Carla Stellweg Papers M1752
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Biennals 10-13 CUBAN
Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba Jeanette Chávez Autocensura / Self-Censorship , 2006 Video, 2:52 min Image courtesy of the artist CONTENTS CUBAN ARTISTS 2-7 CUBAN ART 7-9 CUBAN ART: Biennals 10-13 CUBAN ART: Biennals: Journal articles 13 CUBA ART: Context 14-15 Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba ITEM LIBRARY SHELF NUMBER CUBAN ARTISTS Alfonzo, Carlos AS ALF Viso, Olga M. (ed.) Triumph of the Spirit, Carlos Alfonzo: a survey 1975-1991 . Miami: Miami Art Museum 1998. Bedia, Jose AS BED Jose Bedia: Fabula . Bogota: Galeria Fernando Quintana, 1993. Brugera, Tania AS BRU Tania Bruguera: esercizio di resistenza = exercise in resistance . Turin: Franco Soffiantino Arte Contemporanea, 2004. Campos-Pons, Maria Magdalena AS CAM Maria Magdalena Campos-Pons: meanwhile, the girls were playing . Cambridge Mass.: MIT List Visual Arts Centre, 2000. Capote, Ivan AS CAP Ivan Capote . Herausgabe: Havana Edition, 2007. Ivan Capote: Aforismos . AS CAP Cuba: Galeria Habana, 2007. Capote, Yoan AS CAP Yoan Ca pote. Herausgabe: Havana Edition, 2007. Carmona, Williams AS CAR Todos miran, pocos ven /they all look, but few only see . [Paris]: Corinne Timsit International Galleries, [n.d.] Castro, Humberto AS CAS Humberto Castro: le radeau d'Ulysse Paris: Le monde de l'art, [n.d.] [Text in French] Ceballos, Sandra AS CEB Ceballos, Sandra and Suárez, Ezequiel (curs.) Dónde está Loló: Pinturas: Sandra Ceballos . La Habana: Centro Wifredo Lam, 1995. Text in Spanish] 2 Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba ITEM LIBRARY SHELF NUMBER Cuenca, Arturo AS CUE Arturo Cuenca: Modernbundo . -
2020-2021 Newsletter Department of Art History the Graduate Center, Cuny
2020-2021 NEWSLETTER DEPARTMENT OF ART HISTORY THE GRADUATE CENTER, CUNY 1 LETTER FROM THE EXECUTIVE OFFICER Dear GC Art History Community, The 2020-21 academic year has been, well, challenging for all of us at the GC, as I imagine it has for you. The building—boarded up in November for the elections—is still largely off-limits to students and faculty; the library is closed; classes and meetings have been almost exclusively virtual; and beyond the GC, many of us have lost friends, family, or jobs due to the pandemic and its repercussions. Through it all, we have struggled to keep our community together and to support one another. I have been extraordinarily impressed by how well students, faculty, and staff in the program have coped, given the circumstances, and am I hopeful for the future. This spring, we will hold our rst in-person events—an end-of-year party and a graduation ceremony for 2020 and 2021 Ph.D.s, both in Central Park—and look forward to a better, less remote fall. I myself am particularly looking forward to fall, as I am stepping down as EO and taking a sabbatical. I am grateful to all of you for your help, advice, and patience over the years, and hope you will join me in welcoming my successor, Professor Jennifer Ball. Before getting too excited about the future, though, a few notes on the past year. In fall 2020, we welcomed a brave, tough cohort of ten students into the Ph.D. Program. They have forged tight bonds through coursework and a group chat (not sure if that's the right terminology; anyway, it's something they do on their phones). -
Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education. -
Displaced Colombian Mothers‟ Narratives of Crianza A
Internal Exiles: Displaced Colombian Mothers‟ Narratives of Crianza A Thesis Submitted to the College of Graduate Studies and Research In Fulfillment of the Requirements For the Degree of Master of Arts In the Department of Psychology University of Saskatchewan Saskatoon Canada By Katherine Satizábal Parra © Copyright Katherine Satizábal Parra, June 2016. All rights reserved. PERMISSION TO USE In presenting this thesis/dissertation in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis/dissertation in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis/dissertation work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis/dissertation or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis/dissertation. Requests for permission to copy or to make other uses of materials in this thesis/dissertation in whole or part should be addressed to: Head of the Department of Psychology University of Saskatchewan Saskatoon, Saskatchewan S7N 5A5 Canada i ABSTRACT In Colombia, the politics and violence of a mostly rural and remote internal armed conflict have spanned decades, displacing millions of women into internal exile in the large cities. -
RAQUEL RABINOVICH 141 Lamoree Rd
RAQUEL RABINOVICH 141 Lamoree Rd. Born in 1929, Buenos Aires, Argentina Rhinebeck, NY 12572-3013 Lives and works in New York since 1967 T. 845-876-7963 [email protected] www.raquelrabinovich.com EDUCATION The University, Edinburgh, Scotland, 1959 Atelier André Lhote/La Sorbonne, Paris, France, 1957 Universidad de Córdoba, Córdoba, Argentina, 1953 SELECTED SOLO EXHIBITIONS 2021 Raquel Rabinovich: Portals, Hutchinson Modern & Contemporary, New York, NY 2018 Raquel Rabinovich:The Reading Room, Thompson Memorial Library, Vassar College, Poughkeepsie, NY. Curated by Mary-Kay Lombino. 2017 Thresholds, Y Gallery, New York, NY Raquel Rabinovich: Excerpts, The Pratt Institute Libraries, Co-sponsored by the Pratt Institute Libraries and Franklin Furnace Archive, Brooklyn, NY. Curated by Alex Bacon 2014 Gateless Gates, Y Gallery, New York, NY.http://www.ygallerynewyork.com/ravinobich2014.html 2009 River Library – site-specific sculpture and drawing installation, in conjunction with The Poetics of Water - Intersections: Memory, Reality and New Eras, 10th International Cuenca Biennial, Cuenca, Ecuador (United States representative). Curated by Jose Manuel Noceda. Cuenca Biennial Video, 2009 2008 Raquel Rabinovich: River Library, Fundación Alon, Buenos Aires, Argentina. Curated by Julia P. Herzberg. 2000 Light Unworn: New Paintings by Raquel Rabinovich, Trans Hudson Gallery, New York, NY. 1998 Enfolded Darkness: Recent Drawings by Raquel Rabinovich, Trans Hudson Gallery, New York, NY. 1996 Raquel Rabinovich, Drawings: 1978-1995, INTAR Gallery, New York, NY. Curated by Julia P. Herzberg. Raquel Rabinovich: Recent Drawings, Trans Hudson Gallery, Jersey City, NJ. Raquel Rabinovich: Drawings, Lehigh University Art Galleries, Bethlehem, PA. Curated by Ricardo Viera. 1990 Chhodrtens – Recent Work by Raquel Rabinovich, in conjunction with Beyond the Surface, Americas Society, New York, NY. -
Identificación De Las Etapas Del Arte Moderno 2
Grado 11 Tema Lenguaje - Unidad 5 Identificación de las etapas Expreso mi opinión sobre la información del arte moderno Nombre: Curso: “Es bello lo que procede de una necesidad interna del alma” Wassily Kandinsky (1866-1944) Pintor ruso, precursor de la abstracción en la pintura. El color, la forma, la línea son los elementos esenciales en las obras pictóricas. Con el tiempo sus manifestaciones han variado de tal forma que han dado paso a la expresión de diversas vanguardias como el cubismo, el arte abstracto, el surrealismo, el nadaísmo, todas ellas explosiones de ideas, conceptos y miradas de pintores que surgieron especialmente en la época reconocida como el Arte Moderno. Pero, ¿qué significados tienen aquellas expresiones? ¿Se puede alcanzar una única interpretación de una pintura?, ¿podría decirse que son todas sin lugar a duda, manifestaciones del alma de sus creadores? Estas preguntas podrás ampliarlas y a la vez, explorar algunas respuestas con la propuesta temática del Arte Moderno. Actividad introductoria: Modernidad. 1. Para empezar, contempla las siguientes imágenes. Bodegón Bodegón cortinaje, jarra y frutero (Paul Cézanne) 1 Identificación de las etapas del arte moderno 2. Ahora, reflexiona y responde las siguientes preguntas. Discútelas en clase con tus compañeros. a. ¿Qué podrías decir de las imágenes? b. ¿En qué se diferencia una de otra? c. ¿Qué hace posible identificar una imagen como una obra pictórica? 2 Identificación de las etapas del arte moderno 3. Contempla la siguiente pintura, elaborada por Paul Cézanne. Paul Cézanne (Aix-en-Provence, Francia, 1839-id., 1906) Pintor francés. Hijo de un banquero, comenzó sus estudios en el colegio Bourbon de su ciudad natal, donde entabló relación con Émile Zola. -
The Press Kit)
In the Beginning … the Word became flesh Pavilion of the Holy See – Biennale Arte 2015 Press Kit p.2 Press Release p.3 Text of Card. Gianfranco Ravasi, Commissioner of the Pavilion p.4 Text of Micol Forti, Curator of the Pavilion p.5 Biblical Texts p.6 Artists and exhibited works p.7 Biography and work of Monika Bravo p.9 Biography of Elpida Hadzi-Vasileva p.11 Biography of Mário Macilau p.13 Credit list p.14 Sponsors p.17 Informative notice on the Catalogue of the Pavilion p.18 Materials on 56th Biennale d’Arte di Venezia In the Beginning … the Word became flesh Pavilion of the Holy See Biennale Arte 2015 Arsenale di Venezia – Sale d’Armi nord 5-8 May 2015 Vernice 9 May – 22 November 2015 Press Conference April 9th 2015, 11.30am Sala Stampa Vaticana – via della Conciliazione, 54, Roma The Holy See participates this year for the second time at the Biennale d’Arte di Venezia, with a Pavilion inspired by the New Testament. In the Beginning … the Word became flesh is the theme chosen by the Commissioner Card. Gianfranco Ravasi, President of the Pontifical Council for Culture, at whose request the theme of the “Beginning” has been developed, passing from the 2013 edition’s reference to Genesis to that of the Prologue of the Gospel of John. Curated by Micol Forti, the structure of the Pavilion is articulated around two essential poles: firstly, the transcendent Word, which is “in the beginning” and which reveals the dialogical and communicative nature of the God of Jesus Christ (v. -
Programas Y Actividades Del Banco Central Del Ecuador (Bce) Para Apoyar La Cultura Y El Desarrollo Del Capital Humano Del Pais
TERCERA PARTE: PROGRAMAS Y ACTIVIDADES DEL BANCO CENTRAL DEL ECUADOR (BCE) PARA APOYAR LA CULTURA Y EL DESARROLLO DEL CAPITAL HUMANO DEL PAIS IV. ACTIVIDADES DEL PROGRAMA DEL MUCHACHO TRABAJADOR Y GESTIÓN GENERAL DEL PROCESO ESPECIAL PMT-BCE 4.1 Actividades del Muchacho Trabajador –PMT– El Programa del Muchacho Trabajador (PMT), proceso especial del Banco Central del Ecuador, en cumplimiento de la política social de la Institución, viene desarrollando propuestas educativas y de participación ciudadana dirigidas a niños y jóvenes en condiciones de pobreza y exclusión social, también realiza acciones de movilización y promoción en defensa del cumplimiento de los derechos de la niñez y juventud, que son difundidas en medios de comunicación nacionales y locales. En este proceso se involucra, además, a familias y maestros, para que revaloricen la importancia de la educación como factor clave de desarrollo de sus hijos y alumnos, por representar el semillero del capital humano necesario PATRA realizar cambios sociopolíticos, económicos y culturales; y, por ser la fuerza productiva fundamental que la nación ecuatoriana demanda para su progreso y bienestar nacional. El PMT sostiene alianzas estratégicas con organismos gubernamentales nacionales y locales, organizaciones no gubernamentales que trabajan por la niñez y juventud, con instituciones educativas públicas y privadas; y, gestiona recursos adicionales ante entidades de cooperación nacionales e internacionales, a fi n de ejecutar proyectos especiales que permitan ampliar la cobertura poblacional -
Universidad Politécnica De Valencia
UNIVERSIDAD POLITÉCNICA DE VALENCIA FACULTAD DE BELLAS ARTES Departamento de Pintura. Naturaleza, memoria y cuerpo. Aproximación estética al arte ecuatoriano de inicios del siglo XXI TESIS DOCTORAL PRESENTADA POR: Patricia Abarca Piña DIRECTORA: Dra. Jana Cazalla Piñero TUTOR: Dr. David Pérez Rodrigo Valencia, 2009. 2 A Juan 3 4 AGRADECIMIENTOS Quiero expresar mi más profundo agradecimiento a la profesora Dra. Jana Cazalla, por aceptar la dirección de esta tesis, su lúcida orientación en el giro definitivo que ha tenido este proyecto y por su comprensión hacia mi autónoma forma de trabajar. Quiero agradecer de igual modo, al profesor Dr. David Pérez Rodrigo por la apertura y la confianza que tuvo hacia mí al aceptar la tutoría de esta memoria así como la disposición que siempre ha tenido en su cometido como tutor. También agradezco a los artistas y demás personas ecuatorianas aludidas en el estudio, del mismo modo que a muchos otros que no menciono, ya que de alguna manera todos han facilitado este desafío, primero por su acogida en mi viaje al Ecuador y luego por el tiempo y el material que me han concedido. De igual forma, extiendo mi agradecimiento a Dafna y A. Demeter por ayudarme con la traducción al inglés, a Ana Asensio por la traducción al valenciano así como a mis eventuales colaboradoras Andrea, Julia y Marta. Quiero dar las gracias a Juan por el trascendente apoyo que ha significado para mí su presencia constante e incondicional frente a este proyecto. A mi familia y amigos de Chile por comprender y aceptar mis largas ausencias, así como el estímulo que me han proporcionado mis amigos y personas cercanas aquí en Valencia. -
2009 Museo Gurcichgurvitch Museo
INAUGURACION 6 DE AGOSTO 2009 Sergio de Castro en Montevideo. En Uruguay, de Castro es conocido fundamentalmente por sus murales constructivos, que hoy engalanan la Torre de las Comunicaciones y que como los otros, fueron realizados en 1944 para el pabellón Martirené del Hospital Saint Bois. Se trata de dos magníficas obras pintadas sobre los muros enduídos (silicato), con pintura al aceite: Suburbios de 1.39 m x 1.85 m y Veleros y casas de 0.87 m. x 2.97 m. que fueron retirados y restaurados y trasladados a su actual emplazamiento. En el año 2007 en entrevista para la muestra Murales del TTG, llevada a cabo en nuestro museo, Quela Rovira relataba el ambiente de camaradería entre el maestro y sus discípulos, para ello ponía como ejemplo las expediciones hasta el hospital Saint Bois, que muchas veces se hacían en alguna ambulancia disponible que los trasladaba desde el taller del maestro en la calle Abayubá. qq Para los murales del Saint Bois, Torres García propuso a sus alumnos trabajar sobre un q tema que eligieron con total libertad. Hicieron bocetos en escala de grises que corregi- dos por el maestro fueron llevados al color bajo su supervisión, la orientación de Torres se realizó en las primeras etapas ya que en el hospital, cada uno desarrollaba su proyecto de manera individual. Participaron junto a JTG, Julio Alpuy, Elsa Andrada, Daymán Antúnez, Esther Barrios de Martín, María Elena García Brunel, Josefina Canel, Sergio de Castro, Gonzalo Fonseca, Luis Gentieu, Andrés Moscovich, Teresa Olascuaga, Juan Pardo, Héctor Ragni, María Rovira, Luis San Vicente, Daniel de los Santos, Augusto Torres y Horacio Torres. -
The Princeton University Art Museum
PrincetonUniversity DEPARTMENT OF Art Archaeology & Newsletter Dear Friends and Colleagues: SPRING We have had a busy year! On great figure of the department, Wen Fong, was Inside honored with a two-day symposium arranged by the faculty front we welcomed our the very active Tang Center. new Americanist, Rachael DeLue, There is news on other fronts, too. This is a FACULTY NEWS who came to us from the University self-study year—our first in over a decade—which has already prompted several adjustments to the of Illinois. Her task is a formidable undergraduate curriculum. Our introductory VISUAL ARTS FACULTY one—to replace the irreplaceable course will now be two—Art 100, from antiquity through the medieval period, and Art 101, from John Wilmerding, who retires in the Renaissance to contemporary art—but it will GRADUATE STUDENT NEWS spring 2007—but she has already remain team-taught. We will present a wide array displayed her great capabilities. of freshman and sophomore seminars to attract even more majors, and these new concentrators will UNDERGRADUATE NEWS This fall we will welcome our new medievalist, encounter a refashioned junior seminar on art-his- Nino Zchomelidse, who arrives from the Univer- torical methodology, with the option of a seminar sity of Tübingen, and we will also conduct a search focused on archaeological interpretation. The PUBLICATIONS in Japanese art, as Yoshiaki Shimizu has announced Senior Comprehensive exams will now be tailored his retirement as of spring 2009. This search will to the specific curricu- be followed by one in lum of each major. Northern Renaissance CONFERENCES Other proposals, art, so our lively pace too numerous to note will continue. -
A Finding Aid to the Giulio V. Blanc Papers, 1920-1995, in the Archives of American Art
A Finding Aid to the Giulio V. Blanc Papers, 1920-1995, in the Archives of American Art Rosa M. Fernández September 2001 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 Note............................................................................................................. 2 Scope and Content Note................................................................................................. 4 Arrangement..................................................................................................................... 6 Names and Subjects ...................................................................................................... 6 Container Listing ............................................................................................................. 8 Series 1: Biographical Files, 1994-1995, undated................................................... 8 Series 2: Miscellaneous Letters, 1983-1995, undated............................................. 9 Series 3: Artist Files, 1920-1995, undated............................................................. 10 Series 4: Exhibition Files, 1977-1995, undated....................................................