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UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
2020 OQ Winter
QUARTERLY WINTER 2020 | VOL. 63 NO. 1 Collecting, Preserving, and Celebrating Ohio Literature Winter 2020 1 Contents QUARTERLY WINTER 2020 FEATURES BOARD OF TRUSTEES HONORARY CHAIR Fran DeWine, Columbus 4 Toni Morrison: A Tribute ELECTED 8 A Conversation with Oge Mora President: Daniel Shuey, Westerville Vice-President: John Sullivan, Plain City Secretary: Geoffrey Smith, Columbus Treasurer: Jay Yurkiw, Columbus BOOK REVIEWS Gillian Berchowitz, Athens Daniel M. Best, Columbus 10 Nonfiction Rudine Sims Bishop, Columbus Helen F. Bolte, Columbus 12 Fiction Katie Brandt, Columbus Lisa Evans, Johnstown 16 Poetry Bryan Loar, Columbus Ellen McDevitt-Stredney, Columbus Mary Heather Munger, Ph.D., Perrysburg 18 Young Adult & Middle Grade Louise Musser, Delaware Claudia Plumley, Dublin 20 Children’s Cynthia Puckett, Columbus David Siders, Cincinnati Yolanda Danyi Szuch, Perrysburg BOOKS AND EVENTS Jacquelyn L. Vaughan, Dublin Elizabeth A. “Betty” Weibel, Chagrin Falls APPOINTED BY THE GOVERNOR OF OHIO 22 Book List Carl Denbow, Ph.D., Athens Carol Garner, Mount Vernon 45 Coming Soon Brian M. Perera, Columbus TRUSTEES EMERITUS Francis Ott Allen, Cincinnati Ann Bowers, Bowling Green Christina Butler, Ph.D., Columbus James Hughes, Ph.D., Dayton Robert Webner, Columbus OHIOANA STAFF Executive Director..............David Weaver Office Manager...............Kathryn Powers Library Specialist............Courtney Brown Program Coordinator........Morgan Peters The Ohioana Quarterly (ISSN 0030-1248) is currently published four times a year by the Ohioana Library Association, 274 East First Avenue, Suite 300, Columbus, Ohio 43201. Individual subscriptions to the Ohioana Quarterly are available through membership in the Association; $35 of membership dues pays the required subscription. Single copy $6.50. U.S. postage paid at Columbus, Ohio. -
De Wain Valentine
DE WAIN VALENTINE Born in 1936 in Fort Collins, CO, US Lives and Works in Los Angeles, CA, US SOLO EXHIBITIONS 2019 Almine Rech Gallery, New York, US (UPcoming) 2017 Ruhrtriennale 2017, Ruhr, Germany 2015 Almine Rech Gallery, London, UK David Zwirner, New York, NY, US 2014 Almine Rech Gallery, Paris, France 2012 "DeWain Valentine : Human Scale," GMOA, Georgia Museum of Art, Athens, GA, US 2011 "From Start To Finish: DeWain Valentine’s Gray Column (1975-76)," Presented By The Getty Conservation Institute, Getty Center / J. Paul Getty Museum, Los Angeles, CA, US 2010 Ace Gallery Beverly Hills, Beverly Hills, CA, US 2009 Museum Of Design Art & Architecture. SPf: AGallery, Culver City, CA, US 2008 Scott White ContemPorary Art, San Diego, CA, US 2005 Torrance Art Museum, Torrance, CA, US 1993 Galerie Simonne Stern, New Orleans, LA, US 1991 Works Gallery, Long Beach, CA, US 1985 Honolulu Academy Of Arts, ContemPorary Arts Center, Honolulu, HI, US 1984 Thomas Babeor Gallery, La Jolla, CA, US 1983 Madison Art Center, Madison, WI, US 1982 Thomas Babeor Gallery, La Jolla, CA, US Missouri Botanical Garden, La Jolla, CA, US Laumeier Gallery, Laumeier International SculPture Park, St. Louis, MO, US 1981 Projects Studio One, Institute For Art And Urban Resources, New York, NY, US 1979 Los Angeles County Museum Of Art, Los Angeles, CA, US Fine Arts Gallery, University Of California, Irvine, Irvine, CA, US 1975 La Jolla Museum Of Contemporary Art, La Jolla, CA, US Long Beach Museum Of Art, Long Beach, CA, US Art Gallery, California State University Northridge, -
Risk Assessment of the Movement of Firewood Within the United States
United States Department of Agriculture Animal and Plant Health Inspection Service Risk Assessment of the Movement of Firewood within the United States Source: Kosichfirewood.org (artist: Alastair Heseltine) Agency Contact: Plant Epidemiology and Risk Analysis Laboratory Center for Plant Health Science and Technology Plant Protection and Quarantine Animal and Plant Health Inspection Service United States Department of Agriculture 1730 Varsity Drive, Suite 300 Raleigh NC, 27606 Rev.1 20110105 1 Executive Summary Exotic and native forest pests such as Agrilus planipennis (emerald ash borer), Anoplophora glabripennis (Asian longhorned beetle), Dendroctonous ponderosae (mountain pine beetle), Ophiostoma novo-ulmi and O. ulmi (pathogens associated with Dutch elm disease), Cryphonectria parasitica (pathogen associated with chestnut blight), and Geosmithia sp. (pathogen associated with thousand cankers disease of black walnut) cause serious damage to urban and natural forests in the United States. These pests and many others disperse various distances through multiple pathways including movement of nursery stock and firewood. Firewood is a raw forest product that is widely utilized and moved throughout the United States with relatively limited consideration of the potential pests within or the associated risks. We conducted an assessment and examined factors that may affect the risk associated with the movement of firewood such as users, movement, insects and diseases, potential impact to natural and urban forests, and trends in firewood use. From our assessment, we estimate firewood to be a high-risk pathway for the movement of forest pests for the following reasons. • Firewood is a well-known pathway for the movement of wood pests. • The United States requires treatment of all imported firewood, with a few exceptions from Canada and Mexico. -
The AIC Paintings Specialty Group POSTPRINTS VOLUME TWENTY
FM.indd Page 1 02/06/15 10:07 PM f-w-155-user /204/AIC00002/work/indd The AIC Painting Specialty Group POSTPRINTS VOLUME TWENTY-FIVE 2012 The American Institute for Conservation of Historic and Artistic Works AIC AMERICAN INSTITUTE FOR CONSERVATIO N OF HISTORIC AND ARTISTIC WORKS FM.indd Page 1 02/06/15 10:07 PM f-w-155-user /204/AIC00002/work/indd The AIC Painting Specialty Group POSTPRINTS VOLUME TWENTY-FIVE 2012 The American Institute for Conservation of Historic and Artistic Works AIC AMERICAN INSTITUTE FOR CONSERVATIO N OF HISTORIC AND ARTISTIC WORKS FM.indd Page 2 02/06/15 10:07 PM f-w-155-user /204/AIC00002/work/indd The Paintings Specialty Group of the American Institute for Conservation of Historic and Artistic Works 2011-2012 Officers Chair LAURA RIVERS Program Chair KATRINA BARTLETT RUSH Assistant Program Chair MATTHEW CUSHMAN Secretary/Treasurer DAWN ROGALA Nominating Committee NICHOLAS DORMAN, Chair JOANNA DUNN, AND MARY MCGINN Listserv Moderator CHRIS STAVROUDIS Publications Chair BARBARA BUCKLEY Painting Conservation Catalog, Interim Project Director JUDY DION Web Editor CHRISTINA MILTON O’CONNELL Wiki Editor ERICA JAMES FM.indd Page 3 02/06/15 10:07 PM f-w-155-user /204/AIC00002/work/indd The AIC Paintings Specialty Group POSTPRINTS V O L U M E T W E N T Y - F I V E 2 0 1 2 Papers Presented at the 40th Annual Meeting of the American Institute for Conservation of Historic and Artistic Works Albuquerque, New Mexico May 8-11, 2012 Compiled by Barbara Buckley AIC AMERICAN INSTITUTE FOR CONSERVATIO N OF HISTORIC AND ARTISTIC WORKS Copyright © 2015 by the Paintings Specialty Group of the American Institute for Conservation of Historic and Artistic Works, 1156 15th St., NW, Suite 320, Washington DC 20005. -
'Pacific Standard Time' Art Exhibitions in L.A. — Review
Reprints This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients or customers here or use the "Reprints" tool that appears next to any article. Visit www.nytreprints.com for samples and additional information. Order a reprint of this article now. November 10, 2011 A New Pin on the Art Map By ROBERTA SMITH LOS ANGELES — The postwar art of Southern California is a house with many mansions, a great number of which are now open for viewing. I refer of course to the cacophonous, synergistic, sometimes bizarre colossus of exhibitions known as “Pacific Standard Time: Art in L.A. 1945- 1980,” which is rampant throughout the Los Angeles region. It sharply divides our knowledge of postwar art — not just Californian but American — into two periods: before and after “Pacific Standard Time.” Before, we knew a lot, and that lot tended to greatly favor New York. A few Los Angeles artists were highly visible and unanimously revered, namely Ed Ruscha and other denizens of the Ferus Gallery, that supercool locus of the Los Angeles art scene in the 1960s, plus Bruce Nauman and Chris Burden, but that was about it. After, we know a whole lot more, and the balance is much more even. One of the many messages delivered by this profusion of what will eventually be nearly 70 museum exhibitions is that New York did not act alone in the postwar era. And neither did those fabulous Ferus boys. Los Angeles may have entered the postwar years with little to speak of in the way of a contemporary art world, but within a decade it was more than making up for lost time. -
Helen Pashgianhelen Helen Pashgian L Acm a Delmonico • Prestel
HELEN HELEN PASHGIAN ELIEL HELEN PASHGIAN LACMA DELMONICO • PRESTEL HELEN CAROL S. ELIEL PASHGIAN 9 This exhibition was organized by the Published in conjunction with the exhibition Helen Pashgian: Light Invisible Los Angeles County Museum of Art. Funding at the Los Angeles County Museum of Art, Los Angeles, California is provided by the Director’s Circle, with additional support from Suzanne Deal Booth (March 30–June 29, 2014). and David G. Booth. EXHIBITION ITINERARY Published by the Los Angeles County All rights reserved. No part of this book may Museum of Art be reproduced or transmitted in any form Los Angeles County Museum of Art 5905 Wilshire Boulevard or by any means, electronic or mechanical, March 30–June 29, 2014 Los Angeles, California 90036 including photocopy, recording, or any other (323) 857-6000 information storage and retrieval system, Frist Center for the Visual Arts, Nashville www.lacma.org or otherwise without written permission from September 26, 2014–January 4, 2015 the publishers. Head of Publications: Lisa Gabrielle Mark Editor: Jennifer MacNair Stitt ISBN 978-3-7913-5385-2 Rights and Reproductions: Dawson Weber Creative Director: Lorraine Wild Designer: Xiaoqing Wang FRONT COVER, BACK COVER, Proofreader: Jane Hyun PAGES 3–6, 10, AND 11 Untitled, 2012–13, details and installation view Formed acrylic 1 Color Separator, Printer, and Binder: 12 parts, each approx. 96 17 ⁄2 20 inches PR1MARY COLOR In Helen Pashgian: Light Invisible, Los Angeles County Museum of Art, 2014 This book is typeset in Locator. PAGE 9 Helen Pashgian at work, Pasadena, 1970 Copyright ¦ 2014 Los Angeles County Museum of Art Printed and bound in Los Angeles, California Published in 2014 by the Los Angeles County Museum of Art In association with DelMonico Books • Prestel Prestel, a member of Verlagsgruppe Random House GmbH Prestel Verlag Neumarkter Strasse 28 81673 Munich Germany Tel.: +49 (0)89 41 36 0 Fax: +49 (0)89 41 36 23 35 Prestel Publishing Ltd. -
Contemporary American Painting and Sculpture
AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J. -
The Galleries
THE GALLERIES ART at the convention center A SELF-GUIDED TOUR Enriching Your Visit: Taking the Tour The Public Art Program Washington State Convention Center features approximately The Washington State Convention Center (WSCC) public 100 works of art on public display around four levels of its North and South Gallerias. Several other works are located in art program, perhaps the largest of its kind in the nation, its office and convention lobby areas. Areas of the facility that was established to provide an environment that enriches may not be available to the public due to convention- the experience of all who visit the meeting facility. With well related activities are clearly noted. over 100 works on display, art has been a popular feature since the facility opened in 1988. Initially, art was incorporated into This self-guided, self-paced tour booklet was designed to the original building design with assistance from the state’s direct you to the many different areas where artworks are cur- Percent for the Arts Program. Since then, due to a commit- rently on display. A few of the works listed inthis booklet are ment to provide civic benefits to our community, the WSCC has located outside of the WSCC. offered an ever-changing collection, readily accessible at no This self-tour begins on Level 1 just south of the Convention charge to meeting attendees and the general public. Place entrance. The indicated route will direct you back to the south escalators for easy access to the next level. All areas of In 1997, the board established the WSCC Art Foundation at this tour are also accessible by elevator. -
CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale Di Venezia La Biennale Di Venezia President Presents Roberto Cicutto
LE MUSE INQUIETE WHEN LA BIENNALE DI VENEZIA MEETS HISTORY CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale di Venezia La Biennale di Venezia President presents Roberto Cicutto Board The Disquieted Muses. Luigi Brugnaro Vicepresidente When La Biennale di Venezia Meets History Claudia Ferrazzi Luca Zaia Auditors’ Committee Jair Lorenco Presidente Stefania Bortoletti Anna Maria Como in collaboration with Director General Istituto Luce-Cinecittà e Rai Teche Andrea Del Mercato and with AAMOD-Fondazione Archivio Audiovisivo del Movimento Operaio e Democratico Archivio Centrale dello Stato Archivio Ugo Mulas Bianconero Archivio Cameraphoto Epoche Fondazione Modena Arti Visive Galleria Nazionale d’Arte Moderna e Contemporanea IVESER Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea LIMA Amsterdam Peggy Guggenheim Collection Tate Modern THE DISQUIETED MUSES… The title of the exhibition The Disquieted Muses. When La Biennale di Venezia Meets History does not just convey the content that visitors to the Central Pavilion in the Giardini della Biennale will encounter, but also a vision. Disquiet serves as a driving force behind research, which requires dialogue to verify its theories and needs history to absorb knowledge. This is what La Biennale does and will continue to do as it seeks to reinforce a methodology that creates even stronger bonds between its own disciplines. There are six Muses at the Biennale: Art, Architecture, Cinema, Theatre, Music and Dance, given a voice through the great events that fill Venice and the world every year. There are the places that serve as venues for all of La Biennale’s activities: the Giardini, the Arsenale, the Palazzo del Cinema and other cinemas on the Lido, the theatres, the city of Venice itself. -
VENICE and ST. PETERSBURG Artists, Princes and Merchants FUTURUINS
provided in 473 hotel in venice , AbAno, Montegrotto And cortin Year Year 8, n. 01, Winter 2019 A Live Venice is a periodical of AVA Associazione Veneziana Albergatori | nr. Reg.Stampa 17 nr.R.G. 2022/2012 Trib.Ve | Publisher and Managing Editor Riccardo Gelli | Editorial staff Tomaso Borzomì | Graphic design and pagination Leonardo Bosello | Printed by Gruppo Logo in Padua | If not specified, images are property of the Publisher | All rights reserved The best of Venice up to APRIL 2019 EXHIBITS CARNIVAL SUGGESTIONS SHOPPING EVENTS MOBILITY www.live-venice.itwww.live-venice.it In the picture: Juan José Aznar, [email protected] Aznar, José Juan In the picture: From the airport straight to the heart of Venice. Convenient, rapid, non-stop. ATVO Venice Piazzale Roma +39.0421.594671 ATVO Marco Polo Airport Venice +39.0421.594672 www.atvo.it - [email protected] Advertisement SUGGESTIONS 3 “Merletto” Lace: handmade refnement Art and tradition in the precious lace of Burano island aces and merletti are the prince of artisanal products of the Island of Burano, of its history, tradition, and of the Lincredible talent of the inhabitants of the island: it is an art that has been passed down for centuries. In Burano, the Bon family has been running “La Perla Gallery” shops for generations, a production reality that passes down the tradition of lace making while maintain a local feel. A family of master lace makers that has designed, produced, and exhibited works of art for generations: entirely made by hand with needle, thread, and talent. The workmanship is fascinating, and the fnal product is even more so: tablecloths, centerpieces, linens, sheets, clothes, and dozens of other artistic “inventions”. -
1998 Acquisitions
1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in.