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Paul Robeson Galleries
Paul Robeson Galleries Exhibitions 1979 Green Magic April 9 – June 29, 1979 An exhibition consisting of two parts: Green Magic I and Green Magic II. Green Magic I displayed useful plants of northern New Jersey, including history, properties, and myths. Green Magic II displayed plant forms in art of the ‘70’s. Includes the work of Carolyn Brady, Brad Davis, Jim Dine, Tina Girouard, George Green, Hanna Kay, Bob Kushner, Ree Morton, Joseph Raffael, Ned Smyth, Pat Steir, George Sugarman, Fumio Yoshimura, and Barbara Zucker. Senior Thesis Exhibition May 7 – June 1, 1979 An annual exhibition of work by graduating Fine Arts seniors from Rutgers – Newark. Includes the work of Hugo Bastidas, Connie Bower, K. Stacey Clarke, Joseph Clarke, Stephen Delceg, Rose Mary Gonnella, Jean Hom, John Johnstone, Mathilda Munier, Susan Rothauser, Michael Rizzo, Ulana Salewycz, Carol Somers Kathryn M. Walsh. Jazz Images June 19 – September 14, 1979 An exhibition displaying the work of black photographers photographing jazz. The show focused on the Institute of Jazz Studies of Rutgers University and contemporary black photographers who use jazz musicians and their environment as subject matter. The aim of the exhibition was to emphasize the importance of jazz as a serious art form and to familiarize the general public with the Jazz Institute. The black photographers whose work was exhibited were chosen because their compositions specifically reflect personal interpretations of the jazz idiom. Includes the work of Anthony Barboza, Rahman Batin, Leroy Henderson, Milt Hinton, and Chuck Stewart. Paul Robeson Campus Center Rutgers – The State University of New Jersey 350 Dr. Martin Luther King, Jr. -
Decolonial Aesthetics
8.50 CAD / USD ART / CULTURE / POLITICS / States of Coloniality Kency Cornejo p.24 / Leah Decter and Carla Taunton p.32/Sakahàn p.40 / Decter andCarlaTaunton Cornejop.24/Leah Kency Naufus Ramírez-Figueroa p.11 /DavidGarneaup.14 p.11 /JulieNagamp.22 Naufus Ramírez-Figueroa Berlin Reed p.4 / Miguel Rojas-Sotelo p.5 / Gordon Brent Ingramp.7/ Brent Berlin Reedp.4/MiguelRojas-Sotelop.5 /Gordon Heidi McKenzie p.8/DecolonialAestheticsManifesto p.10 HeidiMcKenzie / Jacqueline HoangNguyenp.49 isDayani Cristal? /Who p.50 Read-in p.43 / Time Lapsed p.46 / Border Cultures p.47 / p.47 Lapsedp.46 Cultures Read-in p.43 /Time /Border DECOLONIAL AESTHETICS Taghavi and Tannis andTannis Taghavi Hashemi, Maryam BONUS! Poster byGitaPoster Nielsen Artist’s FUSE MAGAZINE 36 – 4 FALL 2013 EDITORIAL EXPERIENCE STATES OF POST TORONTO COLONIALITY/ TRANSFORMED DECOLONIAL BY ARTISTS AESTHETICS OCTOBER 5 A i W 11 eiw 20 ei, les, SUNSET TO Forever Bicyc SUNRISE C This issue of FUSE was produced col- Decoloniality is cast, by Walter Mignolo and other h 1 r members of the Transnational Decolonial Institute, as the radical i 1 laboratively with the e-fagia organization. Based s 0 t other of modernity-coloniality. Throughout a diffuse and influential in 2 , in Toronto, e-fagia was founded in 2004 with the body of work, they write of a decoloniality of knowledge, being and e e One night only. I n r i v h mandate of promoting digital art, focusing on Latin aesthetics. Within this framework, decolonial aesthetics acknowl- in c g a edges and subverts the presence of colonial power and control in & M American and Canadian artists. -
2019 AIM Program
A Message from ASABE President Maury Salz Welcome to the 2019 Annual International Meeting (AIM) of the American Society of Agricultural and Biological Engineers in Boston, Massachusetts. I extend a special welcome to first time participants, international attendees and pre-professionals. I am confident you will find the meeting a welcoming and stimulating investment of your time. AIM offers a wide array of opportunities for you to gain knowledge in technical sessions, make new or catch-up with old friends at social events, contribute to the ongoing growth efforts in technical communities, and to celebrate the accomplishments of peers in the awards ceremonies. I highly encourage you to engage in the opening keynote session by GreenBiz’s Joel Makower and the following panel discussion on sustainability and the need for a national strategy, which could alter how we live. We as individuals, and collectively as ASABE, will be challenged to think about how this broader vision of sustainability could fundamentally change our lives and the profession. I want to thank our friends at Cornell University for serving as local hosts and the volunteer coordinators. Students work as volunteers to enhance the experience for all meeting participants and you can locate them by their blue shirts. Please thank them when you have the chance. Boston is rich in history and be sure to take some time to experience what this unique area has to offer. I also encourage you to participate actively in AIM and reflect on how you can advance the Society goals to benefit yourself personally and the people of the world. -
Year in Review 2018/2019
Contents Shaping the Museum of the Future 2 Philanthropy on View 4 The Year at a Glance 8 Compelling Mix of Original and Touring Exhibitions 12 ROM Objects on Loan Locally and Globally 26 Leading-Edge Research 36 ROM Scholarship in Print 46 Community Connections 50 Access to First Peoples Art and Culture 58 Programming That Inspires 60 Learning at the ROM 66 Members and Volunteers 70 Digital Readiness 72 Philanthropy 74 ROM Leadership 80 Our Supporters 86 2 royal ontario museum year in review 2018–2019 3 One of the initiatives we were most proud of in 2018 was the opening of the Daphne Cockwell Gallery dedicated to First Peoples art & culture as free to the public every day the Museum is open. Initiatives such as this represent just one step on our journey. ROM programs and exhibitions continue to be bold, ambitious, and diverse, fostering discourse at home and around the world. Being Japanese Canadian: reflections on a broken world, Gods in My Home: Chinese New Year with Ancestor Portraits and Deity Prints and The Evidence Room helped ROM visitors connect past to present and understand forces and influences that have shaped our world, while #MeToo & the Arts brought forward a critical conversation about the arts, institutions, and cultural movements. Immersive and interactive exhibitions such as aptured in these pages is a pivotal Zuul: Life of an Armoured Dinosaur and Spiders: year for the Royal Ontario Museum. Fear & Fascination showcased groundbreaking Shaping Not only did the Museum’s robust ROM research and world-class storytelling. The Cattendance of 1.34 million visitors contribute to success achieved with these exhibitions set the our ranking as the #1 most-visited museum in stage for upcoming ROM-originals Bloodsuckers: the Canada and #7 in North America according to The Legends to Leeches, The Cloth That Changed the Art Newspaper, but a new report by Deloitte shows World: India’s Painted and Printed Cottons, and the the ROM, through its various activities, contributed busy slate of art, culture, and nature ahead. -
As We Enter the 2005-06 Academic Year, It Is Clear That Rutgers-Newark
ANNUAL ACCOUNTABILITY REPORT 2005-2006 FACULTY OF ARTS AND SCIENCES RUTGERS THE STATE UNIVERSITY OF NEW JERSEY TABLE OF CONTENTS A Message from the Dean...............................................................................................................i Students ..........................................................................................................................................1 Size of the Student Body.....................................................................................................1 Retention Rates...................................................................................................................1 Registrations........................................................................................................................1 Characteristics.....................................................................................................................1 Number of Students Taught/Credit Hours ...........................................................................3 Admissions ..........................................................................................................................4 Academic Foundations Center/Educational Opportunity Fund .........................................15 Office of the Dean of Student Affairs.................................................................................21 Faculty ..........................................................................................................................................33 -
Denyse Thomasos
DENYSE THOMASOS 1964 Born in Trinidad Lives and works in New York Education 1989 MFA in Painting and Sculpture, Yale University, New Haven, Connecticut 1988 Skowhegan School of Painting and Sculpture, Skowhegan, Maine 1987 BA in Painting and Art History, University of Toronto, Ontario, Canada Solo Exhibitions 2012 Brand New Gallery, Milan, Italy 2010 Flight, Olga Korper Gallery, Toronto, Ontario Life, Lennon, Weinberg Gallery, New York 2008 Excavations, Olga Korper Gallery, Toronto, Ontario 2006 Denyse Thomasos, Olga Korper Gallery, Toronto, Ontario 2004 Tracking: Thirty Years in Canada, Thirty Years in Trinidad, Art Gallery of Bishop’s University, Lennoxville, Quebec Tracking: A Journey Through the East, St. Vincent University Gallery, Halifax, Nova Scotia 2003 Denyse Thomasos, Olga Korper Gallery, Toronto, Ontario 2001 Scratch, Living Arts Centre, Mississauga, Ontario 1999 Denyse Thomasos, Lennon, Weinberg, New York 1998 Denyse Thomasos, Olga Korper Gallery, Toronto, Ontario Denyse Thomasos, Queens Museum of Art at Bulova Corporate Center, New York 1997 Paintings 1995-1997, Lennon, Weinberg , New York 1995 Project Room, Mercer Union, Toronto, Ontario Denyse Thomasos: New Paintings, Olga Korper Gallery, Toronto, Ontario 1994 Challenge Exhibition, Fleisher Art Memorial Gallery, Philadelphia, Pennsylvania,Curated by Lanny Bergner 1989 New Talent Show, Alpha Gallery, Boston, Massachusetts Group Exhibitions 2009 Before Again, Lennon Weinberg, New York via Farini 32, 20159 Milano www.brandnew-gallery.com [email protected] 2008 Transformation: AGO- Frank Gehry’s Reconceived and Resigned Art Gallery of Ontario, Art Gallery of Ontario Toronto, Ontario. Curated by David Moos. Museum acquisition of ‘Metropolis’ painting presented at AGO opening. 2006 Bird Watching, The Rotunda Gallery, Brooklyn, New York. -
A Strange Loop
A Strange Loop An Exhibition of Painting by Alison Shields A thesis exhibition presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Master of Fine Arts in Studio Art Studio 301, Toronto ON April 15th – May 1st, 2011 Waterloo, Ontario, Canada, 2011 © Alison Shields 2011 I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract “A Strange Loop” explores abstraction through a series of paintings that begin from a single point and evolve infinitely to create a self-contained, self-referential, and yet endlessly self-generating world. The series was created through an elaborate and repetitive process of tracing the marks, drips and forms from an existing painting. These traced drawings archive the act of painting, and serve as a map that reconstructs the space of the subsequent layers, which in turn generate future paintings. The drawings work in a symbiotic relationship with the paintings, each evolving in relation to each other and perpetuating each others‟ existence. The resulting paintings are fictional spaces which emerge out of the painting process itself. iii Acknowledgements I would like to thank my professors David Blatherwick, Doug Kirton and Bojana Videkanic as well as the rest of the Fine Arts Department at the University of Waterloo for their support and guidance. I would also like to thank Linda Martinello for the use of her gallery, Studio 301 for the thesis exhibition, and without whose support and assistance this show would not have been possible. -
Natalie Hunter Natalie Hunter B
Natalie Hunter Natalie Hunter B. Hamilton, ON, Canada natalie-hunter.com, [email protected] Education 2011 - 2013: Master of Fine Arts, University of Waterloo, Ontario, Canada. 2006 - 2011: Bachelor of Arts, Honours Visual Arts with a Concentration in Curatorial Studies, Graduated with First Class Standing, Brock University’s Marilyn I. Walker School of Fine and Performing Arts. St Catharines, Ontario, Canada. Solo & Two Person Exhibitions 2021 - When I see, I breathe light. Smokestack Gallery. Hamilton, Ontario, Canada. 2020 - Billows and Breathing Spaces. Solo Exhibition. Centre[3] for Artistic and Social Practice. Hamilton, Ontario, Canada. 2019 - Sensations of breathing at the sound of light. Solo Exhibition. Factory Media Centre. Hamilton, Ontario, Canada. September 13th - October 4th, 2019. Exhibited during in the 2019 Hamilton Supercrawl. 2019 Staring into the Sun. Solo Exhibition curated by Marcie Bronson. Rodman Hall Art Centre. St. Catharines, Ontario, Canada. January - April 2019. 2018 - Signs of Light. Centre [3] For Print and Media Arts. Hamilton, Ontario, Canada. (two person) 2018 - Picture-esque. Rotunda Gallery. Kitchener City Hall. Kitchener, Ontario, Canada. 2018 - The Sun’s Rays Do Not Burn Until Brought To A Focus. Centre [3] For Print and Media Arts. Hamilton, Ontario, Canada. 2017 - Pieces of Light: An Appendix. Open Sesame Gallery. 220 King St W, Kitchener, Ontario, Canada. 2016 - Places Unknown. DeFacto Gallery. 193 James St. N, Hamilton, Ontario, Canada. 2014 - ReVisions. Art Gallery of Hamilton Design Annex. Hamilton, Ontario, Canada. 2013 - Passing Through. MFA Thesis Exhibition, University of Waterloo Art Gallery, Waterloo, Ontario, Canada. Select Group Exhibitions 2021 - 2021 AGH Annual Art Sale. Art Gallery of Hamilton. -
Alexia Laferté-Coutu LEURS OMBRES CENTENAIRES
Alexia Laferté-Coutu LEURS OMBRES CENTENAIRES Finissante de la maitrise en arts visuels et médiatiques, UQAM du 16 mai au 16 juin 2018 Invitations courriel Communiqués de presse Capsule vidéo UQAM Bulletin de la Faculté des arts. 8 mai 2018 Bulletin de la Faculté des arts. 22 mai 2018 Bulletin de la Faculté des arts. 5 juin 2018 Bulletin de la Faculté des arts. 12 juin 2018 COUVERTURE MÉDIATIQUE Canadian Art. 10 mai 2018 Galerie UQAM <[email protected]> Alexia Laferté-Coutu. Leurs ombres centenaires média : Galerie de l’UQAMGalerie de l'UQAM <[email protected]>vol./num./date/page : 16 mai au 16 juin 2018 27 avril 2018 à 08:09 Répondre à : Galerie de l'UQAM <[email protected]> À : Revue de Presse <[email protected]> La Galerie de l'UQAM est une galerie universitaire dédiée à l'art contemporain Visionner en ligne | View online English follows Facebook Twitter Instagram Alexia Laferté-Coutu, Ancienne minoterie : les angles adoucis des encadrements moulures, 2018, verre coulé, pigments, anthémis ALEXIA LAFERTÉ-COUTU. LEURS OMBRES CENTENAIRES Finissante de la maitrise en arts visuels et médiatiques, UQAM Dates : 16 mai – 16 juin 2018 Vernissage : mardi 15 mai 2018, 17 h 30 La Galerie de l’UQAM accueille l’exposition Alexia Laferté-Coutu. Leurs ombres centenaires dès le 16 mai 2018. Les sculptures aux formes énigmatiques d’Alexia Laferté-Coutu sont issues d’un processus d’addition et de soustraction de matière à même la surface d’architectures historiques. Les masses ainsi formées ont été cristallisées. Elles portent tantôt le sceau du bâtiment et celui du geste de pression effectué, tantôt celui des coulées du verre ou de la dentelle du moule. -
Carmelo Blandino B
Carmelo Blandino b. 1966 Education 1983-1984 Vanier College: Creative Arts 1985-1988 Dawson College: Illustration and Design Workshops 2000-2001 Saidie Bronfman Center: Drawing and painting Teaching Experience 1992- 1994 St Lawrence College, Fine Arts Department, Ontario 1991-2006 Dawson College Montréal, Québec Professor of drawing, painting in the Illustration and Design Program 2007-2009 The Von Liebig Art Center, Naples Fl 2013 The Von Liebig Art Center, Naples Fl 2014 Creativity is Natural / Lecture series/ Naples art Association 2014 Portrait I / Portrait II Workshops Bibliography 2014 American Art Collector / March Floral issue 2013 Maps Magazine. Front Cover display of A Love Song 2013 Gulfshore Life 01/01/2013 2010 Naples Illustrated / Legends of the Fall / Oscar De La Renta / Blandino Gulfshore Life ( Rising Stars ) 01/15/2010 Gulfshore Life / the art of style 09/08/2010 Carmelo Blandino: Pulse Magazine 9 artist profile ) 01-15-2010 Naples Florida Weekly / Third on Canvas event culminates in live auction Among the participating artists are: Paul Arsenault, Carmelo Blandino Transitions: Building Bridges to Your Points. Presentation Speakers include painter Carmelo Blandino, floral designer Anne Durancu of Blue Pear, makeup artist Sharon ... Chart Presentation: Signals – Inside Futures 2009 MASS ART GUIDE -AUDIO CARMELO BLANDINO. Hosted by: Julie Glick Recorded: July 2008. Length: 26 1/2 Minutes. Upcoming exhibitions: Toronto International Art Fair October 3-6, 2008 NAPLES DAILY NEWS / At home with Art. 13th Annual Artists’ Studio Tour opens door to creative work and living methodandconcept.com 111 10th Street South, Unit 112 Naples, FL 34102 239.529.2633 spaces By JANICE T. -
The Princeton University Art Museum
PrincetonUniversity DEPARTMENT OF Art Archaeology & Newsletter Dear Friends and Colleagues: SPRING We have had a busy year! On great figure of the department, Wen Fong, was Inside honored with a two-day symposium arranged by the faculty front we welcomed our the very active Tang Center. new Americanist, Rachael DeLue, There is news on other fronts, too. This is a FACULTY NEWS who came to us from the University self-study year—our first in over a decade—which has already prompted several adjustments to the of Illinois. Her task is a formidable undergraduate curriculum. Our introductory VISUAL ARTS FACULTY one—to replace the irreplaceable course will now be two—Art 100, from antiquity through the medieval period, and Art 101, from John Wilmerding, who retires in the Renaissance to contemporary art—but it will GRADUATE STUDENT NEWS spring 2007—but she has already remain team-taught. We will present a wide array displayed her great capabilities. of freshman and sophomore seminars to attract even more majors, and these new concentrators will UNDERGRADUATE NEWS This fall we will welcome our new medievalist, encounter a refashioned junior seminar on art-his- Nino Zchomelidse, who arrives from the Univer- torical methodology, with the option of a seminar sity of Tübingen, and we will also conduct a search focused on archaeological interpretation. The PUBLICATIONS in Japanese art, as Yoshiaki Shimizu has announced Senior Comprehensive exams will now be tailored his retirement as of spring 2009. This search will to the specific curricu- be followed by one in lum of each major. Northern Renaissance CONFERENCES Other proposals, art, so our lively pace too numerous to note will continue. -
Historic Exhibition of Trinidadian-Canadian Artist Denyse Thomasos Debuts Virtually at the Mcmichael Canadian Art Collection
Historic Exhibition of Trinidadian-Canadian Artist Denyse Thomasos Debuts Virtually at the McMichael Canadian Art Collection Denyse Thomasos (1964–2012), Sparrow, 2010, Acrylic on canvas, 152.4 x 182.9 cm, Private collection, L2021.9 May 25, 2021, KLEINBURG, ON - The McMichael Canadian Art Collection is pleased to announce that the highly anticipated exhibition, Denyse Thomasos: Odyssey, will debut virtually on June 14, 2021, and in person once the McMichael reopens. It will remain on view through September 26, 2021. The exhibition is co-curated by Gaëtane Verna, Director of The Power Plant Contemporary Art Gallery in Toronto, and Sarah Milroy, Chief Curator of the McMichael Canadian Art Collection. The show brings together more than 50 works from every phase of Denyse Thomasos’ (1964–2012) career, celebrating her historic contribution to Canadian art. 10365 Islington Avenue, Kleinburg, Ontario L0J 1C0 Phone: 905.893.1121 • Fax: 905.893.0692 • Website: mcmichael.com Thomasos was born in Port of Spain, Trinidad, and immigrated with her family to Toronto at the age of six, finding a new home within the city’s diverse Afro-Caribbean community. She studied art at the University of Toronto and the Yale School of Art, later taking up a teaching position at Rutgers University. During the course of her career, Thomasos conducted wide-ranging research into the social justice issues of her day, travelling extensively to many parts of the world. Through this, she developed a visionary understanding of how people organize themselves in both physical and social spaces. Thomasos transferred that understanding onto canvas, creating epic paintings that incorporate imagery from a range of sources, from historic slave ships to contemporary industrial shipyards, and from maximum-security prison architecture to the interwoven textures of Caribbean textiles.