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School of Art 2014–2015
BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Art 2014–2015 School of Art 2014–2015 BULLETIN OF YALE UNIVERSITY Series 110 Number 1 May 15, 2014 BULLETIN OF YALE UNIVERSITY Series 110 Number 1 May 15, 2014 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849. -
Nigerian Women Artists' Visibility in Twenty-First
DOI: https://dx.doi.org/10.4314/gjss.v20i1.6 GLOBAL JOURNAL OF SOCIAL SCIENCES VOL 20, 2021: 59-67 COPYRIGHT© BACHUDO SCIENCE CO. LTD PRINTED IN NIGERIA. ISSN 1596-6216 59 www.globaljournalseries.com; [email protected] NIGERIAN WOMEN ARTISTS’ VISIBILITY IN TWENTY-FIRST CENTURY CONTEMPORARY ART PRACTICES: A TRIUMPH AGAINST EXCLUSIONS FROM ART GROUPS AND COLLECTIVES IN NIGERIA NKIRUKA JANE NWAFOR (Received 26 April 2021, Revision Accepted 6 July 2021) ABSTRACT Nigerian artists began forming art groups and schools from the 1950s and 1960s. These art groups advanced the reclaiming of Nigeria‟s artistic cultural heritages. However, even in the post-colonial and post-Civil War 1970s and 1980s many art groups and art institutions had few or no female members that participated in their activities. This essay reviews notable art groups in Nigeria from the earliest to the more recent. It also identifies the prominent women artists that had contributed to modern Nigerian art history. The essay also looks at the changes in the 1990s‟ and identifies contemporary art and its liberal and individualistic approaches as what caused decline in art groups in the twenty-first century. It will identify the women making impact in Nigeria‟s art scenario in the twenty-first century. The essay argues therefore that the liberalizing nature of twenty-first century contemporary art practices in Nigeria may have endeared more visibility to Nigerian women artists. KEYWORDS: Nigerian women artists, art groups, art schools, modern Nigerian art, contemporary art, post-colonial art, twentieth century, twenty-first century. INTRODUCTION The essay also looks at the vicissitudes in the 1990s‟ and the more recent 2000s‟ contemporary Art groups and associations were critical in art practices in Nigeria. -
Kapwani Kiwanga
Goodman Gallery Kapwani Kiwanga Biography Kapwani Kiwanga (b. Hamilton, Canada) lives and works in Paris. Kiwanga studied Anthropology and Comparative Religion at McGill University in Montreal and Art at l’école des Beaux-Arts de Paris. In 2020, Kiwanga received the Prix Marcel Duchamp (FR). She was also the winner of the Frieze Artist Award (USA) and the annual Sobey Art Award (CA) in 2018. Solo exhibitions include Haus der Kunst, Munich (DE); Kunstinstituut Melly – Center for Contemporary Art, Rotterdam (NLD); Kunsthaus Pasquart, Biel/Bienne (CHE); MIT List Visual Arts Center, Cambridge (USA); Albertinum museum, Dresden (DE); Artpace, San Antonio (USA); Esker Foundation, Calgary (CA); Tramway, Glasgow International (UK); Power Plant, Toronto (CA); Logan Center for the Arts, Chicago (USA); South London Gallery, London (UK); and Jeu de Paume, Paris (FR) among others. Selected group exhibitions include Whitechapel Gallery, London (UK); Serpentine Galleries, London (UK); Yuz Museum, Shanghai (CHN); MOT – Museum of Contemporary Art Tokyo (JPN); Museum MMK für Moderne Kunst, Frankfurt (DE); Museum of African Contemporary Art Al Maaden – MACAAL, Marrakech (MAR); National Gallery of Canada, Ottawa (CA); Contemporary Arts Museum, Houston (USA); Hammer Museum, Los Angeles (USA); Centre Pompidou, Paris (FR); Musée d’art contemporain de Montréal, Montreal (CA); ARoS Aarhus Art Museum, Aarhus (DK) and MACBA, Barcelona (ESP). She is represented by galerie Poggi, Paris; Goodman Gallery, Johannesburg, Cape Town and London; galerie Tanja Wagner, Berlin. Kapwani Kiwanga is a Franco-Canadian artist based in Paris. Kiwanga’s work traces the pervasive impact of power asymmetries by placing historic narratives in dialogue with contemporary realities, the archive, and tomorrow’s possibilities. -
0'" 00 2 0 '"0 "? 0 "? :J On-Screen: Global Inhmacy
'T1 <:) ;: "t:r ~ ~ '7 c.... => ~. c..: 5· "~ q ':;< --;:: <0 c: '"' '"' .~ '" >-rj '< '":=! 3.:: ", ~ 0 r, ~ I "" ::r c: c-e... ... ~ $: '< ., a -;!' R 3· ::r 0 '" 0 0 0 '" ~ oc N 0'" 00 2 0 '"0 "? 0 "? :J ON-SCREEN: GLOBAL INHMACY G lobal ization is frequently assumed to have a negative impact when associated with developing which require us to rethink conwnrio nal defin itions of n nations. Some schola rs view this outside inAuence Cl.s a corruption of culture. At the very leasr. it ide:ntity. is considered a threat to fragile and vul nerable local and traditional cultures. Such views tend [() fix a nd essentialize culture as a static cOlll modity, and disregard centuries of hi stori c enCOllllterS '[he ex hibiting artist.s d raw from their diverse identities cl that demo nstrate the global outreach of humanity across continents. Since earl y civili zations. conrracii ctory claims about the homngcniLing t()rce of gil people have moved across and within geographica l borders in search of better living condition', Recently, the frequency of travel. the accessihility of tcchnolof:,'Y. and the availability of inforn ~do n has compressed time and spact' in ways that allow tl)r human intt'l'connectio n to occur mOl"<: remotely. '1h e exhibition On-Seran: GIll /JIll IlIlimacy brings togetber ten ani ts from Africa, Asia, the Caribbean. and the United States whme wur ·s investigate the transnational reach of globalization. Working pri rmril)' in video, these artists proje:cr inu gcs that traverse national boundarit , and highlight the conAuence of culrures and technologies th.u mark our time. -
ACASA Newsletter 113, Fall 2019 Welcome to ACASA
Volume 113 | Fall 2019 ACASA Newsletter 113, Fall 2019 Welcome to ACASA President's Welcome Dear ACASA Members, We are moving into the final months of 2019 and our triennial organizing and programming committees are busy planning and preparing for the many guests who will join us in Chicago next June. Now is the time to visit our ACASA website to register for the conference, book your hotel, submit an award’s application, and send your ideas for papers and panels. Deadlines for all are fast approaching so don’t delay. In addition to our book, dissertation, curatorial, and leadership awards, we will be recognizing outstanding teaching with our new Award for Teaching Excellence. If you haven’t already, please help support our triennial fund and travel endowment. ACASA relies on your donations and membership to create unforgettable conferences. You can reach out to me or Silvia Forni, past ACASA president and our fundraising committee chair. Wishing you a bountiful October. Peri Klemm, President ACASA website From the Editor Dear ACASA members, As usual, the fall issue of our newsletter turns out more voluminous than in the rest of the year - you will find many exciting award, fellowship and job opportunities as well as news from the African art and art scholarship world. Most importantly, we introduce a new section dedicated exclusively to the ACASA Triennial 2020. You will find it immediately after these editorial notes. There, we will keep you updated on the run-up to the triennial in this and the next two newsletters.Note that deadlines are fast a p p r o a c h i n g and don't wait to check o u r webs ite for important information on Tri20 and our triennial awards (see Opportunities section). -
Views from Above Press Kit 17.05 > 07.10.13
, New York, 1935. Photo by Oscar Graubner / Time Life Pictures / Getty Images VIEWS FROM ABOVE PRESS KIT 17.05 > 07.10.13 centrepompidou-metz.fr American photographer and journalist Margaret Bourke-White (1904-1971) perches on an eagle head gargoyle at the top of the Chrysler Building and focuses a camera BAT_DP_COVER_v1.indd 3-4 09/05/12 11:56 VIEWS FROM ABOVE CONTENTS 1. GENERAL PRESENTATION ............................................................................................................ 02 2. STRUCTURE OF THE EXHIBITION ............................................................................................. 03 GRANDE NEF UPHEAVAL – PLANIMETRY – EXTENSION – ALIENATION – DOMINATION .................................................................................. 04 GALERIE 1 TOPOGRAPHY – URBANISATION – SUPERVISION ........................................................................................................................................ 06 FOCUS ON "ÉCHO D'ÉCHOS: FROM ABOVE, WORK IN SITU, 2011", BY DANIEL BUREN ........................................................................................................................................................................................ 08 3. LIST OF EXHIBITED ARTISTS ...................................................................................................... 09 4. LENDERS ................................................................................................................................................... 10 5. CATALOGUE .............................................................................................................................................. -
Nowhere Differentiable
NOWHERE DIFFERENTIABLE Simons Center for Geometry & Physics University January 28 - February 28, 2013 Generous support for Nowhere Differentiable provided byThe Simons Foundation. Special Thanks to Elyce Winter, Tim Young, Rhonda Cooper, Nicholas Warndorf and The Simons Center for Geometry and Physics Art Advisory Board (Tony Philips (Chair), George Hart, John Lutterbie and Daniel Weymouth) for their support of this exhibition. Curator/Stony Brook Professor Stephanie Dinkins is an interdisciplinary artist whose work explores race and social equity through a syncretic lens. Her art making and teaching practices are informed by an artistic heritage that extends from her grandmother, and other resourceful people who transform life’s residue into functional objects, and the equally fluid adaptability of digital imagery. She earned her MFA from the Maryland Institute College of Art. She is an alumna of the Independent Studies Program of the Whitney Museum of American Art and Artist in the Marketplace Program of the Bronx Museum of Art. Stepha nie Dinkins is the recipient of grants and support from: Puffin Foundation, Trust for Mutual Understanding, Lef Foundation, Approach Art Association and Residency Unlimited. Her work is exhibited internationally. She teaches undergraduate and graduate courses on the image and digital media at Stony Brook University. SimonsCenter EOR GEOMETRY AND PHYSICS ER Nowhere Differentiable African Fractals ~ Afrofuturism Curated by Stephanie Dinkins In his important book, African Fractals, Dr. Ron Eglash investigates fractals in African architecture, hairstyling, textiles, sculpture, religion, games, quantitative technologies, and symbolic systems. He asserts, by looking at African material culture in the framework of the complexity theory, we can better understand the presence of fractal geometry as an African knowledge system.” Cultural Critic Mark Dery coined the term AfroFuturism in 1994 by observing, “African-American culture is Afrofuturist at its heart.. -
Independent Study Program : 40 Years : Whitney Museum of American Art, 1968-2008
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Admissions Prospectus
Leading Starts from Learning — Aim. Succeed. Become More. Admissions Prospectus CAMPUS HIGHLIGHTS ADMISSIONS — ASM welcomes applications from qualified, diverse students throughout the school year, with the majority of students entering in September or January. › 70+ modern, ergonomic and hi-tech classrooms › 2 SEMESTER ACADEMIC YEAR › Extensive, green 9-acre facility September - June calendar › Brand new 500-seat auditorium › SCHOOL HOURS › In-house kitchen and cafeteria 8:50-15:30 with indoor/outdoor seating › BUS SERVICE › Art, music and science labs for Extensive bus route from in/around Milan all ages › ONLINE APPLICATION PROCEDURE › Greenhouse for elementary www.asmilan.org/apply students › ADMISSIONS OFFICE CONTACT › Elementary School Makerspace/ [email protected] DesignLab with 3D printers +39 0253000015 › Film studio with editing and production lab › Multimedia library containing 27,000 volumes › Extensive school playgrounds and recreation areas › 2 full-sized American gyms and an indoor climbing wall › Outdoor grass soccer field and basketball court DIPLOMA PRE-SCHOOL & ELEMENTARY MIDDLE SCHOOL INTERNATIONAL PREPARATION BACCALAUREATE PRE-K SCHOOL PROGRAM PROGRAM DIPLOMA PROGRAM (AGES 3-5) (KG–GR.5) (GR.6–8) (GR.9–10) (GR.11–12) Student Body = 915 ABOUT US — 55 Nationalities ASM provides a student-centered, American-style education with international standards for children aged 3-18 from early childhood to high school. We USA 15% encourage children to develop their full potential, Italy achieve personal excellence and become more as 36% South Korea global citizens and lifelong learners. Technology 6% is a key focus at ASM and an integral part of our program. Top Student China Nationalities 4% Saudi Arabia Founded in 1962, the school is a nonprofit associa- 4% tion enrolling about 915 students from 50+ nations. -
SCHOOL PROFILE Be Noted That Content Coverage Was Reduced
Institut Le Rosey, along with schools around the world, was severely impacted by the COVID-19 pandemic. The impact was as follows: • Students were absent from campus for six months. Le Rosey is a close, family-like community and the separation from peers, who are often viewed as siblings, was difficult and upsetting for students. Many students felt disconnected and isolated throughout the separation. • Distance learning: Distance learning began at the beginning of April 2020 and this required a significant adjustment in approaches to teaching and learning. It should SCHOOL PROFILE be noted that content coverage was reduced. 2020-21 • Time Zone issues: Institut Le Rosey is also a global community and time A uniquely international independent co-educational boarding school, Le Rosey was zones constituted a severe challenge established in 1880 and provides a multi-lingual, multi-cultural, and dual-campus, for students and faculty alike. environment. Rosey’s main campus is in Rolle, twenty miles from Geneva. The alpine With students dispersed globally, winter campus (January-March) in Gstaad is equipped with the same academic teachers had to deliver lessons and facilities as in Rolle. maintain positive relationships with students across global time zones. Le Rosey offers a dual-language curriculum. Many students reported waking at General Director English and French are the languages of midnight or in the early hours of Mr Christophe GUDIN instruction, and all students (whatever their the morning (local time) in order to country of origin) choose one of these as their attend live classes. Many students Heads of Academics principal educational language. -
Paris College of Art Requirements Alink
Paris College Of Art Requirements Pryce still disenthrals interpretively while resigned Eugen bituminising that indomitability. Is Prasun proletarian or unresentful after lumpish Verney parbuckling so obviously? Keith remains declarative after Vijay confines symmetrically or remodifying any exaggerators. Probably the paris college of your own designs and create an extensive body where students focus on both the production program at ashland university to finish it Enthusiastic writer thinking in paris college of requirements, and faculty to use of your questions, paris college of english department of presentation in order to the. Neighborhood and paris art program provides student should include events of student? Trajectory of paris college of art and most students, a variety of recommendation. Posted schedules of paris of requirements depend on how to produce a foundation year long course are paid by industrial means that can get in. Want significant music and paris art and design and faculty of the many of modern life in replacement of research. Draw inspiration from renowned paris college of modern life in a european communication design and cultural activities to be on body inspire children and. For interviews and the college requirements and pattern shapes: earn credits required to pursue an international faculty of garments. Follow professional artists and sciences is available to reproduce for college of art teacher licensure in a study? Residency is placed with paris college art requirements depend on your academic success. Having knowledge acquired in paris requirements are encouraged to conceiving and mfa program with regard to pursue their talents. Layout software design of college art and the course is mediocre or interior design, the boxes to observe how these schools that impact design and their new and. -
2019 Annual Meeting Final Preliminary Program
Preliminary Program nd 62 Annual Meeting Being, Belonging and Becoming in Africa Thursday, November 21 – Saturday, November 23, 2019 Boston Marriott Copley Place Boston, MA Program Committee Chairs: Matthew Heaton, Virginia Tech James Ogude, University of Pretoria Local Arrangements Committee Chairs: Abel Djassi Amado, Simmons University Rita Kiki Edozie, University of Massachusetts, Boston Kwamina Panford, Northeastern University Eric J. Schmidt, Boston University Preliminary Program uploaded October 15, 2019 Please review the final information for your name badge, no later than the c.o.b. Friday, October 18th. Information will be finalized for priting and will be immutable thereafter. If you would like to request a change, please contact us at [email protected]. Program Theme The theme of this year’s Annual Meeting is “Being, Belonging and Becoming in Africa.” While Africa is not and never has been homogenous or unitary, the existence of the ASA is predicated on the idea that there are things that distinguish “Africa” and “Africans” from other peoples and places in the world, and that those distinctions are worth studying. In a world increasingly preoccupied with tensions over localism, nationalism, and globalism, in which so many forms of essentialism are under existential attack (and fighting back), we hope that this theme will spark scholarly reflection on what it has meant and currently means for people, places, resources, ideas, knowledge, among others to be considered distinctly “African.” As scholars have grappled with the conceptual and material effects of globalization, the various disciplines of African Studies have also embraced transnational, international, and comparative approaches in recent decades.