Directory of Artists' Fellows & Finalists
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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. -
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. -
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. -
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. -
The Factory of Visual
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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 ................................................................................ -
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. -
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. -
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. -
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............................................................ -
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 -
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.