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KATHARINE CONLEY August 2020
KATHARINE CONLEY August 2020 Modern Languages & Literatures 21 Sussex Court William and Mary Williamsburg, VA 23188 PO Box 8795 (757) 645-3876 Williamsburg, VA 23187-8795 (603) 443-2462 (cell) [email protected] ACADEMIC AND ADMINISTRATIVE POSITIONS Professor of French and Francophone Studies, William and Mary, 7/12- Dean of the Faculty of Arts and Sciences, William and Mary 7/12-6/20 Edward Tuck Professor of French and Comparative Literature, Dartmouth, 7/10-6/12 Professor of French, Dartmouth College, 7/04-6/12, Emerita 7/12- Associate Professor of French, Dartmouth College, 7/98 - 6/04 Assistant Professor of French, Dartmouth College, 7/92 - 6/98 EDUCATION Virginia Women’s Senior Leadership Seminar 2015-16 Harvard Institute for Management and Leadership in Education, June 2014 PhD French, University of Pennsylvania, May 1992 Honorary MA, Dartmouth College, 2007 MA French, University of Pennsylvania, 1990; MA French, University of Colorado, 1988 BA cum laude, Harvard-Radcliffe University, 1979 (major: honors English) AWARDS, FELLOWSHIPS, AND INSTITUTES (since 1992) Phi Beta Kappa, Dartmouth College, June 2009 Jacobus Family Fellowship, Dartmouth College, 2004-2005 Senior Faculty Fellowship, Dartmouth College, Winter-Spring 2005 J. Kenneth Huntington Memorial Award, Dartmouth College, June 2004 Whiting Foundation Travel Grant: Summer 1996 Humanities Institute on Cultural Memory and the Present, Spring 1996 Junior Faculty Fellowship, Dartmouth College, Winter-Spring 1996 School of Criticism and Theory, June-July 1995 Burke Research Initiation Grant, Dartmouth College: 1992-1995 PUBLICATIONS AND PAPERS Books and Edited Volumes: Author: Surrealist Ghostliness. Lincoln: University of Nebraska Press, 2013. Katharine Conley / 2 Author: Robert Desnos, Surrealism, and the Marvelous in Everyday Life. -
Francesca Woodman Born Boulder, Colorado, 1958. Died
Francesca Woodman Born Boulder, Colorado, 1958. Died New York City, 1981 Lived and worked in Boulder, Colorado; Providence, Rhode Island; Rome, Italy; and New York City. Solo Exhibitions 2019 Francesca Woodman: Portrait of a Reputation, MCA Denver, Denver, Colorado (including works by George Lange) (exhibition catalogue) 2018 Francesca Woodman: Italian Works, Victoria Miro Gallery, Venice, Italy Francesca Woodman, Galerie Hubert Winter, Vienna, Austria 2017 Francesca Woodman: Ausencia/Presencia, Bernal Espacio, Madrid, Spain Francesca Woodman: Obras de la Coleccion Verbund, Patio Herrerariano Museo de Arte Contemporaneo Espanol, Valladolid, Spain 2016 The Second Space, Galerie Clara Maria Sels, Düsseldorf, Germany 2015 On Being an Angel, Moderna Museet, Stockholm, Sweden; traveled to Foam, Amsterdam, Netherlands, 2016; Fondation Henri Cartier Bresson, Paris, France, 2016; Moderna Museet, Malmo, Sweden, 2017; Finnish Museum of Photography, 2017; Fundacion Canal, Madrid, Spain, 2019; C/O Berlin, Berlin, Germany, 2020 (exhibition catalogue) I’m trying my hand at fashion photography, Marian Goodman Gallery, New York, New York (exhibition catalogue) 2014 Francesca Woodman: Artist Rooms, Oriel Davies Gallery, Newtown, Wales Zigzag, Victoria Miro Gallery, London, England Francesca Woodman: Artist Rooms, Bodelwyddan Castle, Denbighshire, Wales Francesca Woodman: Works from the Sammlung Verbund, Vertical Gallery, Vienna, Austria (exhibition catalogue) 2012 Francesca Woodman, Mendes Wood, São Paulo, Brazil Francesca Woodman, Galerie Clara Maria -
Middle Gate II – the Story of Dymphna EN 15.09–04.11.2018
Middle Gate II – The Story of Dymphna EN 15.09–04.11.2018 1 Middle Gate II – The Story of Dymphna 15.09–04.11.2018 2 Glossary 7 Introduction 10 Little Dove (To Dymphna) Lenny Peeters 14 Pilgrimage Vincent Van Menen 20 Artists 22 The Crown & Migration 58 The Sword & Sexual Violence 118 The Devil & Madness 168 The Book & Spirituality 212 Colofon Dr. Frits Sano, photograph on glass, photograph supposedly taken by dr. Paul Sano (collection Guy Rombouts) 4 5 Introduction Middle Gate II 15.09–04.11.2018 With the exhibition Middle Gate (2013), Painting by Luc Tuymans and Narcisse Jan Hoet returned to his origins, Tordoir, and the first chapter of Anselm announcing he wanted to depart from Franke’s Animism project. Yet central the middle gate. As did the exhibition, to all this is the figure of Jan Hoet, who that activated art’s potentiality and with Chambres d’Amis changed the idea offered immediate added value to both of what an exhibition can be. Earlier, he people and society. had already curated ground-breaking overviews like Aktuele kunst in België: Middle Gate testified of a love of art – inzicht/overzicht, overzicht/inzicht by effectively departing from works of art [Contemporary Art in Belgium: Insight/ that had been chosen for their intensity Overview, Overview/Insight] or Art in – and a high degree of casualness. This Europe after 1968. After Chambres also translated itself organisationally, d ‘Amis he would also take on with a problem solving attitude as Documenta IX. permanent alternative to a monetised operation that is based on professional, Let us continue to include Middle market and marketing mechanisms. -
On Photographer Francesca Woodman Los Angeles Review Of
MARIAN GOODMAN GALLE RY Los Angeles Review of Books An Hourglass Figure: On Photographer Francesca Woodman By: Ariana Reines April 4, 2013 1. PROBLEM SETS I WOULD PREFER to keep her as I wish to think of her, as an emigrant flitting between worlds, a kind of Franco-Italian woodsprite immured in the charismatic and frail perfection of her minority. But she is a problem. She and her figure, which is also her but is not, but which is also a she, and not an it. A problem as in, “How do you solve a problem like Maria,” and a problem as in a problem that is real. She is a problem because she is a seducer, and I — I mean we — love to be seduced, though we also resent it, and she is a problem because she is a suicide, and suicides are seductive because we all want to die sometimes, and dead young women artists and dead women artists of any age are a problem because it has always been easier for this culture to love their artworks when they, the women, are not alive to interfere with our relations with them, and her precocity was and remains a problem because of its completeness and because precocity is also always resented and dismissed, and she is a problem because it has historically been too easy to praise what is dead and too difficult to nurture what lives, and she is a problem because she is a martyr and ours is a culture addicted to martyrs and martyrology and powered by competition and self-loathing, which leads to the wrong kind of death, and she is a problem because the relation between life and nonlife or the animate and the inanimate -
Be Y Woodman My Work for the Past 50 Years Or So Has Been
Bey Woodman My work for the past 50 years or so has been involved with a sort of “seng the stage” for a performance. At mes the theatrics happened at breakfast, dinner or tea; at mes the scenery has included flowers in vases in architectural sengs. References to other works of art have also always been present as a constant in my pracce. Such work is intended to be read with the inclusion of our knowledge of other works of art. These have ranged from Korean folk art painng to Masse and Bonnard to Classic Greek and Roman vases. Recently, I have been looking at Roman Frescos and various other wall painngs where images of architecture are painted on the actual walls. These give the illusion, with their columns and windows, of architecture within architecture. I have also observed how oen these frescos include images of vase…There are a series of cross-references in ceramic, wood, glaze and paint which return us to the “theatrical” domain of the wall pieces. We go to the theater to see plays and “play” is fundamental to the spirit of my recent work. Character, mise en scene, costume, plot and denouement are all important here. I am playing with play. Bey Woodman, 2010 Betty Woodman (1930 - 2018) began her nearly seventy-year engagement with clay in the 1950s as a functional potter with the aim of creating beautiful objects to enhance everyday life. In the 1960s, the vase form became Woodman’s subject, product, and muse. In deconstructing and reconstructing its form, she created an exuberant and complex body of ceramic sculpture. -
(OPENING) Another Energy: Power to Continue Challenging
ANOTHER ENERGY Press Release vol.2 APRIL 21, 2021 (OPENING) Another Energy: Power to Continue Challenging - 16 Women Artists from around the World APRIL 22 [THU] - SEPTEMBER 26 [SUN], 2021 MORI ART MUSEUM [53F, ROPPONGI HILLS MORI TOWER] AGED 71 to 105, ALL ACTIVE AND BUSY AT WORK! The Mori Art Museum, Tokyo, is proud to present Another Energy: Power to Continue Challenging - 16 Women Artists from around the World from Thursday, April 22 to Sunday, September 26, 2021. Recent years have witnessed growing moves worldwide to right inequalities around aspects of identity such as gender, race, ethnicity, and beliefs, and attach greater value to diversity. Also in contemporary art for the past decade or so, attention has turned increasingly to female artists who began their contemporary art careers between the 1950s and 1970s and continue to stay active as artists today. Another Energy focuses on 16 of these female artists in their 70s or older, from across the globe, who continue to embark on new challenges. Ranging in ages 71-105 with their careers spanning over 50 years, they are originally from 14 different countries, and equally diverse in their current locations. Nonetheless, what these women share regardless of recognition or evaluation by art museums and the art market is a determination to pursue their own distinctive creative paths in turbulent environment and times. Showcasing their wide array of powerful works from paintings, video, sculptures, to large-scale installations and performances, about 130 works to total, this exhibition contemplates the nature of the special strength or what one may call the driving force - “ another energy ” - of these artists. -
Peter Freeman, Inc. Lili Dujourie Biography 1941
PETER FREEMAN, INC. LILI DUJOURIE BIOGRAPHY 1941 Born in Roeselare, Belgium Lives and works in Lovendegem, Belgium SOLO EXHIBITIONS 2015 Stedelijk Museum voor Actuele Kunst, Ghent, Belgium; Mu.ZEE, Ostende, Belgium. Lili Dujourie. (6 June – 11 October) 2014 Galerie Micheline Szwajcer, Antwerp, Belgium. (15 November - 13 December) Leopold Hoesch Museum, Düren, Germany. (7 September – 23 November) Galerie Michael Janssen, Berlin, Germany. Lili Dujourie- Jeux de Dames. (3 May – 21 June) 2011 Palais d'Iéna, Paris, France. Pearls of the North. (14 – 23 October) Santo Domingo de Silos Abbey, Burgos, Spain. Nature’s Lore. (10 June – 25 September) Galerie Michael Janssen, Berlin, Germany. (April – July) 2010 La Conservera, Ceuti, Spain. 2008 Galerie Nelson-Freeman, Paris, France. (8 November – 19 December) Centre d'Art Contemporain du Creux de L'Enfer, Thiers, France. 2007 Erna Hecey Gallery, Brussels, Belgium. (21 September - 24 November) 2005 Palais des Beaux-Arts, Brussels, Belgium. Jeux de Dames, curated by Lynne Cooke. 2004 Centro Andaluz de Arte Contemporaneo, Sevilla, Spain. Videos 1972-1981. (24 February – 16 May) 2003 Badischer Kunstverein, Karlsruhe, Germany. Videos 1972-1981. (21 June – 31 August) 2002 Galerie Nelson, Paris, France. Xavier Hufkens, Brussels, Belgium. 2001 Galleria Tucci Russo, Turin, Italy. Lili Dujourie. (13 October 2001 – 10 February 2002) Internationales Kunstzentrum Ostbelgien, Eupen, Belgium. Lili Dujourie: Ausgewählte Werke. 1999 Galerie Xavier Hufkens, Brussels, Belgium. Photographs on Canvas (Untitled, 1979 and 1983). 1998 Kunstverein München, Munich, Germany. Frühe Werke 1969-83. 1997 Lisson Gallery, London, England. (4 May – 4 July) 1996 Galerie Xavier Hufkens, Brussels, Belgium. 1993 Galerie Nelson, Paris, France. 1992 Louver Gallery, New York, NY. -
Self-Portraits and Gravity Bodies
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-13-2019 Self-Portraits and Gravity Bodies Tim Foley CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/489 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Self-Portraits and Gravity Bodies by Tim Foley Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Photography, Hunter College The City University of New York 2019 Thesis Sponsor: May 13, 2019 Susan Crile Date Signature May 13, 2019 Joel Carreiro Date Signature of Second Reader 2 Table of Contents I. List of Illustrations 3 II. Abstract 4 III. Thesis i. Introduction 5 ii. Section 1 6 iii. Section 2 10 iv. Section 3 12 v. Section 4 16 vi. Section 5 20 vii. Conclusion 25 IV. Bibliography 27 V. Thesis exhibition work list 28 VI. Thesis exhibition images 29 3 List of Illustrations Figure 1, “Untitled (Gravity Act #2)” (video stills), 2019, multichannel video, 8 min 40 sec 6 Figure 2, “I AM A FAGGOT” (video stills), 2018, digital video, 11 min 31 sec 8 Figure 3, Francesca Woodman, “House 3, Providence, Rhode Island,” 1976, 12 gelatin silver print on paper, 5.67 x 5.67 in Figure 4, Francesca Woodman, “Untitled, Providence, Rhode Island,” 1976, 12 gelatin silver print on paper, 5.67 x 5.67 in Figure 5, Ana Mendieta, -
Francesca Woodman: Becoming-Woman, Becoming-Imperceptible, Becoming-A-Subject-In-Wonder
Francesca Woodman: becoming-woman, becoming-imperceptible, becoming-a-subject-in-wonder Lone Bertelsen ‘Luminous Shadows’ and Photographic ‘Air’ (Fig. 1) Francesca Woodman, Untitled, Rome, Italy, 1977-78. Courtesy George and Betty Woodman. The figures in Francesca Woodman’s photographs often leave the ground, and the photographs themselves seem strangely ungrounded. Both the figures and the photographs themselves are mobilised: they become ‘trans- situational’ (Massumi, 2002: 217) and open up towards ‘a new space-time’ (Irigaray, 1993a: 75). As part of this mobilised opening, Woodman often camouflages the body and/or moves it in front of the lens during exposure. Chris Townsend points out that the effect of Woodman’s ‘movement’/‘camouflage’ is neither to make “woman” invisible nor to make the female body disappear (Townsend, 1999: 34 and 2006: 8 and 43). Woodman’s photographs are much more creative than that. I would suggest that many of Woodman’s photographs make visible her ‘luminous shadow’ (Barthes, 1982: 110). In doing so, they ‘render visible’ a woman of the future – a ‘becoming-woman’ (Deleuze and Guattari, 1987: 342 and 275). [1] In Camera Lucida, Roland Barthes stresses the importance of the body’s ‘luminous shadow’. He relates this shadow to a photographic ‘air’. This ‘air’ is necessary to the ‘life’ of the photograph: ...the air is the luminous shadow which accompanies the body; and if the photographer fails to show this air, then the body moves without a shadow, and once this shadow is severed, as in the myth of the Woman without a Shadow, there remains no more than a sterile body. -
Fall 2019 Rizzoli Fall 2019
I SBN 978-0-8478-6740-0 9 780847 867400 FALL 2019 RIZZOLI FALL 2019 Smith Street Books FA19 cover INSIDE LEFT_FULL SIZE_REV Yeezy.qxp_Layout 1 2/27/19 3:25 PM Page 1 TABLE OF CONTENTS RIZZOLI Marie-Hélène de Taillac . .48 5D . .65 100 Dream Cars . .31 Minä Perhonen . .61 Achille Salvagni . .55 Missoni . .49 Adrian: Hollywood Designer . .37 Morphosis . .52 Aēsop . .39 Musings on Fashion & Style . .35 Alexander Ponomarev . .68 The New Elegance . .47 America’s Great Mountain Trails . .24 No Place Like Home . .21 Arakawa: Diagrams for the Imagination . .58 Nyoman Masriadi . .69 The Art of the Host . .17 On Style . .7 Ashley Longshore . .43 Parfums Schiaparelli . .36 Asian Bohemian Chic . .66 Pecans . .40 Bejeweled . .50 Persona . .22 The Bisazza Foundation . .64 Phoenix . .42 A Book Lover’s Guide to New York . .101 Pierre Yovanovitch . .53 Bricks and Brownstone . .20 Portraits of a Master’s Heart For a Silent Dreamland . .69 Broken Nature . .88 Renewing Tradition . .46 Bvlgari . .70 Richard Diebenkorn . .14 California Romantica . .20 Rick Owens Fashion . .8 Climbing Rock . .30 Rooms with a History . .16 Craig McDean: Manual . .18 Sailing America . .25 David Yarrow Photography . .5 Shio Kusaka . .59 Def Jam . .101 Skrebneski Documented . .36 The Dior Sessions . .50 Southern Hospitality at Home . .28 DJ Khaled . .9 The Style of Movement . .23 Eataly: All About Dolci . .40 Team Penske . .60 Eden Revisited . .56 Together Forever . .32 Elemental: The Interior Designs of Fiona Barratt Campbell .26 Travel with Me Forever . .38 English Gardens . .13 Ultimate Cars . .71 English House Style from the Archives of Country Life . -
2008-09-09 BEELDHOUWKUNST ENGDEF.Indd
Made by Sculptors? Forms of sculpture today Johan Pas Prologue It is the year 3073. The crew of a space ship from the planet XXX sets foot on Luna, the uninhabited sister of Sculpture the planet Terra. They find just a single interesting trace of civilisation: an anthropomorphic statuette in alumi- nium, 1.91 cm thick and 8.89 cm long, next to a me- is what you tal plate with an inscription in indecipherable lettering. After years of study, the object is identified as Fallen Astronaut (1971) by the Flemish artist Paul Van Hoe- bump into ydonck (°1925). This bewildering discovery prompts a new paradigm in art history. Contrary to a widely held belief that had endured for centuries, Flanders was not when you a nation of painters at the end of the twentieth century, but a nation of sculptors. The title of this themed edition of OKV is based on an back up to see exhibition entitled Door beeldhouwers gemaakt (Made by Sculptors) held exactly thirty years ago in the Ste- delijk Museum Amsterdam. Back then, this landmark a painting. exhibition offered an appraisal of the �post-minimalis- tic�, �post-conceptual� and �anti-form� sculpture of the (Barnett Newman) 1970s and, in particular, attempted to identify the trans- boundary aspects of this three-dimensional art. Not one Belgian artist was represented at the exhibition. Thanks to the presence of top internationals such as Carl Andre, Richard Serra and Joseph Beuys, the exhibition made a lasting impression on the young Flemish artist Paul Gees (°1949). A good thirty years later, and the world of art has changed radically. -
The Woodmans, the Haunting Story of Late Photographer Francesca Woodman and Her Family, Premieres on Pbs’S Independent Lens on Thursday, December 22, 2011
FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar, ITVS 415-356-8383 x 244 [email protected] Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] For downloadable images, visit http://pressroom.pbs.org THE WOODMANS, THE HAUNTING STORY OF LATE PHOTOGRAPHER FRANCESCA WOODMAN AND HER FAMILY, PREMIERES ON PBS’S INDEPENDENT LENS ON THURSDAY, DECEMBER 22, 2011 (San Francisco, CA) — The Woodmans is a fascinating, unflinching portrait of the late photographer Francesca Woodman, told through the young artist’s provocative work and remarkably candid interviews with her parents, who have continued their own artistic careers while watching Francesca’s professional reputation eclipse their own. With unrestricted access to all of Francesca’s photographs, private diaries, and experimental videos, The Woodmans traces the story of an unforgettable family broken and then healed by their art. Produced and directed by C. Scott Willis, The Woodmans will premiere on the Emmy® Award-winning PBS series Independent Lens on Thursday, December 22, 2011 at 10 PM (check local listings). Francesca Woodman, born in 1958, was the daughter of artists George and Betty Woodman. She and her brother Charles grew up psychically and physically immersed in art, eating from plates that Betty made and surrounded by George’s paintings. In the Woodman household, art was life’s guiding principle and something that required constant, committed work. Inevitably, the children began to create art of their own. Precocious and uncommonly determined, Francesca left home on her own initiative for boarding school, where she discovered and fell in love with photography.