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Environment: the Human Impact. Selections From
DOCUMENT RESUME ED 077 705 SE 016 155 'AUTHOR Amidei, Rosemary E., Comp. TITLE Environment: The'Human Impact: Selections from "The Science Teacher." INSTITUTION National Science Teachers Assoctation, Washington, D.C. .-PUB DATE 73 NOTE 259p. AVAILABLE FROMNSTA, 1201 Sixteenth Street, N.W., Washington, C.C. 20036 ($5.00 Stock No. 471-14644) EDRS PRICE MF-$0.65 HC Not Available from EDRS. DESCRIPTORS AnthOlogies; *Ecology; *Environment; *Environmental Education;. *Essays; *Humanization; Natural Pesdur6es; Problem Solving; Secondary Grades ABSTRACT Selections from "The Science Teacher" magazine, appearing generally between January 1970 and May 1972,are offered in this compilation. Articles are divided into four sections:(1) A Point of View--personal perspectives on the nature andscope of the environmental problem,(2) Aspects of the Problem--relevant backgrcund material, (3) Environmental_Education--course-descriptions and curricula, (4) Student Activities -- research projects and classroom ideas, and (5) Resources for Curriculum Guiding--book reviews and nctes about other available materials. Subjectcontent is wide-ranging, from ecology, energy and power, pollution andwaste disposal, health, and natural resources to urbanization, population and food supply, transportation, architecture, industrialization, and technology. The 66 articles present a variety of viewpoints about causes and solutions to environmental situations and problems and illustrate a variety of approaches that science teachers at the secondary level are using to increase student awareness of the dilemmas and some of the choices that face society today. (EL) , PERMISSION TO REPRODUCE THIS cr`-" COPYRIGHTED MATERIAL BY MICRO. FICHE ONLY HAS BEEN GRANTED BY . t' TO ERICST AND ORGANIZATIONS OEERAT INGUNDER AGREEMENTS WITH THE NA TIONAL INSTITUTE OF EDUCATION FURTHER REPRODUCTION OUTSIDE THE ERIC SYSTEM REQUIRES PERMIT. -
Affective Temporalities in Gob Squad’S Kitchen (You’Ve Never Had It So Good)
56 ANA PAIS AFFECTIVE TEMPORALITIES IN GOB SQUAD’S KITCHEN (YOU’VE NEVER HAD IT SO GOOD) In this article I will be drawing upon affect theory to unpack issues of authenticity, mediation, participation in the production Gob Squads’s Kitchen, by Gob Squad. English/German collective reconstructed Andy Warhol’s early film Kitchen, shot 47 years before, in the flamboyant Factory, starring ephemeral celebrities such as Eve Sedgwick. Alongside Eat (1964), Sleep (1963) and Screen Test (1964-66). Although it premièred in Berlin, in 2007, the show has been touring in several countries and, in 2012, it received the New York Drama Desk Award for Unique Theatrical Experience.I will be examining how the production’s spatial dispositive creates a mediated intimacy that generates affective temporalities and how their performativity allows us to think of the audience as actively engaged in an affective resonance with the stage. Intimacy creates worlds (Berlant 2000). It brings audience and performer closer not only to each other but also to the shifting moment of Performance Art’s capture by institutional discourses and market value. Unleashing affective temporalities allows the audience to embody its potency, to be, again, “at the beginning”.Drawing upon André Lepecki’s notion of reenactments as activations of creative possibilities, I will be suggesting that Gob Squads’s Kitchen merges past and present by disclosing accumulated affects, promises and deceptions attached to the thrilling period of the sixties in order to reperform a possibility of a new beginning at the heart of a nowthen time. In conclusion, this article will shed new light on the performative possibilities of affect to surmount theatrical separation and weave intensive attachments. -
An Alternative Reading of Warhol's Early Cinema
Nothing/Something: An Alternative Reading of Warhol’s Early Cinema by James Anthony Chamberlain Nothing/Something nothing, pron., and n. 1. Not any (material or immaterial) thing; nought. 2. No part, share, or quantity of a thing; no aspect, evidence, or quality of a thing or person. 3. Not anything, or anybody, of importance, significance, value, or concern; something or somebody of no importance, etc. 4. That which is not any number or quantity; a figure or character representing this; zero. 5. a. That which has no existence or being; nothingness. b. That which no longer exists; a person who or thing which has been extinguished or destroyed. c. to nothing: to the final point, stage, or state of a process of reduction, destruction, dissolution, etc. 6. a. A thing of no importance, value, or concern; a non-existent thing; a trifling event. b. A trivial remark. c. An insignificant person; a nobody. 7. Triviality, worthlessness, insignificance. 8. In predicative use: that which cannot be denominated; spec. a person of no religious denomination. something, n. (a.) 1. a. Some unspecified or indeterminate thing (material or immaterial). b. Used as a substitute for a name or part of one, or other particular, which is not remembered or is immaterial, etc. c. Some liquor, drink, or food; esp. in phr. to take something. d. Used (with between) to denote an intermediate stage or grade. e. Used to denote an undefined or unknown occupation, or a person in respect of this. f. or something (colloq.), used to express an indistinct or unknown alternative. -
NO RAMBLING ON: the LISTLESS COWBOYS of HORSE Jon Davies
WARHOL pages_BFI 25/06/2013 10:57 Page 108 If Andy Warhol’s queer cinema of the 1960s allowed for a flourishing of newly articulated sexual and gender possibilities, it also fostered a performative dichotomy: those who command the voice and those who do not. Many of his sound films stage a dynamic of stoicism and loquaciousness that produces a complex and compelling web of power and desire. The artist has summed the binary up succinctly: ‘Talk ers are doing something. Beaut ies are being something’ 1 and, as Viva explained about this tendency in reference to Warhol’s 1968 Lonesome Cowboys : ‘Men seem to have trouble doing these nonscript things. It’s a natural 5_ 10 2 for women and fags – they ramble on. But straight men can’t.’ The brilliant writer and progenitor of the Theatre of the Ridiculous Ronald Tavel’s first two films as scenarist for Warhol are paradigmatic in this regard: Screen Test #1 and Screen Test #2 (both 1965). In Screen Test #1 , the performer, Warhol’s then lover Philip Fagan, is completely closed off to Tavel’s attempts at spurring him to act out and to reveal himself. 3 According to Tavel, he was so up-tight. He just crawled into himself, and the more I asked him, the more up-tight he became and less was recorded on film, and, so, I got more personal about touchy things, which became the principle for me for the next six months. 4 When Tavel turned his self-described ‘sadism’ on a true cinematic superstar, however, in Screen Test #2 , the results were extraordinary. -
Warhol, Andy (As Filmmaker) (1928-1987) Andy Warhol
Warhol, Andy (as filmmaker) (1928-1987) Andy Warhol. by David Ehrenstein Image appears under the Creative Commons Encyclopedia Copyright © 2015, glbtq, Inc. Attribution-Share Alike 3.0 Unported license. Entry Copyright © 2002, glbtq, Inc. Courtesy Jack Mitchell. Reprinted from http://www.glbtq.com As a painter Andy Warhol (the name he assumed after moving to New York as a young man) has been compared to everyone from Salvador Dalí to Norman Rockwell. But when it comes to his role as a filmmaker he is generally remembered either for a single film--Sleep (1963)--or for works that he did not actually direct. Born into a blue-collar family in Forest City, Pennsylvania on August 6, 1928, Andrew Warhola, Jr. attended art school at the Carnegie Institute of Technology in Pittsburgh. He moved to New York in 1949, where he changed his name to Andy Warhol and became an international icon of Pop Art. Between 1963 and 1967 Warhol turned out a dizzying number and variety of films involving many different collaborators, but after a 1968 attempt on his life, he retired from active duty behind the camera, becoming a producer/ "presenter" of films, almost all of which were written and directed by Paul Morrissey. Morrissey's Flesh (1968), Trash (1970), and Heat (1972) are estimable works. And Bad (1977), the sole opus of Warhol's lover Jed Johnson, is not bad either. But none of these films can compare to the Warhol films that preceded them, particularly My Hustler (1965), an unprecedented slice of urban gay life; Beauty #2 (1965), the best of the films featuring Edie Sedgwick; The Chelsea Girls (1966), the only experimental film to gain widespread theatrical release; and **** (Four Stars) (1967), the 25-hour long culmination of Warhol's career as a filmmaker. -
Downloads of Technical Information
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 Nuclear Spaces: Simulations of Nuclear Warfare in Film, by the Numbers, and on the Atomic Battlefield Donald J. Kinney Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES NUCLEAR SPACES: SIMULATIONS OF NUCLEAR WARFARE IN FILM, BY THE NUMBERS, AND ON THE ATOMIC BATTLEFIELD By DONALD J KINNEY A Dissertation submitted to the Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2018 Donald J. Kinney defended this dissertation on October 15, 2018. The members of the supervisory committee were: Ronald E. Doel Professor Directing Dissertation Joseph R. Hellweg University Representative Jonathan A. Grant Committee Member Kristine C. Harper Committee Member Guenter Kurt Piehler Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii For Morgan, Nala, Sebastian, Eliza, John, James, and Annette, who all took their turns on watch as I worked. iii ACKNOWLEDGMENTS I would like to thank the members of my committee, Kris Harper, Jonathan Grant, Kurt Piehler, and Joseph Hellweg. I would especially like to thank Ron Doel, without whom none of this would have been possible. It has been a very long road since that afternoon in Powell's City of Books, but Ron made certain that I did not despair. Thank you. iv TABLE OF CONTENTS Abstract..............................................................................................................................................................vii 1. -
California State University, Northridge Exploitation
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE EXPLOITATION, WOMEN AND WARHOL A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Kathleen Frances Burke May 1986 The Thesis of Kathleen Frances Burke is approved: Louise Leyis, M.A. Dianne E. Irwin, Ph.D. r<Iary/ Kenan Ph.D. , Chair California State. University, Northridge ii DEDICATION This thesis is dedicated to Dr. Mary Kenon Breazeale, whose tireless efforts have brought it to fruition. She taught me to "see" and interpret art history in a different way, as a feminist, proving that women's perspectives need not always agree with more traditional views. In addition, I've learned that personal politics does not have to be sacrificed, or compartmentalized in my life, but that it can be joined with a professional career and scholarly discipline. My time as a graduate student with Dr. Breazeale has had a profound effect on my personal life and career, and will continue to do so whatever paths my life travels. For this I will always be grateful. ACKNOWLEDGEMENTS In addition, I would like to acknowledge the other members of my committee: Louise Lewis and Dr. Dianne Irwin. They provided extensive editorial comments which helped me to express my ideas more clearly and succinctly. I would like to thank the six branches of the Glendale iii Public Library and their staffs, in particular: Virginia Barbieri, Claire Crandall, Fleur Osmanson, Nora Goldsmith, Cynthia Carr and Joseph Fuchs. They provided me with materials and research assistance for this project. I would also like to thank the members of my family. -
1 Bufferin Commercial Gary Needham Bufferin Commercial Refers in Its
Bufferin Commercial Gary Needham Bufferin Commercial refers in its title to a widely available brand of aspirin. The film is also typical of some of Warhol’s filmmaking practices in 1966 and, I will argue, anticipates Warhol’s philosophy on relations between business and art. In addition to offering some commentary on this relatively unknown film I also want to use Bufferin Commercial to explore some possible ways to explain and account for those filmmaking practices that Warhol described circa 1966 as being deliberately bad; Warhol pretended to be both incompetent and curious about the process of making films and even made a statement on network television advocating ‘bad camerawork.’1 Bufferin Commercial shouldn’t be confused with the other Bufferin (1966), the portrait film Warhol made in collaboration with Gerard Malanga and the subject of Jean Wainwright’s chapter in this volume. Bufferin Commercial is comprised of two 1200 foot thirty-three minute reels. The first reel is without sound (an unintentional accident) and the second reel has sound. There is some uncertainty surrounding the film’s projection history as being either a single screen 66 minute film, listed as 70 minutes in The Filmmaker’s Cooperative Catalogue No.4 (1967), or a double screen projection that would be 33 minutes in duration.2 It was filmed on Wednesday, 14 December 1966 with two cameras that ran simultaneously, one of them operated by Warhol and the other by Paul Morrissey. Bufferin Commercial’s absence from commentary on Warhol’s films may be due to it being one of the few of his sixties films that was an outside agency commission organised by Richard Frank from the Grey advertising agency in New York on behalf of the pharmaceutical company Bristol-Myers. -
1927/28 - 2007 Гг
© Роман ТАРАСЕНКО. г. Мариуполь 2008г. Украина. [email protected] Лауреаты премии Американской Академии Киноискусства «ОСКАР». 1927/28 - 2007 гг. 1 Содержание Наменование стр Кратко о премии………………………………………………………. 6 1927/28г……………………………………………………………………………. 8 1928/29г……………………………………………………………………………. 9 1929/30г……………………………………………………………………………. 10 1930/31г……………………………………………………………………………. 11 1931/32г……………………………………………………………………………. 12 1932/33г……………………………………………………………………………. 13 1934г……………………………………………………………………………….. 14 1935г……………………………………………………………………………….. 15 1936г……………………………………………………………………………….. 16 1937г……………………………………………………………………………….. 17 1938г……………………………………………………………………………….. 18 1939г……………………………………………………………………………….. 19 1940г……………………………………………………………………………….. 20 1941г……………………………………………………………………………….. 21 1942г……………………………………………………………………………….. 23 1943г……………………………………………………………………………….. 25 1944г……………………………………………………………………………….. 27 1945г……………………………………………………………………………….. 29 1946г……………………………………………………………………………….. 31 1947г……………………………………………………………………………….. 33 1948г……………………………………………………………………………….. 35 1949г……………………………………………………………………………….. 37 1950г……………………………………………………………………………….. 39 1951г……………………………………………………………………………….. 41 2 1952г……………………………………………………………………………….. 43 1953г……………………………………………………………………………….. 45 1954г……………………………………………………………………………….. 47 1955г……………………………………………………………………………….. 49 1956г……………………………………………………………………………….. 51 1957г……………………………………………………………………………….. 53 1958г……………………………………………………………………………….. 54 1959г……………………………………………………………………………….. 55 1960г………………………………………………………………………………. -
2019 Program Bibliography
LAND ARTS OF THE AMERICAN WEST 2019 PROGRAM BIBLIOGRAPHY Abbey, Edward. The Monkey Wrench Gang. Philadelphia: Lippincott, 1975. ________. Desert Solitaire. Tucson: University of Arizona Press, 1988. Abram, David. The Spell of the Sensuous: perception and language in a more-than- human world. New York: Viking, 1997. Abrams, Janet, and Peter Hall (eds.). Else/Where: Mapping. Minneapolis: University of Minnesota Design Institute, 2006. Acconci, Vito & Craig Douglas Dworkin . Language to Cover a Page: the early writings of Vito Acconci. Cambridge: MIT Press, 2006. Adams, John Luther. The Place Where You Go to Listen: in search of an Ecology of Music. Middletown, Connecticut: Wesleyan University Press, 2009. Adcock, Craig. James Turrell: the Roden Crater Project. Tucson: University of Arizona Musuem of Art, 1986. Allen, Terry with texts by Dave Hickey and essays by Marcia Tucker and Michael Ventura. Terry Allen. Austin: University of Texas Press, 2010. Allen, Stan and Marc McQuade (eds.). Landform Building: architecture’s new terrain. Baden, Switzerland: Lars Mueller and Princeton University School of Architecture, 2011. Allen, Terry, with texts by Dave Hickey and essays by Marcia Tucker and Michael Ventura. Terry Allen. Austin: University of Texas Press, 2010. Alonso Zuniga, Pedro Ignacio (ed). Deserta: ecologia e industria en el Desierto de Atacama. Santiago, Chile: ARQ, 2012. Ambroziak, Brian M. and Jeffery R. Ambroziak. Infinite Perspective: two thousand years of three-dimensional map making. New York: Princeton Architectural Press, 1999. Andrews, Max (ed.). Land, Art: a cultural ecology handbook. Manuf: Royal Society for the Encouragement of the Arts, 2006. Aravena, Alejandro and Andras Iacobelli (eds). Elemental: incremental housing and participatory design manual. -
Chelsea Girls Free
FREE CHELSEA GIRLS PDF Eileen Myles | 288 pages | 29 Sep 2015 | Ecco Press | 9780062394668 | English | United States Chelsea Girl (album) - Wikipedia Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. From the dramatic redbrick facade to the sweeping staircase dripping with art, the Chelsea Hotel has long been New York City's creative oasis for the many artists, writers, musicians, actors, filmmakers, and poets who have called it home—a scene Chelsea Girls Hazel Riley and actress Maxine Mead are determined to Chelsea Girls to their advantage. Yet they soon discover that the greatest obstacle to putting up a show on Broadway has nothing to do with their art, and everything to do with politics. A Red scare Chelsea Girls sweeping across America, and Senator Joseph McCarthy has started a witch hunt for Communists, with those in the entertainment industry in the crosshairs. As the pressure builds to Chelsea Girls names, it Chelsea Girls more than Hazel and Maxine's Broadway dreams that may suffer as they grapple with Chelsea Girls terrible consequences, but also their livelihood, their friendship, and even their freedom. Spanning from the s to the s, The Chelsea Girls deftly pulls back the curtain on the desperate political pressures of McCarthyism, the complicated bonds of female friendship, and the siren call of the uninhibited Chelsea Hotel. -
The Encyclopedia of Stanley Kubrick
THE ENCYCLOPEDIA OF STANLEY KUBRICK THE ENCYCLOPEDIA OF STANLEY KUBRICK GENE D. PHILLIPS RODNEY HILL with John C.Tibbetts James M.Welsh Series Editors Foreword by Anthony Frewin Afterword by Leon Vitali The Encyclopedia of Stanley Kubrick Copyright © 2002 by Gene D. Phillips and Rodney Hill All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Hill, Rodney, 1965– The encyclopedia of Stanley Kubrick / Gene D. Phillips and Rodney Hill; foreword by Anthony Frewin p. cm.— (Library of great filmmakers) Includes bibliographical references and index. ISBN 0-8160-4388-4 (alk. paper) 1. Kubrick, Stanley—Encyclopedias. I. Phillips, Gene D. II.Title. III. Series. PN1998.3.K83 H55 2002 791.43'0233'092—dc21 [B] 2001040402 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by Erika K.Arroyo Cover design by Nora Wertz Illustrations by John C.Tibbetts Printed in the United States of America VB FOF 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper.