School of Art 2021–2022
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Genevieve Gaignard: Counterfeit Currency
PRESS CONTACT: Maureen Sullivan Red Art Projects, 917.846.4477 [email protected] GENEVIEVE GAIGNARD: COUNTERFEIT CURRENCY Exhibition Dates: June 5-August 17, 2018 Opening Reception: Tuesday, June 5, 6-8pm The FLAG Art Foundation, 545 West 25th Street, NY The FLAG Art Foundation is pleased to present Genevieve Gaignard: Counterfeit Currency, the artist’s first NY solo exhibition, from June 5-August 17, 2018, on its 10th floor. The exhibition of new self-portraits and collages, all created in Florida, continues Gaignard’s interest in the performance of race, gender presentation, beauty standards, and class, through fictional personas and staged environments. The title, Counterfeit Currency, addresses the inherent complexities of self-presentation, noting that the way one appears to others is often incongruent with the way in which they see themselves, yielding a feeling of displacement and fraudulence. Through a variety of female archetypes, Gaignard explores her own existence as a mixed-race woman of color, revealing the malleability of identity as something both self-constructed and culturally affected. In addition to photographic works, the artist will also present a new series of collages that combine vintage wallpaper and magazine cutouts to render dreamlike and satirical narratives. In her full-floor installation at FLAG, Gaignard creates multiple “mise-en-abîme” environments in which objects depicted in her cinematic photographs and collages are present in the gallery’s space. Incorporating personal and politically-loaded objects, one vignette is furnished with vintage wall paper, rattan furniture, and a spring of porcelain black panther figurines, while another holds appearance-altering beauty products, such as skin-bleaching creams, face masks, and makeup. -
Antagonism and Relational Aesthetics Author(S): Claire Bishop Source: October, Vol
Antagonism and Relational Aesthetics Author(s): Claire Bishop Source: October, Vol. 110 (Autumn, 2004), pp. 51-79 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/3397557 Accessed: 19/10/2010 19:54 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mitpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October. http://www.jstor.org Antagonism and Relational Aesthetics CLAIRE BISHOP The Palais de Tokyo On the occasion of its opening in 2002, the Palais de Tokyo immediately struck the visitor as different from other contemporary art venues that had recently opened in Europe. -
Ellen Priest
ELLEN PRIEST www.ellenpriest.com www.eyeballitart4kids.org The sheer joy and energy of visual experience and of the creative process itself are at the core of my work as an artist and educator. They fuel my belief that that same joy and the possibility to create meaningful visual expression should belong to every human being, es- pecially youth. ART EDUCATION/TEACHING 2013-Present and 1992-1999 Created Eyeball It!™ studio art education program for 7-12 year-old children. Online free to users beginning June 2014 funded by Ellen Priest Projects at Fractured Atlas. Originally written/ devel- oped 1992-1999. Series of discreet art projects for children to do at home with a parent. Adaptable for use by groups (e.g. after-school and summer programs, public libraries). www.eyeballitart4kid- s.org 2009 New York University, New York, New York, Department of Music Colloquium with Edward Si- mon, “Composing the Venezuelan Suite – the Music and the Paintings,” February. 2007-2010 Delaware Center for the Contemporary Arts, Education Committee. 2002-2008 University of the Arts, Philadelphia, Pennsylvania, Professional Institute for Educators. 2002 Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania, Adjunct Faculty, Fall. 1979-1999 Taught studio art in schools (primary and secondary) and community arts centers including: Ocean City Arts Center, Ocean City, New Jersey. 1996-99. Choate-Rosemary Hall, Wallingford, Connecticut. 1979, 1995-96. Saint Thomas’s Day School, New Haven, Connecticut. 1992-93. Educational Center for the Arts, New Haven, Connecticut. 1982-83. (All-arts public high school.) Concord Academy, Concord, Massachusetts. Art Department Chairperson, 1979-80. EDUCATION 1977 Master of Divinity, Yale University Divinity School, New Haven, Connecticut. -
William Weir
Brigham Young University BYU ScholarsArchive Library Research Grants Harold B. Lee Library 2009 William Weir Danielle Hurd Brigham Young University - Provo, [email protected] Follow this and additional works at: https://scholarsarchive.byu.edu/libraryrg_studentpub Part of the Social and Behavioral Sciences Commons The Library Student Research Grant program encourages outstanding student achievement in research, fosters information literacy, and stimulates original scholarship. BYU ScholarsArchive Citation Hurd, Danielle, "William Weir" (2009). Library Research Grants. 12. https://scholarsarchive.byu.edu/libraryrg_studentpub/12 This Other is brought to you for free and open access by the Harold B. Lee Library at BYU ScholarsArchive. It has been accepted for inclusion in Library Research Grants by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. William Weir 1 James Weir and Isabel Provand James —d. 7 January 1849 2 Isabel —b. 25 February 1700 Stirling, Renfrew, Scotland; d. 27 March 1760 Stirling, Renfrew, Scotland 3 Children: John--b. 9 March 1718 Patrick--b. 13 March 1720 James--b. 16 January 1723 Patrick--b. 28 March 1725 William--b. 2 August 1727 David--b. 25 February 1730 Mary--b. 27 February 1732 Walter—see below Walter Weir and Jean Fulton Walter Weir and Jean Fulton Walter —Christened 25 May 1735, Stirling, Renfrew, Scotland; 4 d. 1811. Walter was a merchant in Paisley, Scotland where he married Jean Fulton 19 December 1767. 5 Their ten children were all born in Paisely, although several later emigrated to America. Jean —Christened April 1743, 6 Paisley, Renfrew, Scotland. Daughter of Robert Fulton and Anne. -
Actualisation of Space: the Case of Oda Projesi
10 2004 Actualisation of Space: The Case of Oda Projesi Maria Lind A long, highceilinged room with small trees in boxes in the middle. The walls are punctuated by doors and windows, on all three storeys of the building. Here and there shoes are outside the doors and you glimpse curtains through the windows. One or two pushchairs are parked beside the shoes. Daylight floods the space through a glass ceiling and also filters it through the glass on the short sides of the room. If it weren't for the shoes and the pushchairs you might think of a hospital, or even an Americanstyle prison. In the middle of the room a group of men play Turkish music on instruments, others dance. A little girl, dressed in yellow, attracts attention to herself as she dances an elegant solo. Tinkles of laughter. Suddenly a roll of paper is dropped from a balcony, winding down like a great snake, and some children begin to draw on it. The location is a passage and a gathering place in Galeriahaus, a block of flats in Messestadt Riem in the outskirts of Munich. The occasion is one of many modest events that Oda Projesi organised during their visit there in spring 2003. Just as the name indicates ('oda' means room/space and 'projesi' project in Turkish), the point of departure of Oda Projesi's work is space; how one can create and recreate different places and spatial situations through using them in a number of different ways. For example, how, together with various groups of people, can you find new functions for a public space such as a square? Or an empty space in a flat? Or an architectdesigned passage like the atrium in Galeriahaus, which was closed by the authorities to nonresidents and forbidden as a play area? The three artists, Özge Acikkol, Gunes Savas and Secil Yersel, have been working together since 1997. -
Towards a Politics of (Relational) Aesthetics by Anthony Downey
This article was downloaded by: [Swets Content Distribution] On: 8 February 2009 Access details: Access Details: [subscription number 902276281] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Third Text Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713448411 Towards a Politics of (Relational) Aesthetics Anthony Downey Online Publication Date: 01 May 2007 To cite this Article Downey, Anthony(2007)'Towards a Politics of (Relational) Aesthetics',Third Text,21:3,267 — 275 To link to this Article: DOI: 10.1080/09528820701360534 URL: http://dx.doi.org/10.1080/09528820701360534 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Third Text, Vol. 21, Issue 3, May, 2007, 267–275 Towards a Politics of (Relational) Aesthetics Anthony Downey 1 The subject of aesthetics The aesthetic criteria used to interpret art as a practice have changed and art criticism has been radically since the 1960s. -
Diane Rosenstein
DIANE ROSENSTEIN The New New: Ray Anthony Barrett, Aaron Fowler, Genevieve Gaignard, Tschabalala Self, Michael Shultis, and Jason Stopa October 17 – November 28, 2015 Gallery Hours: Tuesday - Saturday, 10am – 6:00 pm Opening: Saturday, October 17th, 2015, 6:00 – 8:00 pm Diane Rosenstein Gallery is pleased to announce The New New, an exhibition of painting, drawing, mixed-media, and collage by six emerging artists from New York and Los Angeles: Ray Anthony Barrett, Aaron Fowler, Genevieve Gaignard, Tschabalala Self, Michael Shultis, and Jason Stopa. The works in this show are multi-dimensional, with some artists using heavy impasto, collage, or flirting with the intersection of painting and sculpture. Connecting the varied practices in The New New is an explicit use of text – song lyrics, art theory, slogans, and commercial branding - in a formally exciting interplay between word, image and painting. Ray Anthony Barrett’s recent drawings take art historian and curator Darby English’s writing as a starting point. English was concerned with the nature of Black art (and what happens if and when Black artists stop making it). Barrett’s ink on paper drawings, such as STOP, use repeated text in alternating sequences to create provocative, thought-provoking statements. Aaron Fowler weaves personal narrative into mythic allegory and often depicts himself as a Pilgrim traversing a post-apocalyptic landscape. In Aaron Fowler Looks For A Way Out of the City of Destruction, the artist incorporates materials as varied as glass doors, oatmeal, mirrors, CDs, clothing, and hair into an epic self-portrait at once imposing and fragile. Genevieve Gaignard uses alter egos in often humorous self-portraiture to question our relationship to personae, identity, and popular culture. -
Creative Writing (Iowa Writers' Workshop) 1
Creative Writing (Iowa Writers' Workshop) 1 Creative Writing (Iowa Writers' Workshop) Director • Lan Samantha Chang Graduate degree: M.F.A. in English Faculty: https://writersworkshop.uiowa.edu/people Website: https://writersworkshop.uiowa.edu/ The Creative Writing Program (Iowa Writers' Workshop) is a world-renowned graduate program for fiction writers and poets. Founded in 1936, it was the first creative writing program in the United States to offer a degree, and it became a model for many contemporary writing programs. In addition to its Master of Fine Arts program, it also offers writing courses for undergraduates. The Iowa Writers' Workshop has been home to thousands of remarkable writers, including Flannery O'Connor, Raymond Carver, Rita Dove, John Irving, James Alan McPherson, Philip Levine, Jane Smiley, Michael Cunningham, Sandra Cisneros, Denis Johnson, Jorie Graham, Ann Patchett, D.A. Powell, Nathan Englander, Yiyun Li, Eleanor Catton, Angela Flournoy, Garth Greenwell, Yaa Gyasi, and Jamel Brinkley. The program's faculty and alumni include winners of virtually every major literary award, including seventeen winners of the Pulitzer Prize (most recently Paul Harding in 2010), six recent U.S. Poets Laureate, and numerous winners of the National Book Award, MacArthur Foundation Fellowships, and other major honors. In 2003, the Iowa Writers' Workshop received a National Humanities Medal from the National Endowment for the Humanities—the first awarded to a university and only the second given to an institution rather than an individual. The Creative Writing Program offers courses for students from other programs of study; summer courses are open to undergraduate and graduate students. To learn more about the Creative Writing Program's history and faculty, visit the Iowa Writers' Workshop website.. -
Tinkers: 10Th Anniversary Edition a Novel by Paul Harding with a Foreword by Marilynne Robinson
BELLEVUE LITERARY PRESS Reading Group Guide Tinkers: 10th Anniversary Edition A novel by Paul Harding with a foreword by Marilynne Robinson 208 pgs Hardcover | $26.99 | ISBN: 978-1-942658-59-7 Trade Paperback | $16.99 | ISBN: 978-1-942658-60-3 eBook | $16.99 | ISBN: 978-1-942658-61-0 Winner of the Pulitzer Prize for Fiction American Library Association Notable Book American Booksellers Association Indie Next List for Reading Groups & Indies Choice Honor Award New York Times Bestseller “A powerful celebration of life in which a New England father and son, through suffering and joy, transcend their imprisoning lives and offer new ways of perceiving the world and mortality.” —Pulitzer Prize citation “Tinkers is truly remarkable. It achieves and sustains a unique fusion of language and perception. Its fine touch plays over the textured richnesses of very modest lives, evoking again and again a frisson of deep recognition, a sense of primal encounter with the brilliant, elusive world of the senses. It confers on the reader the best privilege fiction can afford, the illusion of ghostly proximity to other human souls.” —Marilynne Robinson, author of Gilead and What Are We Doing Here? “Tinkers is not just a novel—though it is a brilliant novel. It’s an instruction manual on how to look at nearly everything. Harding takes the back off to show you the miraculous ticking of the natural world, the world of clocks, generations of family, an epileptic brain, the human soul. In astounding language sometimes seemingly struck by lightning, sometimes as tight and complicated as clockwork, Harding shows how enormous fiction can be, and how economical. -
The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC). -
Addition to Summer Letter
May 2020 Dear Student, You are enrolled in Advanced Placement English Literature and Composition for the coming school year. Bowling Green High School has offered this course since 1983. I thought that I would tell you a little bit about the course and what will be expected of you. Please share this letter with your parents or guardians. A.P. Literature and Composition is a year-long class that is taught on a college freshman level. This means that we will read college level texts—often from college anthologies—and we will deal with other materials generally taught in college. You should be advised that some of these texts are sophisticated and contain mature themes and/or advanced levels of difficulty. In this class we will concentrate on refining reading, writing, and critical analysis skills, as well as personal reactions to literature. A.P. Literature is not a survey course or a history of literature course so instead of studying English and world literature chronologically, we will be studying a mix of classic and contemporary pieces of fiction from all eras and from diverse cultures. This gives us an opportunity to develop more than a superficial understanding of literary works and their ideas. Writing is at the heart of this A.P. course, so you will write often in journals, in both personal and researched essays, and in creative responses. You will need to revise your writing. I have found that even good students—like you—need to refine, mature, and improve their writing skills. You will have to work diligently at revising major essays. -
Faculty Handbook
YALE UNIVERSITY Faculty Handbook August 22, 2019 CONTENTS Introduction .....................................................................................................................................1 I. University Organization .......................................................................................................2 A. History............................................................................................................................2 B. The Yale Corporation .....................................................................................................2 C. Officers of the University ..............................................................................................3 D. Schools and Faculties of the University.........................................................................3 II. Academic Freedom and Faculty Standards of Conduct ......................................................5 III. Faculty Ranks, Appointments, and Policies: University-wide................................ ..............8 A. Equal Opportunity and Affirmative Action .....................................................................8 B. Faculty Ranks..................................................................................................................8 C. Recruitment and Approval Process for Faculty Appointments .......................................9 D. Authority to Appoint .......................................................................................................9 E. Appointments and