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Seeing (For) Miles: Jazz, Race, and Objects of Performance
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College -
Horace Bristol Papers
http://oac.cdlib.org/findaid/ark:/13030/c8t72jfk No online items Guide to the Horace Bristol papers MS.329MS.329 Finding aid prepared by Finding aid prepared by Mary deVries University of California, Santa Cruz 1156 High Street Santa Cruz, CA, 95064 (831) 459-2547 [email protected] Guide to the Horace Bristol MS.329 1 papers MS.329MS.329 Title: Horace Bristol papers, Identifier/Call Number: MS.329 Contributing Institution: University of California, Santa Cruz Language of Material: English Physical Description: 3.0 Linear feet Date (inclusive): 1935-1997 Abstract: This is a small collection of correspondence, biographical materials, and 5 photographs taken by Horace Bristol in California in the 1930s. Location: Special Collections and Archives General Physical Description note: 2 boxes, 1 framed photograph. Creator: Bristol, Horace Access Collection open for research Publication Rights Property rights reside with the University of California. Literary rights are retained by the creators of the records and their heirs. For permission to publish or to reproduce the material, please contact the Head of Special Collections and Archives. Preferred Citation Horace Bristol Papers. MS 329. Special Collections and Archives, University Library, University of California, Santa Cruz. Acquisition Information Gift of Horace Bristol, 1992-1997 Biography Photographer Horace Bristol is best known for his images of Depression era migrant families that inspired Steinbeck's The Grapes of Wrath, compelling battle scenes of World War II, and portraits of post-war Japan and Southeast Asia. Bristol was born in 1908. He was raised in Whittier, California, attended the Art Center of Los Angeles, and began to teach himself photography while studying architecture in Munich and travelling through Europe with his wife, Virginia. -
European Journal of American Studies, 12-4
European journal of American studies 12-4 | 2017 Special Issue: Sound and Vision: Intermediality and American Music Electronic version URL: https://journals.openedition.org/ejas/12383 DOI: 10.4000/ejas.12383 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference European journal of American studies, 12-4 | 2017, “Special Issue: Sound and Vision: Intermediality and American Music” [Online], Online since 22 December 2017, connection on 08 July 2021. URL: https:// journals.openedition.org/ejas/12383; DOI: https://doi.org/10.4000/ejas.12383 This text was automatically generated on 8 July 2021. European Journal of American studies 1 TABLE OF CONTENTS Introduction. Sound and Vision: Intermediality and American Music Frank Mehring and Eric Redling Looking Hip on the Square: Jazz, Cover Art, and the Rise of Creativity Johannes Voelz Jazz Between the Lines: Sound Notation, Dances, and Stereotypes in Hergé’s Early Tintin Comics Lukas Etter The Power of Conformity: Music, Sound, and Vision in Back to the Future Marc Priewe Sound, Vision, and Embodied Performativity in Beyoncé Knowles’ Visual Album Lemonade (2016) Johanna Hartmann “Talking ’Bout My Generation”: Visual History Interviews—A Practitioner’s Report Wolfgang Lorenz European journal of American studies, 12-4 | 2017 2 Introduction. Sound and Vision: Intermediality and American Music Frank Mehring and Eric Redling 1 The medium of music represents a pioneering force of crossing boundaries on cultural, ethnic, racial, and national levels. Critics such as Wilfried Raussert and Reinhold Wagnleitner argue that music more than any other medium travels easily across borders, language barriers, and creates new cultural contact zones (Raussert 1). -
Jazz Photographs by Herman Leonard January 17 - May 4, 2014
IMPROVISATIONS: Jazz Photographs by Herman Leonard January 17 - May 4, 2014 TEACHER PACKET Biography Of Herman Leonard Herman Leonard (1923-2010) is known for his unique and iconic images of jazz musicians. This exhibition features a selection of 15 silver gelatin prints from Leonard’s 63 works in the Kennedy Museum of Art collection. time. in the darkroom and at sittings, working with subjects like Albert Einstein, Harry Truman and Martha Graham. Photographing in nightclubs, Leonard captured the intensity and passion of jazz’s leading history remains his most remarkable achievement. Jazz and Civil Rights jazz music’s popularity in the 20th century helped prevent complete segregation. With the rise of in-home radios and music clubs, jazz music reached beyond African American communities to the homes of Whites and Latinos. As a symptom of the segregated music industry, record companies in the early 1900s produced blues and jazz music called race records. This music was for black audiences by black musicians. When a jazz song sold well in the African American community, white record companies would remake the song with white musicians to sell to white audiences. As the demand for race records grew, black records featuring black musicians were sold to white audiences. In the 1920s, the radio made jazz more accessible to white audiences. Although restricted and sometimes criticized as too “exotic,” music made by African Americans was being heard forces often created frivolous citations to prevent interracial crowds at jazz clubs. Although character in minstrel shows performed by white actors in blackface. importance of jazz in African American’s lives, stating, “It is no wonder that so much of the the modern essayists and scholars wrote of ‘racial identity’ as a problem for a multi-racial community. -
HUMAN ANIMALS the ART of COBRA COBRA CONTEMPORARY LEGACY
HUMAN ANIMALS THe ART OF COBRA COBRA CONTEMPORARY LEGACY September 15-November 20, 2016 University Museum of Contemporary Art The Cobra Belgium, included twice as many works as the first and displayed a more mature and sophisticated side of Cobra. The show included Movement several well-known artists like Alberto Giacometti, Joan Miró and Wifredo Lam, and thus demonstrated Cobra’s acceptance into the wider artistic community. Despite this, the show’s unfavorable reviews and the onset of tuberculosis in Jorn and Dotremont forced the group Cobra was formed in Paris in 1948 as an international avant-garde to split up and cease to exist as a coherent, international network. movement that united artists and poets of three cities —Copenhagen, Brussels, and Amsterdam—by Christian Dotremont (Belgian, 1922– In the 1950s, artists all around Europe searched for ways to confront 1979), Joseph Noiret (Belgian, 1927–2012), Asger Jorn (Danish, 1914– the traumatic history and legacy of the Second World War. Artists 1973), Karel Appel (Dutch, 1921–2006), Constant (Dutch, 1920–2005), focused internationally on new forms of expressive abstraction in and Corneille (Dutch, 1922–2010). The Cobra artists were inspired paint as well as other materials. Interest was revived in movements by the idea of the “human animal,” a playful or perhaps satirical like German Expressionism, formerly considered “degenerate” under representation of people’s animalistic instincts and desires, while Fascism. Historical Expressionism and Surrealism were the major evoking the symbolic relationship between humans, animals, and the inspirations for Cobra. Abstract Expressionism in the United States natural environment. The group chose the snake as a totem because was a parallel contemporary movement, but Cobra artists differed of the animal’s universal presence as a mythic and religious symbol. -
Of 3 MINUTES of the MEETING of the LOUISIANA STATE MUSEUM
MINUTES OF THE MEETING OF THE LOUISIANA STATE MUSEUM Board of Directors Monday, March 12, 2018 12:30 p.m. – Old US Mint New Orleans, Louisiana Members Present: Mary Coulon, Lee Felterman, Aleta Leckelt, Kevin Kelly, Rosemary Upshaw Ewing, Carolyn Morris, Lana Venable, Lawrence Powell, Holly Haag, Anne Redd, Ann Irwin, Sharon Gahagan, Suzanne Terrell, Melissa Steiner, Larry Schmidt, and William Wilton. Members Absent: Madlyn Bagneris, George Hero, Fairleigh Cook Jackson Also Present: Rennie Buras and David Dahlia LSM Staff Present: Yvonne Mack, Bill Stark, Steven Maklansky, and Bridgette Thibodeaux A quorum was present. Call to Order Dr. Powell called the meeting to order at 12:26 pm Rennie Buras officiated the swearing in/oath of office of Suzanne Terrell. Motion to Adopt the Agenda Anne Redd made a motion to adopt the agenda. Rosemary Ewing seconded the motion. The motion was unanimously approved. Motion to Adopt the Minutes Lee Felterman made a motion to adopt the minutes of the Board from the meeting on January 8, 2018. Rosemary Ewing seconded the motion. The motion was unanimously approved. Interim Director’s report Steven Maklansky gave an update on the repairs at the Cabildo and the beginning of the installation of the Spanish exhibition. Other upcoming exhibitions were also discussed. Page 1 of 3 Irby Committee Report Will Wilton provided a report from the Irby Committee. Recommendation from the Irby/Finance committee was given regarding the approval of commercial lease applications for 513 St. Ann and 533 St. Ann. Existing tenants at each location were the only ones who responded to the advertisements for applications. -
Herman Leonard's Stolen Moments June 6,7,8
Volume 36 • Issue 6 June 2008 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. azz musicians perpetually quest for that transcendent instant when thought becomes Herman Leonard’s Jsound, when four minds (or 14) become one, when all the elements — melody, harmony, rhythm, tone color, the club and the audience — conspire toward ineffable Stolen Moments brilliance, when in the words of David Amram, “It’s as if the music were coming from By Jim Gerard | Photos by Herman Leonard somewhere through you and out the end of your horn.1” continued on page 10 Ella Fitzgerald singing to Duke Ellington and Benny Goodman, NYC, 1949, ELF03. © Herman Leonard Photography, LLC 1. Amram, Vibrations (Macmillan, 1968) ARTICLES Caught in the Act . 42 in this issue: Classic Stine. 9 Brubeck at NJPAC . 43 NEW JERSEY JAZZ SOCIETY Crow’s Nest . 9 M. Maggart/M.C. Haran . 44 Pres Sez/NJJS Calendar Big Band in the Sky . 16 Film: Anita O’Day. 46 Get with Jazzfest! & Bulletin Board. 2 Lang Remembers Ozzie Cadena . 18 Book: Gypsy Jazz . 47 Complete The Mail Bag/Jazz Trivia. 4 Talking Jazz: Les Paul . 20 Film: Tal Farlow . 48 schedule p 50 June 6,7,8 Editor’s Pick/Deadlines/NJJS Info. 6 Yours for a Song . 32 EVENTS Music Committee . 8 Noteworthy . 33 Newark Museum Jazz in the Garden . 49 New Members/About NJJS/ Jazz U: College Jazz . 34 ’Round Jersey: Morris, Ocean . 52 Jazzfest facts, Membership Info . 51 Cape May Jazz Festival . 37 Institute of Jazz Studies/ REVIEWS Jazz from Archives . -
Naval Aviation Photographic Unit - Wikipedia, the Free Encyclopedia 4/23/2014
Naval Aviation Photographic Unit - Wikipedia, the free encyclopedia 4/23/2014 Create account Log in Article Talk Read Edit View history Search Naval Aviation Photographic Unit From Wikipedia, the free encyclopedia Main page The Naval Aviation Photographic Unit[1]:34 was a group of Naval Aviation Photographic Unit Contents military photographers in the United States Navy during the (official: Training Literature Field Unit No. Featured content Second World War, under the command of Edward Steichen. 1) Current events Random article Contents [hide] Donate to Wikipedia 1 History Wikimedia Shop 2 Members Interaction 3 Works Help 4 Gallery About Wikipedia 5 References Community portal Recent changes Contact page History [edit] Tools The Navy had established this special group in early 1942, Print/export shortly after the US entry into the war, to document and publicize Languages its aviation activities and allowed Steichen to recruit the most Čeština talented photographers he could find. Steichen and his unit Edit links initially reported to Capt Arthur W. Radford, and were made part Cmdr Edward Steichen photographed above the deck of the of the Navy's Bureau of Aeronautics.[1]:24 aircraft carrier USS Lexington (CV-16) by Ens Victor Jorgensen, November, 1943. Because Steichen wanted an unusual amount of control over the Active 1942—1945 unit, outside the purview of the Navy's pre-existing photographic Country United States community, and because Radford agreed with him, it was decided Branch United States Navy the unit would operate out of the Bureau of Aeronautics' Training Literature Division, which was under Radford's direct command.[1]:34 This is why the unit's official name was "Training Literature Field Unit No. -
Karel Appel Art As Celebration!
Karel Appel Art as Celebration! 24 February – 20 August 2017 Press preview: 23 February 2017 11 am – 2 pm The Owlman no. 1, 1960, acrylic on olive tree trunk Opening: 23 February 6 – 9 pm Musée d'Art Moderne de la Ville de Paris Photo: Karel Appel Foundation © Karel Appel Foundation/ADAGP, Paris 2017 Taking as its starting point a remarkable group of twenty-one paintings Museum Director and sculptures donated by the Karel Appel Foundation in Amsterdam, Fabrice Hergott the Musée d’Art moderne de la Ville de Paris is presenting an exhibition covering the artist's entire career, from the CoBrA years to his death in Exhibition curator 2006. Choghakate Kazarian Visitor information The cosmopolitan Dutch artist Karel Appel is known as one of the founding Musée d’Art moderne de la Ville de members of the CoBrA group, created in Paris in 1948 and self-dissolved in Paris 1951. With members including Asger Jorn and Pierre Alechinsky, CoBrA set 11 Avenue du Président Wilson out to eclipse such contemporary academic forms as abstract art, which they 75116 Paris Tel. 01 53 67 40 00 saw as too rigid and rational. They proposed instead a spontaneous, www.mam.paris.fr experimental art that included various practices inspired by Primitivism. They were especially drawn to children's drawings and the art of the mentally Open Tuesday – Sunday disturbed, and held fast to the international aspirations characteristic of the 10 am – 6 pm Late closing: Thursday 10 pm avant-garde. Catalogue published by Paris Contemporary with Jean Dubuffet's Art Brut et Compagnie, also founded in Musées 39,90 € 1948, CoBrA was part of the same counter-culture, rejecting established values, calling for a fresh start freed of convention, and espousing the Admission Full rate: 10 € spontaneity of naive art. -
Firing the Canon: Multiple Insularities in Jazz Criticism
FIRING THE CANON: MULTIPLE INSULARITIES IN JAZZ CRITICISM By © 2014 Christopher Robinson Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson, Sherrie Tucker ________________________________ Randal Jelks ________________________________ Tony Bolden ________________________________ John Gennari ________________________________ William J Harris Date Defended: April 7, 2014 The Dissertation Committee for Christopher Robinson certifies that this is the approved version of the following dissertation: Firing the Canon: Multiple Insularities in Jazz Criticism ________________________________ Chairperson, Sherrie Tucker Date approved: April 7, 2014 ii ABSTRACT Whereas many jazz scholars focus on jazz criticism's construction and implications of a single, or insular, jazz canon, this dissertation argues that what many jazz critics do is precisely the opposite. These critics disrupt the sense of a singular and insular jazz canon by challenging it through the creation of what I call an insularity, which is a bounded collection of artists and music with a definable tradition, values and established criteria which regulates what is suitable for inclusion. This dissertation argues that jazz does not consist of a single canon and music that exists beyond the canon's boundaries; rather, jazz contains multiple insularities that challenge the canon and vie for the opportunity to overthrow the canon in order to reach canonical status. This dissertation conceptualizes jazz critics as cultural authorities who create or deconstruct insularities through a variety of race, gender and nation projects. It examines the criticism of Leonard Feather, Val Wilmer and Nathaniel Mackey to highlight the numerous ways in which critics engage with multiple insularities. -
DB Music Shop Must Arrive 2 Months Prior to DB Cover Date
05 5 $4.99 DownBeat.com 09281 01493 0 MAY 2010MAY U.K. £3.50 001_COVER.qxd 3/16/10 2:08 PM Page 1 DOWNBEAT MIGUEL ZENÓN // RAMSEY LEWIS & KIRK WHALUM // EVAN PARKER // SUMMER FESTIVAL GUIDE MAY 2010 002-025_FRONT.qxd 3/17/10 10:28 AM Page 2 002-025_FRONT.qxd 3/17/10 10:29 AM Page 3 002-025_FRONT.qxd 3/17/10 10:29 AM Page 4 May 2010 VOLUME 77 – NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
The Influence of Chinese Calligraphy on Western Informel Painting Was Published in German in 1985
Marguerite Müller-Yao 姚 慧 The Influence of Dr.Marguerite Hui Müller-Yao 2000 Chinese Calligraphy From 1964 – 2014 a Chinese artist was resident in Germany: Dr. Marguerite Hui Müller-Yao. She learned in China traditional Chinese arts - calligraphy, ink painting, poetry – before studying Western modern art in Germany. The subject of her artistic and scientific work was an attempt of a synthesis on between the old traditions of China and the ways and forms of thought and design of modern Western culture. In her artistic work she searched on one hand to develop the traditional ink Western Informel painting and calligraphy through modern Western expression, on the other Marguerite Müller-Yao hand to deepen the formal language of modern painting, graphics and object art by referring back to the ideas of Chinese calligraphic tradition and Painting the principles of Chinese ink painting. In her academic work she was dedicated to the investigation of the relations between the Western Informel Painting and Chinese Calligraphy. This 中國書法藝術對西洋繪畫的影響 work, which deals with the influence of the art of Chinese Calligraphy on the Western Informel painting is an attempt to contribute a little to the understanding of some of the essential aspects of two cultures and their relations: the Western European-American on one hand and the East-Asian, particularly the Chinese, on the other hand. The subject of this work concerns an aspect of intercultural relations between the East and the West, especially the artistic relations between Eastern Asia and Europe/America in Düsseldorf 2015 a certain direction, from the East to the West.