Jackie Lipton
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Cornell University College of Architecture
Cornell University ANNOUNCEMENTS College of Architecture Architecture Art City and Regional Planning 1966-67 Academic Calendar 1965-66 1966-67 Freshman Orientation s, Sept. 18 s, Sept. 17 Registration, new students M, Sept. 20 M, Sept. 19 Registration, old students T, Sept. 21 T, Sept. 20 Instruction begins, 1 p.m. w, Sept. 22 w. Sept. 21 Midterm grades due w, Nov. 10 w, Nov. 9 Thanksgiving recess; Instruction suspended, 12:50 p.m. W, Nov. 24 W, Nov. 23 Instruction resumed, 8 a.m. M, Nov. 29 M, Nov. 28 Christmas recess: Instruction suspended, 12:50 p.m. s, Dec. 18 W, Dec. 21 (10 p.m. in 1966) Instruction resumed, 8 a.m. M, Jan. 3 Th, Jan. 5 First-term instruction ends s, Jan. 22 s, Jan. 21 Registration, old students M, Jan. 24 M, Jan. 23 Examinations begin T, Jan. 25 T , Jan. 24 Examinations end w, Feb. 2 w, Feb. 1 Midyear recess Th, Feb. 3 Th, Feb. 2 Midyear recess F, Feb. 4 F, Feb. 3 Registration, new students s, Feb. 5 s, Feb. 4 Second-term instruction begins, 8 a.m. M, Feb. 7 M, Feb. 6 Midterm grades due s, Mar. 26 s, Mar. 25 Spring recess: Instruction suspended, 12:50 p.m. s, Mar. 26 s, Mar. 25 Instruction resumed, 8 a.m. M, Apr. 4 M, Apr. 3 Second-term instruction ends, 12:50 p.m. s, May 28 s, May 27 Final examinations begin M, May 30 M, May 29 Final examinations end T , June 7 T , June 6 Commencement Day M, June 13 M, June 12 The dates shown in the Academic Calendar are tentative. -
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Star Studies Today: From the Picture Personality to the Media Celebrity Virginia Luzón-Aguado Universidad de Zaragoza [email protected] Although the study of film was already well established, Star Studies did not become the focus of serious, sustained academic research until the 1970s thanks to the seminal work of Richard Dyer, in which it was firmly established that film stars contribute fundamentally to the creation of meaning in a film text. It is for this reason that Star Studies has had a comparatively shorter, although not less productive, history than other areas of research within Film Studies. This paper will therefore be discussing the role, significance and value of Hollywood film stars within both our present society and the contemporary Hollywood film industry. However, in order to fully appreciate the current state of the institution of Hollywood stardom, it will also be necessary to briefly discuss its foundations and development, as well as the various ways in which stardom has routinely been analysed within the academic field of Film Studies. In order to illustrate my theoretical arguments, I will be focusing on the particular case of Harrison Ford, one of the most influential contemporary Hollywood icons. Keywords: Film Studies; Star Studies; Hollywood Stars; Harrison Ford A pesar de que los estudios sobre cine ya estaban bien asentados, el estudio de las estrellas no se convirtió en objeto de investigación académica seria y continuada hasta los 70, gracias a la publicación del trabajo pionero de Richard Dyer, que estableció que las estrellas de cine contribuyen de forma notable en la creación del significado de un texto fílmico. -
Oral History Interview with Richard Bellamy, 1963
Oral history interview with Richard Bellamy, 1963 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview B: BAKER RB: RICHARD BELLAMY B: I'm about to interview several individuals concerning the Hansa Gallery, which formerly existed in New York City and has for some years been closed. The first individual I'm going to speak to about it is Richard Bellamy, now the director of the Green Gallery. Mr. Bellamy was not associated with the very first days of the Hansa, however, so I'm going to read first, two statements about the origins of the Hansa as a general introduction. One of them is adapted from the Art Student League's News of December 1961. In December 1951 quote, ASix unknown artists all quite young held a joint exhibition of their works in a loft studio at 813 Broadway. The artists were Lester Johnson, Wolf Kahn, John Grillo, Felix Pasilis, Jan Muller and Miles Forst. A813 Broadway@, as this joint cooperation venture was called on a woodcut announcement made by Wolf Kahn, was visited by about 300 artists and two art critics, Thomas B. Hess of Art News and Paul Brach of the Arts Digest. The show led to the founding of the best of the downtown cooperative galleries, the Hansa Gallery. 813 Broadway announced a new interest in figurative painting by a group which had drunk deep at the Pirean springs of abstract expressionism.@ In Dody Muller's account of her husband, Jan's life prefacing the catalogue on Jan Muller, prepared by the Guggenheim Museum for the January, February 1962 exhibition of his works, the statement is made, quote, AIn a sense the 813 Broadway exhibition contained the rudiments of the Hansa Gallery, which was to form on East Twelfth Street and which opened in the autumn of 1952. -
The Dave Grusin Manuscripts an Inventory of Holdings at the American Music Research Center
The Dave Grusin manuscripts An inventory of holdings at the American Music Research Center American Music Research Center, University of Colorado at Boulder The Dave Grusin manuscripts Descriptive summary Title Dave Grusin manuscripts ID COU-AMRC-39 Creator(s) Grusin, Dave Repository The American Music Research Center University of Colorado at Boulder 288 UCB Boulder, CO 80309 Location Housed in the American Music Research Center Physical Description 100 linear feet Scope and Contents Manuscript scores of Dave Grusin (b. 1934), composer, graduate of the University of Colorado (B.Mus., 1956), including manuscript scores and parts for film and television compositions, as well as sketches and published arrangements. Notable in the collection are manuscript and sketches of several award-winning and award-nominated film scores, including "The Milagro Beanfield War," "On Golden Pond," and "The Fabulous Baker Boys" Administrative Information Arrangement Arranged by production type (films, TV shows, concerts, commercials) and alphabetically by title. Access Open Publication Rights All requests for permission to publish or quote from manuscripts must be submitted in writing to the American Music Research Center. Preferred Citation [Identification of item], Dave Grusin manuscripts, University of Colorado, Boulder - Page 2 - The Dave Grusin manuscripts Index Terms Access points related to this collection: Personal names Grusin, Dave -- Archives Grusin, Dave Corporate names American Music Research Center Subject headings Composers -- United States -- Archives Popular music -- Scores and parts Biography of Dave Grusin Born in Littleton, Colorado on June 26, 1934, Dave Grusin has made a name for himself as a composer of film scores, record producer, and fusion keyboardist. After graduating from Littleton High School in Denver, Colorado, he attended the University of Colorado at Boulder where he received a bachelor of music in piano performance. -
November 11, 2014 (Series 29:12) Sydney Pollack, TOOTSIE (1982, 119 Minutes)
November 11, 2014 (Series 29:12) Sydney Pollack, TOOTSIE (1982, 119 minutes) Tootsie won the 1983 Academy Award for Best Actress in a Supporting Role, Jessica Lange Directed by Sydney Pollack Written by Larry Gelbart, Murray Schisgal, Don McGuire, Larry Gelbart, Barry Levinson, Robert Garland, and Elaine May Produced by Sydney Pollack, Dick Richards, and Ronald L. Schwary Music by Dave Grusin Cinematography by Owen Roizman Film Editing by Fredric Steinkamp and William Steinkamp Dustin Hoffman ... Michael Dorsey / Dorothy Michaels Jessica Lange ... Julie Teri Garr ... Sandy Dabney Coleman ... Ron Charles Durning ... Les Bill Murray ... Jeff Sydney Pollack ... George Fields Geena Davis ... April Gene Shalit ... Himself Andy Warhol ... Himself “Breaking Point” (TV Series), 1962-1963 “Ben Casey” (TV Series, 12 episodes), 1962-1963 “The Alfred Hitchcock Hour” Sydney Pollack (director, producer, George Fields) (b. (TV Series), 1963 “Wagon Train” (TV Series), 1963 “The Sydney Irwin Pollack, July 1, 1934 in Lafayette, Indiana—d. Defenders” (TV Series), and 1961 “Shotgun Slade” (TV Series). May 26, 2008 (age 73) in Pacific Palisades, Los Angeles, He also has 48 producer or executive producer, and he appeared California) won 2 1986Academy Awards for Out of Africa as an actor in 40 films and TV episodes, among them 2008 Made (1985), one for Best Picture and one for Best Director. He of Honor, 2007 Michael Clayton, 2007 “Entourage” (TV Series), directed 37 films and television shows, which are 2005 2007 “The Sopranos” (TV Series), 2005 The Interpreter, -
Carol Raskin
Carol Raskin Artistic Images Make-Up and Hair Artists, Inc. Miami – Office: (305) 216-4985 Miami - Cell: (305) 216-4985 Los Angeles - Office: (310) 597-1801 FILMS DATE FILM DIRECTOR PRODUCTION ROLE 2019 Fear of Rain Castille Landon Pinstripe Productions Department Head Hair (Kathrine Heigl, Madison Iseman, Israel Broussard, Harry Connick Jr.) 2018 Critical Thinking John Leguizamo Critical Thinking LLC Department Head Hair (John Leguizamo, Michael Williams, Corwin Tuggles, Zora Casebere, Ramses Jimenez, William Hochman) The Last Thing He Wanted Dee Rees Elena McMahon Productions Additional Hair (Miami) (Anne Hathaway, Ben Affleck, Willem Dafoe, Toby Jones, Rosie Perez) Waves Trey Edward Shults Ultralight Beam LLC Key Hair (Sterling K. Brown, Kevin Harrison, Jr., Alexa Demie, Renee Goldsberry) The One and Only Ivan Thea Sharrock Big Time Mall Productions/Headliner Additional Hair (Bryan Cranston, Ariana Greenblatt, Ramon Rodriguez) (U. S. unit) 2017 The Florida Project Sean Baker The Florida Project, Inc. Department Head Hair (Willem Dafoe, Bria Vinaite, Mela Murder, Brooklynn Prince) Untitled Detroit City Yann Demange Detroit City Productions, LLC Additional Hair (Miami) (Richie Merritt Jr., Matthew McConaughey, Taylour Paige, Eddie Marsan, Alan Bomar Jones) 2016 Baywatch Seth Gordon Paramount Worldwide Additional Hair (Florida) (Dwayne Johnson, Zac Efron, Alexandra Daddario, David Hasselhoff) Production, Inc. 2015 The Infiltrator Brad Furman Good Films Production Department Head Hair (Bryan Cranston, John Leguizamo, Benjamin Bratt, Olympia -
PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar Archive of Abstract Expressionist Art, 1913-2005
PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Pavia, Philip, 1915-2005. Title: Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Call Number: Manuscript Collection No. 981 Extent: 38 linear feet (68 boxes), 5 oversized papers boxes and 5 oversized papers folders (OP), 1 extra oversized papers folder (XOP) and AV Masters: 1 linear foot (1 box) Abstract: Philip Pavia and Natalie Edgar archive of abstract expressionist art including writings, photographs, legal records, correspondence, and records of It Is, the 8th Street Club, and the 23rd Street Workshop Club. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Purchase, 2004. Additions purchased from Natalie Edgar, 2018. Citation [after identification of item(s)], Philip Pavia and Natalie Edgar archive of abstract expressionist art, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Russey and Elizabeth Stice, October 2009. Additions added to the collection in 2018 retain the original order in which they were received. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Philip Pavia and Natalie Edgar archive of abstract expressionist art, Manuscript Collection No. -
William Steinkamp, Ace Editor
WILLIAM STEINKAMP, ACE EDITOR FEATURES THE SHACK Stuart Hazeldine Summit / Lionsgate A FIGHTING MAN Damian Lee Sony Pictures A DARK TRUTH Damian Lee Sony Pictures THE COURIER Hany Abu-Assad Films In Motion CASINO JACK George Hickenlooper Triggar Street Prods. / ATO Official Selection, Toronto Film Festival (2010) THE EXPRESS Gary Fleder Universal Pictures AUGUST RUSH Kirsten Sheridan Warner Bros. THE INTERPRETER Sydney Pollack Working Title / Universal th THE RUNAWAY JURY Gary Fleder New Regency / 20 Century Fox th DON’T SAY A WORD Gary Fleder New Regency / 20 Century Fox HEARTBREAKERS David Mirkin Davis Ent. / MGM RANDOM HEARTS Sydney Pollack Columbia / Sony GOODBYE LOVER Roland Joffé Lightmotive / Warner Bros. KISS THE GIRLS Gary Fleder Paramount A TIME TO KILL Joel Schumacher New Regency / Warner Bros. HEAVEN’S PRISONERS Phil Joanou New Line Cinema THE FIRM Sydney Pollack Paramout SCENT OF A WOMAN Martin Brest City Light Films / Universal Nominated, Best Picture, Academy Awards (1992) Nominated, Best Edited Feature Film, ACE (1992) th MAN TROUBLE Bob Rafelson 20 Century Fox HAVANA Sydney Pollack Mirage / Universal th THE FABULOUS BAKER BOYS Steven Kloves 20 Century Fox Nominated, Best Editing, Academy Awards (1990) SCROOGED Richard Donner Paramount ADVENTURES IN BABYSITTING Chris Columbus Buena Vista Pictures WHITE KNIGHTS Taylor Hackford Columbia Picture OUT OF AFRICA Sydney Pollack Mirage Ent. / Universal Nominated, Best Editing, Academy Awards (1985) Nominated, Best Edited Feature Film, ACE (1985) AGAINST ALL ODDS Taylor Hackford Columbia / New Visions TOOTSIE Sydney Pollack Columbia Pictures Nominated, Best Editing, Academy Awards (1983) Nominated, Best Edited Feature Film, ACE (1983) TELEVISION UNTITLED RICHARD LAGRAVENESE (Pilot) Taylor Hackford ABC 800 South Robertson Blvd. -
Chouinard: a Living Legacy
CHOUINARD: A LIVING LEGACY THE LAST YEARS (1960-1972) – Nobuyuki Hadeishi he only record of the last day at Chouinard – the commencement ceremony of 1972 – was made by photography instructor TGary Krueger. One of his photos shows the faculty, friends, relative, and graduates seated in the patio. This picture tells the story of Chouinard. Though many teachers are missing, old-timers were there, including Watson Cross and Don Graham (in the lower left looking pensive). Graham was chairman of the faculty, essentially our boss. Next to him is Lou Danziger, advertising design teacher. In 1970 he refused an offer from the CalArts administrators to teach at the transitional facility – Villa Cabrini, a former Catholic girl’s school – because he felt needed at Chouinard. The head of the basic design program, Bill Moore, is in the next row in the characteristic pose he took when not happy with student work. Missing is his trademark cigarette. For 34 years, Bill Moore taught the basics of design as if they were a true science. He was the most feared in- structor, both hated and loved. Whenever Chouinardians get together, his name comes up. At the center of some of the great Chouinard controversies in the 1960s; he once torched a work by Ed Ruscha in the school gallery with his famous Zippo lighter. As he burnt a corner of Ruscha’s piece, which incorporated cigarette butts as design ele- ments, he said with authority, “What this piece needs is a little burnt edge to complete it.” By 1955, Nelbert Chouinard had retreated from admin- istrative involvement in her school and Mitch Wilder was hired as director. -
The Early Work of Miriam Schapiro: the Beginnings of Reconciliation Bet\Veen the Artist and the Woman1
The Early Work of Miriam Schapiro: The Beginnings of Reconciliation bet\veen the Artist and the Woman1 Katherine M. Duncan Miriam Schapiro has been a prime motivating force in Columbia. Missouri. 10 New York City in 1952. Schapiro the feminist art movement which developed during the helped to suppon them by working tlm.-e jobs as teacher, seventies. Her collages from these )'ears are filled with bookstore clerk, and secretary. They developed a circle of domestic imagery through which she states her concern for friends in the city, among them neighbors Joan Mitchell and women. She has also lent validity to the decorative art Phill ip Gus1on. They shared camaraderie with the loose movement through the revival of patterning and decoration. group of abstract expressionists which met regularly to As Thalia Gouma-Peterson demonstrated in a 1980 discuss painti ng at the Club or Cedar Street Thvem.• exhibition catalogue. Schapiro did not arrive at her purpose Schapiro said she ..began making abstract expres in the art world without great personal struggle.' During the sionist paintings .. during that time and became "visible·· as fifties she worked in the mainstream mode of abstract an artist.• It is apparent from her thoughts about this period expressionism. Her role as a woman and artist in the an 1ha1 she had not yet developed an independent and authentic ,ociely of New York. a society which seemed almost totally personal style. but was instead foIJowing suit. She noted dominated by men, was in the beginning unclear. During 1ha1 she .. loved New York. was comfortable painting in the this era. -
Febrero 2009
F I L M O T E C A E S P A Ñ O L A Sede: C/ Magdalena nº 10 28012 Madrid Cine Doré Telf.: 91 4672600 c/ Santa Isabel, 3 Fax: 91 4672611 28012 Madrid [email protected] Telf.: 91 3691125 http://www.mcu.es/cine/MC/FE/index.html (taquilla) 91 369 2118 NIPO (publicación electrónica): 554-09-003-5 (gerencia) Fax: 91 3691250 MINISTERIO DE CULTURA Precio: Normal: 2,50€ por sesión y sala 20,00€ abono de 10 PROGRAMACIÓN sesiones. Estudiante: 2,00€ por sesión y sala febrero 15,00€ abono de 10 sesiones. 2009 Horario de taquilla: 16.15 h. hasta 15 minutos después del comienzo de la última sesión. Venta anticipada: 21.00 h. hasta cierre de la taquilla para las sesiones del día siguiente hasta un tercio del aforo. Horario de cafetería: 16.00 – 00.30 h. Tel.: 91 369 49 23 Horario de librería: 17.30 - 22.00 h. Tel.: 91 369 46 73 Lunes cerrado (*) Subtitulaje electrónico FEBRERO 2009 Recuerdo de Rafael Azcona (I) José Francisco Aranda. La fabulación de la pantalla Recuerdo de Sydney Pollack Recuerdo de Alain Robbe Grillet Recuerdo de... (II) Muestra de cortometrajes de la PNR Las sesiones anunciadas pueden sufrir cambios debido a la diversidad de la procedencia de las películas programadas. Las co pias que se e xhiben son l as de m ejor cal idad disponibles. Las d uraciones q ue figuran e n el programa son aproximadas. Los títu los originales d e las películas y lo s d e su distribución en Esp aña fig uran en neg rita. -
Press No More Boring Art the New Yorker
No More Boring Art John Baldessari’s crusade. by Calvin Tomkins (October 18, 2010) Baldessari’s “Self-Portrait (with Brain Cloud)” (2010). Marian Goodman Gallery, NY / Paris; Photograph: Franziska Wagner Now that contemporary art has become a global enterprise, we tend to forget that a few pockets of regional difference still exist. In Los Angeles, for example, artists rarely talk about Andy Warhol. Warhol’s shadow hangs heavy over the international art world, but not in L.A., where the most relevant artist of the moment, the seventy-nine-year-old John Baldessari, said recently that he “hadn’t thought about Warhol in forty years.” Baldessari’s endlessly surprising retrospective, which was on view all summer at the Los Angeles County Museum of Art, comes to New York this month, opening on October 20th at the Metropolitan Museum of Art. The fact that none of our modern or contemporary museums could find room for it in their schedules suggests a strain of parochialism at work here, too, but who knows? Baldessari’s contrarian brand of conceptual, photography-based art-about-art has so few regional or even national characteristics that it probably belongs at the Met, among all those certified treasures of fifty centuries. Baldessari has made a career out of upsetting priorities and defying expectations. “Pure Beauty,” an early work that doubles as the exhibition’s title, consists of those two words, painted by a professional sign painter in black capital letters on an off-white canvas. When Baldessari had it done, in the mid- nineteen-sixties, he was teaching art at a junior college near his home in National City, California, a working-class town near the Mexican border, and painting in his spare time.