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Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
Press Release
Contact: Mark Linga 617.452.3586 [email protected] N E W S R E L E A S E The Media Test Wall Presents Video Trajectories (Redux): Selections from the MIT List Visual Arts Center New Media Collection featuring works by Bruce Nauman, Dara Birnbaum, Bill Viola, Nam June Paik and Gary Hill Viewing Hours: Daily 24 Hours Cambridge, MA – September 2008. The MIT List Visual Arts Center’s Media Test Wall presents Video Trajectories (Redux): Selections from the MIT List Visual Arts Center New Media Collection. This five-part exhibition series features selections from the List Center’s exhibition Video Trajectories (October 12-December 30, 2007) which was originally organized by MIT Professor Caroline A. Jones. The five selections in Video Trajectories (Redux), considered masterworks from video art history were acquired to become part of the MIT List Center’s New Media Collection. This exhibition re-introduces these works to a broader public: September 12-October 10 Bruce Nauman Slow Angle Walk (Beckett Walk), 1968 Video, black-and-white, sound, 60 minutes © 2008 Bruce Nauman/Artists Rights Society (ARS), New York, NY For Bruce Nauman, the video camera is an indispensable studio tool and witness. Barely edited, a characteristic Nauman tape from the late '60s shows the artist laconically following some absurd set of directions for an extended amount of time within the vague purview of a video camera mounted at a seemingly random angle in relation to the action. Slow Angle Walk is a classic of the genre, reflecting the artist's interest in Irish playwright Samuel Beckett, whose characters announce, "Let's go!" while the stage directions read, "No one moves." October 13-November 14 Dara Birnbaum Technology/Transformation: Wonder Woman, 1978-79 Video, color, sound, 5 minutes 50 seconds Courtesy of Electronic Arts Intermix Trained in architecture and painting, Birnbaum early on understood the estranging power of repetition. -
Object/Poems: Alison Knowles's Feminist Archite(X)
JAMES FUENTES 55 Delancey Street New York, NY 10002 (212) 577-1201 [email protected] Nicole L. Woods Some visits later I arrived at his door with eleven color swatches…[Duchamp] chose one and set it aside on the buffet. After lunch, his wife Teeny picked up Object/Poems: the swatch and said, “Oh Marcel, when did you do this?” He smiled, took a pen- Alison Knowles’s cil and signed the swatch. The following year Marcel died. Arturo Schwarz wrote Feminist me suggesting I had the last readymade. Teeny and Richard Hamilton assured me Archite(x)ture that I did not, but that I had a piece of interesting memorabilia.4 You see you have to get right into it, as This brief experience with one of the most you do with any good book, and you must prolific and influential artists of the twen- become involved and experience it your- tieth century was but one of many chance self. Then you will know something and encounters that would characterize Knowles’s feel something. Let us say that it provides artistic practice for more than four decades. a milieu for your experience but what you The experience of seeing the readymade pro- bring to it is the biggest ingredient, far cess up close served to reaffirm her sense of more important than what is there. the exquisite possibilities of unintentional —Alison Knowles 1 choices, artistic and otherwise. Indeed, Knowles’s chance-derived practice throughout the 1960s and 1970s consistently sought to The world of objects is a kind of book, in frame a collection of sensorial data in vari- which each thing speaks metaphorically ous manifestations: from language-based of all others…and is read with the whole notational scores and performances to objet body, in and through the movements and trouvé experiments within her lived spaces, displacements which define the space of computer-generated poems, and large-scale objects as much as they are defined by it. -
The Social and Environmental Turn in Late 20Th Century Art
THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J. -
Fluxus: the Is Gnificant Role of Female Artists Megan Butcher
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 Fluxus: The iS gnificant Role of Female Artists Megan Butcher Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Contemporary Art Commons, and the Other History Commons Recommended Citation Butcher, Megan, "Fluxus: The iS gnificant Role of Female Artists" (2018). Honors College Theses. 178. https://digitalcommons.pace.edu/honorscollege_theses/178 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Abstract The Fluxus movement of the 1960s and early 1970s laid the groundwork for future female artists and performance art as a medium. However, throughout my research, I have found that while there is evidence that female artists played an important role in this art movement, they were often not written about or credited for their contributions. Literature on the subject is also quite limited. Many books and journals only mention the more prominent female artists of Fluxus, leaving the lesser-known female artists difficult to research. The lack of scholarly discussion has led to the inaccurate documentation of the development of Fluxus art and how it influenced later movements. Additionally, the absence of research suggests that female artists’ work was less important and, consequently, keeps their efforts and achievements unknown. It can be demonstrated that works of art created by little-known female artists later influenced more prominent artists, but the original works have gone unacknowledged. -
2010-2011 Academic Catalog
1 BRYN ATHYN COLLEGE CALENDAR FOR ACADEMIC YEAR 2010-2011 ONE HUNDRED and THIRTY-FOURTH SCHOOL YEAR 2010 Date Day of week Aug 19 Thu Faculty retreat 21-25 Sat-Wed RAs arrive on campus by noon followed by RA training 22 Sun PAC members arrive on campus 25 Wed 12:00 pm - 6:00 pm: All new students arrive on campus (both International and US) 6:00 pm: Dinner with new students & parents 26-28 Thu-Sat New Student Orientation 29 Sun New Students Optional local trip 12:00 pm - 6:00 pm: Returning students return to campus 30 Mon 8:00 am - 5:00 pm: Registration for all students 31 Tues 8:00 am - 5:00 pm: Registration for all students 6:00 pm: President’s Dinner and address Sept 1 Wed 8:10 am: Fall term classes begin 6 Mon Labor Day Holiday Oct 13 Wed Friday Class Schedule 14 Thur Charter Day 18 Mon Charter Day holiday 25-29 Mon-Fri Registration for Winter Term Nov 12 Fri Fall Term classes end 15 Mon Reading day 16 Tue Exams begin 19 Fri Fall Term ends after exams 28 Sun Resident students return 29 Mon Winter Term classes begin Dec 17 Fri Christmas vacation begins following afternoon classes 31 Fri New Year Day holiday 2011 Jan 2 Sun Resident students return 3 Mon Classes resume 17 Mon Martin Luther King, Jr. Day holiday 24-28 Mon-Fri Registration for Spring Term Feb 18 Fri Winter Term classes end 21 Mon President’s Day Holiday - Reading Day 22 Tue Exams begin 25 Fri Winter Term ends after exams Mar 6 Sun Resident students return 7 Mon Spring Term classes begin Apr 11-15 Mon-Fri Pre-registration for declared majors 22 Fri Good Friday holiday 25-29 -
The Gift of Inspiration
A bimonthly magazine devoted to the teachings revealed through Emanuel Swedenborg, as they apply to life. SEPTEMBER/OCTOBER 2016 The Gift of Inspiration The Rev. John L. Odhner writes in a sermon that “the gift of inspiration” from the Lord is that He is always working on us from the inside, enlightening our understanding so that we can experience “the miracle of a new heart and a new spirit.” (Page 422) Note: There is no extra cost for the use of color on the front page. new church life (usps 378-180) published bimonthly by the general church of the new jerusalem Bruce Henderson, Editor Rev. Walter Orthwein, Spiritual Editor subscription: $30 to any address. To order: 267-502-4990 or [email protected]. Postmaster: Send address changes to: New Church Life, PO Box 708, Bryn Athyn, PA 19009 e-mail: [email protected] Vol. MMXVI September/October 2016 No. 5 New Church Life A bimonthly magazine devoted to the teachings revealed through Emanuel Swedenborg, as they relate to life. 411 In this Issue 414 Editorials: Thy Kingdom Come, Thy Will Be Done • Labor Day 417 Letters to the Editors 422 The Gift of Inspiration– A Sermon by the Rev. John L. Odhner 428 Greater Engagement: A Plan for the General Church The Rt. Rev. Peter M. Buss Jr. 432 Friendship – A Sermon by the Rev. Bradley D. Heinrichs 438 General Church Religion Lessons and the General Church Sarah B. Odhner 444 Introducing Our Ministers: Changed by Faith – and Paying it Forward: The Rev. Christopher A. Barber 451 Considering Conscience – A Sermon by the Rev. -
Nam June Paik Papers
Nam June Paik Papers A Preliminary Finding Aid Kathleen Brown, with additions and revisions by Christine Hennessey and Hannah Pacious This collection was processed with support from the Smithsonian Collection Care and Preservation Fund. 2012 Smithsonian American Art Museum, Research and Scholars Center PO Box 37012, MRC970 Washington, D.C. 20013-7012 http://www.americanart.si.edu/research/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 3 Biographical note............................................................................................................. 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, circa 1957-1999..................................................... 5 Series 2: Correspondence, 1959-2006.................................................................... 6 Series 3: Financial and Legal Records, circa 1966 -
Fluxus Family Reunion
FLUXUS FAMILY REUNION - Lying down: Nam June Paik; sitting on the floor: Yasunao Tone, Simone Forti; first row: Yoshi Wada, Sara Seagull, Jackson Mac Low, Anne Tardos, Henry Flynt, Yoko Ono, La Monte Young, Peter Moore; second row: Peter Van Riper, Emily Harvey, Larry Miller, Dick Higgins, Carolee Schneemann, Ben Patterson, Jon Hendricks, Francesco Conz. (Behind Peter Moore: Marian Zazeela.) Photo by Josef Astor taken at the Emily Harvey Gallery published in Vanity Fair, July 1993. EHF Collection Fluxus, Concept Art, Mail Art Emily Harvey Foundation 537 Broadway New York, NY 10012 March 7 - March 18, 2017 1PM - 6:30PM or by appointment Opening March 7 - 6pm The second-floor loft at 537 Broadway, the charged site of Fluxus founder George Maciunas’s last New York workspace, and the Grommet Studio, where Jean Dupuy launched a pivotal phase of downtown performance art, became the Emily Harvey Gallery in 1984. Keeping the door open, and the stage lit, at the outset of a new and complex decade, Harvey ensured the continuation of these rare—and rarely profitable—activities in the heart of SoHo. At a time when conventional modes of art (such as expressive painting) returned with a vengeance, and radical practices were especially under threat, the Emily Harvey Gallery became a haven for presenting work, sharing dinners, and the occasional wedding. Harvey encouraged experimental initiatives in poetry, music, dance, performance, and the visual arts. In a short time, several artist diasporas made the gallery a new gravitational center. As a record of its founder’s involvements, the Emily Harvey Foundation Collection features key examples of Fluxus, Concept Art, and Mail Art, extending through the 1970s and 80s. -
2008-2009 Academic Catalog
CALENDAR FOR ACADEMIC YEAR 2008-2009 ONE HUNDRED and THIRTY-SECOND SCHOOL YEAR 2008 Aug. 18 Mon. College RAs arrive on campus 20 Wed. New international students arrive on campus (Canadians arrive on Aug. 23rd) 21-23 Thu.-Sat. New international students orientation 21-22 Thu.-Fri. Faculty retreat 22 Fri. PAC Meeting 23 Sat. All students arrive on campus; Dinner with new students & parents 24 Sun. New Student Orientation 25 Mon. 8:30 a.m. - 4:00 p.m. Registration for all students 26 Tue. Service Day, Dinner and Dean’s address (Glencairn) 27 Wed. 8:10 a.m. Fall term classes begin Sept. 1 Mon. Labor Day holiday 3 Wed. 7:30 p.m. Opening worship (Cathedral) 11 Thurs. 4:00 p.m. President’s address, reception (MPAC) Oct. 10 Fri. Charter Day: 8:00 a.m. Annual Meeting of ANC Corporation (MPAC) 10:30 a.m. Service (Cathedral) 9:00 p.m. Dance (Asplundh Field House) 11 Sat. 7:00 p.m. Banquet (Asplundh Field House) 13 Mon. Charter Day Holiday 27-31 Mon.-Fri.Registration for Winter term Nov. 7 Fri. Fall term classes end 10 Mon. Reading day 11 Tue. Exams begin 14 Fri. Fall term ends after exams 30 Sun. Resident students return Dec. 1 Mon. Winter term classes begin 19 Fri. Christmas vacation begins following afternoon classes 2009 Jan. 1 Thu. New Years Day holiday 4 Sun. Resident students return 5 Mon. Classes resume 19 Mon. Martin Luther King, Jr. Day holiday 26-30 Mon.-Fri.Registration for Spring term Feb. 16 Mon. -
Borough of Bryn Athyn Municipal Parks, Open Space and Recreation Plan Update 2006
Borough of Bryn Athyn Municipal Parks, Open Space and Recreation Plan Update 2006 Glencairn June 2006 Montgomery County Green Fields/Green Towns Program Acknowledgements Bryn Athyn Borough Hyland R. Johns, Mayor Victoria S. Trost, Business Manager Bryn Athyn Borough Council Andrew G. Nehlig, President David J. Rosco, Vice President Eric Asplundh, Member Duane D. Hyatt, Member Carol G. Nash, Member Mark J. Pennink, Member Glen Gurney, Member Bryn Athyn Borough Planning Commission Russell Cooper, Chairperson Luke Rhodes, Secretary Lawrence Kauffman, Member Jennifer Pronesti, Member Peter Rhodes, Member Borough Engineer Nick T. Rose, P.E., ProTract Engineering Open Space Task Force Eric Asplundh, Chairman Peter G. Bostock, Scribner Andrew G. Nehlig, President, Borough Council David J. Robertson, Pennypack Ecological Restoration Trust Russell Cooper, Chair, Planning Commission Luke Rhodes, Member, Planning Commission Planning Consultant Heritage Conservancy 85 Old Dublin Pike Doylestown, PA 18901 215-345-7020 www.heritageconservancy.org Borough of Bryn Athyn Municipal Parks, Open Space and Recreation Plan Thank you for the Open Space Program The Borough of Bryn Athyn wishes to extend its thanks to Montgomery County for the Open Space Program. The First phase of this program, which preserved Raytharn Farm and Bethayres Woods, has brought significant benefits to the residents of and visitors to the Borough. June 2006 Acknowledgments Table of Contents View of Raytharn Farm from Cathedral West Lawn Borough of Bryn Athyn Municipal Parks, Open Space -
Complete Course Catalog 2020-21
Complete Course Catalog 2020-21 Table of Contents Complete Course Catalog .................................................................................................................................................. 1 2020-21 ................................................................................................................................................................................. 1 Table of Contents ............................................................................................................................................................... 2 Undergraduate Courses ...................................................................................................................................................... 4 Anthropology ................................................................................................................................................................... 5 Biology .............................................................................................................................................................................. 6 Business ........................................................................................................................................................................... 11 Chemistry ........................................................................................................................................................................ 15 Communication ............................................................................................................................................................