroma and value) effect the perception of space… …both 2D… (shapes can be made to seem larger or smaller by altering color) …and 3D (advancing and receding). The size of colored regions also effects the perceived color (larger areas seem brighter). Aerial Perspective or Atmospheric Perspective • (both phrases refer to the same phenomena – they are interchangeable terms) • Several color effects can be described in terms of Aerial perspective. • — Colors tend to be lighter and lower in chroma in the distance. (color moves closer to sky color) • — Contrast in value diminishes in the distance. (value range diminishes in distance) • — Sharp contrasting edge tends to bring (at least) one surface forward. (sharp detail or edges advance forms; blurred forms recede) The Space Between • The physical cause of atmospheric perspective in nature is dust and moisture in the air. • These scattered particles diffuse light, thereby softening the appearance of distant objects and causing their color to move closer to the prevailing sky color. • The Moisture-filled Space Between • Fog is an atmosphere densely filled with moisture – atmospheric perspective can be apparent at a very short distance. • Albert Bierstadt’s 19th c. paintings of the American West were composed to express the vast space open to expansion. • Aerial Perspective • Lighter values, reduced contrast, lower chroma all tend to establish a sense receding (distant) space. • Limited structure and detail are present — there are David Bomberg no linear perspective clues to structure, location, size or distance. Yet there is a definite sense of space— near regions and far regions. -
Elements of Innovators' Fame
Elements of Innovators’ Fame: Social Structure, Identity and Creativity Mitali Banerjee Submitted in partial fulfilment of the requirement for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences Columbia University 2017 © 2017 Mitali Banerjee All rights reserved Abstract Elements of Innovators’ Fame: Social Structure, Identity and Creativity Mitali Banerjee What makes an innovator famous? This is the principal question of this dissertation. I examine three potential drivers of the innovators’ fame – their social structure, creativity and identity. My empirical context is the early 20th century abstract artists in 1910-25. The period represents a paradigmatic shift in the history of modern art, the emergence of the abstract art movement. In chapter 2, I operationalize social structure by an innovator’s local peer network. I find that an innovator with structurally and compositionally diverse local network is likely to be more famous than the one with a homogenous local network. I find no statistical evidence for creativity as a link between social structure and fame. Instead, the evidence suggests that an innovator’s creative identity and access to promotional opportunities are the key drivers of her fame. In Chapter 3, I find that the creativity identity resulting from an innovator’s creative trajectory can lead to obscurity despite early fame and acclaim. The drastic change in the nature of a producer’s output can dilute her identity and cost her her niche. In combination with her peer network characteristics, these dynamics can mean obscurity even for talented and prolific innovators. In chapter 4, I undertake a large-scale analysis of the relationship between creativity and fame. -
Wyndham Lewis and Nihilism
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Groningen University of Groningen Theo van Doesburg and Wyndham Lewis Renders, Hans; van Faassen, Sjoerd Published in: The Journal of Wyndham Lewis Studies IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2018 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Renders, H., & van Faassen, S. (2018). Theo van Doesburg and Wyndham Lewis: An Aborted Attempt at Collaboration’. The Journal of Wyndham Lewis Studies, 8, 30-56. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 13-11-2019 The Journal of Wyndham Lewis Studies Wyndham Lewis Society Volume 8 (2017) ISSN 2052-5168 THE JOURNAL OF WYNDHAM LEWIS STUDIES PUBLISHED BY THE WYNDHAM LEWIS SOCIETY EDITORIAL ADDRESS The Journal of Wyndham Lewis Studies c/o Dr Nathan Waddell Department of English Literature, Arts Building University of Birmingham, Edgbaston Birmingham, B13 2TT EDITORS Zoe Gosling, Louise Kane, Michael Shallcross, Nathan Waddell REVIEWS EDITOR James Hirst EDITORIAL BOARD Rebecca Beasley, Peter Brooker, Peter Caracciolo, Edward Chaney, Paul Edwards, C. -
Texas Topaz Nonfiction Reading List 2019
2019 Texas Topaz Nonfiction Reading List The purpose of the Texas Topaz Reading List is to provide children and adults with recommended nonfiction titles that stimulate reading for pleasure and personal learning. It is intended for recreational reading and is not designed to support any particular curriculum. Due to the diversity in age range and topics, Texas librarians should consider titles on this list in accordance with their own local collection development policies. (*) denotes a unanimous vote by the committee. #NeverAgain by David Hogg and Lauren Hogg. Random House. 2018. *The 57 Bus by Dashka Slater. Macmillan / Farrar Straus Giroux. 2017. 59 Hours by Johnny Kovatch. Simon & Schuster / Simon Pulse. 2018. *Ali: A Life by Jonathan Eig. Houghton Mifflin Harcourt. 2017. All That Trash: The Story of the 1987 Garbage Barge and Our Problem with Stuff by Meghan McCarthy. Simon & Schuster / Simon & Schuster Books for Young Readers. 2018. American Like Me: Reflections on Life Between Cultures by America Ferrera. Simon & Schuster / Gallery Books. 2018. American Wolf: A True Story of Survival and Obsession in the West by Nate Blakeslee. Penguin Random House / Crown. 2017. *Americanized: Rebel Without a Green Card: A Memoir by Sara Saedi. Penguin Random House / Knopf Doubleday / Alfred A. Knopf. 2018. Bad Blood: Secrets and Lies in a Silicon Valley Startup by John Carreyrou. Penguin Random House / Knopf. 2018. *Barracoon: The Story of the Last "Black Cargo" by Zora Neale Hurston. HarperCollins / Amistad. 2018. Because I Was a Girl: True Stories for Girls of All Ages by Melissa De La Cruz (editor). Macmillan / Henry Holt. 2017. *Becoming Kareem: Growing Up On and Off the Court by Kareem Abdul-Jabbar and Raymond Obstfed. -
David Bomberg Interior of the Armenian Church Sources and Further Reading Berger, John, Permanent
Gallery Short: David Bomberg Interior of the Armenian Church Sources and Further Reading Berger, John, Permanent Red: Essays in Seeing, Methuen & Co Ltd, London, 1960 Cork, Richard, Young Bomberg and the Old Masters: Curator’s Introduction, streamed live at the National Gallery, 20 January, 2020 https://youtu.be/-hh2nJPT7DQ Dickson, Rachel and MacDougall, Sarah, Bomberg, Ben Uri Gallery and Museum, London, 2017 Hallman, Lee, Curving Round: David Sylvester and the Rediscovery of David Bomberg, Tate Papers no. 21, Spring 2014, ISSN 1753-9854, https://www.tate.org.uk/research/publications/tate-papers/21/curving-round-david-sylvester- and-the-rediscovery-of-david-bomberg Lipke, William, David Bomberg: A Critical Study of his Life and Work, Evelyn Adams & Mackay Ltd, 1967 Oxlade, Roy, David Bomberg: The Climate is Changing from Art Without Art: Selected Writing from the World of the Blunt Edge, ed. Marcus Reinhert, Ziggurat Books, London, 2008 David Bomberg: Spirit in the Mass, Abbott Hall Art Gallery, Kendal, 2006 Gallery Short: David Bomberg Interior of the Armenian Church Works discussed David Bomberg, Washing of the Feet, Church of St James, Jerusalem, Oil on Wood c. 1925 The Sarah Rose Collection at London South Bank University https://artuk.org/discover/artworks/washing-of-the-feet-church-of-st-james-jerusalem- 194345/search/makers:david-bomberg-18901957/page/4/view_as/grid David Bomberg, In the Hold, Oil on Canvas, 1913-4 Tate https://www.tate.org.uk/art/artworks/bomberg-in-the-hold-t00913 David Bomberg, Hezekiah’s Pool, Oil on Board, -
Aspects of Modern British Art
Austin/Desmond Fine Art GILLIAN AYRES JOHN BANTING WILHELMINA BARNS-GRAHAM DAVID BLACKBURN SANDRA BLOW Aspects of DAVID BOMBERG REG BUTLER Modern ANTHONY CARO PATRICK CAULFIELD British Art PRUNELLA CLOUGH ALAN DAVIE FRANCIS DAVISON TERRY FROST NAUM GABO SAM HAILE RICHARD HAMILTON BARBARA HEPWORTH PATRICK HERON ANTHONY HILL ROGER HILTON IVON HITCHENS DAVID HOCKNEY ANISH KAPOOR PETER LANYON RICHARD LIN MARY MARTIN MARGARET MELLIS ALLAN MILNER HENRY MOORE MARLOW MOSS BEN NICHOLSON WINIFRED NICHOLSON JOHN PIPER MARY POTTER ALAN REYNOLDS BRIDGET RILEY WILLIAM SCOTT JACK SMITH HUMPHREY SPENDER BRYAN WYNTER DAVID BOMBERG (1890-1957) 1 Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 Coloured chalks Signed and dated lower right, Inscribed verso Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 by David Bomberg – Authenticated by Lillian Bomberg. 54.6 x 38.1cm Prov: The Artist’s estate Bernard Jacobson Gallery, London ‘David Bomberg once remarked when asked for a definition of painting that it is ‘A tone of day or night and the monument to a memorable hour. It is structure in textures of colour.’ His ‘monuments’, whether oil paintings, pen and wash drawings, or oil sketches on paper, have varied essentially between two kinds of structure. There is the structure built up of clearly defined, tightly bounded forms of the early geometrical-constructivist work; and there is, in contrast, the flowing, richly textured forms of his later period, so characteristic of Bomberg’s landscape painting. These distinctions seem to exist even in the palette: primary colours and heavily saturated hues in the early works, while the later paintings are more subtle, tonally conceived surfaces. -
'We Discharge Ourselves on Both Sides': Vorticism: New Perspectives
‘We discharge ourselves on both sides’: Vorticism: New Perspectives (A symposium convened October 29-30, 2010, at the Nasher Museum of Duke University, Durham, NC) ________ Michael Valdez Moses The Vorticists: Rebel Artists in London and New York, 1914-1918 , the only major exhibition of Vorticist art to be held in the United States since John Quinn and Ezra Pound organized the first American show of Vorticist art at the Penguin Club of New York in 1917, opened at the Nasher Museum of Art at Duke University on September 30. Curated by Mark Antliff (Professor of Art History at Duke University) and Vivien Greene (Curator of the Guggenheim Museum in New York City), this major exhibition of England’s only ‘home-grown’ avant-garde art movement brings together many of the works exhibited at the three exhibitions organized by the various members of the Vorticist movement during its brief existence: the first Vorticist exhibition at the Doré Gallery in London in 1915, the 1917 Penguin Club exhibition in New York City, and the exhibition of Alvin Langdon Coburn’s ‘Vortographs’ (Vorticist photographs) held at the London Camera Club in 1917. The Vorticists runs at the Nasher through to the 2 nd of January 2010 before moving to the Guggenheim in Venice and then to Tate Britain. The exhibition displays sculpture, paintings, watercolours, collages, prints, drawings, vortographs, books, and journals produced by a group of artists and writers, including Wyndham Lewis, Jacob Epstein, Henri Gaudier-Brzeska, David Bomberg, Lawrence Atkinson, Christopher Nevinson, Edward Wadsworth, Alvin Langdon Coburn, Helen Saunders, Frederick Etchells, Jessica Dismorr, Dorothy Shakespear, William Roberts, and Ezra Pound, who loosely comprised, or were closely associated with, the Vorticist movement that briefly flourished in London and (to a lesser extent) New York in the second decade of the past century. -
A Tribute to James Atlas ( 1949–2019)
Share this: October 2019 | Volume 14 | Number 8 A Tribute to James First-time Atlas ( 1949–2019) Biographers, Apply Now for By Anne C. Heller the Rowley He could be seen among gatherings of biographers Prize! wherever we meet: at festivals and symposia, on Biographers International prize committees, at literary parties, leading panels Organization (BIO) is now of his distinguished friends in explorations of their accepting applications for the craft, gallantly introducing new biographers to Hazel Rowley Prize. The colleagues and readers with a keen and generous prize rewards a biography word of praise. His standards were old fashioned, unusually high, and deeply book proposal from a first- literary, and his praise will be remembered and cherished by the unknowable time biographer with: funding number of lucky ones who received it and found in it new resources of stimulation (a $2,000 award); a careful and perseverance. reading from an established His own perseverance was legendary. James Atlas, who died of a rare chronic lung agent; one year’s membership disease on September 4, at the age of 70, published two biographies, each the first in BIO (along with on its subject. Delmore Schwartz: The Life of an American Poet appeared in 1977, registration to the annual when Jim was 28, and was a finalist for the National Book Award. He had begun to conference); and publicity for conceive it on a winter’s afternoon six years earlier at the Bodleian Library when, the author and project as a Rhodes Scholar studying under the great James Joyce biographer Richard through the BIO website, The Ellman at Oxford, he set aside Finnegan’s Wake and asked the librarian to bring Biographer’s Craft newsletter, him Delmore’s poems and stories, and then sat “marveling at the way [Delmore] etc. -
Of David Bomberg at Christie’S London in November Proceeds of the Sale Will Benefit Hadassah the Largest Group of Works by Bomberg Ever to Come to Auction
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE: 8 October 2013 WORKS FROM THE ESTATE OF DAVID BOMBERG AT CHRISTIE’S LONDON IN NOVEMBER PROCEEDS OF THE SALE WILL BENEFIT HADASSAH THE LARGEST GROUP OF WORKS BY BOMBERG EVER TO COME TO AUCTION David Bomberg (1890-1957) David Bomberg (1890-1957) Portrait of Dinora Self-portrait Estimate: £30,000-50,000 Estimate: £50,000 – 80,000 London - Christie’s are proud to be offering 32 works from the Estate of David Bomberg (1890 – 1957) in the Modern British and Irish Art sale on 21 November. Proceeds of the sale will benefit Hadassah, a registered charity dedicated to raising funds for Hadassah Medical Organisation in Jerusalem. This diverse group of paintings and drawings by Bomberg come from Fischer Fine Art, Bomberg’s long-time dealer, and come to auction for the first time. This is the largest group of works by the artist ever to be offered at auction. Bomberg was one of the most bold and daring artists of his generation and this collection features works from all periods of his rich and varied career with estimates ranging from £1,500 to £120,000. This sale provides a unique opportunity for both new and established collectors to acquire a work of quality and enormous art historical value from this important British artist and with this unequalled provenance. David Bomberg was born in Birmingham in 1890 to Polish-Jewish immigrant parents and at the age of five moved with his family to Whitechapel in London. In 1911, aided by a grant from the Jewish Educational Aid Society, Bomberg attended the Slade School of Art, where his exceptional talent developed. -
Detroit's 1967 Rebellion Two Thousand Seventeen
TWO THOUSAND SEVENTEEN AFRICAN AMERICAN BOOKLIST DETROIT’S 1967 REBELLION THE FIFTY-YEAR AFTERMATH 2017 AFRICAN AMERICAN BOOKLIST The Detroit Public Library has published ADULT LITERATURE its African American Booklist for 49 years. SELECTION COMMITTEE This bibliography provides a selected list of books by and/or about African Americans. Stacy Brooks Co-Chair The works of fiction and nonfiction for Christine Peele Co-Chair Vickie Baker adults, children and young adults were Taneca Chapman-Mills reviewed and recommended by librarians of Kalana Cooper the Detroit Public Library. The African American Booklist began as JUVENILE-TEENS a way to commemorate Black History SELECTION COMMITTEE Month and since that time has continued to feature the accomplishments of African Lurine Carter- Chairperson Americans in the literary world. Our Tonya DuPree- Contributor booklist has become an annual tradition in Tracy Massey- Contributor Amisha Harijan- Contributor the community and continues to be a highly anticipated publication for book lovers all across the nation. AFRICAN AMERICAN BOOKLIST PRODUCTION Khamisi Benford A.J. Funchess Romondo Locke Alma Simmons Original Cover Photo Caption (Courtesy of Burton Historical Collection): 2 | 2017 AFRICAN AMERICAN BOOKLIST | AFRICAN AMERICAN BOOKLIST PRODUCTION Khamisi Benford A.J. Funchess Romondo Locke Alma Simmons TABLE OF CONTENTS BLACK NATIONAL ANTHEM 4 FROM OUR EXECUTIVE DIRECTOR 5 DETROIT’S 1967 REBELLION: THE FIFTY-YEAR AFTERMATH 6 MUST READ RECOMMENDATIONS 18 FICTION 22 NON-FICTION 28 BIOGRAPHY/MEMOIRS 30 BUSINESS/FINANCE 31 COOKING 31 HEALTH & SCIENCE 32 HISTORY 33 INSPIRATIONAL/RELIGION 34 SOCIAL JUSTICE 35 RELATIONSHIPS 37 SPORTS & RECREATION 38 FORTHCOMING TITLES 39 PICTURE BOOKS 40 JUVENILE FICTION 40 JUVENILE NON-FICTION 42 JUVENILE BIOGRAPHY 42 TEEN FICTION 43 TEEN NON-FICTION 43 DETROIT 1967 44 WWW.DETROITPUBLICLIBRARY.ORG | 3 AFRICAN AMERICAN BOOKLIST PRODUCTION Khamisi Benford A.J. -
“Uproar!”: the Early Years of the London Group, 1913–28 Sarah Macdougall
“Uproar!”: The early years of The London Group, 1913–28 Sarah MacDougall From its explosive arrival on the British art scene in 1913 as a radical alternative to the art establishment, the early history of The London Group was one of noisy dissent. Its controversial early years reflect the upheavals associated with the introduction of British modernism and the experimental work of many of its early members. Although its first two exhibitions have been seen with hindsight as ‘triumphs of collective action’,1 ironically, the Group’s very success in bringing together such disparate artistic factions as the English ‘Cubists’ and the Camden Town painters only underlined the fragility of their union – a union that was further threatened, even before the end of the first exhibition, by the early death of Camden Town Group President, Spencer Gore. Roger Fry observed at The London Group’s formation how ‘almost all artist groups’, were, ‘like the protozoa […] fissiparous and breed by division. They show their vitality by the frequency with which they split up’. While predicting it would last only two or three years, he also acknowledged how the Group had come ‘together for the needs of life of two quite separate organisms, which give each other mutual support in an unkindly world’.2 In its first five decades this mutual support was, in truth, short-lived, as ‘Uproar’ raged on many fronts both inside and outside the Group. These fronts included the hostile press reception of the ultra-modernists; the rivalry between the Group and contemporary artists’