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Announcement
Announcement 56 articles, 2016-05-25 18:01 1 venice architecture biennale: antarctic pavilion the pavilion will showcase visuals that underline possibilities of new (0.01/1) forms of architecture, planning, thinking for the vast tundra. 2016-05-25 10:40 1KB www.designboom.com 2 Lee Kit: Hold your breath, dance slowly “Hold your breath, dance slowly,” invites artist Lee Kit. As you walk into the dimly lit galleries, wandering from space to space, or nook to (0.01/1) nook, you find yourself doing just that: holding your... 2016-05-25 12:13 836Bytes blogs.walkerart.org 3 alain silberstein adds a bit of pop to MB&F's LM1 with his signature use of bold shapes + colors highlighting the french creative's meticulously practical approach to artistic design, the 'LM1 silberstein' is serious watchmaking. seriously playful. 2016-05-25 16:01 8KB www.designboom.com 4 Building Bridges: Symposium at the Fondazione Sandretto Re Rebaudengo This past weekend, Fondazione Sandretto Re Rebaudengo in Turin hosted Building Bridges, a symposium reflecting upon curatorial practice and how curators move from educational to institutional context... 2016-05-25 13:00 972Bytes blogs.walkerart.org 5 On the Gaze in the Era of Visual Salamis Our attention is not focused on a singular image, but is distributed along the image’s path. 2016-05-25 17:13 12KB rhizome.org 6 Devendra Banhart + Band* Rodrigo Amarante Hecuba Harold Budd + Brad Ellis + Veda Hille To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. -
© 2020 Kaitlyn Wentz All Rights Reserved
© 2020 KAITLYN WENTZ ALL RIGHTS RESERVED ARTS AND CULTURE INFLUENCERS: TWO PHILANTHROPISTS’ IMPACT ON THE NORTHEAST OHIO REGION A Thesis PresenteD to The GraDuate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts KAITLYN WENTZ May, 2020 ARTS AND CULTURE INFLUENCERS: TWO PHILANTHROPISTS’ IMPACT ON THE NORTHEAST OHIO REGION Kaitlyn Wentz Thesis ApproveD: AccepteD: ______________________________ ___________________________ Advisor School Director James Slowiak Dr. Marc ReeD ______________________________ ___________________________ Committee Member Interim Dean of the College ArnolD Tunstall Dr. LinDa Subich ______________________________ ___________________________ Committee Member Acting Dean of the GraDuate Courtney Cable School Dr. Marnie SaunDers ___________________________ Date ii ABSTRACT In a time of constant threat to funDing, elimination of the National EnDowment, anD competition over resources, philanthropy in the arts anD culture sector is inDispensable to the vibrancy anD economic Development of a city’s core. The arts anD culture sector is consiDereD to take away from an economy’s financial resources. However, it is the exact opposite. It is a thriving sector that contributes to the economy by creating jobs, spenDing money at local businesses, anD bringing in cultural tourists. FreD BiDwell anD Rick Rogers have a long history of philanthropy in this sector, anD their DemonstrateD support has leD to efforts of revitalization, vibrancy, anD Dollars spent in the cities of Akron anD ClevelanD. This thesis explores the history, issues, and successes of the two cultural proDucers’ philanthropy efforts in the sector anD the impact that their support has brought to the Northeast Ohio region. iii TABLE OF CONTENTS CHAPTER I. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
Jack Hanley Gallery
JACK HANLEY GALLERY Margaret Lee (b. 1980) lives and works in New York, NY Solo and Two Person Exhibitions 2018 Shouting in a Bucket Blues, The Green Gallery, Milwaukee, WI ...banana in your tailpipe, Marlborough Contemporary, London, UK 2017 ...banana in my tailpipe, Misako & Rosen Gallery, Tokyo, Japan 2016 It’s not that I’m not taking (this) seriously, Jack Hanley Gallery, New York, NY Having It Both Ways, The Window at Barneys, New York, NY Duddell’s x DMA: Concentrations HK: Margaret Lee, curated by Gabriel Ritter, Duddell’s, Hong Kong, China de, da, do...da, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA 2015 You Can Teach an Old Zebra New Tricks, Margaret Lee and Emily Sundblad, Hannah Hoff- man Gallery, Los Angeles, CA 2014 Reading into Things, Team Bungalow, Venice, CA Sometimes Maybe, The Green Gallery, Oak Park, Chicago, IL Closer to wrong than right/ closer to right than wrong, Jack Hanley Gallery, New York, NY 2013 Für die Kinder Düsseldorfs, with Emily Sundblad, Off Vendome, Dusseldorf, Germany 2012 MHML: Margaret Lee and Matthew Higgs, The Green Gallery East, Milwaukee, WI MLMH: Margaret Lee and Matthew Higgs, Murray Guy, New York, NY Waiting for ####, Jack Hanley Gallery, New York, NY Group Exhibitions 2020 For a Dreamer of Houses, Dallas Museum of Art, Dallas, TX 2017 Oomingmak, Capital Gallery, San Francisco, CA 30th Anniversary Exhibition Attics of My Life, Jack Hanley Gallery, New York, NY Sea Sick in Paradise, DEPART Foundation, Los Angeles, CA 2016 Her Crowd: New Art by Women from Our Neighbors’ -
Cassandra Langer Interviewed by Katie Cercone Date: Dec
NYFAI - Interview: Cassandra Langer interviewed by Katie Cercone Date: Dec. 15th, 2008 K.C. This is December 15th, 2008, Katie Cercone interviewing Cassandra Langer. C.L. I think it was important for most of us during the early 70s when the movement started up to establish institutions that would be accommodating to the radical new ideas that we had. We rejected the idea of accepting the old roles; of getting married being wives, and mothers . I think it’s hard for young people to understand that was the life you were groomed for. If you aspired to anything else, you were deemed oddball out , rushed off to a psychoanalyst or worse yet, thrown into a mental institution for readjustment. Establishing the Feminist Art Institute was an extremely revolutionary thing to do at that time. NYFAI provided a safe space for creative women who were trying to break out of those stereotypes. There was the California site that my friend Arlene Raven and others including Mimi Schapiro and Judy Chicago set up within the heart of a traditionally patriarchal art department spawning Woman House and other alternative spaces. Mimi, Nancy and people in New York, set up their own versions to begin with but they evolved into the Feminist Art Institute. For people like myself who were outsider-insiders, because I was teaching in South Carolina in the heart of limitation land and bigotry it was an oasis. The freedom of being able to talk with like-minded people was empowering. Founding the Collage Art Association’s Women’s Caucus for Art helped a lot. -
California Institute of the Arts Feminist Art Materials Collection
http://oac.cdlib.org/findaid/ark:/13030/kt2199r38x No online items Guide prepared by Abigail Dixon for History Associates Incorporated California Institute of the Arts California Institute of the Arts Archive California Institute of the Arts 24700 McBean Parkway Valencia, California 91355-2397 Phone: (661) 253-7882 Fax: (661) 254-4561 Email: [email protected] URL: http://calarts.edu/library/collections/archive 2008 CalArts-003 1 Administrative Summary Creator: California Institute of the Arts Title: California Institute of the Arts Feminist Art Materials Collection Dates: 1971-2007 Date (bulk): (bulk 1972-1977) Quantity: 2.3 cubic feet Repository: California Institute of the Arts. Library. Valencia, California 91355-2397 Abstract: The California Institute of the Arts Feminist Art Materials Collection contains articles, brochures, correspondence, exhibition catalogs, invoices, newsletters, and other materials documenting the influence of feminism on the training of artists and the making of art. The collection covers the years 1971 to 2007 with the bulk of the material ranging from 1972 to 1977. California Institute of the Arts Archive Identification: CalArts-003 Language of Material: English Restrictions on Access This collection is open for research with permission from California Institute of the Arts Archive staff. Publication Rights Property rights and literary rights reside with California Institute of the Arts. For permission to reproduce or to publish, please contact California Institute of the Arts Archive staff. Related Material Located in the California Institute of the Arts Archive Archives Unprocessed collections with related material are located in the CalArts Library Archives. Preferred Citation California Institute of the Arts Feminist Art Materials Collection. -
Painting in the 21St Century PR
Site:Brooklyn Gallery Hanae Kawai - Memory Recorder Painting in the 21st Century Juried by Stephen Henry Madoff Opening Reception: Friday, September 21st, 6–9PM September 21st – October 21st, 2018 165 7th Street, Brooklyn, New York Site:Brooklyn Gallery is pleased to present Painting in the 21st Century, an international open call for submission juried by Steven Henry Madoff. Did painting, as some have argued, reach a dead end with the culmination of abstraction in the late 20th century? If anything, the opposite seems to be true. Representation and abstraction, historically, were not, and are not, total opposites. Abstraction almost inevitably has representational qualities (as Jackson Pollock’s work demonstrates). To look at the issue from a different direction, abstracted guration was the hallmark of move- ments like Post-Impressionism. As much of this exhibition demonstrates, abstraction and representation are often vitally intertwined. This show seeks to illuminate some of these interactions and dilemmas, by showing a selection of contemporary painting, in all of its variety and in- ventiveness. While the work is from all across the world, with a number of styles and social commitments, nevertheless, the exhibition, has a feeling of cohesion and direction. What stands out most is the interplay between the effects of new media (especially social networks such as Instagram), the verities of brush and canvas, and the ever-present tensions between guration and abstraction. Speci cally, many of the works engage by giv- ing the viewer a feeling of abstraction anthropomorphized, touching on themes of trans-humanism and the future of the body as a unitary, stable, whole. -
LOUISE NEVELSON SELECTED GROUP EXHIBITIONS 2018 Epic Abstraction
LOUISE NEVELSON SELECTED GROUP EXHIBITIONS 2018 Epic Abstraction: Pollock to Herrera, The Met Fifth Avenue, New York, opened December 17, 2018. Eye to I: Self-Portraits from 1900 to Today, National Portrait Gallery, Washington, D.C., November 4, 2018– August 18, 2019. Kindred Spirits: Louise Nevelson & Dorothy Hood, Museum of Fine Arts, Houston, November 3, 2018– February 3, 2019. The Masters: Art Students League Teachers and Their Students, Hirschl & Adler, New York, October 18– December 1, 2018. (Catalogue) Summer Group Show, Pace Gallery, Seoul, June 5–August 11, 2018. LeWitt, Nevelson, Pendleton Part II, Pace Gallery, Geneva, May 16–July 13, 2018. Dark Place of Dreams: Louise Nevelson with Chakaia Booker, Lauren Fensterstock and Kate Gilmore, Museum of Contemporary Art Jacksonville, A Cultural Institute of University of North Florida, April 28– September 2, 2018. (Catalogue) LeWitt, Nevelson, Pendleton, Pace Gallery, Geneva, March 21–May 4, 2018. 2017 Louise Nevelson: Selected Group Exhibitions 2 Function to Freedom: Quilts and Abstract Expressions, Sara Kay Gallery, New York, December 1, 2017– January 13, 2018. Black and White: Louise Nevelson/Pedro Guerrero, Farnsworth Art Museum, Rockland, Maine, October 6, 2017–April 1, 2018. American Sculpture: Sotheby’s Beyond Limits, Chatsworth, Derbyshire, United Kingdom, September 15– November 12, 2017. Vaginal Davis & Louise Nevelson: Chimera, Invisible-Exports, New York, September 8–October 22, 2017. 20/20: The Studio Museum in Harlem and Carnegie Museum of Art, Pittsburgh, July 22–December 31, 2017. To Distribute and Multiply: The Feibes & Schmitt Gift, The Hyde Collection, Glens Falls, New York, opens on June 10, 2017. Multiple Impressions, Talley Dunn Gallery, Dallas, June 10–August 5, 2017. -
Curriculum Vitae Table of Contents
CURRICULUM VITAE Revised February 2015 ADRIAN MARGARET SMITH PIPER Born 20 September 1948, New York City TABLE OF CONTENTS 1. Educational Record ..................................................................................................................................... 2 2. Languages...................................................................................................................................................... 2 3. Philosophy Dissertation Topic.................................................................................................................. 2 4. Areas of Special Competence in Philosophy ......................................................................................... 2 5. Other Areas of Research Interest in Philosophy ................................................................................... 2 6. Teaching Experience.................................................................................................................................... 2 7. Fellowships and Awards in Philosophy ................................................................................................. 4 8. Professional Philosophical Associations................................................................................................. 4 9. Service to the Profession of Philosophy .................................................................................................. 5 10. Invited Papers and Conferences in Philosophy ................................................................................. -
Methods for Modernism: American Art, 1876-1925
METHODS FOR MODERNISM American Art, 1876-1925 METHODS FOR MODERNISM American Art, 1876-1925 Diana K. Tuite Linda J. Docherty Bowdoin College Museum of Art Brunswick, Maine This catalogue accompanies two exhibitions, Methods for Modernism: Form and Color in American Art, 1900-192$ (April 8 - July 11, 2010) and Learning to Paint: American Artists and European Art, 1876-189} (January 26 - July 11, 20io) at the Bowdoin College Museum of Art, Brunswick, Maine. This project is generously supported by the Yale University Art Gallery Collection- Sharing Initiative, funded by the Andrew W. Mellon Foundation; a grant from the American Art Program of the Henry Luce Foundation; an endowed fund given by the Andrew W. Mellon Foundation; and Bowdoin College. Design: Katie Lee, New York, New York Printer: Penmor Lithographers, Lewiston, Maine ISBN: 978-0-916606-41-1 Cover Detail: Patrick Henry Bruce, American, 1881-1936, Composition 11, ca. 1916. Gift of Collection Societe Anonyme, Yale University Art Gallery, New Haven, Connecticut. Illustrated on page 53. Pages 8-9 Detail: John Singer Sargent, American, 1856-1925, Portrait of Elizabeth Nelson Fairchild, 1887. Museum Purchase, George Otis Hamlin Fund and Friends of the College Fund, Bowdoin College Museum of Art. Illustrated on page 18. Pages 30-31 Detail: Manierre Dawson, American, 1887-1969, Untitled, 1913. Gift of Dr. Lewis Obi, Mr. Lefferts Mabie, and Mr. Frank J. McKeown, Jr., Yale University Art Gallery, New Haven, Connecticut. Illustrated on page 32. Copyright © 2010 Bowdoin College Table of Contents FOREWORD AND ACKNOWLEDGMENTS Kevin Salatino LEARNING TO PAINT: 10 AMERICAN ARTISTS AND EUROPEAN ART 1876-1893 Linda J. -
Feminist Art Education: Made in California
Feminist Art Education: Made in California by Judy Chicago ’ve often stated that it I thought that if my situation was similar to Iwould have been im- that of other women, then perhaps my strug- possible to conceive of, gle might serve as a model for the struggle much less implement, the out of gendered conditioning that a woman 1970/71 Fresno Feminist would have to make if she were to realize Art Program anywhere but herself artistically. I was sure that this process California. One reason for would take some time. Therefore, I set up the this became evident in the Fresno program with the idea that I would 2000 Los Angeles County work intensely with the fifteen women I chose Museum of Art exhibit on as students. 100 years of art in Califor- nia, whose title I borrowed It’s important to take a moment to comment for this chapter. The Made on the climate for women at that time. There in California show demon- were no Women’s Studies courses, nor any un- strated some of the unique derstanding that women had their own his- qualities of California cul- tory. In fact, attitudes might be best under- ture, notably, an open- stood through the story of a class in European ness to new ideas that is Intellectual History I had taken in the early less prominently found in 1960s, while I was an undergraduate at UCLA. the East, where the white, At the first class meeting, the professor said male, Eurocentric tradi- he would talk about women’s contributions tion has a longer legacy at the end of the semester. -
OTIS Ben Maltz Gallery WB Exhibition Checklist 1 | Page of 58 (2012 Jan 23)
OTIS Ben Maltz Gallery WB Exhibition Checklist 1 | Page of 58 (2012_Jan_23) GUIDE TO THE EXHIBITION Doin’ It in Public: Feminism and Art at the Woman’s Building October 1, 2011–January 28, 2012 Ben Maltz Gallery, Otis College of Art and Design Introduction “Doin’ It in Public” documents a radical and fruitful period of art made by women at the Woman’s Building—a place described by Sondra Hale as “the first independent feminist cultural institution in the world.” The exhibition, two‐volume publication, website, video herstories, timeline, bibliography, performances, and educational programming offer accounts of the collaborations, performances, and courses conceived and conducted at the Woman’s Building (WB) and reflect on the nonprofit organization’s significant impact on the development of art and literature in Los Angeles between 1973 and 1991. The WB was founded in downtown Los Angeles in fall 1973 by artist Judy Chicago, art historian Arlene Raven, and designer Sheila Levrant de Bretteville as a public center for women’s culture with art galleries, classrooms, workshops, performance spaces, bookstore, travel agency, and café. At the time, it was described in promotional materials as “a special place where women can learn, work, explore, develop their own point of view and share it with everyone. Women of every age, race, economic group, lifestyle and sexuality are welcome. Women are invited to express themselves freely both verbally and visually to other women and the whole community.” When we first conceived of “Doin’ It in Public,” we wanted to incorporate the principles of feminist art education into our process.