DOCSLIB.ORG

Oct. 25 – 28, 2017 COLUMBUS COLLEGE of ART & DESIGN WELCOME DR

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Oct. 25 – 28, 2017 COLUMBUS COLLEGE OF ART & DESIGN WELCOME DR. CORN Welcome. It’s a midwestern word, an Ohio word, a Columbus word, and a Columbus College of Art & Design word. We hold this sentiment close to our hearts here at CCAD, and mean it when we say it. Welcome. I was frst welcomed into this smart, open, funny, creative, brilliant, friendly, active, honest, and stimulating community a little less than two years ago, and I’m proud to call both Columbus and CCAD home. Columbus and CCAD are intimately intertwined. The Columbus you see today is what it is because of the contributions of artists and designers of our 138-year-old institution. And the city’s leaders, employers, and passionate advocates are extremely instrumental attracting the world’s future movers and shakers to CCAD. I do hope that you enjoy your stay with us, that you leave this conference with new ideas, new friends, and a renewed vision for your own practice in art and art history. Please make sure you take the time to explore our neighborhoods, galleries, and institutions. And don’t mind us if we to say hello or smile. It’s what we do. Best, Dr. Melanie Corn President Columbus College of Art & Design 2 Welcome to the 2017 SECAC meeting hosted by Columbus College of Art & Design. This year marks the 73rd annual meeting of SECAC and only the second to be held north of the Mason-Dixon line in the organization’s rich history. The CCAD community is thrilled to host the event and we cordially welcome you to Columbus, Ohio. Columbus is a smart and open city that is rapidly growing. We’re currently the 14th largest city in the U.S. and we’re home to numerous Fortune 500 companies, including L Brands and Nationwide. We also have a thriving creative economy and culture industry. Columbus boasts the third highest concentration of fashion designers in the U.S. – just behind New York and Los Angeles. Columbus is also host to the longest running flm festival in North America with the annual Columbus International Film + Video Festival, which is proudly hosted in conjunction with CCAD. However, like much of the country, our fourishing and dynamic city faces challenges in this combustible cultural climate. As a growing city, we regularly grapple with the same tensions and issues confronting our nation –political diferences, socioeconomic discrepancies, and inequities surrounding race, gender, sexuality, ethnicity, class, and metaphysical beliefs. It’s with this current state of afairs in which a cacophony of competing voices is simultaneously scrutinized and elided that the Microscopes and Megaphones theme for this year’s conference was selected. Historically, the arts and humanities have often provided us with the perspective and knowledge where the empirical sciences have often struggled – a more nuanced and sensitive understanding the human condition, the human experience, and the human spirit. It’s through the creative practices and intellectual pursuits of art and design, the history of art, and art education, that we can more completely and successfully magnify and amplify the variety of experiences and voices of our humanity. This year’s conference will be held at the Hilton Columbus Downtown, located in the heart of the city’s Short North Arts District. During your visit, I encourage you to explore Columbus’ various neighborhoods, restaurants, cofee shops, breweries, galleries, and museums. Thanks to the generous support from our partners, you’ll receive free admission to the Columbus Museum of Art and the Wexner Center for the Arts. We also hope that you take advantage of our planned evening activities. On Thursday evening, visit our very own Beeler Gallery at CCAD and see the SECAC Fellow’s Exhibition and the Juried Exhibition followed by the keynote address from the Founder and Director of the Heidelberg Project at the Columbus Museum of Art. And on Friday evening, the Pizzuti Collection has graciously invited us to view their current exhibitions. I want to thank everyone who made this conference possible. Thank you to the community partners who helped create a robust event with engaging sites and spaces to enjoy this year’s conference. Thank you to CCAD’s faculty and staf, who always answered the call for help. Thank you to both the current SECAC President, Jason Guynes, and soon-to-be SECAC President, Sandra Reed, for their unwavering support and guidance. A special thanks goes out to the Ohio Arts Council; former SECAC Administrator, Rachel Frew; current SECAC Administrator, Christine Tate; and former Associate Provost of CCAD, Eleanor Fuchs. Finally, a very special thanks goes to CCAD’s own, Jessica Moses, without whose logistical vision and creativity this simply wouldn’t have been possible. Enjoy the 2017 SECAC Conference and welcome to Columbus! Aaron Petten 2017 SECAC Conference Director Assistant Professor History of Art & Visual Culture Columbus College of Art & Design 3 CONTENTS Map of Hotel 5 Conference Overview 6 Suggested Trips 7 Keynote Speakers 8 Exhibition Juror 8 SECAC Governance/Board Members 10 SECAC Institutional Members 10 Wednesday Schedule 14 Thursday Schedule 15 Friday Schedule 24 Saturday Schedule 33 4 HILTON COLUMBUS DOWNTOWN HOTEL WILLIAM ALICE HAWKINS* SCHILLE** WILLIAM ALICE HAWKINS* SCHILLE** Upper Level COFFEE BAR * ** COFFEELOBBY BAR ELIJAH EDWARD PARKER PIERCE A HAYDEN* ** ELEVATOR BAY LOBBY ELIJAH FRONT EDWARD PARKER PIERCE A DESK EDNAHAYDEN ELIJAH ELEVATOR BAY BOIES PIERCE B HOPKINS FRONT DESK EDNA ELIJAH BOIES PIERCE B HOPKINS ROBERT KING ROBERT KING Lower Level GEORGE PREFUNCTION EAST EMERSON B GEORGE BELLOWS E BURKHART BALLROOM A *** ELEVATOR BAY EMERSON A C D F BURKHART B REGISTRATION DESK*** REGISTRATION 401 N. High St. Columbus, OH 43215 Transportation Options Columbus ofers a wealth of transportation options for people arriving from out of town. In addition to traditional taxi services, here are some other options you may want to consider: • Uber • Lyft • Car2Go • COTA AirConnect 5 CONFERENCE OVERVIEW SCHEDULE OVERVIEW Wednesday 1 – 3 p.m. Executive Committee Meeting 4 – 7 p.m. SECAC Board of Directors Meeting 7 – 9 p.m. Welcome Reception Thursday 8 – 9:45 a.m. Session 1 10 – 11:45 a.m. Session 2 Noon Awards Luncheon 1:15 – 3 p.m. Session 3 3:15 – 5 p.m. Session 4 Evening at CCAD: Keynote and Juried Exhibition Reception Friday 8 – 9:45 a.m. Session 5 10 – 11:45 a.m. Session 6 Noon Drop-in meeting, Q&A with editors of Art Inquiries 1:15 – 3 p.m. Session 7 3:15 – 5 p.m. Session 8 Evening Reception at the Pizzuti Collection Saturday 7:15 – 8 a.m. Members Meeting 8:15 – 10 a.m. Session 9 10:15 – 12:15 p.m. Session 10 12:15 – 1:45 p.m. Directors’ Lunch Registration Schedule Wednesday: 7 – 9 p.m. Thursday: 7 a.m. – 5 p.m. Friday: 7 a.m. – 5 p.m. Saturday: 7 – 10 a.m. 6 CONFERENCE OVERVIEW SUGGESTED TRIPS There’s no shortage of things to do 71 in Columbus. Stop by a few of the High St galleries within walking distance of the . (1) Hilton, as well as beloved (2) Clintonville Goodale Park. Take advantage of the 315 city’s award-winning science museum, Upper Arlington Ohio State Campus 670 315 71 (3) COSI, or the (4) Columbus Zoo Port Columbus Short North International Airport and Aquarium, developed in large 5th Ave. Italian Village Victorian Village Grandview Heights 670 part by Jack Hanna. Visit the beautiful (5) 670 Scioto Rive Olde Towne East r 16 70 Franklin Park Conservatory or . 670 E. Long St E. Broad St. Arena District Discovery . tour historic (6) German Village. Franklinton W. Broad St District E. Main St. 40 70 71 And be sure to take advantage of your 70 Brewery District r free admission at the (7) Columbus High St German Village . Museum of Art and the (8) 71 Scioto Rive WExner Center for the Arts. 104 Bring your voucher to the front desk for complimentary entry to their galleries. CROWDCOMPASS APP Use the app to navigate the conference, browse the schedule, message colleagues, and more. To download the app, look for CrowdCompass in the App Store. Available for iOS and Android users. 7 KEYNOTE SPEAKER TYREE GUYTON Tyree Guyton was born and raised in Detroit on the street that gives its name to his most famous work, the Heidelberg Project. An essential component of Guyton’s work is his commitment to social change, and he has leveraged his art on Heidelberg Street to redress the inequities caused by racism, economic imbalances, politics, and the systematic inability of the government and other support agencies to help Detroit’s poorest citizens. However during its evolution, Guyton never left his studio practice. He has been creating art for over 45 years. Guyton’s work is collected nationally and internationally and is featured in the collections of the Detroit Institute of Arts, the University of Michigan Museum of Art, the Perez Museum and the Studio Museum of Harlem. He has earned over eighteen awards and fellowships, including a prestigious one-year residency at the Lorenz Haus in Basel, Switzerland. EXHIBITION JUROR TYLER CANN The 2017 Exhibition Juror is the Columbus Museum of Art’s very own curator, Tyler Cann. When asked about his approach to this exhibition, Cann said, “There’s never a single criterion for judgment when it comes to selecting work for an exhibition like SECAC. I tried to take each piece on its own terms, and think about every one according to where it positioned itself within the spectrum of creative practices.” 8 KEYNOTE SPEAKER JENENNE WHITFIELD Jenenne Whitfeld, D.D.
Recommended publications
  • Coaching Experience

    Coaching Experience

    c o a c h i n g for kingdom and campus results version 2.1 table of contents 1.01 Marks of an effective coach 2.01 How to get the most out of your coaching experience 3.01 Table: T2 Executive Coaching Process 4.01 The GROW Model 5.01 Coaching analysis: learning from the gap 5.04 Table: The multiple roles of a supervisor 6.01 What an effective coaching session looks like 7.01 General coaching questions 8.01 Questioning tips for coaches 9.01 Listening tips for coaches 10.01 Feedback tips for coaches 11.01 Caring and confronting 12.01 The 4-stage launch process 13.01 Books and websites for coaches Worksheet s W.01 Coaching calendar and activities (copyable page) W.02 Building rapport with your planter W.03 First coaching session W.08 First coaching visit agenda (copyable page) W.09 Coaching Log (revised 06/09) W.10 Visit report (copyable page) W.11 Symptoms of imbalance/ Ways to increase energy m arks of an effective coach Great coaches know their sport. When Vince Lombardi took on his job with the perpetually-losing Green Bay Packers in 1958, he already had 25 years of football—not badminton—experience. As a chapter planter coach, you are here because you also have experience in your “sport” (i.e., campus evangelism/outreach) and a good understanding of the strategy and goals of InterVarsity’s chapter planting initiative. With that as a given, here are eight marks that are foundational to being a good coach to your planter.
  • Gotham Books Avery Dutton

    Gotham Books Avery Dutton

    Goth A m Books Gotham Books DUTTON Members of Penguin Group (usa) 375 Hudson Street, New York, NY 10014 | penguin.com Avery Avery | Dutton Dutton WI nter 2011 Winter 2011 photo: thenakedsnail/gettyphoto: images 9783001165152 W i nt e r 2 0 1 1 gotham books His Father’s Son Tom Callahan ..................................................................................2 The Art of Marriage Catherine Blyth ...............................................................................3 I Beat the Odds Michael Oher with Don Yaeger ............................................ 4–5 Life, on the Line Grant Achatz and Nick Kokonas .......................................... 6–7 Tapped Out Matthew Polly ............................................................................ 8–9 His Father’s Son Earl and Tiger Woods Tom Callahan A revealing and intimate biography of the man who influenced Tiger Woods the most—his father, Earl Woods From the time he entered the public consciousness as a two- year-old golf prodigy on The Mike Douglas Show, Eldrick “Tiger” Woods has often been viewed less as a human being and more as a ball-striking machine—and his carefully guarded image and emotionless persona seemed to guarantee that it would remain that way. Even after his recent bombshell adultery scandal, the public still knows very little about the man behind the golf clubs and multimillion-dollar endorsement deals. But one thing is certain: Earl Woods, Tiger’s beloved and now deceased father, NOVeMBer 2010 knew him better and influenced his life more than anyone. So, in Sports/Biography this case, to know the father is to know the son. 978-1-592-40597-8 In His Father’s Son, Tom Callahan offers a full-blown biography of $27.00 ($33.50 CAN.) Earl Dennison Woods, the Vietnam War veteran who raised the golf 304 pages phenomenon, and in turn, a full-blown biography of Tiger Woods.
  • Olive Rush [1873–1966] an Artistic Retreat at Home in Crested Butte, Colorado Contemporary Comfort in Santa Fe, New Mexico Perspective

    Olive Rush [1873–1966] an Artistic Retreat at Home in Crested Butte, Colorado Contemporary Comfort in Santa Fe, New Mexico Perspective

    APRIL | MAY 2018 From Cowboy to Contemporary Emily Mason: In Celebration of Color Shelley Reed: Enlightenment in Monochrome Inspired by Architecture: T.C. Boyle’s Frank Lloyd Wright home plus:Perspective: The Gentle Rebel, Olive Rush [1873–1966] An Artistic Retreat at Home in Crested Butte, Colorado Contemporary Comfort in Santa Fe, New Mexico PERSPECTIVE THE GENTLE REBEL: OLIVE RUSH [1873–1966] Driven by her principles and a desire for originality, an overlooked artist and Santa Fe Art Colony figure emerges into the light WRITTEN BY Gussie Fauntleroy This page, clockwise from left: On the Balcony, Oil on Canvas, 32.5 x 26.25 inches, 1913 | Olive Rush (left), Sarah Katharine Smith (center) and Ethel Pennewill Brown (right) on the steps of the Howard Pyle Studio, ca. 1905–10 | Olive Rush’s cover design for Woman’s Home Companion, December 1909; All images from Olive Rush: Finding Her Place in the Santa Fe Art Colony by Jann Haynes Gilmore, courtesy of Museum of New Mexico Press. fateful photo as a significant factor in the painter’s decades- long neglect. That status has begun changing, thanks in part to Gilmore’s award-winning biography, Olive Rush: Finding Her Place in the Santa Fe Art Colony, published in 2016 by the Museum of New Mexico Press. Rush was also included in the 2017 PBS documentary, “Painting Santa Fe,” and her works on paper were featured in a 2017 exhibition in Santa Fe, presented by the Historic Santa Fe Foundation and the Santa Fe Quaker Meeting, and curated by art conservator and Quaker, Bettina Raphael.
  • Making Conversation: Fiction, Philosophy and the Social Medium

    Making Conversation: Fiction, Philosophy and the Social Medium

    Making Conversation: Fiction, Philosophy and the Social Medium By Erin Elizabeth Greer A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Elizabeth Abel, Chair Professor Anne-Lise François Professor Kent Puckett Professor Michael Lucey Spring 2018 Making Conversation: Fiction, Philosophy, and the Social Medium © 2018 By Erin Elizabeth Greer Abstract Making Conversation: Fiction, Philosophy, and the Social Medium by Erin Elizabeth Greer Doctor of Philosophy in English University of California, Berkeley Professor Elizabeth Abel, Chair Making Conversation: Fiction, Philosophy, and the Social Medium originates in the hazy self-awareness of the contemporary networked world, in which activities such as donating to political campaigns, posting on social media, and contributing to online scholarly reviews are frequently characterized as modes of participating in an ethereal and endless digital “conversation.” At the same time, works like Sherry Turkle’s recent Reclaiming Conversation express fears that the digital “conversation” is corroding our abilities to converse in person, thereby threatening our “capacity for empathy, friendship, and intimacy.” Moreover, recent political developments––the US’s 2016 election, the British “Brexit” referendum, and the increasing prominence of digitally organized hate groups––have stimulated fears that online “conversation” in its current form undermines democracy by precluding the development of a central public “conversation” based on agreed-upon facts, openness, and civility. Contemporary concerns about conversation in the digital age in fact extend a long philosophical tradition in which “conversation” has been made to index lofty aspirations for both public and intimate life.
  • The Native American Fine Art Movement: a Resource Guide by Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba

    The Native American Fine Art Movement: a Resource Guide by Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba

    2301 North Central Avenue, Phoenix, Arizona 85004-1323 www.heard.org The Native American Fine Art Movement: A Resource Guide By Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba HEARD MUSEUM PHOENIX, ARIZONA ©1994 Development of this resource guide was funded by the Nathan Cummings Foundation. This resource guide focuses on painting and sculpture produced by Native Americans in the continental United States since 1900. The emphasis on artists from the Southwest and Oklahoma is an indication of the importance of those regions to the on-going development of Native American art in this century and the reality of academic study. TABLE OF CONTENTS ● Acknowledgements and Credits ● A Note to Educators ● Introduction ● Chapter One: Early Narrative Genre Painting ● Chapter Two: San Ildefonso Watercolor Movement ● Chapter Three: Painting in the Southwest: "The Studio" ● Chapter Four: Native American Art in Oklahoma: The Kiowa and Bacone Artists ● Chapter Five: Five Civilized Tribes ● Chapter Six: Recent Narrative Genre Painting ● Chapter Seven: New Indian Painting ● Chapter Eight: Recent Native American Art ● Conclusion ● Native American History Timeline ● Key Points ● Review and Study Questions ● Discussion Questions and Activities ● Glossary of Art History Terms ● Annotated Suggested Reading ● Illustrations ● Looking at the Artworks: Points to Highlight or Recall Acknowledgements and Credits Authors: Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba Special thanks to: Ann Marshall, Director of Research Lisa MacCollum, Exhibits and Graphics Coordinator Angelina Holmes, Curatorial Administrative Assistant Tatiana Slock, Intern Carrie Heinonen, Research Associate Funding for development provided by the Nathan Cummings Foundation. Copyright Notice All artworks reproduced with permission.
  • Compilado Por José Pereira Da Silva AARSLEFF, Hans. the History Of

    Compilado Por José Pereira Da Silva AARSLEFF, Hans. the History Of

    DICIONÁRIO DE LINGUÍSTICA E GRAMÁTICA, compilado por José Pereira da Silva AARSLEFF, Hans. The History of Linguistics and Professor Chomsky. Language, vol. 46, n. 3, p. 570-585, 1970. ABASTADO, Claude. Introduction au Surréalisme. Paris: Bordas, 1971. ABASTADO, Claude. Le Surréalisme. Paris: Hachette, 1975. ABAURRE (GNERRE), Maria Bernardete Marques. Alguns casos de formação de plural no português. Cadernos de Estudos Linguísticos, Campinas: Unicamp, v. 5, p. 127-156, 1983. Disponível em: <http://revistas.iel.unicamp.br/index.php/cel/article/view/3527/3956> ABDULAZIZ-MKILIFI, Mohamed H. Triglossia and Swahili-English Bilingualism in Tanzania. In: ___. Advences in the Study of Societal Mul- tilingualism. Haia: Mouton, 1978, p. 129-149. ABDULLA, Adnan K. Catharsis in Literature. Bloomington: Indiana University, 1985. ABEILLÉ, Anne. Grammaires génératives et grammaires d’unification. Languages, vol. 30, n. 129, 1998. ABEILLÉ, Anne. Les nouvelles syntaxes. Paris: Armand Colin, 1993. ABEL, Lionel (Ed.). Moderns on Tragety. Greenwich, Connecticut: Fawxett, 1967. ABERCOMBRIE, David. Elements of General Phonetics. Edinburgh University, 1967. ABERCOMBRIE, David. Paralanguage. In: LAVER, John; HUTCHE- SON, Sandy. (Eds.). Communication in Face to Face Interaction. Har- mondsworth: Penguin Books, 1972, p. 64-70. ABERCOMBRIE, David. Wat is a letter? In: ___. Lingua, Amsterdã, 1949, p. 54-63. Disponível em: https://www.cs.indiana.edu/~port/HDphonol/Abercrombie.what.is.letter. 1949.pdf ABRAMS, Meyer Howard "Mike". El espejo y la lámpara. Teoría Ro- mánica y tradición clásica acerca del Hecho literario. Trad.: Gregorio Aráoz. Buenos Aires: Nova, 1972. ABREU, Antonio Suárez. Curso de redação. 11. ed. São Paulo: Ática, 2002. 6870 José Pereira da Silva ACADEMIA BRASILEIRA DE LETRAS.
  • The Perfume of the Abyss

    The Perfume of the Abyss

    The perfume of the abyss (further poems from Series Magritte) Mark Young moria — chicago — 2019 The perfume of the abyss by Mark Young Copyright © 2018 by Mark Young All rights reserved. cover design by harry k stammer ISBN: 0-9786440-8-5 All the poems included here have appeared as posts on mark young's Series Magritte, sometimes in slightly different versions. "La Part du Feu" has also appeared in The Ekphrastic Review. "The Evening Gown" has also appeared in the Australian Poetry Anthology, Vol. 6, 2018. "The Life of Insects" has also appeared in The End of The World Project. Contents Le Beau Tenebreux 5 Modern 6 La Fin du Monde 7 Bather 8 Portrait d'Éluard 9 The Art of Conversation IV 10 The Endearing Truth 11 Heartstring 12 La Page Blanche 13 The Life of Insects 14 Une panique au moyen âge 15 Reflections of Time 16 The Evening Gown 17 Le Sourire du Diable 18 Landscape 19 A Poster Project for the Affiliated Unions 20 of Belgian Textile Workers Prince Charming 21 The Beneficial Promise 22 L'okapi 23 A Taste of The Invisible 24 The Postcard 25 Les objets d'art de René Magritte 26 La robe de l'aventure 28 The Domain of Arnheim 29 The Village of the Mind 30 Force of Habit 31 The Finery of the Storm 32 The Revealing of the Present 33 Memory 34 Le Palais des Souvenirs 35 Popular Panorama 36 La Part du Feu 37 The Discovery of Fire 38 Wreckage of the Shadow 39 cont'd The Connivance 40 Total: 0 41 [Untitled] 42 The Art of Living 43 The Silvered Chasm 44 The Song of the Sirens 45 (Untitled Collage, c.
  • Academicism to Modernism.Pdf

    Academicism to Modernism.Pdf

    Academicism to Modernism Fresh Perspectives on Historic Indiana Art Academicism to Modernism Fresh Perspectives on Historic Indiana Art October 28, 2005 – May 21, 2006 William Weston Clarke Emison Museum of Art DePauw University Foreword Kaytie Johnson Essay and acknowledgements Laurette E. McCarthy Editor Vanessa Mallory FOREWORD DePauw University is pleased to present from their collections for the show: Dr. Stephen Academicism to Modernism: Fresh Perspectives Butler and Dr. Linda Ronald; the Jack D. Finley on Historic Indiana Art, an exhibition that focuses Collection; Indiana State Museum and Historic on the lesser-known and understudied aspects of Sites; Indianapolis Public Schools; the Richmond Indiana art from the late nineteenth through early Art Museum; the Sheldon Swope Art Museum; Judy twentieth centuries. A majority of exhibitions and Waugh; and Wishard Health Services. publications that focus upon this period tend to The contributions of several individuals have concentrate primarily on what is referred to as enabled DePauw to present this exhibition. My “Hoosier Impressionism,” – most notably paintings thanks go out to my dedicated staff – Christie by artists such as T.C. Steele, John Ottis Adams Anderson and Christopher Lynn – for their tireless and William Forsyth – which has perpetuated an energy and enthusiasm in bringing this show to incomplete, and exclusive, history of the artistic fruition. My appreciation is also extended to Kelly legacy of Indiana. By introducing our audience to Graves for her design expertise and assistance with works by unfamiliar – and familiar – artists, in a wide producing this publication, and to Vanessa Mallory, range of artistic styles, we hope to emphasize, and whose editing skills are unrivaled.
  • Mathematics for Computer Science | Honors Database App

    Mathematics for Computer Science | Honors Database App

    WRITING ON THE WALL | DRAWING FOR FASHION 1 | DRAWING FOR FASHION 2 | PHOTO & DIGITAL PROCESSES 1 | PHOTO & DIGITAL PROCESSES 2 | HONORS PHOTO & DIGITAL PROCESSES 3 | STUDIO 1: 2D ART | STUDIO 2: 2D ART | HONORS STUDIO 3: 2D ART | AP STUDIO ART 2D DESIGN | STUDIO 1: 3D ART | STUDIO 2: 3D ART | HONORS STUDIO 3: 3D ART | HONORS ART PORTFOLIO DEVELOPMENT & STUDIO PRACTICES | AP STUDIO ART 3D DESIGN | AP STUDIO ART DRAWING | AP ART HISTORY | SEMINAR: AP ART HISTORY | DEPARTMENT AIDE—ART | UNIFIED VISUAL ARTS & LEADERSHIP | CONSUMER INSIGHTS | CONSCIOUS CAPITALISM (ETHICS) | ACING THE INTERNSHIP | HONORS ACCOUNTING 2 | HONORS ACCOUNTING 3 | BUSINESS LAW | PRINCIPLES OF BUSINESS MANAGEMENT & ENTREPRENEURSHIP | CAREER CONNECTIONS | CAREER TRANSITIONS | PROFESSIONAL CAREER EXPERIENCE | HONORS MARKETING 1 | HONORS MARKETING 2 | HONORS ENTREPRENEURSHIP | HONORS BUSINESS ADMINISTRATION SERVICES | INTRODUCTION TO MICROSOFT® OFFICE | HONORS BUSINESS MANAGEMENT | BUSINESS AND PERSONAL FINANCE | MICROSOFT® OFFICE APPLICATIONS (XLS/DBF) | MICROSOFT® OFFICE APPLICATIONS (DOC/PPT) | DEPARTMENT AIDE—BUSINESS | SENSORS & MICROCONTROLLERS | DATA MINING I | PYTHON I | SCRATCH | CYBERSECURITY: LINUX | INTRO TO WEB DEVELOPMENT | DISCRETE MATHEMATICS FOR COMPUTER SCIENCE | HONORS DATABASE APP. DEVELOPMENT (PL/SQL) | HONORS COMPUTER SCIENCE PROGRAMMING—JAVA | FOUNDATIONS OF COMPUTER SCIENCE | AP COMPUTER SCIENCE PRINCIPLES | AP COMPUTER SCIENCE A | C++ WITH GAMING | WEB PAGE DESIGN | ADVANCED WEB PAGE DESIGN 1 | HONORS ADVANCED WEB PAGE DESIGN 2 | CHILD DEVELOPMENT
  • Criminal Conversation and Complicity in Sarah Fielding's Ophelia Nancy Paul

    Criminal Conversation and Complicity in Sarah Fielding's Ophelia Nancy Paul

    Document generated on 09/28/2021 3:28 a.m. Lumen Selected Proceedings from the Canadian Society for Eighteenth-Century Studies Travaux choisis de la Société canadienne d'étude du dix-huitième siècle Is Sex Necessary? Criminal Conversation and Complicity in Sarah Fielding's Ophelia Nancy Paul Freedom and Boundaries Émancipation et frontières Volume 16, 1997 URI: https://id.erudit.org/iderudit/1012444ar DOI: https://doi.org/10.7202/1012444ar See table of contents Publisher(s) Canadian Society for Eighteenth-Century Studies / Société canadienne d'étude du dix-huitième siècle ISSN 1209-3696 (print) 1927-8284 (digital) Explore this journal Cite this article Paul, N. (1997). Is Sex Necessary? Criminal Conversation and Complicity in Sarah Fielding's Ophelia. Lumen, 16, 113–129. https://doi.org/10.7202/1012444ar All Rights Reserved © Canadian Society for Eighteenth-Century Studies / Société This document is protected by copyright law. Use of the services of Érudit canadienne d'étude du dix-huitième siècle, 1997 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 9. Is Sex Necessary? Criminal Conversation and Complicity in Sarah Fielding's Ophelia In 1776 James Fordyce wrote of the civilizing influence of the conversa• tion of ladies: 'Men will be found much the more courteous and amiable, as well as entertaining and accomplished, for their constant intercourse with a sex whom they are taught from the beginning to treat with attention and respect ' (Georgia 29).
  • FRANCES (Fannie/Fanny) SOULÉ

    FRANCES (Fannie/Fanny) SOULÉ

    351 After the earthquake in April of 1906 she recreated her studio in Berkeley on Bancroft Way where she briefly shared her space with the “wood carver” Miss Mildred Holden.15 Two of Campbell’s first commissions were to design cover illustrations for The Courier, a weekly magazine in Berkeley, and art work for another journal, Western Tours.16 She was briefly a “staff artist” at the Overland Monthly which later published a very flattering biography of the artist with fine reproductions of her celebrity portraits.17 Of all of Berkeley’s female artists in this period she was by far the most socially dynamic and popular. Campbell was the first to publicize her studio with large conspicuous advertisements.18 She participated in major exhibitions throughout the East Bay, including the Fifth Annual of the Oakland Art Fund at the Starr King Fraternity in 1905.19 Her only portrait miniature to survive the destruction of her San Francisco studio, a “splendid” study of Elsa von Monderscheid, was given a place of honor at Berkeley’s 1906 Studio Building Exhibition.20 In 1906 Campbell contributed to the Inaugural Exhibition of the Carmel Arts and Crafts Club and to the California State Fair.21 At the State Fair in 1908 she won separate medals for the best sketch and the best painted miniature on ivory.22 Several of her miniatures attracted favorable attention at the San Francisco Arts & Crafts Association.23 In 1907 her portraits in miniature were selected for display at San Francisco’s Sketch Club and at the opening of the Del Monte Art Gallery.24 That year she also displayed miniatures at the Alameda County Exposition in Oakland’s Idora Park.25 According to Hanna Larsen of the San Francisco Call, the young Berkeley artist was expanding her artistic horizons, no doubt due to the impact of photography on the demand for miniatures:26 Miss Frances Soule Campbell has branched off into illustrative work and has been very successful.
  • A Finding Aid to the Olive Rush Papers, 1879-1967, in the Archives of American Art

    A Finding Aid to the Olive Rush Papers, 1879-1967, in the Archives of American Art

    A Finding Aid to the Olive Rush Papers, 1879-1967, in the Archives of American Art Megan McShea Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. September 16, 2005 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical/Historical note.............................................................................................. 2 Scope and Contents note................................................................................................ 3 Arrangement note............................................................................................................ 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1886-1966, undated.............................................. 5 Series 2: Correspondence, 1889-1964.................................................................... 6 Series 3: Writings, 1886-1962, undated................................................................