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Robert Rauschenberg and James Rosenquist Graphics Rosenquist
RAUSCHENBERG PAST POP: ROBERT RAUSCHENBERG AND JAMES ROSENQUIST GRAPHICS ROSENQUIST KEAN UNIVERSITY !CKNOWLEDGEMENTS We would like to recognize the many individuals and institutions who generously provided assistance in this process. Bard Graduate Center: Olga Valle Tetkowski; Graebel Movers International Inc.: Jim Wilderotter; Kean University: Dr. Dawood Farahi, Holly Logue, John Maso, and Kenneth Kimble; The Montclair Art Museum: Gail Stavitsky and Erica Boyd; The Newark Museum: Amber Woods Germano, Olivia Arnone; O’Hara Gallery: Ruth O’Hara and Lauren Yen; Prudential Insurance Company of America: Carol Skuratofsky and Joseph Sabatino; the Estate of Robert Rauschenberg: Gina C. Guy and Thomas Buehler; James Rosenquist and Beverly Coe at the Rosenquist Studio; Universal Limited Art Editions: Bill Goldston and Marie Allen; The Whitney Museum of American Art: Donna DeSalvo, Barbie Spieler and Matt Heffernan; Visual Artists and Galleries Association (VAGA): Robert Panzer and Kimberly Tishler. Rich Russo for the photographs of prints in the Kean and Prudential collections. Special thanks to Barbara Burn for her remarkable editing ability and unique kindness. Without her diligence, this catalog would not have been possible. Copyright © 2009 by Kean University, Union, New Jersey Catalog essay, Past Pop: Robert Rauschenberg and James Rosenquist Graphics of the 1970s © 2009 Lewis Kachur All rights reserved. No part of this book may be reproduced in any form including electronic or mechanical means, photocopying, information storage and retrieval systems, except in the case of brief extracts for the purpose of critical articles and reviews, without permission in writing from Kean University. Art © James Rosenquist /Licensed by VAGA, New York, NY Art © Estate of Robert Rauschenberg/Licensed by VAGA, New York, NY U.L.A.E. -
CCAR Journal the Reform Jewish Quarterly
CCAR Journal The Reform Jewish Quarterly Halachah and Reform Judaism Contents FROM THE EDITOR At the Gates — ohrgJc: The Redemption of Halachah . 1 A. Brian Stoller, Guest Editor ARTICLES HALACHIC THEORY What Do We Mean When We Say, “We Are Not Halachic”? . 9 Leon A. Morris Halachah in Reform Theology from Leo Baeck to Eugene B . Borowitz: Authority, Autonomy, and Covenantal Commandments . 17 Rachel Sabath Beit-Halachmi The CCAR Responsa Committee: A History . 40 Joan S. Friedman Reform Halachah and the Claim of Authority: From Theory to Practice and Back Again . 54 Mark Washofsky Is a Reform Shulchan Aruch Possible? . 74 Alona Lisitsa An Evolving Israeli Reform Judaism: The Roles of Halachah and Civil Religion as Seen in the Writings of the Israel Movement for Progressive Judaism . 92 David Ellenson and Michael Rosen Aggadic Judaism . 113 Edwin Goldberg Spring 2020 i CONTENTS Talmudic Aggadah: Illustrations, Warnings, and Counterarguments to Halachah . 120 Amy Scheinerman Halachah for Hedgehogs: Legal Interpretivism and Reform Philosophy of Halachah . 140 Benjamin C. M. Gurin The Halachic Canon as Literature: Reading for Jewish Ideas and Values . 155 Alyssa M. Gray APPLIED HALACHAH Communal Halachic Decision-Making . 174 Erica Asch Growing More Than Vegetables: A Case Study in the Use of CCAR Responsa in Planting the Tri-Faith Community Garden . 186 Deana Sussman Berezin Yoga as a Jewish Worship Practice: Chukat Hagoyim or Spiritual Innovation? . 200 Liz P. G. Hirsch and Yael Rapport Nursing in Shul: A Halachically Informed Perspective . 208 Michal Loving Can We Say Mourner’s Kaddish in Cases of Miscarriage, Stillbirth, and Nefel? . 215 Jeremy R. -
Greek Sculpture and the Four Elements Art
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Sculpture and the Four Elements Art 7-1-2000 Greek Sculpture and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgs Part of the History of Art, Architecture, and Archaeology Commons Benson, J.L., "Greek Sculpture and the Four Elements [full text, not including figures]" (2000). Greek Sculpture and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgs/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Sculpture and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire About this book This is one part of the first comprehensive study of the development of Greek sculpture and painting with the aim of enriching the usual stylistic-sociological approaches through a serious, disciplined consideration of the basic Greek scientific orientation to the world. This world view, known as the Four Elements Theory, came to specific formulation at the same time as the perfected contrapposto of Polykleitos and a concern with the four root colors in painting (Polygnotos). All these factors are found to be intimately intertwined, for, at this stage of human culture, the spheres of science and art were not so drastically differentiated as in our era. The world of the four elements involved the concepts of polarity and complementarism at every level. -
Winter 2017 Issue
Upcoming Exhibitions WINTER 2018 MORE THAN SELF: LIVING THE VIETNAM WAR Cyclorama RESTORATION UPDATES Physical Updates OLGUITA’S GARDEN Visitor Experiences MIDTOWN ENGAGEMENT Partnerships ATL COLLECTIVE WINTER 2018 WINTER 2017 HISTORY MATTERS . TABLE OF CONTENTS 02–07 22–23 Introduction Kids Creations More than Self: Living the Vietnam War Living the Vietnam than Self: More 08–15 24–27 Exhibition Updates FY17 in Review 16–18 28 Physical Updates Accolades 19 29–33 Midtown Engagement History Makers Cover Image | Boots worn by American soldier in Vietnam War and featured in exhibition, in exhibition, and featured War American soldier in Vietnam by Image worn | Boots Cover 20–21 34–35 Partnerships Operations & Leadership ATLANTA HISTORY CENTER WINTER 2017 NEWSLETTER INTRODUCTION INTRODUCTION History is complex, hopeful, and full of fascinating stories of As I walk through the new spaces of our campus, I think back everyday individuals. The people who have created the story of Atlanta through 91 years of institutional history. We should all be proud and are both remarkable and historic. The Atlanta History Center, has amazed at the achievements and ongoing changes that have taken done a great job of sharing the comprehensive stories of Atlanta, place since a small group of 14 historically minded citizens gathered in MESSAGE our region, and its people to the more than 270,000 individuals we MESSAGE 1926 to found the Atlanta Historical Society, which has since become serve annually. Atlanta History Center. The scope and impact of the Atlanta History Center has expanded As Atlanta’s History Center of today, we understand we must find significantly, and we have reached significant milestones. -
Faqs on the Battle of Atlanta Cyclorama Move
FAQs on Atlanta History Center’s Move Why is The Battle of Atlanta cyclorama painting moving to of The Atlanta History Center? Battle of In July 2014, Mayor Kasim Reed announced the relocation Atlanta and the restoration of this historic Atlanta Cyclorama painting Cyclorama The Battle of Atlanta to the History Center, as part of a 75 Painting year license agreement with the City of Atlanta. Atlanta History Center has the most comprehensive collection of Civil War artifacts at one location in the nation, including the comprehensive exhibition Turning Point: The American Civil War, providing the opportunity to make new connections between the Cyclorama and other artifacts, archival records, photographs, rare books, and contemporary research. As new stewards of the painting, Atlanta History Center provides a unique opportunity to renew one of the city’s most important cultural and historic artifacts. Where will the painting and locomotive be located at the History Center? The Battle of Atlanta painting will be housed in a custom– built, museum-quality environment, in the Lloyd and Mary Ann Whitaker Cyclorama Building, located near the corner of West Paces Ferry Road and Slaton Drive, directly behind Veterans Park, and connected to the Atlanta History Museum atrium through Centennial Olympic Games Museum hallway. The Texas locomotive will be displayed in a 2,000-square-foot glass-fronted gallery connecting Atlanta History Museum with the new cyclorama building. What is the condition of the painting? “Better than you might think,” said Gordon Jones, Atlanta History Center Senior Military Historian and a co-leader of the Cyclorama project team. -
Chemical Unfolding of Protein Domains Induces Shape Change in Programmed Protein Hydrogels
ARTICLE https://doi.org/10.1038/s41467-019-13312-0 OPEN Chemical unfolding of protein domains induces shape change in programmed protein hydrogels Luai R. Khoury1* & Ionel Popa 1* Programmable behavior combined with tailored stiffness and tunable biomechanical response are key requirements for developing successful materials. However, these properties are still an elusive goal for protein-based biomaterials. Here, we use protein-polymer interactions to 1234567890():,; manipulate the stiffness of protein-based hydrogels made from bovine serum albumin (BSA) by using polyelectrolytes such as polyethyleneimine (PEI) and poly-L-lysine (PLL) at various concentrations. This approach confers protein-hydrogels with tunable wide-range stiffness, from ~10–64 kPa, without affecting the protein mechanics and nanostructure. We use the 6-fold increase in stiffness induced by PEI to program BSA hydrogels in various shapes. By utilizing the characteristic protein unfolding we can induce reversible shape-memory behavior of these composite materials using chemical denaturing solutions. The approach demonstrated here, based on protein engineering and polymer reinforcing, may enable the development and investigation of smart biomaterials and extend protein hydrogel capabilities beyond their conventional applications. 1 Department of Physics, University of Wisconsin-Milwaukee, 3135 North Maryland Ave., Milwaukee, WI 53211, USA. *email: [email protected]; [email protected] NATURE COMMUNICATIONS | (2019) 10:5439 | https://doi.org/10.1038/s41467-019-13312-0 | www.nature.com/naturecommunications 1 ARTICLE NATURE COMMUNICATIONS | https://doi.org/10.1038/s41467-019-13312-0 olymer-based hydrogels have found broad applications in domains. Using this interaction between BSA and polymers, in tissue engineering, drug delivery, soft robotics, and combination with the unfolding response of protein domains in P 1,2 actuators , and their viscoelasticity can drive stem cell fate chemical denaturants, we formulate protein-based hydrogels to and activity3. -
Days & Hours for Social Distance Walking Visitor Guidelines Lynden
53 22 D 4 21 8 48 9 38 NORTH 41 3 C 33 34 E 32 46 47 24 45 26 28 14 52 37 12 25 11 19 7 36 20 10 35 2 PARKING 40 39 50 6 5 51 15 17 27 1 44 13 30 18 G 29 16 43 23 PARKING F GARDEN 31 EXIT ENTRANCE BROWN DEER ROAD Lynden Sculpture Garden Visitor Guidelines NO CLIMBING ON SCULPTURE 2145 W. Brown Deer Rd. Do not climb on the sculptures. They are works of art, just as you would find in an indoor art Milwaukee, WI 53217 museum, and are subject to the same issues of deterioration – and they endure the vagaries of our harsh climate. Many of the works have already spent nearly half a century outdoors 414-446-8794 and are quite fragile. Please be gentle with our art. LAKES & POND There is no wading, swimming or fishing allowed in the lakes or pond. Please do not throw For virtual tours of the anything into these bodies of water. VEGETATION & WILDLIFE sculpture collection and Please do not pick our flowers, fruits, or grasses, or climb the trees. We want every visitor to be able to enjoy the same views you have experienced. Protect our wildlife: do not feed, temporary installations, chase or touch fish, ducks, geese, frogs, turtles or other wildlife. visit: lynden.tours WEATHER All visitors must come inside immediately if there is any sign of lightning. PETS Pets are not allowed in the Lynden Sculpture Garden except on designated dog days. -
Artwork for the Allegheny Riverfront Park (Unpublished Statement)
Surface and Form/Shadow and Light: Artwork for the Allegheny Riverfront Park (unpublished statement) Allegheny Riverfront Park, Pittsburgh, Pennsylvania The design of the Allegheny Riverfront Park was the work of a team of five. Members from the landscape architecture firm Michael Van Valkenburgh Associates included: Michael Van Valkenburgh (principal-in-charge), Matthew Urbanski (project designer), and Laura Solano (project manager). Ann Hamilton (lead artist) and I were the two artists on the team. Working together, we five shared all aspects of designing the park - shaping its overall form, space and circulation patterns, and determining the character of its textures and materials. While each of us brought distinctive sensibilities and varied expertise to these considerations, the nature of our process makes it difficult to point anywhere in particular and claim, "Here is the landscape and there is the art." We all agreed that the park would physically embrace both its natural and urban site conditions, so we placed the lower park not just beside the Allegheny River, but also in and over the water’s edge. Even the flow of cars and trucks streaming along the Tenth Street Bypass remains integral to the landscape. And just as the landscape directly engages its urban/natural context, so our artwork weaves into the structure and fabric of the place. The art, rather than standing apart as an independent experience, contributes a palpably human scale and dimension to the place as a whole. Both in space and through time art and park reinforce one another as a singular system of natural/cultural encounters. Streets in Pittsburgh run along ridges. -
Hollywood Panorama
Hollywood Panorama Karen Pinkus On a rundown strip of Hollywood Open limited hours for a small its interim use as a travel agency, Boulevard, at the confluence of two suggested donation, it bore an when Velas moved in, a worn sign neighborhoods recently baptized uncanny resemblance to those (prin- with a golden crown still enticed Thai Town and Little Armenia, the cipally European) nineteenth-century passing drivers to stop for pizza and artist Sara Velas rented an abandoned structures that housed a succession ice cream. fast-food stand with a domed ceiling of proto-cinematic spectacles. The As an icon of local “exotica,” the in 2001, and painted a 360-degree rhetoric, typography and imagery Rotunda had long served as a land- panorama titled Valley of the Smokes. adapted by Velas also referred to mark for motorists. Yet, despite its For about three years, until 2004 this strangely “democratic” period visual prominence, its milieu typified when she lost her lease to a proposed of peepshows, magic lanterns, zoe- the largely bypassed nature of East redevelopment, the “Velaslavasay tropes, and other visual marvels. Hollywood. Adjacent land was par- Panorama” stood as a found object in The building that accommodated tially filled with weeds and rusted car the landscape of Hollywood. Velas’s Panorama, the former South parts. A prop rental agency—Jose’s Seas-themed Tswuun-Tswuun Art Yard—occupied another part of Rotunda, provided an unusual com- the property, displaying Aztec gods plement. Built in 1968 in the exuber- and Rococo fountains cast in plaster. Above: The former site of the Velaslavasay Panorama ant Googie style, it was roofed with Behind was a rather down-and-out at 5553 Hollywood Boulevard. -
A 'Proper Point of View'
A ‘Proper Point of View’: the panorama and some of its early media iterations Early Popular Visual Culture, 9:3, 225-238 (2011) William Uricchio MIT & Utrecht University Abstract: The panorama entered the world not as a visual format but as a claim: to lure viewers into seeing in a particular way. Robert Barker’s 1781 patent for a 360-degree painting emphasized the construction of a ‘proper point of view’ as a means of making the viewer ‘feel as if really on the spot.’ This situating strategy would, over the following centuries, take many forms, both within the world of the painted panorama and its photographic, magic lantern, and cinematic counterparts. This essay charts some of the unexpected twists and turns of this strategy, exploring among others the moving panorama (both as a parallel development to the cinematic moving picture and as deployed by the film medium as a background to suggest movement) and the relations between the spatial promise of the late 19th century stereoscope and that most populous of early motion picture titles, the panorama. The essay focuses on changing technologies and strategies for achieving Barker’s initial goals, while attending to the implications for the viewer. Drawing from the observations of scholars as diverse as Bentham, Foucault, and Crary, the essay uses the various iterations of the panorama to explore the implications of a particularly rich strand of technologies of seeing. William Uricchio is professor and director of Comparative Media Studies at MIT and professor of Comparative Media History at Utrecht University in the Netherlands. 1 A ‘Proper Point of View’: the panorama and some of its early media iterations1 Early Popular Visual Culture, 9:3, 225-238 (2011) http://dx.doi.org/10.1080/17460654.2011.601165 William Uricchio MIT & Utrecht University 'I don't have eyes in the back of my head….' is a well known expression. -
Panorama Paintings in the 1840S of the Mormon Temple in Nauvoo
BYU Studies Quarterly Volume 22 Issue 2 Article 5 4-1-1982 Panorama Paintings in the 1840s of the Mormon Temple in Nauvoo Joseph Earl Arrington Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Recommended Citation Arrington, Joseph Earl (1982) "Panorama Paintings in the 1840s of the Mormon Temple in Nauvoo," BYU Studies Quarterly: Vol. 22 : Iss. 2 , Article 5. Available at: https://scholarsarchive.byu.edu/byusq/vol22/iss2/5 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Arrington: Panorama Paintings in the 1840s of the Mormon Temple in Nauvoo panorama paintings in the 1840s of the mormon temple in nauvoo joseph earl arrington the national movement of panorama painting in mid nineteenth century america yielded a number of important paintings of the mormon city of nauvoo and its temple there were four major artists who created mississippi river panoramas before 1850 john rowson smith samuel B stockwell leon de Pompomaredearede and henry lewis each of these men painted the upper river where nauvoo is located including scenes of the city and of the mormon temple in their panoramas these were literally moving panoramas the painted canvas was unrolled from one cylinder and rerolled onto another across a stage these panoramas were produced and taken to the people by traveling -
Visitor Attraction Case Study Cyclorama Exhibit - Atlanta History Center Atlanta, Ga
VISITOR ATTRACTION CASE STUDY CYCLORAMA EXHIBIT - ATLANTA HISTORY CENTER ATLANTA, GA THE VISIONARIES CHOICE DIGITAL PROJECTION BRINGS THE PAST TO LIFE AT ATLANTA HISTORY CENTER For historians, researching the past and finding ties to the present is a cherished hobby, job, and duty. This is especially important when dealing with one-of-a- kind artifacts from critical moments in history. For the proud city of Atlanta, understanding and experiencing its past is not just for tourism; it is an integral part of the city’s identity and community. So, when the Atlanta History Center sought to create an engaging, larger-than-life experience for their gigantic Cyclorama exhibit, they relied on Digital Projection to tell the story of this precious painting and lead visitors on a journey back through time. Founded in 1926 to preserve and study the history of the city, the Atlanta Historical Society has spent decades collecting, researching, and publishing informa- tion about Atlanta and the surrounding areas. What began as a small, archival-focused group of historians, has now grown into one of the largest local history museums in the country; the Atlanta History Center – hosting exhibitions on the Civil War, Civil Rights Movement, literary masterpieces from Atlanta-born authors, and Native American culture. With four historic houses, 33 acres of curated gardens, and a multitude of wide-ranging programs and displays, it is one of the must-see tourist destinations in Atlanta. One of their key exhibits is the enormous and jaw-dropping Cyclorama. A HISTORIC MOMENT ON A MASSIVE SCALE Originally created in 1886, the 49ft tall by 371ft wide panoramic painting depicts the famous Battle of Atlanta; a critical moment in the Civil War.