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THE CLEVELAND MUSEUM of ART ANNUAL REPORT 2002 1 0-Cover.P65 the CLEVELAND MUSEUM of ART
ANNUAL REPORT 2002 THE CLEVELAND MUSEUM OF ART THE CLEVELAND MUSEUM OF ART REPORT 2002 ANNUAL 0-Cover.p65 1 6/10/2003, 4:08 PM THE CLEVELAND MUSEUM OF ART ANNUAL REPORT 2002 1-Welcome-A.p65 1 6/10/2003, 4:16 PM Feathered Panel. Peru, The Cleveland Narrative: Gregory Photography credits: Brichford: pp. 7 (left, Far South Coast, Pampa Museum of Art M. Donley Works of art in the both), 9 (top), 11 Ocoña; AD 600–900; 11150 East Boulevard Editing: Barbara J. collection were photo- (bottom), 34 (left), 39 Cleveland, Ohio Bradley and graphed by museum (top), 61, 63, 64, 68, Papagayo macaw feathers 44106–1797 photographers 79, 88 (left), 92; knotted onto string and Kathleen Mills Copyright © 2003 Howard Agriesti and Rodney L. Brown: p. stitched to cotton plain- Design: Thomas H. Gary Kirchenbauer 82 (left) © 2002; Philip The Cleveland Barnard III weave cloth, camelid fiber Museum of Art and are copyright Brutz: pp. 9 (left), 88 Production: Charles by the Cleveland (top), 89 (all), 96; plain-weave upper tape; All rights reserved. 81.3 x 223.5 cm; Andrew R. Szabla Museum of Art. The Gregory M. Donley: No portion of this works of art them- front cover, pp. 4, 6 and Martha Holden Jennings publication may be Printing: Great Lakes Lithograph selves may also be (both), 7 (bottom), 8 Fund 2002.93 reproduced in any protected by copy- (bottom), 13 (both), form whatsoever The type is Adobe Front cover and frontispiece: right in the United 31, 32, 34 (bottom), 36 without the prior Palatino and States of America or (bottom), 41, 45 (top), As the sun went down, the written permission Bitstream Futura abroad and may not 60, 62, 71, 77, 83 (left), lights came up: on of the Cleveland adapted for this be reproduced in any 85 (right, center), 91; September 11, the facade Museum of Art. -
Proceedings of the Musical Association Spanish Music
This article was downloaded by: [New York University] On: 05 February 2015, At: 03:19 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Proceedings of the Musical Association Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/ rrma18 Spanish Music Henry Cart De Lafontaine Published online: 28 Jan 2009. To cite this article: Henry Cart De Lafontaine (1906) Spanish Music, Proceedings of the Musical Association, 33:1, 27-43, DOI: 10.1093/ jrma/33.1.27 To link to this article: http://dx.doi.org/10.1093/jrma/33.1.27 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes. -
Museum of Arts and Design
SPRING/SUMMER BULLETIN 2011 vimuseume of artsws and design Dear Friends, Board of Trustees Holly Hotchner LEWIS KRUGER Nanette L. Laitman Director Chairman What a whirlwind fall! Every event seemed in some way or another a new milestone for JEROME A. CHAZEN us all at 2 Columbus Circle. And it all started with a public program that you might have Chairman Emeritus thought would slip under the radar—Blood into Gold: The Cinematic Alchemy of Alejandro BARbaRA TOBER Chairman Emerita Jodorowsky. Rather than attracting a small band of cinéastes, this celebration of the Chilean- FRED KLEISNER born, Paris-based filmmaker turned into a major event: not only did the screenings sell Treasurer out, but the maestro’s master class packed our seventh-floor event space to fire-code LINDA E. JOHNSON Secretary capacity and elicited a write-up in the Wall Street Journal! And that’s not all, none other HOllY HOtcHNER than Debbie Harry introduced Jodorowsky’s most famous filmThe Holy Mountain to Director filmgoers, among whom were several downtown art stars, including Klaus Biesenbach, the director of MoMA PS1. A huge fan of this mystical renaissance man, Biesenbach was StaNLEY ARKIN DIEGO ARRIA so impressed by our series that beginning on May 22, MoMA PS1 will screen The Holy GEORGE BOURI Mountain continuously until June 30. And, he has graciously given credit to MAD and KAY BUckSbaUM Jake Yuzna, our manager of public programs, for inspiring the film installation. CECILY CARSON SIMONA CHAZEN MICHELE COHEN Jodorowsky wasn’t the only Chilean artist presented at MAD last fall. Several had works ERIC DObkIN featured in Think Again: New Latin American Jewelry. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Download Booklet
THE GUERRA MANUSCRIPT Volume 4 17th Century Secular Spanish Vocal Music Hernández • Fernández-Rueda • Arias Fernández Ars Atlántica • Manuel Vilas, Harp and Director The Guerra Manuscript, Vol. 4 The Guerra Manuscript, Volume 4 17th Century Secular Spanish Vocal Music 1 Anon: Qué dulcemente canta 3:19 2 Juan Hidalgo (1614-1685): ¿Qué quiere Amor? 2:43 This fourth volume in the complete recording of the Orléans (first wife of the Spanish king Charles II) to 3 Anon: Hermosa tortolilla 3:40 vocal works found in the Guerra Manuscript contains a Madrid. He then visited Italy in 1680-81, probably as 4 Anon: Poco sabe de Filis 3:04 further twenty pieces of music. This manuscript is, in part of his duties as a member of the queen’s staff. On 5 Juan Hidalgo: Con la pasión amorosa 2:59 my opinion, the leading source of tonos humanos to his death, Guerra bequeathed his library to his son, Juan 6 José Marín (c.1619-1699): Filis, el miedo ha de ser 5:09 have survived to the present day and a document of Alfonso de Guerra, who also inherited many of his titles fundamental importance in the history of Spanish music. and privileges. An inventory of this library, dated 1738, 7 Juan Hidalgo: ¡Ay que sí, ay que no! 4:50 Broadly speaking, tonos humanos are secular songs, has survived and includes the books that Juan Alfonso 8 Anon: Si descubro mi dolor 4:00 some of which are drawn from seventeenth- and was left by his father. The collection was sold to the 9 Anon: Culpas son Nise hermosa 3:44 eighteenth-century Spanish theatrical works. -
CD DPS1 Compact Disc Booklet
CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer: SignumClassics YELLOW Catalogue No. SIGCD069 BLACK Job Title: Esperar SIGCD069 booklet Page Nos. SIGCD006 SIGCD007 SIGCD008 SIGCD009 Music for Philip of Spain Two upon a ground: Jupiter The Fitzwilliam Virginal Book and his four wives Duets and Divisions for two viols SIGCD018 SIGCD020 SIGCD026 Sacred Songs of Sorrow The Queen’s Goodnight Music for Gainsborough SIGCD032 SIGCD041 SIGCD042 SIGCD049 The Sultan and the Phoenix Modus Phantasticus Tallis 9 Harmonia Caelestis www.signumrecords.com www.charivari.co.uk Available through most record stores and at www.signumrecords.com. For more information call +44 (0) 20 8997 4000 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer: SignumClassics YELLOW Catalogue No. SIGCD069 BLACK Job Title: Esperar SIGCD069 booklet Page Nos. ESPERAR SENTIR MORIR Instrumentarium Songs and dances from the Hispanic Baroque Susanne Heinrich a treble viol (M.D. Attwood, 1993) after Henry Jaye (mid 17C) b bass viol (M.D. Attwood, 1999) after anon. 17C English original Kah-Ming Ng c chamber organ (V.Woodstock, 1996) d harpsichord (A. Garlick, 1977) after I. Ruckers 1638 1. Juan Hidalgo (c.1612–1685) / arr. K-M Ng Esperar, sentir, morir [b, c, e] [4.31] Constance Allanic e triple harp (C.H. Hüttel, 2002) after 17C Italian iconography 2. Kah-Ming Ng & Clara Sanabras Quiero, y no saben que quiero [b, e, h] [9.06] Richard Sweeney f 16-course theorbo (K. Jacobsen, 2002) after various 17C Italian models 3. Lucas Ruiz de Ribayaz (b. 1626) Españoletas [e] [4.58] g 6-course lute (A. -
CITY of BEVERLY HILLS BEVERLY Room 280A HILLS 455 North Rexford Drive Beverly Hills, CA 90210
CITY OF BEVERLY HILLS BEVERLY Room 280A HILLS 455 North Rexford Drive Beverly Hills, CA 90210 FINE ART COMMISSION REGULAR MEETING MINUTES Thursday, December 15, 2016 4:00pm OPEN MEETING Date/Time: December 15, 2016 / 4:00pm PLEDGE OF ALLEGIANCE ROLL CALL Commissioners Present: Commissioner Vahn, Commissioner Rubins, Vice Chair Hiller, Chair Kaye Commissioners Absent: Commissioner Smooke Staff Present: Brad Meyerowitz, Gisele Grable, Patty Acuna, Stephanie Harris, Aida Thau COMMUNICATIONS FROM THE AUDIENCE Members of the public may address the Commission regarding any items not on the Agenda that are within the subject matter jurisdiction of the Commission. By State law, the Commission may not discuss or vote on items not on the Agenda. APPROVAL OF AGENDA With the concurrence of the Commission, the Chair may choose to amend the order of the items on the agenda. No changes were recommended. CONSENT CALENDAR 1. Consideration of Minutes of the regular meeting of November 17, 2016. Motion: MOVED by Commissioner Rubins, SECONDED by Commissioner Vahn to approve the minutes as presented subject to one correction (4-0). AYES: Commissioners Vahn, Rubins, Vice Chair Hiller, Chair Kaye NOES: None ABSENT: Commissioner Smooke CARRI ED REPORTS FROM PRIORITY AGENCIES None Recordings of the Fine Art Commission’s meetings are available online at www.beverlyhills.org Fine Art Commission Regular Meeting Minutes December 15, 2016 CONTINUED BUSINESS 2. Community Development Update Erik Keshishian, Supervising Plan Review Engineer for the City, presented and answered questions regarding their role with the development projects that have triggered Fine Art Obligation. He also answered questions in regards to the corresponding project financial reports. -
Obsolescence and American Avant-Garde Film
Round Table: Obsolescence and American Avant-Garde Film Malcolm Turvey: Focusing on the concept of obsolescence—the occasion for which is announced elsewhere in this issue—allows us to address a number of points of interest to October at this moment in its history. First, it appears that some of us involved with the magazine feel that, due to recent technological innovations, some of the artistic media with which October has been engaged since its inception are now obsolete, or threatened with obsolescence, or are undergoing major changes. The most obvious case is cinema, as there is much talk about the obsolescence of celluloid, and the various production and exhibition technologies associated with it, due to the introduction of digital technologies.1 Second, and I’m trying to say this very carefully, I suspect that some of us feel that the sort of avant-garde art—and that includes avant-garde film—whose theorization and criticism was October’s original project may no longer be with us, or may at least have shifted in some fundamental way since the 1970s. Within the context of avant-garde cinema, an example of this type of shift might be that there no longer seems to be a collective movement among American avant-garde filmmakers—that what used to be called the New American Cinema is now obsolete—and that it has been replaced by pluralism. Third, I think some of us are wondering whether the sort of theory and criticism we publish in the magazine plays the role it was originally intended to play—whether, in other words, the sort of writing we promote is itself obsolete, or becoming so. -
Battles Around New Music in New York in the Seventies
Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis. -
Avance CNDM 20 21 2.Pdf
cndm.mcu.es DE DIFUSIÓN MUSICAL CENTRO NACIONAL XI ÍNDICE 4. INTRODUCCIÓN 6 . COMPOSITOR Y ARTISTA RESIDENTES 12. CICLOS TRANSVERSALES 20. UNIVERSO BARROCO 52. SERIES 20/21 68. FRONTERAS 82. LICEO DE CÁMARA XXI 102. ANDALUCÍA FLAMENCA 112. JAZZ EN EL AUDITORIO 124. XXVII CICLO DE LIED 136. CICLOS DE ÓRGANO 154. BEETHOVEN ACTUAL 159. BEETHOVEN POR LISZT 164. MÚSICAS HISTÓRICAS DE LEÓN 176. CIRCUITOS 300. EDUCACIÓN 322. CALENDARIO DE CONCIERTOS 332. ENCARGOS Y ESTRENOS DEL CNDM Con paso fi rme cucharemos un total de 17 obras, entre ellas, 4 estrenos absolutos (tres Francisco Lorenzo de música de cámara y una obra sinfónica). Por su parte, el barítono aus- triaco Florian Boesch recorrerá como artista residente del Ciclo de Lied, en tres recitales, algunas de las páginas más representativas del género, como el famoso Viaje de invierno, de Franz Schubert. Uno de los ciclos transversales, #CortedeDresde, nos transportará a esta ciudad alemana, residencia de la Corte sajona, que, durante el Celebramos el comienzo de esta nueva temporada 2020-2021, según las esplendor barroco e infl uida por sus estrechos lazos con Italia, desplegó nuevas y cambiantes circunstancias, con el propósito y la responsabili- una prodigiosa actividad musical, protagonizada por compositores como dad de sostener el tejido musical del país e ir al reencuentro con nuestro Pisendel, Zelenka, Heinichen, Hasse o Weiss, cuya producción escucha- querido público. Así, a partir de septiembre, llenaremos de música cada remos en diversos escenarios. rincón con uno de los rituales más innatos al ser humano: el de la expe- El clavecinista y organista Benjamin Alard abordará la obra para te- riencia musical compartida en vivo. -
Richard Serra Is One of the Preeminent American Artists and Sculptors of the Post-Abstract Expressionist Period
"Time and movement became really crucial to how I deal with what I deal with, not only sight and boundary but how one walks through a piece and what one feels and registers in terms of one's own body in relation to another body." SYNOPSIS Richard Serra is one of the preeminent American artists and sculptors of the post-Abstract Expressionist period. Beginning in the late 1960s to the present, his work has played a major role in advancing the tradition of modern abstract sculpture in the aftermath of Minimalism. His work draws new, widespread attention to sculpture's potential for experience by viewers in both physical and visual terms, no less often within a site-specific, if not highly public setting. © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org KEY IDEAS Coming of age in the shadow of greats such as Constantin Brancusi, Pablo Picasso, and Julio González, Serra both inherited and advanced the tradition of abstract sculpture, adapting the medium of welded steel (originally a concern of early 20th century Cubism) to new, holistic values of the 1960s and 1970s. More recent Minimalist sculptors, among them Donald Judd and Carl Andre, had demonstrated how sculpture and its materials could stand for themselves, or not be forced to serve as vehicles for articulating an artist's emotional and intellectual life. Serra took up that contemporary heritage, one suggesting that the human body itself no longer had a place in painting or sculpture, and returned to it something of the human body's stature. -
Tonos Humanos Del Cancionero De Mallorca Y Otros Manuscritos
Tonos Humanos del Cancionero de Mallorca y otros manuscritos ARMONIOSI CONCERTI JUAN CARLOS RIVERA, director MARIVÍ BLASCO, soprano Portada/Cover: Muchacha con flores. Bartolomé Esteban Murillo (1617-1682). Dulwich Picture Gallery, Londres. DICEN QUE HAY AMOR Tonos Humanos del Cancionero de Mallorca y otros manuscritos 1 Perdone el amor 02’40’’ 10 Si quieres que viva 01’53’’ Juan Hidalgo, 1614-1685 Anónimo 2 La borrachita de amor 05’32’’ 11 Niña si encontrares durmiendo a Cupido 06’00’’ Sebastián Durón, 1660-1716 Anónimo 3 Al poderoso ruego 03’25’’ 12 En pira de incendios 04’09’’ Juan Hidalgo Anónimo 4 Ya no son más de veinte 03’53’’ 13 La noche tenebrosa 05’22’’ Juan de Celis Juan Hidalgo 5 A un infeliz ausente 05’11’’ 14 Sepan todos que muero 03’19’’ Anónimo José Marín 6 Al ayre se entregue 03’47’’ 15 Recelos, temed 06’05’’ Juan Hidalgo Francisco Monjo 7 Dicen que hay amor 02’45’’ 16 Ay amor, ay ausencia 05’23’’ Anónimo Juan Hidalgo 8 Déjame, picarillo traidor 02’51’’ 17 Tortolilla si no es por amor 03’45’’ Anónimo José Marín 9 Ojos, pues me desdeñáis 04’08’’ José Marín, 1618-1699 Duración total: 71’23’’ MARIVÍ BLASCO, soprano ARMONIOSI CONCERTI JUAN CARLOS RIVERA, director JUAN CARLOS RIVERA, guitarra de cinco órdenes (Julio Castaños, Málaga 2006) JUAN MIGUEL NIETO, guitarra de cinco órdenes (Julio Castaños, Málaga 2003) y guitarra de cuatro órdenes (Julio Castaños, Málaga 2007) CONSUELO NAVAS, tiorba (Francisco Hervás, Granada 2002) SARA RUIZ, viola da gamba (anónima ca. 1700) TERESA MARTÍNEZ, castañuelas (José Vela, Sevilla 2015) Las piezas de este CD ha sido extraidas de: - Cancionero Poético-Musical de Mallorca (CPMM), M.