N Ew V Essel P Ress
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Multiplicity: Contemporary Ceramic Sculpture' Exhibition Catalog Anne M Giangiulio, University of Texas at El Paso
University of Texas at El Paso From the SelectedWorks of Anne M. Giangiulio 2006 'Multiplicity: Contemporary Ceramic Sculpture' Exhibition Catalog Anne M Giangiulio, University of Texas at El Paso Available at: https://works.bepress.com/anne_giangiulio/32/ Contemporary Ceramic Sculpture Organized by the Stanlee and Gerald Rubin Center for the Visual Arts at the University of Texas at El Paso This publication accompanies the exhibition Multiplicity: Contemporary Ceramic Sculpture which was organized by the Stanlee and Gerald Rubin Center for the Visual Arts at the University of Texas at El Paso and co-curated by Kate Bonansinga and Vincent Burke. Published by The University of Texas at El Paso El Paso, TX 79968 www.utep.edu/arts Copyright 2006 by the authors, the artists and the University of Texas at El Paso. All rights reserved. No part of this publication may be reproduced in any manner without permission from the University of Texas at El Paso. Exhibition Itinerary Portland Art Center Portland, OR March 2-April 22, 2006 Stanlee and Gerald Rubin Center for the Visual Arts Contemporary Ceramic Sculpture The University of Texas at El Paso El Paso, TX June 29-September 23, 2006 San Angelo Museum of Fine Arts San Angelo, TX April 20-June 24, 2007 Landmark Arts Texas Tech University Lubbock, TX July 6-August 17, 2007 Southwest School of Art and Craft San Antonio, TX September 6-November 7, 2007 The exhibition and its associated programming in El Paso have been generously supported in part by the Andy Warhol Foundation for the Visual Arts and the Texas Commission on the Arts. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Fillia's Futurism Writing, Politics, Gender and Art after the First World War Permalink https://escholarship.org/uc/item/2r47405v Author Baranello, Adriana Marie Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Fillia’s Futurism Writing, Politics, Gender and Art after the First World War A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian By Adriana Marie Baranello 2014 © Copyright by Adriana Marie Baranello 2014 ABSTRACT OF THE DISSERTATION Fillia’s Futurism Writing, Politics, Gender and Art after the First World War By Adriana Marie Baranello Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Lucia Re, Co-Chair Professor Claudio Fogu, Co-Chair Fillia (Luigi Colombo, 1904-1936) is one of the most significant and intriguing protagonists of the Italian futurist avant-garde in the period between the two World Wars, though his body of work has yet to be considered in any depth. My dissertation uses a variety of critical methods (socio-political, historical, philological, narratological and feminist), along with the stylistic analysis and close reading of individual works, to study and assess the importance of Fillia’s literature, theater, art, political activism, and beyond. Far from being derivative and reactionary in form and content, as interwar futurism has often been characterized, Fillia’s works deploy subtler, but no less innovative forms of experimentation. For most of his brief but highly productive life, Fillia lived and worked in Turin, where in the early 1920s he came into contact with Antonio Gramsci and his factory councils. -
Africans: the HISTORY of a CONTINENT, Second Edition
P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 This page intentionally left blank ii P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 africans, second edition Inavast and all-embracing study of Africa, from the origins of mankind to the AIDS epidemic, John Iliffe refocuses its history on the peopling of an environmentally hostilecontinent.Africanshavebeenpioneersstrugglingagainstdiseaseandnature, and their social, economic, and political institutions have been designed to ensure their survival. In the context of medical progress and other twentieth-century innovations, however, the same institutions have bred the most rapid population growth the world has ever seen. The history of the continent is thus a single story binding living Africans to their earliest human ancestors. John Iliffe was Professor of African History at the University of Cambridge and is a Fellow of St. John’s College. He is the author of several books on Africa, including Amodern history of Tanganyika and The African poor: A history,which was awarded the Herskovits Prize of the African Studies Association of the United States. Both books were published by Cambridge University Press. i P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 ii P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 african studies The African Studies Series,founded in 1968 in collaboration with the African Studies Centre of the University of Cambridge, is a prestigious series of monographs and general studies on Africa covering history, anthropology, economics, sociology, and political science. -
VGP) Version 2/5/2009
Vessel General Permit (VGP) Version 2/5/2009 United States Environmental Protection Agency (EPA) National Pollutant Discharge Elimination System (NPDES) VESSEL GENERAL PERMIT FOR DISCHARGES INCIDENTAL TO THE NORMAL OPERATION OF VESSELS (VGP) AUTHORIZATION TO DISCHARGE UNDER THE NATIONAL POLLUTANT DISCHARGE ELIMINATION SYSTEM In compliance with the provisions of the Clean Water Act (CWA), as amended (33 U.S.C. 1251 et seq.), any owner or operator of a vessel being operated in a capacity as a means of transportation who: • Is eligible for permit coverage under Part 1.2; • If required by Part 1.5.1, submits a complete and accurate Notice of Intent (NOI) is authorized to discharge in accordance with the requirements of this permit. General effluent limits for all eligible vessels are given in Part 2. Further vessel class or type specific requirements are given in Part 5 for select vessels and apply in addition to any general effluent limits in Part 2. Specific requirements that apply in individual States and Indian Country Lands are found in Part 6. Definitions of permit-specific terms used in this permit are provided in Appendix A. This permit becomes effective on December 19, 2008 for all jurisdictions except Alaska and Hawaii. This permit and the authorization to discharge expire at midnight, December 19, 2013 i Vessel General Permit (VGP) Version 2/5/2009 Signed and issued this 18th day of December, 2008 William K. Honker, Acting Director Robert W. Varney, Water Quality Protection Division, EPA Region Regional Administrator, EPA Region 1 6 Signed and issued this 18th day of December, 2008 Signed and issued this 18th day of December, Barbara A. -
In Memoriam Frederick Dougla
Central Library of Rochester and Monroe County · Historic Monographs Collection Central Library of Rochester and Monroe County · Historic Monographs Collection CANNOT BE PHOTOCOPIED * Not For Circulation Central Library of Rochester and Monroe County · Historic Monographs Collection / III llllllllllll 3 9077 03100227 5 Central Library of Rochester and Monroe County · Historic Monographs Collection jFrebericfc Bouglass t Central Library of Rochester and Monroe County · Historic Monographs Collection fry ^tty <y /z^ {.CJ24. Central Library of Rochester and Monroe County · Historic Monographs Collection Hn flDemoriam Frederick Douglass ;?v r (f) ^m^JjZ^u To live that freedom, truth and life Might never know eclipse To die, with woman's work and words Aglow upon his lips, To face the foes of human kind Through years of wounds and scars, It is enough ; lead on to find Thy place amid the stars." Mary Lowe Dickinson. PHILADELPHIA: JOHN C YORSTON & CO., Publishers J897 Central Library of Rochester and Monroe County · Historic Monographs Collection Copyright. 1897 & CO. JOHN C. YORSTON Central Library of Rochester and Monroe County · Historic Monographs Collection 73 7^ In WLzmtxtrnm 3fr*r**i]Ch anglais; "I have seen dark hours in my life, and I have seen the darkness gradually disappearing, and the light gradually increasing. One by one, I have seen obstacles removed, errors corrected, prejudices softened, proscriptions relinquished, and my people advancing in all the elements I that make up the sum of general welfare. remember that God reigns in eternity, and that, whatever delays, dis appointments and discouragements may come, truth, justice, liberty and humanity will prevail." Extract from address of Mr. -
Mythology Teachers' Guide
Teachers’ Guide Mythology: The Gods, Heroes, and Monsters of Ancient Greece by Lady Hestia Evans • edited by Dugald A. Steer • illustrated by Nick Harris, Nicki Palin, and David Wyatt • decorative friezes by Helen Ward Age 8 and up • Grade 3 and up ISBN: 978-0-7636-3403-2 $19.99 ($25.00 CAN) ABOUT THE BOOK Mythology purports to be an early nineteenth-century primer on Greek myths written by Lady Hestia Evans. This particular edition is inscribed to Lady Hestia’s friend John Oro, who was embarking on a tour of the sites of ancient Greece. Along his journey, Oro has added his own notes, comments, and drawings in the margins — including mention of his growing obsession with the story of King Midas and a visit to Olympus to make a daring request of Zeus himself. This guide to Mythology is designed to support a creative curriculum and provide opportunities to make links across subjects. The suggested activities help students make connections with and build on their existing knowledge, which may draw from film, computer games, and other popular media as well as books and more traditional sources. We hope that the menu of possibilities presented here will serve as a creative springboard and inspiration for you in your classroom. For your ease of use, the guide is structured to follow the book in a chapter-by-chapter order. However, many of the activities allow teachers to draw on material from several chapters. For instance, the storytelling performance activity outlined in the section “An Introduction to Mythology” could also be used with stories from other chapters. -
Refractory Migrants. Fascist Surveillance on Italians in Australia, 1922-1943
Saggi Refractory Migrants. Fascist Surveillance on Italians in Australia, 1922-1943 Gianfranco Cresciani Ministry for the Arts, New South Wales, Australia There are exiles that gnaw and others that are like consuming fire. There is a heartache for the murdered country… PABLO NERUDA We can never forget what happened to our country and we must always remind those responsible that we know who they are. ELIZABETH RIVERA One of the more salient and frightening aspects of European dictatorships during the Twentieth Century, in their effort to achieve totalitarian control of their societies, was the grassroots surveillance carried out by their state secu- rity organisations, of the plots and machinations of their opponents*. Nobody described better this process of capillary penetration in the minds and condi- tioning of the lives of people living under Communist or Fascist regimes than George Orwell in his book Nineteen Eighty-Four, published in 1949 and warning us on the danger of Newspeak, Doublethink, Big Brother and the Thought Police. However, the process of mass surveillance of refractory sub- jects preceded the rise of totalitarianism. The Ochrana in Tsarist Russia and the Direzione Generale di Pubblica Sicurezza (hereafter DGPS, Directorate- General of Public Safety) in Liberal Italy, to give just two examples, had al- 6 © Edizioni della Fondazione Giovanni Agnelli gennaio-giugno 2004 ready begun this screening practice at the end of the Nineteenth Century1. However, it was in the Twentieth Century that the obsession for pervasive, absolute -
Thomas Heatherwick, Architecture's Showman
Thomas Heatherwick, Architecture’s Showman His giant new structure aims to be an Eiffel Tower for New York. Is it genius or folly? February 26, 2018 | By IAN PARKER Stephen Ross, the seventy-seven-year-old billionaire property developer and the owner of the Miami Dolphins, has a winningly informal, old-school conversational style. On a recent morning in Manhattan, he spoke of the moment, several years ago, when he decided that the plaza of one of his projects, Hudson Yards—a Doha-like cluster of towers on Manhattan’s West Side—needed a magnificent object at its center. He recalled telling him- self, “It has to be big. It has to be monumental.” He went on, “Then I said, ‘O.K. Who are the great sculptors?’ ” (Ross pronounced the word “sculptures.”) Before long, he met with Thomas Heatherwick, the acclaimed British designer of ingenious, if sometimes unworkable, things. Ross told me that there was a presentation, and that he was very impressed by Heatherwick’s “what do you call it—Television? Internet?” An adviser softly said, “PowerPoint?” Ross was in a meeting room at the Time Warner Center, which his company, Related, built and partly owns, and where he lives and works. We had a view of Columbus Circle and Central Park. The room was filled with models of Hudson Yards, which is a mile and a half southwest, between Thirtieth and Thirty-third Streets, and between Tenth Avenue and the West Side Highway. There, Related and its partner, Oxford Properties Group, are partway through erecting the complex, which includes residential space, office space, and a mall—with such stores as Neiman Marcus, Cartier, and Urban Decay, and a Thomas Keller restaurant designed to evoke “Mad Men”—most of it on a platform built over active rail lines. -
Climate Changing: on Artists, Institutions, and the Social Environment
i CLIMATE CHANGING CLIMATE WHY CAN’T YOU TELL ME SCORE WHAT YOU NEED Somewhere our body needs party favors attending sick and resting temperatures times hot unevens twice I ask myself all the time too ward draw pop left under right Just try and squeeze me. Pause. What would you do? Fall down off my feet and try waking tired ex muses Like, you either know I can and work on it with me Or know I can’t and wouldn’t want your baby to go through what I have to go through Over prepared for three nights. Over it all scared for three nights. Tell me the unwell of never been better. Are we still good? Are we still good? TABLE OF CONTENTS Director’s Foreword 4 Johanna Burton A Climate for Changing 6 Lucy I. Zimmerman On Chris Burden’s Wexner Castle 10 Lucy I. Zimmerman Notes on Chris Burden’s Through the Night Softly 15 Pope.L WE LEFT THEM NOTHING 17 Demian DinéYazhi´ Untitled 21 Jibade-Khalil Huffman Scores 1, 3, 13, 23, 27, 50 Park McArthur and Constantina Zavitsanos Questioning Access 25 Advisory Committee Roundtable Discussion Artists in the Exhibition 29 Acknowledgments 47 3 BLANKET (STATEMENT) SCORE Why can’t you just tell me what you need DIRECTOR’S FOREWORD 4 Johanna Burton, Executive Director Opening in the first month of 2021 (or at least set to committee’s roundtable discussion further explores, open then at the time of this writing), Climate Changing: the exhibition intends not to inventory nor propose On Artists, Institutions, and the Social Environment solutions for these considerable challenges, but rather comes at a time of great uncertainty for cultural or- to provide artists a forum for bringing the issues into ganizations. -
Forging a Transcultural Identity As a Russian-American Writer Lara Vapnyar and Cultural Adaptation
Forging a Transcultural Identity as a Russian-American Writer Lara Vapnyar and Cultural Adaptation KAREN L.RYAN ________________________ a ________________________ Introduction ARA V APNYAR is one of a loosely delimited group of Russian-Amer- ican writers who have come to prominence on the North American L literary scene in the last ten to fifteen years, as part of the so-called Fourth Wave of Russian émigrés. Most of these relatively young writers came to the USA or Canada as children or adolescents. In a few cases, they are the children of Third-Wave émigrés, who left the Soviet Union in the 1970s and early 1980s. Although their work is stylistically and generically diverse, they share a predilection for quasi-autobiographical prose and a preoccupation with questions of cultural identity, adaptation and assimilation, and nostalgia. In addition to Vapnyar, this group includes David Bezmozgis (b. 1973), Olga Grushin (b. 1971), Irina Reyn (b. 1974), Gary Shteyngart (b. 1972), and Anya Ulinich (b. 1973). A more extensive roster of Russian anglophone writers would include Mark Budman (b. 1950), Sana Krasikov (b. 1979), and Ellen Litman (b. 1973). Although their originary language1 is Russian, all of these writers have opted to write in English in the North American diaspora.2 Most have acquired their 1 ‘Originary’ here refers to one’s primary language. It is quite possible to have more than one native language, but the originary language is that into which one is born. This terminology is not without its problems, but it captures well the linguistic circum- stances of these Russian-American writers. -
America's Russian-Speaking Jews Come of Age
Toward a Comprehensive Policy Planning for R u s s i a n - Speaking Jews in North America Project Head Jonathan D. Sarna Contributors Dov Maimon, Shmuel Rosner In dealing with Russian-speaking Jews in North America, we face two main challenges and three possible outcomes. CHALLENGES: 1. Consequences of disintegration of the close-knit immigrant society of newly arrived Russian-speaking Jews. 2. Utilizing the special strengths of Russian-speaking Jews for the benefit of the wider American Jewish community. POSSIBLE OUTCOMES: 1. The loss of Jewish identity and rapid assimilation. 2. An adaptation of American-Jewish identity (with the benefits and shortcomings associated with it). 3. A formation of a distinctive Russian-speaking Jewish identity strong enough to be further sustained. There is a 10 to 15-year window of opportunity for intervention with this population. There is also a need to integrate, in a comprehensive manner, organizations to positively intervene in the field. At this preliminary stage, several recommendations stand out as urgent to address this population’s needs: - An effort on a national scale to assist the communities that are home to the majority of Russian-speaking Jews. - Funding for programs that will encourage Russian-speaking Jews to move into Jewish areas. - Special programs to promote in-marriage. - Dialogue mechanisms for Russian-speaking Jews in Israel, the US, Germany, and the Former Soviet Union. - Programs building on Russian-speaking Jews’ sense of peoplehood to bolster ties among all Jews to Israel. - Possible reciprocity between Jewish education and education in science and math for Russian-speaking Jews ("Judaism for math"). -
UNIVERSITY of CALIFORNIA Los Angeles Fillia's Futurism Writing
UNIVERSITY OF CALIFORNIA Los Angeles Fillia’s Futurism Writing, Politics, Gender and Art after the First World War A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian By Adriana Marie Baranello 2014 © Copyright by Adriana Marie Baranello 2014 ABSTRACT OF THE DISSERTATION Fillia’s Futurism Writing, Politics, Gender and Art after the First World War By Adriana Marie Baranello Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Lucia Re, Co-Chair Professor Claudio Fogu, Co-Chair Fillia (Luigi Colombo, 1904-1936) is one of the most significant and intriguing protagonists of the Italian futurist avant-garde in the period between the two World Wars, though his body of work has yet to be considered in any depth. My dissertation uses a variety of critical methods (socio-political, historical, philological, narratological and feminist), along with the stylistic analysis and close reading of individual works, to study and assess the importance of Fillia’s literature, theater, art, political activism, and beyond. Far from being derivative and reactionary in form and content, as interwar futurism has often been characterized, Fillia’s works deploy subtler, but no less innovative forms of experimentation. For most of his brief but highly productive life, Fillia lived and worked in Turin, where in the early 1920s he came into contact with Antonio Gramsci and his factory councils. This led to a period of extreme left-wing communist-futurism. In the mid-1920s, following Marinetti’s lead, Fillia moved toward accommodation with the fascist regime. This shift to the right eventually even led to a phase ii dominated by Catholic mysticism, from which emerged his idiosyncratic and highly original futurist sacred art.