DOCSLIB.ORG

FEMINIST ART and the MATERNAL This Page Intentionally Left Blank FEMINIST ART and the MATERNAL

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FEMINIST ART and the MATERNAL This Page Intentionally Left Blank FEMINIST ART and the MATERNAL FEMINIST ART AND THE MATERNAL This page intentionally left blank FEMINIST ART AND THE MATERNAL Andrea Liss University of Minnesota Press Minneapolis London Portions of “Th e Body in Question: Rethinking Motherhood, Alterity, and Desire,” New Feminist Criticism: Art, Identity, Action, ed. Joanna Frueh, Cassandra Langer, and Arlene Raven (New York: HarperCollins, 1994), appear throughout this book. Portions of chapters 3 and 4 were previously published as “Maternal Rites: Feminist Strategies,” n. paradoxa 14 (Summer 2004): 24–31. Portions of chapter 4 were previously published in “Who Cares for Mothers?” FRAME–WORK 8, no. 2 (1997), a special issue “Processing Labor: Labor as Process,” guest edited by Steven Callis and Mario Ontiveros. An earlier version of chapter 5 appeared as “Black Bodies in Evidence: Maternal Visibility in Renée Cox’s Family Portraits,” in Th e Familial Gaze, ed. Marianne Hirsch (Hanover, N.H.: University Press of New England, 1999); copyright 1999 by the Trustees of Dartmouth College; reprinted by permission of the University Press of New England. An earlier version of chapter 6 was published as “Revisioning the Maternal Body: Loving in Diff erence in Ngozi Onwurah’s Th e Body Beautiful,” in Mothers and Daughters: Connection, Empowerment, and Transformation, ed. Andrea O’Reilly and Sharon Abbey (Lanhan, Md., and Toronto: Rowman and Littlefi eld, and Centre for Feminist Research, York University, 2002). Th e poem “Gettin Down to Get Over,” by June Jordan, was fi rst published in June Jordan, New Days: Poems of Exile and Return (New York: Emerson Hall, 1974), and later in June Jordan, Naming Our Destiny: New and Selected Poems (New York: Th under’s Mouth Press, 1989); copyright 1989 by June Jordan; reprinted with kind permission from the June M. Jordan Literary Trust. Every eff ort has been made to obtain permission to reproduce previously published material in this book. If any proper acknowledgment has not been made, we encourage copyright holders to contact the publisher. Copyright 2009 by the Regents of the University of Minnesota All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Published by the University of Minnesota Press 111 Th ird Avenue South, Suite 290 Minneapolis, MN 55401-2520 http://www.upress.umn.edu Library of Congress Cataloging-in-Publication Data Liss, Andrea. Feminist art and the maternal / Andrea Liss. p. cm. Includes bibliographical references and index. ISBN 978-0-8166-4622-7 (hc : alk. paper) — ISBN 978-0-8166-4623-4 (pb : alk. paper) 1. Motherhood in art. 2. Feminism and art. 3. Women artists. 4. Arts, Modern—20th century. I. Title. NX652.M64L57 2009 704’.042—dc22 2008035895 Printed in the United States of America on acid-free paper Th e University of Minnesota is an equal-opportunity educator and employer. 15 14 13 12 11 10 09 10 9 8 7 6 5 4 3 2 1 I dedicate this book to the memory of my fi erce and loving maternal grandmother, Anna Friedman, and to the oceanic joys in Miles’s future This page intentionally left blank Contents Acknowledgments ix Th inking (M)otherwise: New Bodies of Knowledge xiii 1. Breaching the Taboo 1 2. Intersubjectivities: Mary Kelly’s Post- Partum Document 23 3. Maternal CARE: Mierle Laderman Ukeles’s Maintenance Art 43 4. Mamas Out of Place 69 5. Making the Maternal Visible: Renée Cox’s Family Portraits 93 6. Loving in Diff erence: Ngozi Onwurah’s Mother–Daughter Refl ections 109 Cultural and Maternal Notes on Living through Breast Cancer 121 7. Maternal Mourning: A Collaboration between Civia Rosenberg and May Stevens 125 In Lieu of a Conclusion: Maternal Passions 145 Notes 155 Bibliography 163 Index 171 This page intentionally left blank Acknowledgments Many people and organizations have sustained the work embodied in this book. To those who have given so much to me, I thank you here. I would like to express my gratitude to those who have supported my maternal thinking through invitations to contribute to books they edited and conferences they organized. Knowing what was on my mind, Joanna Frueh invited me to write an essay for a book she was coediting, New Feminist Criticism: Art, Identity, Action; “Th e Body in Question: Rethinking Motherhood, Alterity, and Desire” has been crucial to the foundation of my work. Myrel Chernick reprinted a shorter and edited version of this essay in her catalog to the exhibition she curated, Maternal Metaphors, at the Rochester Contemporary Art Center, Rochester, New York, in 2004, and the essay will have a new life in her forthcoming book, coedited with Jenny Klein, Th e M Word: Real Mothers in Contemporary Art. I appreci- ate the invitation to present my talk “Maternal Ethics in a Contemporary Context” through the Center for Feminist Research, University of Southern California, in 1996. I was pleased to contribute my essay “Who Cares for Mothers?” to the issue of FRAME–WORK, “Processing Labor: Labor as Process,” guest edited by Steven Callis and Mario Ontiveros. For making the joint Art History and Studio Art Session I organized, “Feminist Art and Maternal Representation,” at the College Art Association conference in ix x ACKNOWLEDGMENTS Los Angeles, February 1999, such a wonderful event, I thank Jane Lazarre, Ellen McMahon, Hilary Robinson, and the collaborative artists’ group M.A.M.A., composed of Athena Kanaris, Lisa Mann, Deborah Oliver, Lisa Schoyer, and Karen Schwenkmeyer. I am grateful to Marianne Hirsch, who invited me to write my essay “Black Bodies in Evidence: Maternal Visibility in Renée Cox’s Family Portraits” for her edited volume Th e Familial Gaze. I thank Andrea O’Reilly for the opportunity to present a paper on Ngozi Onwurah’s fi l m Th e Body Beautiful at the conference “Mothers and Daughters: Moving into the Next Millennium,” Centre for Feminist Research, York University, Ontario, Canada, September 1997, and for her invitation to write a lon- ger essay, “Revisioning the Maternal Body: Loving in Diff erence in Ngozi Onwurah’s Th e Body Beautiful,” for Mothers and Daughters: Connection, Empowerment, and Transformation. I was pleased by Katy Deepwell’s invita- tion to contribute my essay “Maternal Rites: Feminist Strategies” to the issue “Dreams of the Future” in n. paradoxa. I was delighted to give a presentation on Mierle Laderman Ukeles’s public work on the maternal in the University of Southern California’s Public Art Program Speakers Series, organized by Anne Bray, in March 2006. My gratitude goes to Joanna Frueh for reading the proposal for my book and to Nancy Buchanan for reading the proposal and reviewing the fi nal manuscript; their wise advice, depth of knowledge, and enthusiastic support have been invaluable. I have been blessed by former editor Andrea Kleinhuber’s desire to publish my book with the University of Minnesota Press. Her passion for my work was graceful and fi lled with delight; my gratitude to her is immeasurable. I thank Jason Weidemann for taking over the project. My appreciation goes to Adam Brunner for his careful work with the artists’ images and permissions. My colleagues at California State University San Marcos have unstint- ingly supported my work on this book through the award of a sabbatical at just the right moment as well as numerous Faculty Development Grants and Research and Creative Activity Awards. For sustained thinking about femi- nist and familial maternal issues, my deepest thanks go to Kristine Diekman, Karen Schaff man, David Avalos, Deborah Small, Merryl Goldberg, Judit Hersko, Vivienne Bennett, and Leah Ollman. My discussions over the years with engaged mother–artist–writers Myrel Chernick and Ellen McMahon have been deeply moving and enriching. I have enjoyed sharing maternal sto- ries with dear friends, each of whom mothers in her own distinctive way: Leslie Krauss- Oakes; artist–mothers E. A. Shull and Carol Young Verheyen; and mother–grandmother–writer Mus White. My thanks also go to Mary Beth Heff ernan, who entered this story at the right moment. ACKNOWLEDGMENTS xi Th e students of my seminar “Feminist Art and Motherhood” at California State University San Marcos deserve special acknowledgment. Th ey ap- proach this provocative course with their own ambivalences and desires. Feminist reconsiderations of the maternal as a site of feminist knowledge are enriched by their soul- searching thinking and devastatingly honest per- sonal transformations. It continues to amuse me to see my brother as a loving father who takes such good care of his children—my brother, whom I often mistakenly refer to as “your brother” when speaking to his children, so deeply intertwined are our childhood memories and parental subjectivities. It is my delight being aunt and friend to my niece Sarah and nephew Jordan. My unbeliev- ably grown- up niece Holly has shown me maternal care when I have needed it. My mother and friend, Shirley Liss, has given me unbounded love and understanding; both are unrepresentable. Th e spirit of my father, Sidney Joseph Liss, sustains us still. My angelic son Miles’s wisdom and caring be- yond his age have also sustained me over the years: you have given me the joy of being witness to your wondrous transformations. Michael and Miles, you have proved that love is gender- full and gender- free. Th ank you, Michael, for always being there. This page intentionally left blank Introduction Th inking (M)otherwise NEW BODIES OF KNOWLEDGE S of a projected image of a Renaissance Madonna. Th e sinuous line of the Mother Mary’s fl owing gown, her angelic gaze upon her infant son, and the undeniable calm and power of this maternal image make a deep impression on the class.
Load more

Recommended publications
  • Songs by Artist
    Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S.
    [Show full text]
  • Century American Gilded Picture Frames Hugh Glover
    Tech Notes, Fall 2006 Care and use of 19th-century American gilded picture frames Hugh Glover icture frames are a component of most art collections and are subject to wear and tear in their functional role surrounding paint- P ings. Damage to frames occurs during exhibition, storage, and travel, and is caused by handling, hanging processes, adverse environments, neglect, and irreversible restorations. Picture frames are maintained by a variety of preservation specialist and their preservation interests have only rarely been addressed. The following is Section 4 of a larger paper, “A Description of 19th- Century American Gilded Picture Frames and an Outline of their Modern Use and Conservation,” presented in June to the Wooden Artifact Group at the 2006 annual meeting of AIC in Providence, Rhode Island. This sec- tion addresses general preservation, handling and preparation of frames for exhibition. Environment Gilded wood objects are ultra sensitive to environmental conditions and are probably more sensitive than most paintings. Gilded wood in adverse climates experiences detachment and loss of gilding/or- nament, while the accumulation of grime leads to surface darkening and cleaning campaigns that may well cause damage. The protected bright gilding that survives on shadow boxed frames of the second half-century illustrates how more exposed gilding has now been altered by grime, abrasion, and staining from moisture and grease during handling. Handling All gilded objects should be handled with non-marring gloves to avoid abrasions and staining, and even paper towels or cotton cloth will suffice. In practice, however, gilded frames are still handled with bare hands as the frame is considered a safe means of handling the artwork.
    [Show full text]
  • Revisiting Cyberfeminism
    AUTHOR’S COPY | AUTORENEXEMPLAR Revisiting cyberfeminism SUSANNA PAASONEN E-mail: [email protected] Abstract In the early 1990s, cyberfeminism surfaced as an arena for critical analyses of the inter-connections of gender and new technology Ϫ especially so in the context of the internet, which was then emerging as something of a “mass-medium”. Scholars, activists and artists interested in media technol- ogy and its gendered underpinnings formed networks and groups. Conse- quently, they attached altering sets of meaning to the term cyberfeminism that ranged in their take on, and identifications with feminism. Cyberfemi- nist activities began to fade in the early 2000s and the term has since been used by some as synonymous with feminist studies of new media Ϫ yet much is also lost in such a conflation. This article investigates the histories of cyberfeminism from two interconnecting perspectives. First, it addresses the meanings of the prefix “cyber” in cyberfeminism. Second, it asks what kinds of critical and analytical positions cyberfeminist networks, events, projects and publications have entailed. Through these two perspectives, the article addresses the appeal and attraction of cyberfeminism and poses some tentative explanations for its appeal fading and for cyberfeminist activities being channelled into other networks and practiced under dif- ferent names. Keywords: cyberfeminism, gender, new technology, feminism, networks Introduction Generally speaking, cyberfeminism signifies feminist appropriation of information and computer technology (ICT) on a both practical and theoretical level. Critical analysis and rethinking of gendered power rela- tions related to digital technologies has been a mission of scholars but equally Ϫ and vocally Ϫ that of artists and activists, and those working in-between and across such categorizations.
    [Show full text]
  • Helena Mace Song List 2010S Adam Lambert – Mad World Adele – Don't You Remember Adele – Hiding My Heart Away Adele
    Helena Mace Song List 2010s Adam Lambert – Mad World Adele – Don’t You Remember Adele – Hiding My Heart Away Adele – One And Only Adele – Set Fire To The Rain Adele- Skyfall Adele – Someone Like You Birdy – Skinny Love Bradley Cooper and Lady Gaga - Shallow Bruno Mars – Marry You Bruno Mars – Just The Way You Are Caro Emerald – That Man Charlene Soraia – Wherever You Will Go Christina Perri – Jar Of Hearts David Guetta – Titanium - acoustic version The Chicks – Travelling Soldier Emeli Sande – Next To Me Emeli Sande – Read All About It Part 3 Ella Henderson – Ghost Ella Henderson - Yours Gabrielle Aplin – The Power Of Love Idina Menzel - Let It Go Imelda May – Big Bad Handsome Man Imelda May – Tainted Love James Blunt – Goodbye My Lover John Legend – All Of Me Katy Perry – Firework Lady Gaga – Born This Way – acoustic version Lady Gaga – Edge of Glory – acoustic version Lily Allen – Somewhere Only We Know Paloma Faith – Never Tear Us Apart Paloma Faith – Upside Down Pink - Try Rihanna – Only Girl In The World Sam Smith – Stay With Me Sia – California Dreamin’ (Mamas and Papas) 2000s Alicia Keys – Empire State Of Mind Alexandra Burke - Hallelujah Adele – Make You Feel My Love Amy Winehouse – Love Is A Losing Game Amy Winehouse – Valerie Amy Winehouse – Will You Love Me Tomorrow Amy Winehouse – Back To Black Amy Winehouse – You Know I’m No Good Coldplay – Fix You Coldplay - Yellow Daughtry/Gaga – Poker Face Diana Krall – Just The Way You Are Diana Krall – Fly Me To The Moon Diana Krall – Cry Me A River DJ Sammy – Heaven – slow version Duffy
    [Show full text]
  • Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive
    Article Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive Kathy Carbone ABSTRACT The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The CalArts Feminist Art Program (1971–1975) played an influential role in this movement and today, traces of the Feminist Art Program reside in the CalArts Institute Archives’ Feminist Art Materials Collection. Through a series of short interrelated archives stories, this paper explores some of the ways in which women responded to and engaged the Collection, especially a series of letters, for feminist projects at CalArts and the Women’s Art Library at Goldsmiths, University of London over the period of one year (2017–2018). The paper contemplates the archive as a conduit and locus for current day feminist identifications, meaning- making, exchange, and resistance and argues that activating and sharing—caring for—the archive’s feminist art histories is a crucial thing to be done: it is feminism-in-action that not only keeps this work on the table but it can also give strength and definition to being a feminist and an artist. Carbone, Kathy. “Dear Sister Artist,” in “Radical Empathy in Archival Practice,” eds. Elvia Arroyo- Ramirez, Jasmine Jones, Shannon O’Neill, and Holly Smith. Special issue, Journal of Critical Library and Information Studies 3. ISSN: 2572-1364 INTRODUCTION The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The California Institute of the Arts (CalArts) Feminist Art Program, which ran from 1971 through 1975, played an influential role in this movement and today, traces and remains of this pioneering program reside in the CalArts Institute Archives’ Feminist Art Materials Collection (henceforth the “Collection”).
    [Show full text]
  • Extended Sensibilities Homosexual Presence in Contemporary Art
    CHARLEY BROWN SCOTT BURTON CRAIG CARVER ARCH CONNELLY JANET COOLING BETSY DAMON NANCY FRIED EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART JEDD GARET GILBERT & GEORGE LEE GORDON HARMONY HAMMOND JOHN HENNINGER JERRY JANOSCO LILI LAKICH LES PETITES BONBONS ROSS PAXTON JODY PINTO CARLA TARDI THE NEW MUSEUM FRAN WINANT EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART CHARLEY BROWN HARMONY HAMMOND SCOTT BURTON JOHN HENNINGER CRAIG CARVER JERRY JANOSCO ARCH CONNELLY LILI LAKICH JANET COOLING LES PETITES BONBONS BETSY DAMON ROSS PAXTON NANCY FRIED JODY PINTO JEDD GARET CARLA TARDI GILBERT & GEORGE FRAN WINANT LE.E GORDON Daniel J. Cameron Guest Curator The New Museum EXTENDED SENSIBILITIES STAFF ACTIVITIES COUNCJT . Robin Dodds Isabel Berley HOMOSEXUAL PRESENCE IN CONTEMPORARY ART Nina Garfinkel Marilyn Butler N Lynn Gumpert Arlene Doft ::;·z17 John Jacobs Elliot Leonard October 16-December 30, 1982 Bonnie Johnson Lola Goldring .H6 Ed Jones Nanette Laitman C:35 Dieter Morris Kearse Dorothy Sahn Maria Reidelbach Laura Skoler Rosemary Ricchio Jock Truman Ned Rifkin Charles A. Schwefel INTERNS Maureen Stewart Konrad Kaletsch Marcia Thcker Thorn Middlebrook GALLERY ATTENDANTS VOLUNTEERS Joanne Brockley Connie Bangs Anne Glusker Bill Black Marcia Landsman Carl Blumberg Sam Robinson Jeanne Breitbart Jennifer Q. Smith Mary Campbell Melissa Wolf Marvin Coats Jody Cremin This exhibition is supported by a grant from the National Endowment for BOARD OF TRUSTEES Joanna Dawe the Arts in Washington, D.C., a Federal Agency, and is made possible in Jack Boulton Mensa Dente part by public funds from the New York State Council on the Arts. Elaine Dannheisser Gary Gale Library of Congress Catalog Number: 82-61279 John Fitting, Jr.
    [Show full text]
  • Nationalism, Primitivism, & Neoclassicism
    Nationalism, Primitivism, & Neoclassicism" Igor Stravinsky (1882-1971)! Biographical sketch:! §" Born in St. Petersburg, Russia.! §" Studied composition with “Mighty Russian Five” composer Nicolai Rimsky-Korsakov.! §" Emigrated to Switzerland (1910) and France (1920) before settling in the United States during WW II (1939). ! §" Along with Arnold Schönberg, generally considered the most important composer of the first half or the 20th century.! §" Works generally divided into three style periods:! •" “Russian” Period (c.1907-1918), including “primitivist” works! •" Neoclassical Period (c.1922-1952)! •" Serialist Period (c.1952-1971)! §" Died in New York City in 1971.! Pablo Picasso: Portrait of Igor Stravinsky (1920)! Ballets Russes" History:! §" Founded in 1909 by impresario Serge Diaghilev.! §" The original company was active until Diaghilev’s death in 1929.! §" In addition to choreographing works by established composers (Tschaikowsky, Rimsky- Korsakov, Borodin, Schumann), commissioned important new works by Debussy, Satie, Ravel, Prokofiev, Poulenc, and Stravinsky.! §" Stravinsky composed three of his most famous and important works for the Ballets Russes: L’Oiseau de Feu (Firebird, 1910), Petrouchka (1911), and Le Sacre du Printemps (The Rite of Spring, 1913).! §" Flamboyant dancer/choreographer Vaclav Nijinsky was an important collaborator during the early years of the troupe.! ! Serge Diaghilev (1872-1929) ! Ballets Russes" Serge Diaghilev and Igor Stravinsky.! Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911).! Ballets
    [Show full text]
  • First Cyberfeminist International
    editorial In September 1997 the First Cyberfeminist International Who is OBN and what do they do? took place in the Hybrid Workspace at Documenta X, in The Old Boys Network was founded in Berlin in spring Kassel, Germany. 37 women from 12 countries partici- 1997 by Susanne Ackers, Julianne Pierce, Valentina pated. It was the first big meeting of cyberfeminists Djordjevic, Ellen Nonnenmacher and Cornelia Sollfrank. organized by the Old Boys Network (OBN), the first inter- OBN consists of a core-group of 3-5 women, who take national cyberfeminist organisation. responsibility for administrative and organisational tasks, and a worldwide network of associated members. OBN is dedicated to Cyberfeminism. Although cyber- feminism has not been clearly defined--or perhaps OBN’s concern is to build spaces in which we can because it hasn't--the concept has enormous potential. research, experiment, communicate and act. One Cyberfeminism offers many women--including those example is the infrastructure which is being built by weary of same-old feminism--a new vantage point from OBN. It consists of a cyberfeminist Server (currently which to formulate innovative theory and practice, and under construction), the OBN mailing list and the orga- at the same time, to reflect upon traditional feminist nisation of Real-Life meetings. All this activities have the theory and pratice. purpose to give a contextualized presence to different artistic and political formulations under the umbrella of The concept of Cyberfeminism immediately poses a lot Cyberfeminism. Furthermore we create and use different of questions. The most important ones are: 1. What is kinds of spaces, spaces which are more abstract.
    [Show full text]
  • Indiana Archaeology
    INDIANA ARCHAEOLOGY Volume 5 Number 2 2010/2011 Indiana Department of Natural Resources Division of Historic Preservation and Archaeology (DHPA) ACKNOWLEDGMENTS Indiana Department of Natural Resources Robert E. Carter, Jr., Director and State Historic Preservation Officer Division of Historic Preservation and Archaeology (DHPA) James A. Glass, Ph.D., Director and Deputy State Historic Preservation Officer DHPA Archaeology Staff James R. Jones III, Ph.D., State Archaeologist Amy L. Johnson Cathy L. Draeger-Williams Cathy A. Carson Wade T. Tharp Editors James R. Jones III, Ph.D., State Archaeologist Amy L. Johnson, Senior Archaeologist and Archaeology Outreach Coordinator Cathy A. Carson, Records Check Coordinator Publication Layout: Amy L. Johnson Additional acknowledgments: The editors wish to thank the authors of the submitted articles, as well as all of those who participated in, and contributed to, the archaeological projects which are highlighted. Cover design: The images which are featured on the cover are from several of the individual articles included in this journal. Mission Statement: The Division of Historic Preservation and Archaeology promotes the conservation of Indiana’s cultural resources through public education efforts, financial incentives including several grant and tax credit programs, and the administration of state and federally mandated legislation. 2 For further information contact: Division of Historic Preservation and Archaeology 402 W. Washington Street, Room W274 Indianapolis, Indiana 46204-2739 Phone: 317/232-1646 Email: [email protected] www.IN.gov/dnr/historic 2010/2011 3 Indiana Archaeology Volume 5 Number 2 TABLE OF CONTENTS Authors of articles were responsible for ensuring that proper permission for the use of any images in their articles was obtained.
    [Show full text]
  • The Uk's Top 200 Most Requested Songs in 2014
    The Uk’s top 200 most requested songs in 2014 1 Killers Mr. Brightside 2 Kings Of Leon Sex On Fire 3 Black Eyed Peas I Gotta Feeling 4 Pharrell Williams Happy 5 Bon Jovi Livin' On A Prayer 6 Robin Thicke Blurred Lines 7 Whitney Houston I Wanna Dance With Somebody 8 Daft Punk Get Lucky 9 Journey Don't Stop Believin' 10 Bryan Adams Summer Of '69 11 Maroon 5 MovesLike Jagger 12 Beyonce Single Ladies (Put A Ring On It) 13 Bruno Mars Marry You 14 Psy Gangam Style 15 ABBA Dancing Queen 16 Queen Don't Stop Me Now 17 Rihanna We Found Love 18 Foundations Build Me Up Buttercup 19 Dexys Midnight Runners Come On Eileen 20 LMFAO Sexy And I Know It 21 Van Morrison Brown Eyed Girl 22 B-52's Love Shack 23 Beyonce Crazy In Love 24 Michael Jackson Billie Jean 25 LMFAO Party Rock Anthem 26 Amy Winehouse Valerie 27 Avicii Wake Me Up! 28 Katy Perry Firework 29 Arctic Monkeys I Bet You Look Good On The Dancefloor 30 John Travolta & Olivia Newton-John Grease Megamix 31 Guns N' Roses Sweet Child O' Mine 32 Kenny Loggins Footloose 33 Olly Murs Dance With Me Tonight 34 OutKast Hey Ya! 35 Beatles Twist And Shout 36 One Direction What Makes You Beautiful 37 DJ Casper Cha Cha Slide 38 Clean Bandit Rather Be 39 Proclaimers I'm Gonna Be (500 Miles) 40 Stevie Wonder Superstition 41 Bill Medley & Jennifer Warnes (I've Had) The Time Of My Life 42 Swedish House Mafia Don't You Worry Child 43 House Of Pain Jump Around 44 Oasis Wonderwall 45 Wham! Wake Me Up Before You Go-go 46 Cyndi Lauper Girls Just Want To Have Fun 47 David Guetta Titanium 48 Village People Y.M.C.A.
    [Show full text]
  • CUBISM and ABSTRACTION Background
    015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement.
    [Show full text]
  • Mother/Art: a Journey Into Selfhood, Motherhood and Art Education Through Personal Works
    Mother/Art: A Journey into Selfhood, Motherhood and Art Education through Personal Works A Thesis in The Department of Art Education Presented in Partial Fulfillment of the Requirements For the Degree of Master of Arts (Art Education) Concordia University Montréal, Québec, Canada April 2014 © Rosanna Ciciola-Izzo, 2014 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Rosanna Ciciola-Izzo Entitled: Mother/Art: A journey into Selfhood, Motherhood and Art Education through Personal Works and submitted in partial fulfillment of the requirements for the degree of Master Of Arts (Art Education) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: _____________________________________ Chair ______________________________________ Examiner Dr.Lorrie Blair ______________________________________ Examiner Dr.Kathleen Vaughan ______________________________________ Supervisor Dr.Linda Szabad-Smyth Approved by ________________________________________________ Chair of Department or Graduate Program Director ________________________________________________ Dean of Faculty Date _____________________________________2014__________ ii ABSTRACT Mother /Art: A Journey into Selfhood, Motherhood and Art Education Through Personal Works Rosanna Ciciola-Izzo This study begins with a look at creative blocks in the lives of creative women, and how these contribute to contemporary feminist discourses on maternal art. These discourses consider how real mothers deal with the ambivalence and contradictions of lived motherhood. Consequently, I considered from a feminist perspective, how women have traditionally been and are still predisposed to care for others, and how this responsibility both feeds and obstructs one’s creative self. Personal issues of identity and social roles within the context of marriage, motherhood and “daughterhood” were explored through studio-based research in the form of personal visual memoirs.
    [Show full text]