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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. -
WOMEN and MIGRATION Women and Migration: Responses in Art and History
WOMEN AND MIGRATION Women and Migration: Responses in Art and History Edited by Deborah Willis, Ellyn Toscano and Kalia Brooks Nelson https://www.openbookpublishers.com © 2019 Deborah Willis, Ellyn Toscano and Kalia Brooks Nelson Copyright of individual chapters is maintained by the chapters’ authors. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Deborah Willis, Ellyn Toscano and Kalia Brooks Nelson (eds.), Women and Migration: Responses in Art and History. Cambridge, UK: Open Book Publishers, 2019, https://doi. org/10.11647/OBP.0153 In order to access detailed and updated information on the license, please visit, https:// www.openbookpublishers.com/product/840#copyright Further details about CC BY licenses are available at https://creativecommons.org/ licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/840#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. ISBN Paperback: 978-1-78374-565-4 ISBN Hardback: 978-1-78374-566-1 ISBN Digital (PDF): 978-1-78374-567-8 ISBN Digital ebook (epub): 978-1-78374-568-5 ISBN Digital ebook (mobi): 978-1-78374-569-2 ISBN Digital (XML): 978-1-78374-674-3 DOI: 10.11647/OBP.0153 Cover image: Sama Alshaibi, Sabkhat al-Milḥ (Salt Flats) 2014, from the ‘Silsila’ series, Chromogenic print mounted on Diasec, 47' diameter. -
Rapier House, Turnmill Street, London, EC I I'. L.Reruti,E
REDHEADS ADVERTISING LTD. SOMMERVILLE & MILNE 21 Eldon LTD. Square, Newcastle -on -Tyne, 1. 216 Bothwell Street, Glasgow, C.2. Scotland. REX PUBLICITY SERVICE LTD. Director S Manager: J. Bruce Omand. 131-134 New Bond Street, London, W.I. THE W. J. SOUTHCOMBE ADVERTISING Telephone: 'Mayfair 7571. AGENCY LTD. T.Y. Executive: R. C. Granger. 167 Strand, oLndon, W.C.2. Telephone: RIPLEY, PRESTON & CO. LTD. Temple Bar 4273. Ludgate House, 107-111 Fleet Street, Lon- SPOTTISWOODE ADVERTISING LTD. don, E.C.4. Telephone: Central 8672. 34 Brook Street, London, W.1. Telephone: T.V. Executive: Walter A. Clare. Hyde Park 1221 MAX RITSON & PARTNERS LTD. T.I Lxecutive: W. J. Barter. 33 Henrietta Street, London, W.C.2. Tele- HENRY SQUIRE & CO. LTD. phone: Temple Bar 3861. Canada House, Norfolk Street, London, W.C. T.V. Executive: Roy G. Clark. 2. Telephone: Temple Bar 9093. ROE TELEVISION LTD. I I'. L.reruti,e: S. Windridge. (F. John Roe Ltd.) 20 St. Ann's Square, STEELE'S ADVERTISING SERVICE LTD. Manchester & 73 Grosvenor Street, London, 34 Brook Street, London, W.1. W.1. Telephone: Grosvenor 8228. T.Y. Executives: Graham Roe, Derek J. Roe. STEPHENS ADVERTISING SERVICE LTD. Clarendon House, 11-12 Clifford Street, ROLES & PARKER LTD. New Bond Street, London, W.1. Telephone: Rapier House, Turnmill Street, London, E.C. Hyde Park 1. 1641. Telephone: Clerkenwell 0545. Executive: E. W. R. T.V. Executive: H. T. Parker. Galley. STRAND PUBLICITY LTD. G. S. ROYDS LTD. 10 Stanhope Row, London, W.1. Telephone: 160 Piccadilly, London, W1.. Telephone: Grosvenor 1352. Hyde Park 8238. -
Construction “Closing Date and Time”)
UNCLASSIFIED A2. TITLE A1. DEPARTMENTAL REPRESENTATIVE London Chancery Consolidation Project, United Kingdom A3. SOLICITATION NUMBER A4.PROJECT NUMBER A5.DATE Ms. Jane Bird ARD-LDN-CONST-13094/A B-LDN-135 October 20th, 2013 Project Director (Chancery Consolidation Project) A6. RFPR DOCUMENTS High Commission of Canada 1. Request for Pre-qualification Responses (“RFPR”) title page 2. Submission Requirements and Evaluations (Section “I” – “SR” provisions) Macdonald House, 1 Grosvenor Square 3. General Instructions (Section “II” – “GI” provisions) London, United Kingdom 4. Questionnaire (Section “III” – “Q” provisions) In the event of discrepancies, inconsistencies or ambiguities of the wording of these Telephone : +44 (0) 207 004 6052 documents, the document that appears first on the above list shall prevail. E-mail: [email protected] A7. RESPONSE DELIVERY In order for the Response to be valid, it must be received no later than 14:00 (2:00 pm) EST on November 15th 2013 (Ottawa, Ontario, Canada) (“Closing Date” or Construction “Closing Date and Time”). Best Value Evaluation The Response is only to be emailed to the following address; [email protected] Solicitation#: ARD-LDN-CONST-13094/A Respondents should ensure that their name, address, Closing Date, and solicitation PHASE 1 – Pre-qualification number is clearly marked on their email. Failure to comply may result in the Response of a 2-Phase Procurement being declared non-compliant and rejected from further consideration. Process A8. RESPONSE Please note SR2. Respondents must meet mandatory requirements and must obtain a for minimum rating of ‘100’. Up to six (6) Respondents with the highest score will be invited to advance to Phase 2 of the procurement process. -
The Heart of the Empire
The heart of the Empire A self-guided walk along the Strand ww.discoverin w gbrita in.o the stories of our rg lands discovered th cape rough w s alks 2 Contents Introduction 4 Route map 5 Practical information 6 Commentary 8 Credits 30 © The Royal Geographical Society with the Institute of British Geographers, London, 2015 Discovering Britain is a project of the Royal Geographical Society (with IBG) The digital and print maps used for Discovering Britain are licensed to the RGS-IBG from Ordnance Survey Cover image: Detail of South Africa House © Mike jackson RGS-IBG Discovering Britain 3 The heart of the Empire Discover London’s Strand and its imperial connections At its height, Britain’s Empire covered one-quarter of the Earth’s land area and one-third of the world’s population. It was the largest Empire in history. If the Empire’s beating heart was London, then The Strand was one of its major arteries. This mile- long street beside the River Thames was home to some of the Empire’s administrative, legal and commercial functions. The days of Empire are long gone but its legacy remains in the landscape. A walk down this modern London street is a fascinating journey through Britain’s imperial history. This walk was created in 2012 by Mike Jackson and Gary Gray, both Fellows of the Royal Geographical Society (with IBG). It was originally part of a series that explored how our towns and cities have been shaped for many centuries by some of the 206 participating nations in the 2012 Olympic and Paralympic Games. -
The Jubilee Walkway. Section 5 of 5
Transport for London. The Jubilee Walkway. Section 5 of 5. The Jubilee Loop (anti-clockwise). Start and finish: The Jubilee Walkway panel (on the south side of Trafalgar Square). Nearest station: Charing Cross . Section distance: 2 miles (3 kilometres). Introduction. This is a circular walk in the heart of London linking the institutions of The Monarchy and the Government. This section of the Jubilee Walkway connects with section one at Trafalgar Square and at Great George Street. Look out for the Jubilee Walkway discs in the pavement as you go round. Directions. This walk starts from Trafalgar Square. Did you know? Trafalgar Square was laid out in 1840 by Sir Charles Barry, architect of the new Houses of Parliament. The square, which is now a 'World Square', is a place for national rejoicing, celebrations and demonstrations. It is dominated by Nelson's Column with the 18-foot statue of Lord Nelson standing on top of the 171-foot column. It was erected in honour of his victory at Trafalgar. With Trafalgar Square behind you and keeping Canada House on the right, cross Cockspur Street and keep right. Go around the corner, passing the Ugandan High Commission to enter The Mall under the large stone Admiralty Arch - go through the right arch. Keep on the right-hand side of the broad avenue that is The Mall. Did you know? Admiralty Arch is the gateway between The Mall, which extends southwest, and Trafalgar Square to the northeast. The Mall was laid out as an avenue between 1660-1662 as part of Charles II's scheme for St James's Park. -
Defining Women Subjects: Photographs in Trinidad (1860S–1960S)
1 The University of the West Indies Institute for Gender and Development Studies Issue 7 – 2013 Defining Women Subjects: Photographs in Trinidad (1860s–1960s) Roshini Kempadoo ___________________________________________________________________ Abstract This article proposes research methodologies for use in analysing photographs that represent and visualise women subjects of colonial Trinidad. Methodology has been developed on the basis of research undertaken into photographic material of the period in Trinidad from the 1860s to 1960s. The researcher encounters the historical photographs in the present, thus providing insight into the ways in which photographic technologies have visualised Trinidadian women and explores how these practices persist in contemporary visual culture. Photography emerged as a mode of communication for ‘a developing capitalist world order’. No previous economy of visual technologies constituted a world order in the same sense, and it is from within this wider context that we may consider the complex creation, production and circulation of colonial photographs representing the woman figure. Photographic practice at the turn of the twentieth century was a contributive part of the imperial attempt to ‘unify the globe’ and equally became associated with the ‘myth’ of a universality of photographic language (Sekula 1981). Photographic practice contributed to a shift in the continuity of European ideas and thinking about the visualisation of the Other. Colonial photography determined the gendered construction of the colonial woman as subjected to heightened, fetishised, visual scrutiny. Kempadoo, Roshini. 2013. Defining Women Subjects: Photographs in Trinidad (1860s–1960s). CRGS, no. 7, ed. Kamala Kempadoo, Halimah DeShong, and Charmaine Crawford, pp. 1-14. 2 Introduction This article explores techniques and methods of the research process that are considered cornerstones to the analysis of colonial photographs of women. -
Historical Portraits Book
HH Beechwood is proud to be The National Cemetery of Canada and a National Historic Site Life Celebrations ♦ Memorial Services ♦ Funerals ♦ Catered Receptions ♦ Cremations ♦ Urn & Casket Burials ♦ Monuments Beechwood operates on a not-for-profit basis and is not publicly funded. It is unique within the Ottawa community. In choosing Beechwood, many people take comfort in knowing that all funds are used for the maintenance, en- hancement and preservation of this National Historic Site. www.beechwoodottawa.ca 2017- v6 Published by Beechwood, Funeral, Cemetery & Cremation Services Ottawa, ON For all information requests please contact Beechwood, Funeral, Cemetery and Cremation Services 280 Beechwood Avenue, Ottawa ON K1L8A6 24 HOUR ASSISTANCE 613-741-9530 • Toll Free 866-990-9530 • FAX 613-741-8584 [email protected] The contents of this book may be used with the written permission of Beechwood, Funeral, Cemetery & Cremation Services www.beechwoodottawa.ca Owned by The Beechwood Cemetery Foundation and operated by The Beechwood Cemetery Company eechwood, established in 1873, is recognized as one of the most beautiful and historic cemeteries in Canada. It is the final resting place for over 75,000 Canadians from all walks of life, including im- portant politicians such as Governor General Ramon Hnatyshyn and Prime Minister Sir Robert Bor- den, Canadian Forces Veterans, War Dead, RCMP members and everyday Canadian heroes: our families and our loved ones. In late 1980s, Beechwood began producing a small booklet containing brief profiles for several dozen of the more significant and well-known individuals buried here. Since then, the cemetery has grown in national significance and importance, first by becoming the home of the National Military Cemetery of the Canadian Forces in 2001, being recognized as a National Historic Site in 2002 and finally by becoming the home of the RCMP National Memorial Cemetery in 2004. -
Summer 2016 British Sculpture Abroad
British Art Studies Issue 3 – Summer 2016 British Sculpture Abroad, 1945 – 2000 British Art Studies Issue 3, published 4 July 2016 British Sculpture Abroad, 1945 – 2000 Special issue edited by Penelope Curtis and Martina Droth www.britishartstudies.ac.uk Cover image: Simon Starling, Project for a Masquerade (Hiroshima) (film still), 2010–11. 16 mm film transferred to digital (25 minutes, 45 seconds), wooden masks, cast bronze masks, bowler hat, metals stands, suspended mirror, suspended screen, HD projector, media player, and speakers. Dimensions variable. Digital image courtesy of the artist PDF produced on 9 Sep 2016 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. These unique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA http://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut http://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: http://www.britishartstudies.ac.uk Editorial team: http://www.britishartstudies.ac.uk/about/editorial-team Advisory board: http://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. Britishness, Identity, and the Three-Dimensional: British Sculpture Abroad in the 1990s Essay by Courtney J. -
Anton Nikolaev and Nick Glaser
Tensorflow2.0 Question Answering Anton Nikolaev, Nick Glaser ICS 661 - Final Report 1. Introduction applicable, sections from Wikipedia articles Natural language processing (NLP) containing the answer. In contrast to some is one of the domains where the emergence other QA datasets, NQ also provides of deep learning (DL) has had the largest answer candidates for each question as well impact, improving performance across as a context level indicator. The candidates almost the entire spectrum of NLP. contain the indices representing the One of the kinds of problems that are respective start and end tokens for each currently being solved by DL researchers answer. The context indicator is a binary are reading comprehension/ question value that signals whether a given answering (QA) problems. For our project, candidate answer is also contained within we joined a kaggle competition based on a another candidate (nested) or whether it is novel QA dataset provided by Google the only candidate containing the specific Research titled Natural Questions (NQ). Our passage (top-level). This additional goal was to evaluate the performance of information can help improve model some of the current state-of-the-art NLP accuracy after the training stage, but is not architectures on this dataset. traditionally used during training itself. Overall, the entire dataset contains 2. Problem and Dataset about 300,000 training examples as well as The goal of the QA task is just under 8000 test examples that are essentially two-fold: the algorithm is ultimately used to evaluate our model’s provided with a text passage and a performance on kaggle. -
Trafalgar Square Conservation Area Audit 2 Trafalgar Square Conservation Area Audit 3 CONTENTS
TRAFALGAR 18 CONSERVATION AREA AUDIT AREA CONSERVATION SQUARE This conservation area audit is accurate as of the time of publication, February 2003. Until this audit is next revised, amendments to the statutory list made after 19 February 2003 will not be represented on the maps at Figure 7. For up to date information about the listing status of buildings in the Trafalgar Square Conservation Area please contact the Council’s South area planning team on 020 7641 2681. This Report is based on a draft prepared by Conservation, Architecture & Planning. Development Planning Services, Department of Planning and City Development City Hall, 64 Victoria Street, London SW1E 6QP www.westminster.gov.uk Document ID No: 1130 PREFACE Since the designation of the first conservation areas in 1967 the City Council has undertaken a comprehensive programme of conservation area designation, extensions and policy development. There area now 53 conservation areas in Westminster, covering 76% of the City. These conservation areas are the subject of detailed policies in the Unitary Development Plan and in Supplementary Planning Guidance. In addition to the basic activity of designation and the formulation of general policy, the City Council is required to undertake conservation area appraisals and to devise local policies in order to protect the unique character of each area. Although this process was first undertaken with the various designation reports, more recent national guidance (as found in Planning Policy Guidance Note 15 and the English Heritage Conservation Area Practice and Conservation Area Appraisal documents) requires detailed appraisals of each conservation area in the form of formally approved and published documents. -
The World Bank Art Program
Lead sponsor and organizer: The World Bank Art Program To celebrate the role that artists play in the economic and social development of Latin America and the Caribbean region, the World Bank Art Program conceived About Change, a program of exhibitions of contemporary visual arts organized in collaboration with the Cultural Center of the Inter-American Development Bank (IADB) and the Art Museum of the Americas, Organization of American States (OAS). The exhibitions include artworks selected during an open Call for Entries (January- CONTENTS April 2010) as well as a small selection from the permanent collections of the partners. Works chosen during the open Call for Entries are by contemporary Lead sponsor and organizer: The World Bank Art Program visual artists from all member states in the region. The exhibitions provide a comprehensive overview of current artistic spheres and specialties. The categories of visual art for About Change are the following: fine arts (painting, sculpture, drawing, video, printmaking, photography, mixed media, video art, experimental film and digital animation); decorative arts, including design (product design, graphic design, textile and fashion design); and folk art (popular art, indigenous art and craft). The Project Committee, appointed and led by the World Bank Art Program, was in charge of the Call for Entries and the curatorial decisions related to the individual exhibitions. Wrestling with the Image is part of the About Change program. Project Committee members: Marina Galvani (The World Bank Art Program, Manager and Curator; Chair of the Curatorial Committee) Felix Angel (IADB Cultural Center, General Coordinator and Curator, Washington DC) Clara Astiasarán (Independent Curator, Costa Rica) Christopher Cozier (Artist and Independent Curator, Trinidad and Tobago) Evangelina Elizondo (The World Bank Art Program, Artist / Assistant Curator) Edgar Endress (Artist and Independent Curator, Chile) Tatiana Flores Ph.D.