DOCSLIB.ORG

プレスリリース 4 June to 30 September 2016 PRESS KIT

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
プレスリリース 4 June to 30 September 2016 PRESS KIT 13TH EDITION Japan – The Oceans プレスリリース 4 June to 30 September 2016 PRESS KIT EDITORIALS p. 4 Jacques Rocher p. 4 Auguste Coudray p. 6 Cyril Drouhet, Florence Drouhet JAPANESE PHOTOGRAPHY p.10 Guimet Museum p.11 University of Tokyo Museum and university of Lyon p.12 Motoki p.13 Takeyoshi Tanuma p.14 Hiromi Tsuchida p.15 Yukio Ohyama p.16 Kazuma Obara p.17 Takashi Arai p.18 Miho Kajioka p.19 Kiiro p.20 Eriko Koga p.21 Lucille Reyboz p.22 Yoshinori Mizutani p.23 Sohei Nishino p.24 Shoji Ueda THE OCEANS p.26 Paul Nicklen p.27 Daniel Beltrá p.28 Pierre Gleizes p.29 Daesung Lee p.30 Shiho Fukada p.31 Olivier Jobard p.32 Guillaume Herbaut p.33 Anita Conti p.34 Benjamin Deroche and Jean-François Spricigo p.35 Emerging photography p.36 Morbihan photography festival for secondary school pupils p.36 IMAGE SANS FRONTIÈRE collective ENVIRONMENTAL ISSUES p.38 Pascal Maitre p.39 Lianne Milton p.40 Japan as seen by ARTE p.40 Contacts JACQUES ROCHER Festival Founder & Mayor of La Gacilly La Gacilly, a village in images How can a mere village speak to the rest of the world? Why should a village of just 2,200 people be welcoming more than 300,000 visitors each year? These are the sort of questions people ask when they hear reports of the Festival Photo La Gacilly. The answers are simple: - the editorial team, - the quality of the subjects presented, - the harmony between landscape and photographs, - the accessibility of the culture on offer. These are the structural factors that ensure the Festival’s success. In recent years, the Festival Photo La Gacilly has become a key event in enhancing the power of attraction of Brittany, the Morbihan department and the La Gacilly area. It has given a real boost to the local economy. Thanks to its diversity, photography is therefore a vector of local development, bringing positive energies together for the benefit of the local community. The success of a festival of this kind is based on an “alchemy of the possible”, drawing on the support of our partners in the public and private sectors, as well as the teams of artists and technicians involved. I would like to thank all the photographers who have exhibited their work over these 13 years: through their eyes, we are discovering a whole world out there − a world to love and protect. AUGUSTE COUDRAY Festival President The Festival Photo La Gacilly is entering its 13th year. Over time, it has become France’s largest outdoor photography festival, welcoming more than 300,000 visitors each year. For the Morbihan department and the Brittany region, it is a cultural event of structural significance: more than a purely local celebration of photography, it has put La Gacilly-Photo on the map as a destination of national, and indeed international, interest. It is an excellent illustration of the attraction that can be exercised by art, contributing to the global influence of a local area, enabling it to stand out from the crowd, draw people in and establish a unique personality. Thanks to its character and commitment to promoting an ethical form of photography related to the environmental issues of the 21st century, the festival fosters sustainable management and intelligent local development, based on a shared vision and ambition, and, above all, common sense. It makes for greater cohesion among all the actors and visitors it brings together, mobilises and motivates. It creates a sense of belonging and invites people to work for positive outcomes. It is possible to build a different world; change is on the way. Let us give room, time and visibility to those who inform, challenge and encourage us, those who create, innovate, think and build the world of tomorrow in a spirit of respect and solidarity. Let us dare to think big and beautiful, to aim for utopia! Let us be bold with our photography! Enjoy the festival! 4 LA GACILLY PHOTOGRAPHY AT THE HEART OF NATURE 5 CYRIL DROUHET Curator FLORENCE DROUHET Artistic Director Japan, land of photography… …the oceans, nature under threat 人生は風前の灯火の如し “ Life is a candle in the wind” (Japanese proverb) For the 2016 Festival de La Gacilly, we will be continuing our practice of highlighting a country of great photographic vitality and examining an issue bound up with our commitment to the environment, in the hope that mankind and the Earth can arrive at a sustainable relationship. Japan? The Oceans? Two subjects which, as we will see, taken together, answer many of our questions, many of our concerns about the world we will be leaving to our children and to future generations. A tribute to Japanese photography This year, we will be marking the fifth anniversary of a tragic event. Maybe you remember... On Friday 11 March 2011, an earthquake shook the Japanese archipelago, followed a few minutes later by a tsunami which swept away everything in its path. The Fukushima nuclear power station exploded, a major accident that had devastating consequences for Japan, and indeed the rest of the planet. It is a sad irony that it is now 70 years since Japan experienced the destructive power unleashed on Hiroshima and Nagasaki: two atomic bombs which, it is true, brought an end to the Second World War, but also to the whole order of Japanese society. These catastrophes profoundly influenced the work and aesthetic sensitivity of Japanese artists. We therefore thought it vitally important to focus on Japanese photography, too often associated with the photographic industry and global companies such as Canon, Nikon and Fuji. To date, no festival held in France has exhaustively featured the pho- tographic art of this country of 127 million people. Let this not be seen as negligence on the part of Western nations, still less as due to a belief that Japanese photography is of only secondary interest. On the contrary. The reason is without doubt that Japanese society, codes of behaviour and culture are poles apart from our own aesthetic and moral principles. Japan is an island, and it is precisely its insularity that determines its singular character. We know so little about its photography, and yet it teems with highly regarded exponents of the art who, whether or not they have made a name for themselves abroad, stand out on account of their documentary and artistic work, and their rare creativity. It may be difficult to sum up the spirit of Japanese photographers over the years, but one thing is clear: they avoid anything showy, they are more concerned with framing and constructing an image than with emotion, they have a real feeling for light in all its forms, and they aim for a certain kind of beauty and heightened realism. La Gacilly in Japanese mode In this its 13th Festival year, La Gacilly will be transformed for one summer season into a Japanese village. A number of toriis (porticos marking the entrance to Shinto shrines) will be erected in our narrow lanes, zen gardens will be laid out in our open-air galleries, and our streets will be decorated with kakemonos (large scrolls) displaying large-format prints telling the story of Japanese photography. 1868 saw the beginning of the Meiji era, when Japan reluctantly opened its doors after two centuries of isolation. At much the same time, photography was born. With support from the Musée Guimet, a fine institution working to promote knowledge of Asian civilisations, we will be presenting images of another age, of a society that had not yet crossed the threshold of modernity. This was the time of the last samurai, the warrior caste that ruled feudal Japan, and also of the tea ceremony, when kimonos, calligraphy and flower arrangements were all part of a lost art of living. When, in 1945, Emperor Hirohito addressed his subjects directly for the first time in a radio broad- cast, it was to accept the surrender of his country to the United States, and to renounce his divine status − an event which came as a traumatic shock to a population already weakened by war. The Japanese submitted to American occupation and culture; one world had crumbled to make way for another. Takeyoshi Tanuma has recorded this social upheaval for posterity in his photo-reportage. Strongly influenced by Cartier-Bresson, he shows a people undergoing reconstruction: women in 6 traditional dress rubbing shoulders with those who were adopting Western fashions, the first industrial developments, and young people trying to free themselves from stifling convention. We will also be featuring a great heritage photographer: Shoji Ueda, who died at the very end of the last century. He has left us with poetic images which could be straight out of an Ozu film, reflecting his minimalism and predilection for Magritte-type settings. Another key exponent of Japanese photography is Hiromi Tsuchida. Now represented in the world’s leading museums, Tsuchida spent the 1980s and 1990s focusing on the ubiquitous crowds that throng all parts of the archipelago, in which individuals are disappeared into the multitude. He captured these “grains of sand”, as he called them, swept up into our standardised society characterised by frenetic urbanisation and the proliferation of leisure activi- ties. Motoki, for her part, turns her attention to a quintessentially Japanese activity, more a sacred art than sport: sumo, which she has glorified in black and white, poetically conveying the supple body movements of the wrestlers. The fact is that, as a result of the Fukushima catastrophe, in which the wrath of nature was unleashed, the Japanese have discovered the limits of human ability to control the elements.
Load more

Recommended publications
  • A Chinese Graphic Design History in Greater China Since 1979 Wendy Siuyi Wong
    Detachment and Unification: A Chinese Graphic Design History in Greater China Since 1979 Wendy Siuyi Wong The illustrations are identified by the name of Introduction designer, the client or title of the work, the The history of modern Chinese design is virtually unknown due to design category, and the year. The title of the its relatively late development compared to design in the West. Not work is the author’s own title, if an official until recent decades, since the opening up of China in 1979, has a name is cannot found. All woks reprinted with unifying Chinese graphic design history started to form. This was permission of the designer. assisted by China’s rapid economic development and interactions with Hong Kong, Taiwan, and Macau; which, together with main- land China, make up the Greater China region. Traditionally, in academic practice, it was common to separate the investigation of these individual Chinese societies. Matthew Turner, one of the few Western historians to examine Chinese design, notes that the history of Hong Kong design prior to the 1960s “simply was believed not to 1 2 1 Matthew Turner, “Early Modern Design in exist.” Chinese-trained design scholar Shou Zhi Wong emphasizes Hong Kong” in Dennis P. Doordan, ed., that there has been very little written about modern design in main- Design History: An Anthology land China, because design activity under the communists before (Cambridge: MIT Press, 1995), 212. This the start of the Open Door Policy in 1979 was mostly in the service article was first published in Design of party propaganda.3 Both Turner and Wang, as well as Scott Issues, 6:1 (Fall 1989): 79–91; also Matthew Turner, “Development and Minick and Jiao Ping, published their works on Chinese design Transformations in the Discourse of history before a number of key economic and political changes in Design in Hong Kong” in Rajeshwari China and Hong Kong took place.
    [Show full text]
  • Théâtre De L'arlequin Concours D'affiche : L'arlequin Théâtre Ouvert
    Concours d’affiche : l’Arlequin théâtre ouvert. Le théâtre de l’Arlequin va ouvrir ses portes à l’automne 2008. Il est une institution de l’agglomération du Val-d’Orge dans la banlieue sud de Paris. Sa direction a été confiée à BlonBa, structure artistique du Mali également bien implantée en France. Ouvrir le théâtre à tous : le projet de l’Arlequin est tout entier axé autour de l’ouverture du théâ- tre au plus vaste public. En Occident, cet art est en effet souvent vécu comme intimidant, réservé aux élites cultivées. Le théâtre de l’Arlequin travaillera à désintimider des publics potentiels qui « ne se sentent pas chez eux » au théâtre et souvent s’en excluent d’eux-mêmes. La personnalité de l’Arlequin consistera dans l’invention de médiations originales entre les habitants du Val-d’Orge et la création contemporaine ainsi que le développement de liens nouveaux entre le public et la vie artistique : réunions d’information- formation, rencontre avec les associations, une vraie place aux pratiques amateurs et une confrontation de la diversité des expériences. Pas d’uniformité graphique : la communication graphique de l’Arlequin ne visera pas à imposer « une » image de l’institution, mais plutôt à montrer la diversité des sensibilités et des imaginaires qui conduisent à l’art. Nous avons donc souhaité mettre en concours, avec des écoles de graphisme de Belgique, de Chine, de France, d’Italie, de Pologne, du Portugal et de République Tchèque, des propositions diverses autour du projet global de l’Arlequin. Il s’agit de faire une proposition d’affi- che sur le thème de l’ouverture de l’art au plus grand nombre.
    [Show full text]
  • 1 Dossier De Presse Lizá Ramalho & Artur Rebelo / R2
    Dossier de presse Lizá Ramalho & Artur Rebelo / R2 2 Biographie 3 Approche 4 Projets images www.r2design.pt 18 Citations R2 / 21 Articles / Textes publiés sur R2 22 La 3ème dimension de R2 (ou comment la surface aime le volume), Paulo Cunha e Silva 24 Studio R2 : Pionniers du Renouveau, Clara Debailly Lizá Ramalho & Artur Rebelo 26 Breath and Vision, Susanne Schaller 27 [(Life × 2) + 1] 2, Astrid Stravo Dossier de presse 32 Seléction de prix, expositions et articles / éditions de R2 38 Contacts 1 Biographie Lizá Défossez Ramalho (1971, Troyes, France) et Artur Rebelo (1971, Porto, Portugal), diplômés en Design de Communication de la Faculté des Beaux Arts de l’Université de Porto et titulaires d’une maîtrise en Recherche Design de la Faculté des Beaux Arts de l’Université de Barcelone, ont ouvert en 1995, l’atelier R2, basé à Porto. Depuis une vingtaine d’années, R2 collabore avec les institutions culturelles, les artistes, les architectes sur des projets très diversifiés pour la réalisation d’identités visuelles, design éditorial, affiches, design d’expositions, projets de signalétiques et de web et de motion… Un www.r2design.pt parcours de prédilection : ils sont aussi commissaires d’exposition, éditeurs de livres, intervenants de l’espace public avec des installations R2 / propres. Artur Rebelo, détenteur d’un doctorat en Art Contemporain, est aussi chargé de cours à la Faculté des Sciences et Technologie de l’Université de Coimbra, où Lizá Ramalho a également enseigné jusqu’en 2013. Avec une bourse de la Fondation pour la Science et la Technologie, elle finalise actuellement une thèse de doctorat sur l’identité visuelle des Musées d’Art Contemporain, pour la Faculté des Beaux Arts de l’Université de Barcelone.
    [Show full text]
  • IRD-Report.2010
    Annual report 2010 INSTITUT DE RECHERCHE POUR LE DÉVELOPPEMENT Contents Introduction 10 Excellence in research Volcano / Réunion. 04 The IRD around the world 12 Science in the service 05 Editorial of development 06 The IRD in a nutshell 14 Six research Highlights of 2010 programmes 07 Key figures 2010 08 AERES: positive assessment 09 Ethics and quality Annual report 2010 INSTITUT DE RECHERCHE POUR LE DÉVELOPPEMENT 32 AIRD 44 Working 52 Resources 60 Appendices in partnership for research 34 AIRD: mobilising 46 Partnerships around 54 Human resources 62 The IRD’s decision bodies research energies the world 56 Information systems 63 Central services: our gallery 37 Training, innovating, 48 International 64 The research units sharing 57 Shared facilities 50 Overseas France 58 Financial resources 66 IRD addresses world-wide 38 Capacity-building support for Southern scientific communities 40 Innovating with the South 42 Sharing knowledge \ 04 \ 05 Institut de recherche pour le développement The IRD around the world Annual report 2010 Editorial 2010 was a pivotal year for the IRD, as the government published the decree altering its statutes and changing its governance structure. The decree created the post of executive chairman at the head of the Institute and reorganised its management under three major divisions and a Geostrategy and Partnership department. It also gave the agency AIRD1 an official status within the IRD. During the year the IRD confirmed the excellence of its scientific output, often making our assessments jointly with Southern partners. The results of external assessments such as those conducted by AERES2 were also excellent: 85% of the joint research units assessed were given A or A+ grades.
    [Show full text]
  • UNESCO Universal Declaration on Cultural Diversity
    UNESCO Universal Declaration on Cultural Diversity a vision a conceptual platform a pool of ideas for implementation a new paradigm Cultural Diversity Series No. 1 UNESCO Universal Declaration on Cultural Diversity a vision a conceptual platform a pool of ideas for implementation a new paradigm A document for the World Summit on Sustainable Development, Johannesburg, 26 August – 4 September 2002 Cultural Diversity Series No. 1 Cultural Diversity: A Vision “THE CULTURAL WEALTH OF THE WORLD IS ITS DIVERSITY IN DIALOGUE” The UNESCO Universal Declaration on Cultural Diversity was adopted unanimously in a most unusual context. It came in the wake of the events of 11 September 2001, and the UNESCO General Conference, which was meeting for its 31st session, was the first ministerial-level meeting to be held after those terrible events. It was an opportunity for States to reaffirm their conviction that intercultural dialogue is the best guarantee of peace and to reject outright the theory of the inevitable clash of cultures and civilizations. Such a wide-ranging instrument is a first for the international community. It raises cultural diversity to the level of “the common heritage of humanity”, “as necessary for humankind as biodiversity is for nature” and makes its defence an ethical imperative indissociable from respect for the dignity of the individual. The Declaration aims both to preserve cultural diversity as a living, and thus renewable treasure, that must not be perceived as being unchanging heritage but as a process guaranteeing the survival of humanity; and to prevent segregation and fundamentalism which, in the name of cultural differences, would sanctify those differences and so counter the message of the Universal Declaration of Human Rights.
    [Show full text]
  • Senate Select Committee on Regional and Remote Indigenous Communities Represents FOBL‟S Concerns in Relation to This Policy
    [email protected] 0428402929 Submission to the Select Committee on Regional and Remote Indigenous Communities Subject: Indigenous First Languages addressing points 2-4 of the committees mandate May 2009 Friends of Bilingual Learning May 2009 Page 1 To the Select Committee on Regional and Remote Indigenous Communities, Friends of Bilingual Learning are a network of academics, professionals and interested citizens who recognise the importance of first languages in the acquisition of education, identity and human rights. The „Bilingual Learning‟ within our name refers to a society that operates with multiple languages, and subsequently accepts a continual cultural learning throughout life. FOBL formed in June 2008 as a response to members concerns that the above ideals are not being taken seriously in the Northern Territory (NT). Particularly this is seen in the everyday struggle that NT indigenous people experience within our community, evident in disproportionate representation within the health, welfare, and judicial systems. If there is a single reason why this injustice exists it can be found in communication issues that arise from inadequate support of Indigenous languages. A few specific issues that the Select Committee on Regional and Remote Indigenous Communities might consider further are; the lack of NAATI 3&4 level Indigenous language interpreters in the NT for work in health, legal or governance situations; the lack of English to indigenous language dictionaries; and the recent discontinuation of bilingual education in the Northern Territory. This final issue has become FOBL‟s focus since the NT Government introduced its Compulsory Teaching In English For The First Four Hours Of Each School Day policy in October 2008.
    [Show full text]
  • 50 Exhibitions and Workshops
    50 exhibitions and workshops EDITION 45 Opening week from 7 to 13 July Exhibitions from 7 July to 21 September Press kit: April 2014 Press contact: Claudine Colin Communication / Marika Bekier / 28 rue de Sévigné / 75004 Paris [email protected] / www.claudinecolin.com / Tél. +33 (0)1 42 72 60 01 High resolution photographs from the programme are freely available at: http://rencontres-arles.photoshelter.com/gallery-collection / LES-RENCONTRES-DARLES-2014/C000025mop8YeSkc Password: arles2014 The Rencontres d’Arles / 34 rue du Docteur Fanton / BP 30096 / 13632 Arles Cedex [email protected] / www.rencontres-arles.com / Tél. +33 (0)4 90 96 76 06 Private partners: Special support from: Groupe Total, Prix Pictet, Mission du centenaire de la Première Guerre mondiale, Fondation d’entreprise Carac, Leica, Métrobus, Actes Sud, Cercle des mécènes des Rencontres d’Arles, Saif, ADAGP, Fnac. Support from: HSBC France, Air France, Institut de Recherches Historiques du Septentrion (IRHiS), UMR CNRS 8529, Université de Lille 3, INJEP, Le Point, Connaissance des Arts, Réponses Photo, Picto, Central Dupon Images, Janvier, Processus, Circad, Plasticollage, Atelier Alain Gambier, Atelier Voies Off, Orange Logic, ILO interprétariat et traduction. Active collaboration of: musée départemental Arles antique, abbaye de Montmajour, rectorat des académies d’Aix-Marseille, Nice et Montpellier, École nationale supérieure de la photographie d’Arles, IUP d’Arles, Museon Arlaten, musée Réattu, Conseils d’architecture, d’urbanisme et d’environnement 13, 30 et 34, Maison du geste et de l’image, parc naturel régional de Camargue, SNCF, Ligue de l’enseignement, l’Étudiant, INA, TER Provence-Alpes-Côte d'Azur, théâtre d’Arles.
    [Show full text]
  • Graphisme Exhibiting Graphic Design a Uthors En France 2018
    Graphisme en France 2018 Exhibiting Graphic Design AuthorsLise Brosseau Maddalena Dalla Mura Clémence Imbert Jon Sueda Graphisme Graphisme 4 Clémence Imbert “You make it a work of art work” Some thoughts on exhibitions of graphic design 28 Maddalena Dalla Mura The relationship of graphic designers with exhibiting and curating 42 Lise Brosseau Notes on the curatorial practices of graphic designers en France 2018 en France 54 Jon Sueda Exhibitions: Designing, Participating, Curating, Teaching Graphic Desig Graphic Exhibiting n 2 This twenty fourth edition of Graphisme en France addresses the question of exhibitions of graphic design. While these have traditionally been dedicated to posters or to particular graphic designers, the 1990’s saw the emergence of events proposed by curators who were themselves graphic designers. Since then, these curatorial practices have made their appearance in teaching programs and have also been the subject of research programs. The displacement of graphic design — a functional object which is intrinsically exhibited as it is multiple and intended for the widest possible audience — into the context of the museum or the gallery, raises a certain number of questions. These are the issues dealt with in texts by Clémence Imbert, Maddalena Dalla Mura, Lise Brosseau and Jon Sueda. Each one of them has, in recent years, pursued specific research which simultaneously questions the status of objects, display mechanisms and questions of knowledge and transmission that arise from them. These contributions have the intention of nourishing an ongoing thinking that is indicative of the current practices and research around a subject that certainly requires a consolidation of references and resources in order to forge its own history.
    [Show full text]
  • Sbbsdružení Bienále Brno Čtvrtletník Ze Světa Designu / Č. 45 / Únor 2011
    čtvrtletník ze světa designu / č. 45 / únor 2011 SBB vydává Sdružení Bienále Brno, o. s., IČ 188 29 139 / Založeno 1992 / (č. 1–28 Zprávy SBB, od č. 29 SBB) / Neprodejné / Adresa redakce: SBB, Jiráskova tř. 4, Sdružení 602 00 Brno / Editor: doc. Ing. arch. Jan Rajlich, Bienále / T/F: 549 252 807, E: [email protected] / Tisk: Tiskárna Expodata-Didot, Brno-Výstaviště / Brno MK ČR E 17351 / ISSN 1802-4017 / Vyšlo s finanční podporou statutárního města Brna / www.sbb-bienalebrno.cz SBB – redakční uzávěrka 25. 5. 11 Kalendář / nejdůležitější termíny Příště: SBB 46 ► Příloha SBB 45: katalog výstavy Out of Orange (pro členy SBB) 10. 2.>25. 4. 11 – Out of Orange / Absolventské práce studentů Soukromé vyšší školy umění a reklamy Orange Factory Praha 2008–2010 / Brno – h. m. g. d. 63, Galerie HaDivadlo Brno 27. 4. 11, 17 h – vernisáž BRRR NA NĚ! Vizuální HaDe- Světový den grafiky 2011 27. duben vyhlásila ICOGRADA (Mezinárodní rada organizací graf. sign v HaDivadle – místě vizuálního designu! / Studenti ateliéru designu, www.icograda.org) před 18 lety za WORLD GRAPHICS DAY Vizuální design FUD UJEP v Ústí nad Labem / Brno – h. m. g. d. 64, (Světový den grafiky – grafického designu). Sdružení Bienále Brno, Galerie HaDivadlo Brno (>30. 6. 11) které je členskou organizací ICOGRADY, si tento den od počátku zaznamenalo do svého kalendáře a v rámci možností byly každý rok 27. 4. 11 – Světový den grafického designu (pokračování na str. 12) 15. 5.>15. 6. 11 – doručení exponátů na členskou výstavu SBB – Bienále plakátu Lahti FI 10. 6.>25. 9. 11 Vernisáž INTERSECTION v Galerii HaDivadlo Brno 2.
    [Show full text]
  • ARTNEWS Fall 2012 Newsletter of the Sac State Art Department in This Issue
    Volume 2 Issue 1 ARTNEWS Fall 2012 Newsletter of the Sac State Art Department In this issue Chair’s Corner: Dr. Frye Professional 2 Exhibitions I am sitting at the Sleep Train Arena jotting down MA Student 6 some notes. You’ll remem- ber it used to be called Arco Exhibitions Arena. I was wondering what I might have to share Witt Shows 10 with you for this issue of the Art Department Newsletter. It seemed to me that some- Lectures & 18 thing that you might be in- terested in would be how Events the graduates for this se- mester felt as they were Grad Updates 19 Dr. Frye organizing his notes durng the graduation ceremony on December 14, 2012 standing in line getting ready to go through one of our rites of passage ceremonies – graduation. I figured you would be interested because you will Student Clubs 20 soon go through this ritual, too. As I walked into the hallway where all graduates for Arts and Letters were waiting, I saw the Art students in small groups that loosely formed a line. They were beaming with anticipation of what they Faculty 21 would soon be doing. As they were standing there engulfed in pleasant conversation with each other, Updates I interjected and ask, “What does it feel like to be graduating?” Cindy replies, “I finally made it! Holey Moley! It’s all about the journey.” Outside 29 Celso, “Freedom! Maybe a little naive. Excited to do things with my degree!” Academia Nayeli, “I did it! I finally did it! What a great accomplishment!” Will, “Finally! I’m happy that I’m graduating!” Amanda, “I am so happy and proud to be
    [Show full text]
  • Pk LA GACILLY 2018.Pdf
    PRESS KIT 15TH EDITION QUESTION TIME FOR EARTH 2 JUNE TO 30 SEPTEMBER 2018 INTRO A HYMN TO THE EARTH THE POETRY OF NATURE THE LAND OF MEN AN EXPLOITED PLANET PLUS... ImaGE SANS FRONTIÈRE EMERGING PHOTOGRAPHY LE MORBIHAN SCHOOL PHOTO FESTIVAL 4 INTRODUCTION JACQUES ROCHER Festival founder & Mayor of La Gacilly This year marks La Gacilly Photo Festival’s 15W birthday. Over this time, it has won a significant place in the world of photography, both in France and internationally. Its founding principle is as relevant as ever: to express, through a camera lens, the major environmental and social issues which arise Over 15 years, La Gacilly has welcomed 3.3 million people, proving – if proof were needed – that culture attracts visitors to rural regions. • It goes without saying that we owe this success to the talents of more than 300 international photographers whom we have exhibited over a decade and a half. • We also owe a debt of gratitude to our public sector partners the French Ministry of Culture, Brittany Regional Council, Le Morbihan Departmental Council, the Brocéliande Western Local Authorities Partnership, and La Gacilly Local Authority. • We are also grateful to private sector partners who have offered us financial and technical support. • Finally, we owe no less of our success to the team working at the Festival and at La Gacilly Local Authority. Our 15th Festival also marks a step forward in our international deve- lopment as we inaugurate our first ever La Gacilly-Baden Photo Fes- tival in the town of Baden, Austria. We are proud to be proving that culture helps to foster relationships and kinship between different communities.
    [Show full text]
  • Collection of the Center for the Study of Political Graphics
    http://oac.cdlib.org/findaid/ark:/13030/c8959k7m No online items Collection of the Center for the Study of Political Graphics Center for the Study of Political Graphics 3916 Sepulveda Blvd. Suite 103 Culver City, California 90230 (310) 397-3100 [email protected] http://www.politicalgraphics.org/ 2020 Collection of the Center for the See Acquisition Information 1 Study of Political Graphics Descriptive Summary Title: Collection of the Center for the Study of Political Graphics Dates: 1900- ; bulk 1960- Collection Number: See Acquisition Information Creator/Collector: Multiple creators Extent: 330 flat files Repository: Center for the Study of Political Graphics Culver City, California 90230 Abstract: The collection of the Center for the Study of Political Graphics (CSPG) contains over 90,000 domestic and international political posters and prints relating to historical and contemporary movements for social change. The finding aid represents the collection in its entirety. Language of Material: English Access The CSPG collection is open for research by appointment only during the Center's operating hours. Publication Rights CSPG does not hold copyright for any items in the collection. CSPG provides access to the materials for educational and research purposes only. Users are responsible for obtaining all necessary permissions for use. Preferred Citation [Identification of item], Collection of the Center for the Study of Political Graphics (CSPG). Acquisition Information CSPG acquires 3,000 to 5,000 items annually, primarily through donations. Each acquisition is assigned a unique acquisition number and is written on individual items before these are sorted and filed by topic. Scope and Content of Collection The collection represents diverse social and political movements.
    [Show full text]