2302.Jerome Dretzka Papers
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Applied Anatomy in Music: Body Mapping for Trumpeters
UNLV Theses, Dissertations, Professional Papers, and Capstones May 2016 Applied Anatomy in Music: Body Mapping for Trumpeters Micah Holt University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Music Commons Repository Citation Holt, Micah, "Applied Anatomy in Music: Body Mapping for Trumpeters" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2682. http://dx.doi.org/10.34917/9112082 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. APPLIED ANATOMY IN MUSIC: BODY MAPPING FOR TRUMPETERS By Micah N. Holt Bachelor of Arts--Music University of Northern Colorado 2010 Master of Music University of Louisville 2012 A doctoral project submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas May 2016 Dissertation Approval The Graduate College The University of Nevada, Las Vegas April 24, 2016 This dissertation prepared by Micah N. -
Robert Rauschenberg and James Rosenquist Graphics Rosenquist
RAUSCHENBERG PAST POP: ROBERT RAUSCHENBERG AND JAMES ROSENQUIST GRAPHICS ROSENQUIST KEAN UNIVERSITY !CKNOWLEDGEMENTS We would like to recognize the many individuals and institutions who generously provided assistance in this process. Bard Graduate Center: Olga Valle Tetkowski; Graebel Movers International Inc.: Jim Wilderotter; Kean University: Dr. Dawood Farahi, Holly Logue, John Maso, and Kenneth Kimble; The Montclair Art Museum: Gail Stavitsky and Erica Boyd; The Newark Museum: Amber Woods Germano, Olivia Arnone; O’Hara Gallery: Ruth O’Hara and Lauren Yen; Prudential Insurance Company of America: Carol Skuratofsky and Joseph Sabatino; the Estate of Robert Rauschenberg: Gina C. Guy and Thomas Buehler; James Rosenquist and Beverly Coe at the Rosenquist Studio; Universal Limited Art Editions: Bill Goldston and Marie Allen; The Whitney Museum of American Art: Donna DeSalvo, Barbie Spieler and Matt Heffernan; Visual Artists and Galleries Association (VAGA): Robert Panzer and Kimberly Tishler. Rich Russo for the photographs of prints in the Kean and Prudential collections. Special thanks to Barbara Burn for her remarkable editing ability and unique kindness. Without her diligence, this catalog would not have been possible. Copyright © 2009 by Kean University, Union, New Jersey Catalog essay, Past Pop: Robert Rauschenberg and James Rosenquist Graphics of the 1970s © 2009 Lewis Kachur All rights reserved. No part of this book may be reproduced in any form including electronic or mechanical means, photocopying, information storage and retrieval systems, except in the case of brief extracts for the purpose of critical articles and reviews, without permission in writing from Kean University. Art © James Rosenquist /Licensed by VAGA, New York, NY Art © Estate of Robert Rauschenberg/Licensed by VAGA, New York, NY U.L.A.E. -
WEDNESBURY (Inc
HITCHMOUGH’S BLACK COUNTRY PUBS WEDNESBURY (Inc. Kings Hill, Mesty Croft) 3rd. Edition - © 2014 Tony Hitchmough. All Rights Reserved www.longpull.co.uk INTRODUCTION Well over 40 years ago, I began to notice that the English public house was more than just a building in which people drank. The customers talked and played, held trips and meetings, the licensees had their own stories, and the buildings had experienced many changes. These thoughts spurred me on to find out more. Obviously I had to restrict my field; Black Country pubs became my theme, because that is where I lived and worked. Many of the pubs I remembered from the late 1960’s, when I was legally allowed to drink in them, had disappeared or were in the process of doing so. My plan was to collect any information I could from any sources available. Around that time the Black Country Bugle first appeared; I have never missed an issue, and have found the contents and letters invaluable. I then started to visit the archives of the Black Country boroughs. Directories were another invaluable source for licensees’ names, enabling me to build up lists. The censuses, church registers and licensing minutes for some areas, also were consulted. Newspaper articles provided many items of human interest (eg. inquests, crimes, civic matters, industrial relations), which would be of value not only to a pub historian, but to local and social historians and genealogists alike. With the advances in technology in mind, I decided the opportunity of releasing my entire archive digitally, rather than mere selections as magazine articles or as a book, was too good to miss. -
Shorewood TODAY Magazine
AUTUMN 2010 Shorewood TODAY magazine VILLAGE • SCHOOLS • BUSINESSES SPECIAL ISSUE: Shorewood Today Celebrates Its 2-Year Anniversary! INSIDE ... Attracting New Businesses to Shorewood Shorewood Connects Neighbors Celebrating 60 Years of AFS at Shorewood High School Great Fall & Holiday Dining visit www.escapetomilwaukee.com BOOK YOUR HOLIDAY EVENT POLKA FISH FRY TODAY FOR DECEMBER EVERY FRIDAY! AND JANUARY Family-friendly and affordable, enjoy a Special weekday rates! tasty fish dinner with all the trimmings every Friday night (5-9 p.m.). Plenty of great CHOOSE FROM ONE OF OUR SUPERB LOCATIONS polka music and the popular “bubble machine” • Hubbard Park Lodge 3565 N. Morris Blvd. (in a historic for the kids – take a spin on the dance floor! landmark building along the Milwaukee River) Weddings, • Fried cod, perch or shrimp and other non-fish items anniversaries and special events are our specialty! • Children’s menu and full bar service • Lakefront Palm Garden 2730 N. Humboldt Blvd. (inside Lakefront Brewery) A popular Milwaukee location LUMBERJACK BRUNCH for weddings and other special events. EVERY SUNDAY • The Red Accordion 1137 N. Old World Third St. Enjoy scrambled eggs, bacon, hash browns, pancakes, (in a historic landmark building in downtown Milwaukee) fresh fruit and a custom omelette bar from 9 a.m.-2 p.m. • Rio West Cantina 2730 N. Humboldt Blvd. Check out • Delicious Bloody Marys and Mimosas our newly expanded space! Visit www.escapetomilwaukee.com 3565 N. Morris Blvd. • 414.332.4207 www.hubbardlodge.com Shorewood’s best-kept secret along the Milwaukee River! In the Riverwest Milwaukee’s Newest Pub Community – Shorewood’s next door on Historic Old World Third Street neighbor (only one block from the Bradley Center) Offering the Milwaukee Tapas, Sliders & Great Desserts area’s best margaritas! Choose from more than 11 HD Flat Screens 75 Tequilas. -
Days & Hours for Social Distance Walking Visitor Guidelines Lynden
53 22 D 4 21 8 48 9 38 NORTH 41 3 C 33 34 E 32 46 47 24 45 26 28 14 52 37 12 25 11 19 7 36 20 10 35 2 PARKING 40 39 50 6 5 51 15 17 27 1 44 13 30 18 G 29 16 43 23 PARKING F GARDEN 31 EXIT ENTRANCE BROWN DEER ROAD Lynden Sculpture Garden Visitor Guidelines NO CLIMBING ON SCULPTURE 2145 W. Brown Deer Rd. Do not climb on the sculptures. They are works of art, just as you would find in an indoor art Milwaukee, WI 53217 museum, and are subject to the same issues of deterioration – and they endure the vagaries of our harsh climate. Many of the works have already spent nearly half a century outdoors 414-446-8794 and are quite fragile. Please be gentle with our art. LAKES & POND There is no wading, swimming or fishing allowed in the lakes or pond. Please do not throw For virtual tours of the anything into these bodies of water. VEGETATION & WILDLIFE sculpture collection and Please do not pick our flowers, fruits, or grasses, or climb the trees. We want every visitor to be able to enjoy the same views you have experienced. Protect our wildlife: do not feed, temporary installations, chase or touch fish, ducks, geese, frogs, turtles or other wildlife. visit: lynden.tours WEATHER All visitors must come inside immediately if there is any sign of lightning. PETS Pets are not allowed in the Lynden Sculpture Garden except on designated dog days. -
Pharmaceutical Historian Vol. 27. 1997
Vol.27 No.I March 1997 £1.50. Journal of the BRITISH SOCIETY FOR THE HISTORY OF PHARMACY. Established 1967. Contributions to the Editor: Dr. J. Bumby B.Pharm., PhD., FRPharmS., FSA. 36 York Place, Edinburgh. EHl 3HU CONTENTS. A Yorkshire pharmacy formulary, 1885-1927 Page 2 The medical practice of John Hall Page 10 A new Society has been formed, the Historical Medical Equipment Society, which represents the interests of all DIARY DATES those interested in medical instruments and equipment. Membership includes collectors and curators in all fields, Wednesday, 5 March 1997 Foundation Lecture. including pharmacy, medicine and dentistry. The Society Please note change of date from 19 March to 5 March. aims to provide resources to collectors and museums, and to 18 April 1997 to 20 April 1997. promote the study of the history of medical artifacts to the Spring Conference. Bournemouth. present day. The Chairman is Mr John Kirkup, FRCS, and Friday.After Dinner. "Some Dorset apothecaries and the first meeting is planned for early 1997. Contact the pharmacists" by John Hunt. Secretary, Dr David Warren, PO Box 85, Portsmouth, P06 Saturday. 9.30 a.m. "History of Pharmacy Education" 2BB for further information. by Dr M. Earles. 10.15 a.m. "The 1851 Great Exhibition" Members' Activities. by A. Morson. 11.30 a.m. "The Shop" Bill Jackson has been awarded the degree of MSc by by Mrs E. Lucas Smith research for a thesis entitled "The Invention of the Stomach Afternoon - At leisure. Pump and its Development in the Nineteenth century". After Sunday. 9.30 a.m. -
A Freer Stela Reconsidered / Stanley K
SMITHSONIAN INSTITUTION WASHINGTON, D.C. A Freer Stela Reconsidered A Freer Stela Reconsidered Stanley K. Abe Occasional Papers 2002/voL 3 FREER GALLERY OF ART ARTHUR M. SACKLER GALLERY SMITHSONIAN INSTITUTION WA S H I N G T N , D . C . „; '>ii'^.^"'j:'s;f tvf l-'i; —— © 2002 Smithsonian Institution Funding for this publication was provided All rights reserved by the Freer and Sackler Galleries' Publications Endowment Fund, initially Aimed at the specialist audience, the established with a grant from the Andrew Occasional Papers series represents important W. Mellon Foundation and generous new contributions and interpretations by contributions from private donors. international scholars that advance art histor- ical and conservation research. Published by Board ofthe Freer and Sackler Galleries the Freer Gallery of Art and the Anhur M. Mrs. Hart Fessenden, Chair ofthe Board Sackler Gallery, Smithsonian Institution, the Mr. Richard Danziger, Vice Chair ofthe Board series is a revival of the original Freer Gallery of Art Occasional Papers. Contributions, Dr. Siddharth K. Bhansali including monographic studies, translations, Mr. Jeffrey Cunard scientific studies of of art span the and works Mrs. Mary Patricia Wilkie Ebrahimi broad range of Asian art. Each publication Mr. George Fan its emphasis of art draws primary from works Dr. Robert Feinberg in the Freer and Sackler collections. Dr. Kurt Gitter Mrs. Margaret Haldeman Edited by Gail Spilsbury Mrs. Richard Helms Designed by Denise Arnot Sir Joseph Hotung Typeset in Garamond and Meta Mrs. Ann Kinney Printed by Weadon Printing & Mr. H. Christopher Luce Communications, Alexandria, Virginia Mrs. Jill Hornor Ma Mr. Paul Marks Cover and frontispiece: Details, stela, Ms. -
Handbook on Judaica Provenance Research: Ceremonial Objects
Looted Art and Jewish Cultural Property Initiative Salo Baron and members of the Synagogue Council of America depositing Torah scrolls in a grave at Beth El Cemetery, Paramus, New Jersey, 13 January 1952. Photograph by Fred Stein, collection of the American Jewish Historical Society, New York, USA. HANDBOOK ON JUDAICA PROVENANCE RESEARCH: CEREMONIAL OBJECTS By Julie-Marthe Cohen, Felicitas Heimann-Jelinek, and Ruth Jolanda Weinberger ©Conference on Jewish Material Claims Against Germany, 2018 Table of Contents Foreword, Wesley A. Fisher page 4 Disclaimer page 7 Preface page 8 PART 1 – Historical Overview 1.1 Pre-War Judaica and Jewish Museum Collections: An Overview page 12 1.2 Nazi Agencies Engaged in the Looting of Material Culture page 16 1.3 The Looting of Judaica: Museum Collections, Community Collections, page 28 and Private Collections - An Overview 1.4 The Dispersion of Jewish Ceremonial Objects in the West: Jewish Cultural Reconstruction page 43 1.5 The Dispersion of Jewish Ceremonial Objects in the East: The Soviet Trophy Brigades and Nationalizations in the East after World War II page 61 PART 2 – Judaica Objects 2.1 On the Definition of Judaica Objects page 77 2.2 Identification of Judaica Objects page 78 2.2.1 Inscriptions page 78 2.2.1.1 Names of Individuals page 78 2.2.1.2 Names of Communities and Towns page 79 2.2.1.3 Dates page 80 2.2.1.4 Crests page 80 2.2.2 Sizes page 81 2.2.3 Materials page 81 2.2.3.1 Textiles page 81 2.2.3.2 Metal page 82 2.2.3.3 Wood page 83 2.2.3.4 Paper page 83 2.2.3.5 Other page 83 2.2.4 Styles -
Bios for Web Site
Bios: 2014 CHAUTAUQUA FACULTY/VISITING ARTISTS IN RESIDENCE Resident faculty (rf) teach from 1 to 7 weeks during the summer at Chautauqua. Visiting lecturers and faculty (vl, vf) are at Chautauqua for periods ranging from 1 to 5 days. LISA CORINNE DAVIS: Faculty, Hunter College "Lisa Corinne Davis' paintings occupy a point somewhere between cartooning and cartography, abstraction and figuration. Her carefully articulated images are oddly familiar but essentially ephemeral, visually resonant but also deliberately enigmatic. Davis’ subject has always been the exploration of racial, social, and psychological identity. She has developed her own vocabulary for rendering the world, a lexicon that expresses her personal experience as an African-American woman in the 21st Century, and, by extension, that of an individual in modern society. While subtly avoiding the clichés of special identity politics—if anything, challenging them—Davis provides the viewer with an evocative visual code for deciphering his own environment." (P. Hoban) Davis received her Master of Fine Arts degree from Hunter College and her Bachelor of Fine Arts from Pratt Institute. Her work has been exhibited nationally including exhibitions at June Kelly Gallery, Marlborough Gallery, Spanierman Modern, the Bronx Museum, and Von Lintel Gallery. She is currently represented by Gerald Peters Gallery New York, NY Galerie Gris in Hudson, NY and The Mayor Gallery, London. Her work is included in many collections, including that of The Museum of Modern Art in New York, the J. Paul Getty Museum in Los Angeles, The National Museum of Women in the Arts in Washington, D.C., The Fine Arts Museum of San Francisco, and the Victoria and Albert Museum in London. -
7.10 Nov 2019 Grand Palais
PRESS KIT COURTESY OF THE ARTIST, YANCEY RICHARDSON, NEW YORK, AND STEVENSON CAPE TOWN/JOHANNESBURG CAPE AND STEVENSON NEW YORK, RICHARDSON, YANCEY OF THE ARTIST, COURTESY © ZANELE MUHOLI. © ZANELE 7.10 NOV 2019 GRAND PALAIS Official Partners With the patronage of the Ministry of Culture Under the High Patronage of Mr Emmanuel MACRON President of the French Republic [email protected] - London: Katie Campbell +44 (0) 7392 871272 - Paris: Pierre-Édouard MOUTIN +33 (0)6 26 25 51 57 Marina DAVID +33 (0)6 86 72 24 21 Andréa AZÉMA +33 (0)7 76 80 75 03 Reed Expositions France 52-54 quai de Dion-Bouton 92806 Puteaux cedex [email protected] / www.parisphoto.com - Tel. +33 (0)1 47 56 64 69 www.parisphoto.com Press information of images available to the press are regularly updated at press.parisphoto.com Press kit – Paris Photo 2019 – 31.10.2019 INTRODUCTION - FAIR DIRECTORS FLORENCE BOURGEOIS, DIRECTOR CHRISTOPH WIESNER, ARTISTIC DIRECTOR - OFFICIAL FAIR IMAGE EXHIBITORS - GALERIES (SECTORS PRINCIPAL/PRISMES/CURIOSA/FILM) - PUBLISHERS/ART BOOK DEALERS (BOOK SECTOR) - KEY FIGURES EXHIBITOR PROJECTS - PRINCIPAL SECTOR - SOLO & DUO SHOWS - GROUP SHOWS - PRISMES SECTOR - CURIOSA SECTOR - FILM SECTEUR - BOOK SECTOR : BOOK SIGNING PROGRAM PUBLIC PROGRAMMING – EXHIBITIONS / AWARDS FONDATION A STICHTING – BRUSSELS – PRIVATE COLLECTION EXHIBITION PARIS PHOTO – APERTURE FOUNDATION PHOTOBOOKS AWARDS CARTE BLANCHE STUDENTS 2019 – A PLATFORM FOR EMERGING PHOTOGRAPHY IN EUROPE ROBERT FRANK TRIBUTE JPMORGAN CHASE ART COLLECTION - COLLECTIVE IDENTITY -
UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Ring around The Rose Permalink https://escholarship.org/uc/item/7426863k Author Ferrell, Elizabeth Allison Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Ring around The Rose: Jay DeFeo and her Circle By Elizabeth Allison Ferrell A dissertation submitted for partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Emerita Anne M. Wagner, Chair Professor Emeritus Timothy Clark Professor Shannon Jackson Professor Darcy Grigsby Fall 2012 Copyright © Elizabeth Allison Ferrell 2012 All Rights Reserved Abstract The Ring around The Rose by Elizabeth Allison Ferrell Doctor of Philosophy in History of Art University of California, Berkeley Professor Emerita Anne M. Wagner, Chair From 1958 to 1966, the San Francisco artist Jay DeFeo (1929-89) worked on one artwork almost exclusively – a monumental oil-on-canvas painting titled The Rose. The painting’s protracted production isolated DeFeo from the mainstream art world and encouraged contemporaries to cast her as Romanticism’s lonely genius. However, during its creation, The Rose also served as an important matrix for collaboration among artists in DeFeo’s bohemian community. Her neighbors – such as Wallace Berman (1926-76) and Bruce Conner (1933-2008) – appropriated the painting in their works, blurring the boundaries of individual authorship and blending production and reception into a single process of exchange. I argue that these simultaneously creative and social interactions opened up the autonomous artwork, cloistered studio, and the concept of the individualistic artist championed in Cold-War America to negotiate more complex relationships between the individual and the collective. -
Conversations
CONVERSATIONS Orthodoxy: Widening Perspectives Autumn 2020/5781 Issue 36 CONVERSATIONS CONTENTS In Honor of Rabbi Hayyim Angel, on His 25 Years of Rabbinic Service v RABBI MARC ANGEL Editor’s Introduction vii RABBI HAYYIM ANGEL How the Torah Broke with Ancient Political Thought 1 JOSHUA BERMAN Walking Humbly: A Brief Interpretive History of Micah 6:8 13 ERICA BROWN It’s in the Gene(alogy): Family, Storytelling, and Salvation 21 STUART HALPERN Hassidim and Academics Unite: The Significance of Aggadic Placement 30 YITZHAK BLAU Love the Ger: A Biblical Perspective 37 HAYYIM ANGEL Does the Gender Binary Still Exist in Halakha? 47 NECHAMA BARASH Four Spaces: Women’s Torah Study in American Modern Orthodoxy 68 RACHEL FRIEDMAN Three Short Essays 74 HAIM JACHTER The Yemima Method: An Israeli Psychological-Spiritual Approach 89 YAEL UNTERMAN You Shall Love Truth and Peace 103 DANIEL BOUSKILA Agnon’s Nobel Speech in Light of Psalm 137 108 JEFFREY SAKS Re-Empowering the American Synagogue: A Maslovian Perspective 118 EDWARD HOFFMAN Yearning for Shul: The Unique Status of Prayer in the Synagogue 125 NATHANIEL HELFGOT Halakha in Crisis Mode: Four Models of Adaptation 130 ARYEH KLAPPER Responsiveness as a Greatmaking Property 138 ANDREW ARKING Religious Communities and the Obligation for Inclusion 147 NATHAN WEISSLER SUBMISSION OF ARTICLES If you wish to submit an article to Conversations, please send the Senior Editor ([email protected]) or the Editor ([email protected]) a short description of the essay you plan to write. Articles should be written in a conversa- tional style and should be submitted typed, double spaced, as Word documents.