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Charles “Chaz” Bojórquez Interviewed by Karen Mary Davalos on September 25, 27, and 28, and October 2, 2007
CSRC ORAL HISTORIES SERIES NO. 5, NOVEMBER 2013 CHARLES “CHAZ” BOJÓRQUEZ INTERVIEWED BY KAREN MARY DAVALOS ON SEPTEMBER 25, 27, AND 28, AND OCTOBER 2, 2007 Charles “Chaz” Bojórquez is a resident of Los Angeles. He grew up in East Los Angeles, where he developed his distinctive graffiti style. He received formal art training at Guadalajara University of Art in Mexico and California State University and Chouinard Art Institute in Los Angeles. Before devoting his time to painting, he worked as a commercial artist in the film and advertising industries. His work is represented in major private collections and museums, including the Smithsonian American Art Museum, the Museum of Contemporary Art in Los Angeles, and the De Young Museum in San Francisco. Karen Mary Davalos is chair and professor of Chicana/o studies at Loyola Marymount University in Los Angeles. Her research interests encompass representational practices, including art exhibition and collection; vernacular performance; spirituality; feminist scholarship and epistemologies; and oral history. Among her publications are Yolanda M. López (UCLA Chicano Studies Research Center Press, 2008); “The Mexican Museum of San Francisco: A Brief History with an Interpretive Analysis,” in The Mexican Museum of San Francisco Papers, 1971–2006 (UCLA Chicano Studies Research Center Press, 2010); and Exhibiting Mestizaje: Mexican (American) Museums in the Diaspora (University of New Mexico Press, 2001). This interview was conducted as part of the L.A. Xicano project. Preferred citation: Charles “Chaz” Bojórquez, interview with Karen Davalos, September 25, 27, and 28, and October 2, 2007, Los Angeles, California. CSRC Oral Histories Series, no. 5. Los Angeles: UCLA Chicano Studies Research Center Press, 2013. -
Damiani Cat Fall 2018.Pdf
Fall 2018 Contents New Titles 5 Collector’s Editions 49 Toiletpaper 71 Backlist 77 Photography 78 Fashion & Lifestyle 94 Contemporary Art 96 Music 100 Urban Art 101 Architecture & Design 102 Antiques & Collectibles 103 Spazio Damiani 104 Distributors 106 Notes 108 Contacts 110 New Titles Photography Arthur Elgort Jazz This is the first book dedicated to Elgort’s Jazz portraits and the list of names it includes constitutes a veritable pantheon of jazz greatness. Featured in the book are portraits of Wynton Marsalis, James Carter, Roy Haynes, George Benson, Milt Hinton, Walter Blanding, Michael Bowie, David Sanchez, Angelo Debarre, Dexter Gordon, Sonny Rollins, Joshua Redman, James Moody, Jay McShann, Pat McFeeny, Jimmy Scott, Dorothy Donegan, Illinois Jacquet, Ornette Coleman, Don Byron, Aaron Neville, Dizzy Gillespie, Art Blakey, John McLaughlin, Jesse Davis, Lionel Hampton, Clark Terry, Christian Mcades, Ron Carter, Wycliff Gordon, Sam Newsome, Roy Haynes, Jon Faddis, Roy Hargrove, Max Roach, Jerome Harris, Jack DeJohnette, Michael Cain, Al Grey, Thelonius Monk Jr., Benny Carter, Jon Hendricks, Stefan Harris, Jervan Jackson, Kenny Baron, Doc Cheatham, Arnett Cob, Tommy Flanagan, Jason Moran, Luther Lafatti, Bradford Marsalis, Delfeayo Marsalis, Jason Marsalis, Kenny Garrett, Olu Dara, Jesse Davis, Buddy Tate, Anton Rooney, Flip Phillips, and Sam Rivers. Every now and then a fashion model of Foreword by Wynton Marsalis. Introduction by the moment pops up in a picture, creating a fitting link between Hank O’Neal. Edited by Marianne Houtenbos this body of work and Elgort’s fashion pictures. 17.8 x 22.9 cm | 7 x 9 inches 160 pages, 100 color and b&w, hardbound ISBN 978-88-6208-608-0 Arthur Elgort was born and raised in New York. -
TEXAS KILLING FIELDS Starring
ANCHOR BAY FILMS Presents In a BLUE LIGHT BLOCK/HANSON WATLEY ENTERTAINMENT Production In association with INFINITY MEDIA TEXAS KILLING FIELDS Starring: SAM WORTHINGTON JEFFREY DEAN MORGAN JESSICA CHASTAIN CHLOЁ GRACE MORETZ JASON CLARKE ANNABETH GISH SHERRYL LEE And STEPHEN GRAHAM PRESS NOTES Runtime is 105 minutes. Rated R for violence and language including some sexual references. FIELD NEW YORK LOS ANGELES LOS ANGELES ONLINE Sumyi Khong Betsy Rudnick Chris Libby Chris Regan Mac McLean Anchor Bay Films Falco Ink Ginsberg/Libby Ginsberg/Libby Click Communications 9242 Beverly Blvd 850 Seventh Avenue 6255 Sunset Blvd 6255 Sunset Blvd 13029-A Victory Blvd., #509 Beverly Hills, CA 90210 New York, NY 10019 Los Angeles, CA 90028 Los Angeles, CA 90028 North Hollywood, CA 91606 P: 424.204.4164 P: 212.445.7100 P: 323.645.6812 P: 323.645.6814 P: 818.392.8863 [email protected] [email protected] [email protected] [email protected] mac@clickcommunications TEXAS KILLING FIELDS Synopsis Inspired by true events, this tense and haunting thriller follows Detective Souder (Sam Worthington), a homicide detective in a small Texan town, and his partner, transplanted New York City cop Detective Heigh (Jeffrey Dean Morgan) as they track a sadistic serial killer dumping his victims’ mutilated bodies in a nearby marsh locals call “The Killing Fields.” Though the swampland crime scenes are outside their jurisdiction, Detective Heigh is unable to turn his back on solving the gruesome murders. Despite his partner’s warnings, he sets out to investigate the crimes. Before long, the killer changes the game and begins hunting the detectives, teasing them with possible clues at the crime scenes while always remaining one step ahead. -
A Celebration of Hip Hop Culture & Free Expression
STREET ARTS A Celebration of Hip Hop Culture & Free Expression OCTOBER NOVEMBER 2010 Albuquerque New Mexico 516 ARTS The 5G Gallery ABQ Ride ABQ Trolley Co. ACLU-NM Albuquerque Academy Albuquerque MainStreet The Albuquerque Museum Albuquerque Public Art Program Amy Biehl High School BECA Foundation The Cell Theatre Church of Beethoven Creative Albuquerque Downtown Action Team FUSION Theatre Company Global DanceFest The Guild Cinema KiMo Theatre & Art Gallery KUNM Radio N4th Theater National Hispanic Cultural Center New Studio A.D. The Outpost Performance Space Warehouse 508 Working Classroom CONTENTS Introduction 2 Exhibitions 4 Murals & Tours 6 Hip Hop Film Festival 8 Spoken Word Festival 9 Calendar 10 Performances & Events 12 Talks 14 Join 516 ARTS 16 Credits 17 www.516arts.org • 505-242-1445 STREET ARTS is organized by 516 ARTS, with ACLU-NM & local organizations Visual Art • Spoken Word • Music • Film • Dance • Talks • Tours INTRODUCTION STREET ARTS 3 Starting from Scratch Let’s begin with two generally agreed upon definitions of Hip Hop. One deals in the intangible realm of sensibility and perspective: Hip Hop = Culture. The second refers to the business of selling snapshots and sound-bites gleaned from the culture’s creative expression: Hip Hop = $. If Hip Hop is indeed a way of life, what is that “way?” Consider an apt metaphor derived from a widely known mode of Hip Hop expression, the scratch. Created when the turntablist’s fingers manipulate recorded sound in sync to new musical elements, the scratch is both defiant and tributary. The practice of re-contextualizing sound and symbol is evident in Hip Hop’s signpost elements: “break dancing,” “MC’ing/rapping,” “graffiti,” “beat making” and “beat boxing.” Each challenge the norms of the visual/performance/literary mediums in which they’re associated. -
Book XVIII Prizes and Organizations Editor: Ramon F
8 88 8 88 Organizations 8888on.com 8888 Basic Photography in 180 Days Book XVIII Prizes and Organizations Editor: Ramon F. aeroramon.com Contents 1 Day 1 1 1.1 Group f/64 ............................................... 1 1.1.1 Background .......................................... 2 1.1.2 Formation and participants .................................. 2 1.1.3 Name and purpose ...................................... 4 1.1.4 Manifesto ........................................... 4 1.1.5 Aesthetics ........................................... 5 1.1.6 History ............................................ 5 1.1.7 Notes ............................................. 5 1.1.8 Sources ............................................ 6 1.2 Magnum Photos ............................................ 6 1.2.1 Founding of agency ...................................... 6 1.2.2 Elections of new members .................................. 6 1.2.3 Photographic collection .................................... 8 1.2.4 Graduate Photographers Award ................................ 8 1.2.5 Member list .......................................... 8 1.2.6 Books ............................................. 8 1.2.7 See also ............................................ 9 1.2.8 References .......................................... 9 1.2.9 External links ......................................... 12 1.3 International Center of Photography ................................. 12 1.3.1 History ............................................ 12 1.3.2 School at ICP ........................................ -
Fall 2021 Catalog Download
Fall 2021 Contents New Titles 5 Collector’s Editions 29 Toiletpaper 51 Backlist 57 Photography 58 Contemporary Art 70 Fashion & Lifestyle 72 Architecture & Design 74 Antiques & Collectibles 74 Distributors 76 Contacts & Press Office 78 New Titles 6 Photography Mike Mandel Zone Eleven Photographs by Ansel Adams Zone Eleven is a reference to Ansel Adams’ Zone System, a method to control exposure of the negative in order to obtain a full range of tonality in the photographic print from the deepest black of Zone 0 to the brightest highlight in Zone 10. Zone Eleven is a metaphor coined by artist Mike Mandel in his challenge to create a book of Adams’ photographs outside of the bounds of his personal work. Many of these photographs were found in the archives of his commercial and editorial assignments, and from his experimentation with the new Polaroid material of the times. For this book, Mandel has unearthed images that are unexpected for Adams, and created a new context of facing Text by Erin O'Toole page relationships, and sequence. Zone Eleven is the product 28 x 23 cm | 11 x 9 inches of Mike Mandel’s research of over 50,000 Adams images 112 pages, 83 b&w, hardbound located within four different archives to present a body of ISBN 978-88-6208-748-3 Fall 2021 Adams’ work that was unknown until now. $55 | €50 | £45 Mike Mandel is well known for his collaboration with Larry Sultan in the 1970s - 1990s. They published 'Evidence' in 1977, a collection of 59 photographs chosen from more than two million images that the artists viewed at the archives of government agencies and tech-oriented corporations. -
Voyeur Or Visionary: Exploring Representation of Intellectual Disability in Diane Arbus’ Untitled Series
Voyeur or Visionary: Exploring Representation of Intellectual Disability in Diane Arbus’ Untitled Series By Sophia Kaiser Of the myriad of portrait photographers that have woven their artistry through the United States’ history, one that stands out in notoriety and controversiality is Diane Arbus. Born in 1928 into a wealthy family, she grew up in the epitome of upper class, white American privilege. While her socioeconomic status enabled her to pursue her artistic endeavors to begin with, Arbus differed from her well-off counterparts in that not only did she recognize her privilege, she resented it (Lane). This resentment manifested itself in her art—while she started as a fashion photographer, working commercially alongside her husband, Allan Arbus, she quickly grew tired of this photographic mise en scène and instead transitioned into photographing the marginalized individuals who were regarded as the oddities of American society. From dwarfs to transvestites to nudists, Arbus’s film photography captured images the American public was not willing to look at and yet struggled to look away from. In 1969, Arbus entered yet another new scene for her photography, exposing nearly 2,000 frames of film in two institutions for people with intellectual disabilities. However, her suicide in 1971 deemed these images her last, leaving many SCAFFOLD: A SHOWCASE OF VANDERBILT FIRST-YEAR WRITING|Vol. 2|Spring 2020 Scaffold is a digital collection of first-year writing curated by the Vanderbilt Writing Studio. By pairing each piece in the collection with a recorded reflection from the author, Scaffold aims to highlight the developing writing processes and learning experiences so central to the growth of undergraduate writers. -
Dream Cuisine the William Coupon Style Has Redefined Portrait Photography
et al.: Dream Cuisine The William Coupon style has redefined portrait photography. H •d you eo tered the New York City loft of William Coupon any time during the past three years, hundreds of trinkets--ceramic masks, wood en figures, and painted dolls- would have captured your attention. The objects, gath ered on Coupon's trips around the world, were perched everywhere and hung on the walls. Alongside them, an electric guitar stood in a corner of the living room and a lap top synthesizer rested on a windowsill. Eventually, you would have noticed some ofthe more mundane objects: a teakettle on the stovetop and a child's booster seat on a dining room chair. Except for a few striking photos, sparse clues would have indicated that this contemporary loft doubled as studio space for a photographer-much less a pho tographer who, during the last decade, per fected and launched a genre of portrait photography now recognizable around the globe. ... and if you like the person, the portrait Anyone who has been remotely alert in endorses that." the past 10 years has seen Coupon's work in Coupon, who graduated from the New print: arresting, salient, painterly portraits, house School in 1974 with a degree in adver ordinarily shot from the torso up, and set tising and broadcasting, has no formal against one of Coupon's famous painted training in his art. He began dabbling in backdrops. In fact, beyond magazines, photography in the mid-seventies while album covers, and print advertisements, one working at Ogilvy and Mather, the New can find copycat traces of Coupon's signa York City ad agency. -
One-Year Certificate Programs 2016-2017 General Studies In
ONE-YEAR CERTIFICATE PROGRAMS 2016-2017 GENERAL STUDIES IN PHOTOGRAPHY DOCUMENTARY PHOTOGRAPHY AND PHOTOJOURNALISM NEW MEDIA NARRATIVES © Fernanda Lenz GS13 COVER © Jiaxi Yang GS15 2 1 CONTENTS One-Year Certificate Programs Letter from the Executive Director 5 Letter from the Dean 7 About the International Center of Photography 9 One-Year Certificate Programs Overview 11 Academic Calendar 13 General Studies in Photography Letter from the Chair 15 Course Outline 21 Alumni and Faculty Q&As 25 Documentary Photography and Photojournalism Letter from the Chair 33 Course Outline 37 Alumni Q&As 45 New Media Narratives Letter from the Chair 51 Course Outline 53 Q&A with the Chair 57 Chairs and Faculty 59 Facilities and Resources 63 Tuition, Fees, and Financial Aid 67 Admissions 71 International Students 71 © Sara Skorgan Teigen GS12 2 16/173 LETTER FROM THE EXECUTIVE DIRECTOR This is an extraordinary moment in the history of photography and image making, as well as in the history of the International Center of Photography. ICP’s founder, Cornell Capa, described photography as “the most vital, effective, and universal means of communication of facts and ideas.” The power of images to cross barriers of language, geography, and culture is greater today than ever before. And in an era of profound change in the way images are made and interpreted, ICP remains the leading forum for provocative ideas, innovation, and debate. As the evolution of image making continues, ICP is expanding to meet new opportunities, with a dynamic new museum space on the Bowery in Manhattan and an expansive new collections facility at Mana Contemporary in Jersey City. -
Avedon Fashion 1944–2000
Contact: Communications Department 212.857.0045 [email protected] media release AVEDON FASHION 1944–2000 On view from May 15 through September 20, 2009 Media Preview May 14, 2009 11:30 am –1:00 pm RSVP: [email protected] 212.857.0045 Richard Avedon Richard Avedon Dorian Leigh, hat by Paulette, Paris, August 1949 Jade Parfitt and Esther De Jong, ensembles by Galliano, New York, March 1998 © 2009 The Richard Avedon Foundation © 2009 The Richard Avedon Foundation The centerpiece of ICP’s Year of Fashion, Avedon Fashion 1944–2000 will be on view at the International Center of Photography (1133 Avenue of the Americas at 43rd Street) from May 15 through September 20, 2009. The first exhibition devoted exclusively to Richard Avedon’s fashion work, it will occupy the main galleries of the museum and include some 175 photographs from throughout his productive career, as well as original magazines showing his work in context, and material demonstrating his creative process. The exhibition has been organized by ICP Curator Carol Squiers and Adjunct Curator Vince Aletti, with the cooperation of The Richard Avedon Foundation, and will be accompanied by a catalogue published by Harry N. Abrams, Inc. Richard Avedon is the most significant and influential photographer to have taken fashion as one of his subjects. He began working for Harper’s Bazaar in 1944, when he was only twenty-one, and revolutionized fashion photography, dispensing with its prevailing mannered and statically posed formulas and introducing a more youthful, spirited, and distinctly American style. Inspired by Hungarian photographer Martin Munkacsi and encouraged by legendary Harper’s Bazaar art director Alexey Brodovitch, he took models out of the studio and photographed them in motion to exhilarating effect. -
Diane Arbus Born 1923 in New York
This document was updated November 25, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Diane Arbus Born 1923 in New York. Died 1971 in New York. EDUCATION 1955-1957 Studied photography with Lisette Model, New York 1928-1940 Ethical Culture Fieldston School, New York SOLO EXHIBITIONS 2020 Diane Arbus: Photographs, 1956-1971, Art Gallery of Ontario, Toronto, February 22 – May 17, 2020 2019 Our Lady of the Flowers: Diane Arbus | Carol Rama, Lévy Gorvy, Hong Kong, September 26 – November 16, 2019 [two-person exhibition] 2018 Diane Arbus Untitled, David Zwirner, New York, November 2 – December 15, 2018 Diane Arbus: A box of 10 photographs, Smithsonian American Art Museum, April 6, 2018 – January 27, 2019 [catalogue] 2017 Diane Arbus: In the Park, Lévy Gorvy, New York, May 2 – June 28, 2017 2016-2019 diane arbus: in the beginning, The Metropolitan Museum of Art, New York, July 12 – November 27, 2016 [itinerary: San Francisco Museum of Modern Art, San Francisco, January 21 – April 30, 2017; Museo de Arte Latinoamericano de Buenos Aires Malba, Buenos Aires, July 14 – October 9, 2017; Hayward Gallery, London, February 13 – May 6, 2019] [catalogue] 2016-2018 Diane Arbus: American portraits, National Gallery of Australia, Canberra, June 6 – October 30, 2016 [itinerary: Lake Macquarie City Art Gallery, Booragul, Australia, July 9 – August 20, 2017; Heide Museum of Modern Art, Bulleen, Australia, March 17 – June 17, 2018; Art Gallery of South Australia, Adelaide, Australia, July 16 – September -
1 PHI 4930-003: Philosophy of Images TR 9:30-11:00, Spring 2018 Dr
PHI 4930-003: Philosophy of Images TR 9:30-11:00, Spring 2018 Dr. Robert Leib ([email protected]) Florida Atlantic University Office Hours: T 11-1 (and by appointment) in SO 281B or by email 3 Credits (Approx. 6 hours of homework/week) Texts: ·The Photographer’s Playbook, edited by Jason Fulford and Gregory Halpern (abbreviated ‘PP’) ·On Photography, Susan Sontag ·Visual Thinking, Rudolf Arnheim ·A Primer of Visual Literacy, Donis A. Dondis ·Camera Lucida, Roland Barthes ·Pandora’s Camera, Joan Fontcuberta ·Art in the Age of Mechanical Reproduction, Walter Benjamin ·Photography After Frank, Philip Gefter Amazon Booklist: http://a.co/hSsVrtN ($70-$80 used) You will also need: Camera (analog, digital, smartphone, etc.) and $40 to produce your own photo book at the end of the semester. Course Blog: https://philosophyofimages.wordpress.com Course Description: A camera is an extension of our memories, a powerful tool if we understand its grammar. It is also a material force that is reshaping the way we live and look at one another. And many of us have them with us at all times. We act in conversation with them. We see that a camera at the right place and the right time is potentially world altering. Given the relative newness of photography as a technological practice, but at the same time, recognizing the strength of its influence in our increasingly image-driven social worlds, this is a course on philosophy and photography that is needed. Of design, it is equal parts theoretical, visual, and actively productive. 1 This syllabus aims to produce students who are better able to think, express themselves, and understand others in images, while rigorously coming to grips with the best photographic theory philosophy has to offer thus far.