Directory of Artists' Fellows & Finalists

Total Page:16

File Type:pdf, Size:1020Kb

Directory of Artists' Fellows & Finalists NEW YORK FOUNDATION FOR THE ARTS Directory of Artists’ Fellows & Finalists 19 85 Liliana Porter Sorrel Doris Hays Architecture Crafts Film Susan Shatter Lee Hyla Elizabeth Diller Deborah Aguado Alan Berliner Elizabeth Yamin Oliver Lake Laurie Hawkinson John Dodd Bill Brand Meredith Monk David Heymann Lorelei Hamm Ayoka Chenzira Benny Powell John Margolies Wayne Higby Abigail Child Ned Rothenberg Michael Sorkin Patricia Kinsella Kenneth Fink Inter-Arts Pril Smiley Allan Wexler* Graham Marks George Griffin Mary K. Buchen Andrew Thomas Ellen Wexler* Robert Meadow Barbara Kopple William Buchen Judith Moonelis Cinque Lee Dieter Froese Louisa Mueller Christine Noschese Julia Heyward Robert Natalini Rachel Reichman Candace Hill-Montgomery Painting Choreography Douglas Navarra Kathe Sandler James Perry Hoberman Milet Andrejevic John Bernd Betty Woodman Richard Schmiechen Tehching Hsieh Luis Cruz Azaceta Trisha Brown Spike Lee Brenda Hutchinson William Bailey Yoshiko Chuma Patrick Irwin Ross Bleckner Blondell Cummings Barbara Kruger Eugene Brodsky Caren Canier Kathy Duncan Fiction Christian Marclay Karen Andes Martha Diamond Ishmael Houston-Jones Graphics M. Jon Rubin Michael Blaine Humberto Aquino Stephen Ellis Lisa Kraus William Stephens Magda Bogin Barbara Asch Mimi Gross Ralph Lemon Fiona Templeton Ray Federman Nancy Berlin Stewart Hitch Victoria Marks David Humphrey Arthur Flowers Enid Blechman Susan Marshall Yvonne Jacquette Wendy Perron Ralph Lombreglia Rimer Cardillo David Lowe Stephen Petronio Mary Morris Lloyd Goldsmith Music Medrie MacPhee Ruby Shang Vincent Nicolosi Zarina Hashmi Composition Charles Magistro Robert Streicher Norman Rush Julie Lapping Robert Brookmeyer George Mingo Mark Taylor Peter Trachtenberg Julie Lapping-Rivera Joel A. Chadabe Michael Mogavero Lance Westergard Gayle Whittier Carl Lehmann-Haupt David Chaitkin Langdon Quin Barry Yourgrau Louis Lieberman Anthony Davis Joseph Santore Elisabeth Meyer Robert Dick Susanna Tanger 19 85 Alison Saar Photography Poetry Keith Sonnier Jules Allen Isaac Black Christopher Sproat Douglas Baz Luis Cabalquinto Julius Tobias James Casebere Siv Cedering Jerilea Zempel Marion Faller Alfred Corn Abigail Heyman Jimmie Durham Kenro Izu Sandra Maria Esteves Frank Majore Barry Goldensohn Video Tony Mendoza William Heyen Jill Berman Eugene Richards June Jordan Richard Bloes Joanne Ross Audre Lorde Maxi Cohen Susan Shaw Patrick Mangan Deedee Halleck Keith A. Smith Molly Peacock Kathryn High Christian Sunde Philip Schultz Warrington Hudlin Evan Ward Jill Kroesen Evan Zimroth Shigeko Kubota Michael Marton Playwriting/ Tony Oursler Screenwriting Alex Roshuk Julian Beck Sculpture Martha Rosler Daniel Bleier Michael Brandy Tomiyo Sasaki Charles Gordon Peter Brown William Hoffman Humberto Chavez Matthew Schlanger David Henry Hwang Houston Conwill Len Jenkin Donna Dennis Shirley Lauro Michael Oakes Ellen Driscoll Jan Oxenberg Franklin Evans James Ryan Chris Griffin Patten Wells Barry Ledoux Donald Wollner Ann Messner Dick Zigun Yvonne Jacquette Fellow in Painting ‘85 1986 Kei Takei Vincent Passaro Architecture Clarence Teeters Crafts Ninotchka Rosca Graphics Stanley T. Allen Wendell Castle Candida Alvarez Cydney Wilkes Joan Silber Samuel Anderson Concetta Fenicchia Ida Applebroog Stefa Zawerucha Mona Simpson Dan Coma Sonja Flavin Amy Buchholz Jawole Willa Jo Zollar Juliana Wu Neil Denari Dorothy Hafner Josely Carvalho Leslie Gill Tony Hepburn Roberto De Lamonica Laurence Green Ann Noel Krider Gary Dodson Wesley Jones Conceptual/ Daniel Mack Film Camille Eskell William Lane Performance Art Pavel Opocensky James Benning Phoebe Helman Andrew MacNair Jo Andres* Peter Pierobon Christine Choy Maria Henle Peter Pfau Judith Barry Sheila Ritz Carlos De Jesus Kate Horsfield Mark Robbins Connie Beckley Gayle Saunders John Foster Thomas Hoysic Donna Robertson Nicolas Collins Bob Smith Jill Godmilow Michael Kirk Lauretta Vinciarelli Karen Finley Michael Estes Taylor Ron Gray Cyrilla Mozenter Marek Walczak Jane Greengold Neil Tetkowski Peter Hutton Betsy Rosenwald Donna Henes Kyle Kibbe Carol Steen Kay Hines Danny Lyon Donalee Peden Wesley Michael A. Lebron III Jessie Maple Choreography Fiction Sheila Mclaughlin Johanna Boyce Mierle Ukeles Allen Barnett Stephen Ning Remy Charlip Larry Miller Gary Glickman Music Robert Rosenberg David Dorfman Linda Montano Oscar Hijuelos Elliott Sharp* Alfred Santana Composition Helen Douglas Roy Stokes Howell Richard Boukas Theodora Skipitares Deborah Shaffer Anita Feldman Raymond Kennedy Eric Chasalow Francesc Torres J.T. Takagi Deborah Gladstein Wendy Lamb James P. Emery Yoshimasa Wada Pooh Kaye Diane Lefer Matthew J. Greenbaum Paul Zaloom Bebe Miller Eleanor M. Lerman Earl Howard Mitchell Rose Vicki Lindner Leroy Jenkins Harry Sheppard Phillip Margulies Justin Dello Joio Elizabeth Streb Terry McMillan Barbara Kolb 1986 Arthur Kreiger Cassandra Medley Takahiko Iimura David Lang Photography Eric Overmyer Sculpture Angelo Jannuzzi Dawoud Bey Tom Bills Barton McLean Eric Schmidt Ardele Lister Ellen Carey Terry Lee Dill Amy Mereson Ronald Tavel Shelly Silver Jimmy DeSana Alex Grey Elise Morris Jerome Washington Diane Spodarek John Devine Ian Grey Michael Sahl Mac Wellman John Sturgeon Courtney Frisse Gillian Jagger Paul Schwartz Edward Grazda Justen Ladda Edin Velez Mark W. Wood Rita Hammond Donald Lipski Biff Henrich Poetry Edward Mayer Silvia Kolbowski Nicholas Christopher Alexander McFarlane Painting Scott McCarney Billy Collins James Raglione Flavia Bacarella Brian Oglesbee Alfred Corn Rodney Rhodes Willie Birch Joni Sternbach Jane Flanders Scott Richter Peter Clive Michael Spano Safiya Henderson-Holmes Salvatore Romano Rafael Colon-Morales Alexander Webb Patricia Spears Jones David Seccombe Louise Fishman James Welling Julio Marzan Arlene Shechet Michael Flanagan Donna Masini Kit-Yin Snyder Louise E. Hamlin Joseph McClatchy David Weinrib Peter Heinemann Playwriting/ Robert Morgan Paul Marcus Pedro Pietri Young Ja Parker Screenwriting A. Poulin jr. Marjorie Portnow Philip Bosakowski Nicholas Samaras Video Lynn Blumenthal Elfi Schuselka Rosemarie Caruso Jordan Smith Peer Bode Amy Sillman Russell P. Davis Nari Ward Benjamin Chase Mimi Smith Mindi Dickstein Jean Zimmerman Tony Cokes Jenny Snider Leo Garcia Amber Denker Jack Sonenburg Gary Leon Hill Harry Kondoleon Lee Eiferman Sherry Kramer Gary Hill Manuel Martin Yuet-Fung Ho Michael Estes Taylor Fellow in Crafts ‘86 19 87 Patricia Powers Paul Motian Architecture Crafts Lou Robinson Graphics Dewey Redman Marc Hacker Peter Aldridge Paloma Cernuda Rachel Salazar Richard Teitelbaum Ken Kaplan John Eric Byers Simon Dinnerstein Sarah Schulman Henry Threadgill Theodore Krueger Joyce Crain Sharon Frazier Lynne Sharon Schwartz Preston Trombly Marylyn Dintenfass Jeremy Gardiner Patricia Pillette Peter Spielberg Cynthia Golden Sergio Gonzalez-Tornero Reginald Workman Catherine Texier Lisa Gralnick David Horton Melanie Wallace Robert Kirschbaum Kumi Korf Choreography Stephanie Kirschen-Cole Dale Worsley Steve Murray Manuel Alum Painting Bruno LaVerdiere Laurie Ourlicht Donald Alberti Danny Buraczeski Shari Mendelson Nancy Ring Jane Comfort Julio Alpuy Lisa Schwartz Françoise Schein Charles Cook Film Jonathan Andrews Heather Cornell Kurt Swanson Jane Aaron Carol Wax Bill Beckley John Cuneen Howard Werner Robert Ascher Maria-Judite M. Dos Santos Alice Farley Arnold Zimmerman Ericka Beckman Carroll Dunham Claudia Gitelman Robert Breer Music Nancy Haynes Laura Glenn Roberta Cantow Roberto Juarez Susan Hadley Holly Fisher Composition Fiction Ernie Gehr Dennis Kardon Mark Haim Christine Berl Jerry Kearns Sin Cha Hong Wesley Brown Anne Flournoy Green Marilyn Bliss Sharon Greytak Annette Lemieux Phyllis Lamhut Michael Brownstein Eleanor Cory Kavery Dutta Kaul Sherrie Levine Roberto Lorca Jane Ciabattari Jon Deak Tere O’Connor Manfred Kirchheimer Mary Lum Rachel Guido deVries Robert Dennis Jody Oberfelder-Riehm Ken Kobland Dan Rice Bill Forde Charles Dodge Anthony Scopino Catherine Gammon Susan Kouguell Helen Soreff Lorraine Miller Gerry Hemingway Sarah Skaggs Enid Harlow Michelle Stuart Jacki Ochs Wayne Horvitz Bradley Sowash Inez Martinez Jorge Tacla Muna Tseng Mark Rappaport David Koblitz Carole Maso Donald Traver Doug Varone Steven Siegel Glenn Lieberman Ursule Molinaro Renee Tajima-pena Takeshi Yamada David Lopato Sonia Pilcer Lynne Tillman Lawrence “Butch” Morris 19 87 Brandon Cole Susan Pliner Performance Photography Laura Cunningham Katha Pollitt Video Alexandra Avakian Cathleen Ashworth Donald Donnellan James Reiss Art/Emergent Audrey Bernstein David Blair Rina Elisha Margaret Ryan Fredrich Cantor Tony Conrad Forms Peter Esmonde Harris Schiff Andrea Cohn Diane Cook Vijay Seshadri Lynn Corcoran Michael Golden Mitch Corber Deborah Egan Terese Svoboda Annie Goldson Angel Franco Allan Havis Paul De Marinis Quincy Troupe Shalom Gorewitz Carl Glassman Tony Kushner John Fekner Paul Violi Ernest Gusella A. Roy Greer Romulus Linney Ellen Fullman Alexander Hahn Marcia Lippman Lisa Loomer Mary Hestand Deans Keppel James Lukoski Ann Melious Fred Holland Vivienne Maricevic Carole Ann Klonarides Lavonne Mueller Sculpture Anne Iobst Katherine McGlynn Stephen Black Paul Lamarre Sy Rubin Jim Neu John Kelly Thomas Butter Theresa Mack Lynn Saville Lynn Siefert David Linton Loren Calaway Betsy Newman Andres Serrano Jeffrey Sweet Ruth Maleczech Susan Spencer Crowe Michael Owen Carla Shapiro Paul Henricksen Zimet Jennifer Miller Fred Wilson Daniel Reeves Phill Niblock Nancy Siesel Ken Rowe Coreen Simpson Kenji Fujita Pat Oleszko Andrew Ginzel
Recommended publications
  • Modern Painters William J. Simmons December 2015
    BY WILLIAM J. SIMMONS TRUE PORTRAIT BY KRISTINE LARSEN TO FORM DEBORAH KASS SHAKES UP THE CANON 60 MODERN PAINTERS DECEMBER 2015 BLOUINARTINFO.COM FORM DEBORAH KASS SHAKES UP Deborah Kass in her Brooklyn THE CANON studio, 2015. BLOUINARTINFO.COM DECEMBER 2015 MODERN PAINTERS 61 intensity of her social and art historical themes. The result is a set of tall, sobering, black-and-blue canvases adorned with “THE ONLY ART THAT MATTERS equally hefty neon lettering, akin, perhaps, to macabre monuments or even something more sinister in the tradition of IS ABOUT THE WORLD. pulp horror movies. This is less a departure than a fearless statement that affirms and illuminates her entire oeuvre—a tiny retrospective, perhaps. Fueled by an affinity for the medium AUDRE LORDE SAID IT. TONI and its emotive and intellectual possibilities, Kass has created a template for a disruptive artistic intervention into age-old MORRISON SAID IT. EMILY aesthetic discourses. As she almost gleefully laments, “All these things I do are things that people denigrate. Show tunes— so bourgeois. Formalism—so retardataire. Nostalgia—not a real DICKINSON SAID IT. I’M emotion. I want a massive, fucked-up, ‘you’re not sure what it means but you know it’s problematic’ work of art.” At the core of INTERESTED IN THE WORLD.” Kass’s practice is a defiant rejection of traditional notions of taste. For example, what of Kass’s relationship to feminism, queer- Deborah Kass is taking stock—a moment of reflection on what ness, and painting? She is, for many, a pioneer in addressing motivates her work, coincidentally taking place in her issues of gender and sexuality; still, the artist herself is ambivalent Gowanus studio the day before the first Republican presidential about such claims, as is her right.
    [Show full text]
  • Fabulous! the Story of Queer Cinema
    The Independent Film Channel Presents: An Orchard Films Production Fabulous! The Story of Queer Cinema Directed and Produced by Lisa Ades & Lesli Klainberg PUBLICITY AND ARTWORK, PLEASE CONTACT: Sophie Evans Manager, Consumer PR Kristen Andersen – PR Coordinator T: (917) 542-6336 T: (917) 542-6339 E: [email protected] E: [email protected] Synopsis: Fabulous! The Story of Queer Cinema explores the emergence of gay and lesbian films from the beginning of the gay rights movement in the 1960s to the “New Queer Cinema” of the 90s, the proliferation and influence of gay and lesbian films festivals, the discovery by the film business of the gay market; the explosion of gay images in the mainstream media and the current phenomenon of all things gay. The story of gay and lesbian cinema is closely related to the world surrounding it, and the use of popular culture is a backdrop against which the film examines important cultural, political and social moments- and movements that intersect with gay life. “Sex on the screen means something different for gay and lesbian audiences than for straight audiences because we’ve never been allowed to see it. If bodies that we can’t imagine being together are together, if women are rolling around in bed, if men are doing something more in the locker room than just simply taking a shower…all of these groundbreaking scenes of explicit sexuality have a meaning and a power that go beyond similar scenes for heterosexuals. It has to be there for audiences because for so long we were told ‘Oh no, they aren’t really gay because we have no proof that they ever did that’ there’s a sense that’s like – show me the money!” - B.
    [Show full text]
  • Awai, Nicole CV (Opens New Window)
    https://www.lesleyheller.com/artists/nicole-awai EDUCATION Master of Fine Arts, Multi-media Art, University of South Florida, Tampa, FL (1996) Bachelor of Arts, University of South Florida, Tampa, FL (1991) ACADEMIC APPOINTMENTS & RELATED EXPERIENCE 08/15- Assistant Professor, Painting & Drawing, University of Texas at Austin, Department of Art & Art History, Austin, TX 12/14 Visiting Artist/ Critic, Tyler School of Art, Temple University 9/09-5/15 Critic, Yale School of Art, Department of Painting and Printmaking, New Haven, CT 1/14-5/14 Visiting Assistant Professor, Yale School of Art, Department of Painting and Printmaking, New Haven, CT 9/12-12/12 Visiting Assistant Professor, Cooper Union, School of Art, NY 11/12 Visiting Artist/ Critic, University of Kentucky, College of Fine Arts 04/12 Visiting Artist/ Critic, Parsons, The New School, Art and Design History and Theory, Fine Arts (MFA) 1/11-5/11 Visiting Assistant Professor, Yale School of Art, Department of Painting and Printmaking, New Haven, CT 6/10 Artist/ Instructor, Norfolk Residency Program, Yale School of Art 8/18/08-5/15/09 Visiting Assistant Professor, University of Illinois at Chicago, School of Art and Art History, College of Architecture, Design and the Arts, Chicago, IL 1/08-5/08 Critic, Yale School of Art, Department of Painting and Printmaking, New Haven, CT 9/07 Visiting Artist/ Artist Talk, Parsons, The New School, Art and Design, Fine Art 1/07- 5/08 Visiting Assistant Professor, Pratt Institute, School of Art and Design, Brooklyn, NY 1/07-5/08 Adjunct Instructor, Stern College for Women, NY 8/05-5/15 Adjunct Assistant Professor, York College CUNY, Department of Performing and Fine Arts, Jamaica, Queens, NY 2/02-8/05 Artist/Educator, Whitney Museum of American Art, New York, NY Created and implemented art education programs for students (grades 3-12) based on exhibitions at the museum.
    [Show full text]
  • Nature of Elliot Goldenthal's Music
    The Nature of Elliot Goldenthal’s Music & A Focus on Alien 3 (& other scores) There is “something different” about Elliot Goldenthal’s music. There is also considerable brain and brawn in Elliot Goldenthal’s film music. His style is difficult to label because his approach is so eclectic depending on the project. Sometimes I feel he is fundamentally an independent art-house composer (perhaps Frida, say, and The Good Thief) although he can demonstrate thrilling orchestral power in scores such as Sphere and the Batman movies that I personally quite enjoyed. Overall he shows a Late Modernist temperament, musically an American Bohemian, but nevertheless grounded somewhat in the mainstream traditions (certainly at least traditional notation). His polystylism (eclectism) is a postmodern characteristic. An excellent example of polystylism is his score for Titus (and Good Thief to a lesser extent, and even an example or two in Alien 3) with the diverse or even odd juxtaposition of genres (symphonic-classical, rock, etc.) that represents in one score the type of projects he collectively undertook over the last fifteen years or so. There is not one clear-cut musical voice, in other words, but a mixture or fusion of different styles. It is, in part, his method of organization. Loosely speaking, his music is avant-garde but certainly not radically so--as in the case of John Cage with his aleatoric (random) music and quite non-traditional notation (although Goldenthal’s music can at select times be aleatoric in effect when he utilizes electronic music, quarter-toning, and other devices). He is experimental and freewheeling but certainly this tendency is not overblown and expanded into the infinite! He definitely takes advantage of what technology has to offer (MIDI applications, timbre sampling, synthesizer usage, etc.) but does not discard what traditions are useful for him to express his vision of musical art.
    [Show full text]
  • The Factory of Visual
    ì I PICTURE THE MOST COMPREHENSIVE LINE OF PRODUCTS AND SERVICES "bey FOR THE JEWELRY CRAFTS Carrying IN THE UNITED STATES A Torch For You AND YOU HAVE A GOOD PICTURE OF It's the "Little Torch", featuring the new controllable, méf » SINCE 1923 needle point flame. The Little Torch is a preci- sion engineered, highly versatile instrument capa- devest inc. * ble of doing seemingly impossible tasks with ease. This accurate performer welds an unlimited range of materials (from less than .001" copper to 16 gauge steel, to plastics and ceramics and glass) with incomparable precision. It solders (hard or soft) with amazing versatility, maneuvering easily in the tightest places. The Little Torch brazes even the tiniest components with unsurpassed accuracy, making it ideal for pre- cision bonding of high temp, alloys. It heats any mate- rial to extraordinary temperatures (up to 6300° F.*) and offers an unlimited array of flame settings and sizes. And the Little Torch is safe to use. It's the big answer to any small job. As specialists in the soldering field, Abbey Materials also carries a full line of the most popular hard and soft solders and fluxes. Available to the consumer at manufacturers' low prices. Like we said, Abbey's carrying a torch for you. Little Torch in HANDY KIT - —STARTER SET—$59.95 7 « '.JBv STARTER SET WITH Swest, Inc. (Formerly Southwest Smelting & Refining REGULATORS—$149.95 " | jfc, Co., Inc.) is a major supplier to the jewelry and jewelry PRECISION REGULATORS: crafts fields of tools, supplies and equipment for casting, OXYGEN — $49.50 ^J¡¡r »Br GAS — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and engraving.
    [Show full text]
  • National Endowment for the Arts Annual Report 1990
    National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................
    [Show full text]
  • Bio Information: CHRISTIAN MARCLAY / TOSHIO KAJIWARA / DJ OLIVE: Djtrio Title: 21 SEPTEMBER 2002 (Cuneiform Rune 348) Format: LP
    Bio information: CHRISTIAN MARCLAY / TOSHIO KAJIWARA / DJ OLIVE: djTRIO Title: 21 SEPTEMBER 2002 (Cuneiform Rune 348) Format: LP Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) http://www.cuneiformrecords.com FILE UNDER: EXPERIMENTAL / SOUND ART / AVANT-GARDE / TURNTABLISM “At various moments, the mix suggested nature sounds, urban cacophony, 12-tone compositions and the tuning of radio dial” – Washington Post “An archeological excavation where whirlpool scratches, microtones and samples of thrift store-mined cheese fly around like poltergeists released from a tomb.” – XLR8R “Some amazing, static-riddled alien music.” – Dusted Start off by dispelling any outmoded notions about taking things at face value – sometimes a DJ is not just a DJ, a record is not a record, and a turntable is more than a record player. These are the basic tenets with which to enter the world of Christian Marclay’s djTRIO, especially in the case of their live recordings. World-renowned multi-media artist Marclay may be best known these days for his globally embraced film collage piece “The Clock,” but he began by redefining the roles of “musician,” “DJ,” and even “artist” itself. Since the late ‘70s, Marclay has created art by masterfully mistreating both vinyl and phonographic equipment, using them both in a manner more consistent with the way an abstract sculptor employs raw materials in the service of a larger vision. Sometimes these sonic journeys utilizing a turntable as a sextant have been in-the-moment experiences and sometimes they’ve been captured for posterity, but 21 September 2002 on Cuneiform Records happens to be both.
    [Show full text]
  • Ceramics Monthly Nov83 Cei11
    William C. Hunt ........................................ Editor Barbara Tipton ...................... Associate Editor Robert L. Creager ........................ Art Director Ruth C. Butler.............................. Copy Editor Valentina Rojo....................... Editorial Assistant Mary Rushley.............. Circulation Manager Connie Belcher ... Advertising Manager Spencer L. Davis.................................. Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard, Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second class postage paid at Columbus, Ohio. Subscription Rates:One year SI 6, two years $30, three years $40. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art are welcome and will be considered for publication. A booklet describing procedures for the preparation and submission of a man­ uscript is available upon request. Send man­ uscripts and correspondence about them to The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index. A 20-year subject index (1953-1972) covering Ceramics Monthly feature articles, Sugges­ tions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s arti­ cles are indexed in the December issue.
    [Show full text]
  • Bam 2016 Annual Report
    BAM 2016 2 1ANNUAL REPORT 0 6 BAM’s mission is to be the home for adventurous artists, audiences, and ideas. 3—6 Community, 31–33 GREETINGS DanceMotion USASM, 34–35 Chair Letter, 4 Visual Art, 36–37 President & Executive Producer’s Letter, 5 Membership, 38 BAM Campus, 6 Membership, 37—39 7—35 40—47 WHAT WE DO WHO WE ARE 2015 Next Wave Festival, 8–10 BAM Board, 41 2016 Winter/Spring Season, 11–13 BAM Supporters, 42–45 Also On Stage, 14 BAM Staff, 46–47 BAM Rose Cinemas, 15–20 48—50 First-run Films, 16 NUMBERS BAMcinématek, 17–18 BAM Financial Statements, 49–50 BAMcinemaFest, 19 HD Screenings, 20 51—55 BAMcafé Live, 21–22 THE TRUST BAM Hamm Archives, 23 BET Chair Letter, 52 Digital Media, 24 BET Donors, 53 Education & Humanities, 25–30 BET Financial Statements, 54–55 2 TKTKTKTK Cover: Urban Bush Women in Walking with ‘Trane| Photo: Julieta Cervantes Greetings GREETINGS 3 TKTKTKTK 2016 Winter/Spring | Royal Shakespeare Company in Henry IV Part I | Photo: Richard Termine Change is anticipated, expected, welcomed. — Alan H. Fishman Dear Friends, As you all know, and perhaps celebrated (!), Anne Bogart, Ivo van Hove, Long time trustee Beth Rudin Dewoody As I end my leadership role, I want to I stepped down as chairman of this William Kentridge, and many others. became an honorary trustee. Mark Jackson express my thanks to all I have met and miraculous institution effective December and Danny Simmons, both great trustees, worked with along the way. Together we have 31, 2016.
    [Show full text]
  • Re-Imagining Queer Cinema Finding the Accent in Queer Filmmaking
    Re-Imagining Queer Cinema Finding the Accent in Queer Filmmaking MA Programme in Film Studies Supervisor: Maryn C. Wilkinson Second reader: Marie-Aude Baronian MA thesis by: Yunus Emre Duyar Amsterdam, 26th June 2015 Word Count: 17,825 2 3 Table of Contents INTRODUCTION ...................................................................................................................................... 7 1. Queer Films and Beyond............................................................................................................. 14 1.1 Queer Culture and Film ............................................................................................................ 15 1.2 Gender Performativity and Film ............................................................................................. 17 1.3 Queer and the Rural .................................................................................................................. 20 2. Queer Filmmaking as Accented Cinema ................................................................................... 24 2.1. Accented Style ........................................................................................................................... 25 2.2. Mode of Production .................................................................................................................. 31 2.3. Chronotopes of Homeland and Life in Exile .......................................................................... 35 2.4. Journeying, Border Crossing and Identity Crossing............................................................
    [Show full text]
  • The Civilians"
    San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Spring 2012 A Versatile Group of Investigative Theater Practitioners: An Examination and Analysis of "The Civilians" Kimberly Suzanne Peterson San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Peterson, Kimberly Suzanne, "A Versatile Group of Investigative Theater Practitioners: An Examination and Analysis of "The Civilians"" (2012). Master's Theses. 4158. DOI: https://doi.org/10.31979/etd.n3bg-cmnv https://scholarworks.sjsu.edu/etd_theses/4158 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. A VERSATILE GROUP OF INVESTIGATIVE THEATER PRACTITIONERS: AN EXAMINATION AND ANALYSIS OF “THE CIVILIANS” A Thesis Presented to The Faculty of the Department of Theater Arts San José State University In Partial Fulfillment of the Requirements for the Degree Master of Arts by Kimberly Peterson May 2012 © 2012 Kimberly Peterson ALL RIGHTS RESERVED The Designated Thesis Committee Approves the Thesis Titled A VERSATILE GROUP OF INVESTIGATIVE THEATER PRACTITIONERS: AN EXAMINATION AND ANALYSIS OF “THE CIVILIANS” by Kimberly Peterson APPROVED FOR THE DEPARTMENT OF THEATRE, RADIO-TELEVISION-FILM, ANIMATION & ILLUSTRATION SAN JOSÉ STATE UNIVERSITY May
    [Show full text]
  • Contemporary Film Music
    Edited by LINDSAY COLEMAN & JOAKIM TILLMAN CONTEMPORARY FILM MUSIC INVESTIGATING CINEMA NARRATIVES AND COMPOSITION Contemporary Film Music Lindsay Coleman • Joakim Tillman Editors Contemporary Film Music Investigating Cinema Narratives and Composition Editors Lindsay Coleman Joakim Tillman Melbourne, Australia Stockholm, Sweden ISBN 978-1-137-57374-2 ISBN 978-1-137-57375-9 (eBook) DOI 10.1057/978-1-137-57375-9 Library of Congress Control Number: 2017931555 © The Editor(s) (if applicable) and The Author(s) 2017 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made.
    [Show full text]