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Model Commodities: Gender and Value in Contemporary Couture
Model Commodities: Gender and Value in Contemporary Couture By Xiaoyu Elena Wang A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Political Science in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Wendy L. Brown, Chair Professor Shannon C. Stimson Professor Ramona Naddaff Professor Julia Q. Bryan-Wilson Spring 2015 Abstract Model Commodities: Gender and Value in Contemporary Couture by Xiaoyu Elena Wang Doctor of Philosophy in Political Science University of California, Berkeley Professor Wendy L. Brown, Chair Every January and June, the most exclusive and influential sector of the global apparel industry stages a series of runway shows in the high fashion, or, couture capitals of New York, Milan, London and Paris. This dissertation explores the production of material goods and cultural ideals in contemporary couture, drawing on scholarly and anecdotal accounts of the business of couture clothes as well as the business of couture models to understand the disquieting success of marketing luxury goods through bodies that appear to signify both extreme wealth and extreme privation. This dissertation argues that the contemporary couture industry idealizes a mode of violence that is unique in couture’s history. The industry’s shift of emphasis toward the mass market in the late 20th-century entailed divestments in the integrity of garment production and modeling employment. Contemporary couture clothes and models are promoted as high-value objects, belying however a material impoverishment that can be read from the models’ physiques and miens. 1 Table of Contents I. The enigma of couture…………………………………………………………………………..1 1. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Thing of Beauty: the Tragedy of Supermodel Gia Free
FREE THING OF BEAUTY: THE TRAGEDY OF SUPERMODEL GIA PDF Stephen Fried | 384 pages | 01 Aug 1994 | SIMON & SCHUSTER | 9780671701055 | English | New York, United States Thing of Beauty: The Tragedy of Supermodel Gia by Fried, Stephen Hardback Book | eBay Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Thing of Beauty: The Tragedy of Supermodel Gia cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Preview — Thing of Beauty by Stephen Fried. At age seventeen, Gia Carangi was working the counter at her father's Philadelphia luncheonette, in Hoagie City. Within a year, Gia was one of the top models of the late 's, gracing the covers of Cosmopolitan and Vogue, partying at New York's Studio 54 and the Mudd Club while redefining the industry's standard of beauty. She was the darling of moguls and movie stars, r At age seventeen, Gia Thing of Beauty: The Tragedy of Supermodel Gia was working the counter at her father's Philadelphia luncheonette, in Hoagie City. She was the darling of moguls and movie stars, royalty and rockers. Gia was also a girl in pain, desperate for her mother's approval. Finally blackballed from modeling, Gia entered a vastly different world on the streets of New york and Atlantic City, and later in a rehab clinic. At twenty- six, she became one of the first women in America to die of AIDS; a hospital welfare case visited only by rehab friends and what remained of her family. -
Nan Goldin and Andres Serrano's Post-Mortem Photography
Visible Care: Nan Goldin and Andres Serrano’s Post-mortem Photography Lauren Jane Summersgill Humanities and Cultural Studies Birkbeck, University of London Submitted for the Degree of Doctor of Philosophy November 2014 2 Declaration I certify that this thesis is the result of my own investigations and, except for quotations, all of which have been clearly identified, was written entirely by me. Lauren J. Summersgill October 2014 3 Abstract This thesis investigates artistic post-mortem photography in the context of shifting social relationship with death in the 1980s and 1990s. Analyzing Nan Goldin’s Cookie in Her Casket and Andres Serrano’s The Morgue, I argue that artists engaging in post- mortem photography demonstrate care for the deceased. Further, that demonstrable care in photographing the dead responds to a crisis of the late 1980s and early 1990s in America. At the time, death returned to social and political discourse with the visibility of AIDS and cancer and the euthanasia debates, spurring on photographic engagement with the corpse. Nan Goldin’s 1989 post-mortem portrait of her friend, Cookie in Her Casket, was first presented within The Cookie Portfolio. The memorial portfolio traced the friendship between Cookie and Goldin over fourteen years. The work relies on a personal narrative, framing the works within a familial gaze. I argue that Goldin creates the sense of family to encourage empathy in the viewer for Cookie’s loss. Further, Goldin’s generic and beautified post-mortem image of Cookie is a way of offering Cookie respect and dignity in death. Andres Serrano’s 1992 The Morgue is a series of large-scale cropped, and detailed photographs capturing indiscriminate bodies from within an unidentified morgue. -
Testimony of Janice Dickinson
IN THE COURT OF COMMON PLEAS IN AND FOR THE COUNTY OF MONTGOMERY, PENNSYLVANIA CRIMINAL DIVISION COMMONWEALTH OF PENNSYLVANIA: vs. NO. 3932-16 WILLIAM H. COSBY, JR. TESTIMONY OF JANICE DICKINSON Courtroom A Thursday, April 12, 2018 Commencing at 11:27 a.m. Virginia M. Womelsdorf, RPR Official Court Reporter Montgomery County Courthouse Norristown, Pennsylvania BEFORE: THE HONORABLE STEVEN T. O'NEILL, JUDGE AND A JURY COUNSEL APPEARED AS FOLLOWS: KEVIN R. STEELE, ESQUIRE District Attorney M. STEWART RYAN, ESQUIRE KRISTEN GIBBONS-FEDEN, ESQUIRE Assistant District Attorneys for the Commonwealth LANE L. VINES, ESQUIRE THOMAS A. MESEREAU, JR., ESQUIRE KATHLEEN BLISS, ESQUIRE JASON HICKS, ESQUIRE BECKY S. JAMES, ESQUIRE RACHAEL ROBINSON, ESQUIRE JAYA GUPTA, ESQUIRE for the Defendant ALSO PRESENT: JONATHAN PERRONE, Computer Operations Supervisor Montgomery County District Attorney's Office INDEX COMMONWEALTH'S EVIDENCE Witness VDire Direct Cross Redir Recr JANICE DICKINSON 4 37 83 EXHIBITS COMMONWEALTH'S Number Description Marked Rec'd C-11 Photograph 19 20 C712 Photograph 19 20 C-13 Photograph 19 20 C-14 Declaration of Pablo Fenjvez 87 Ct-15 Declaration of Judith Regan 94 4 1 JANICE DICKINSON - DIRECT 2 THE COURT: Okay. You may call your 3 next witness. 4 MR. RYAN: Thank you, Your Honor. 5 Janice Dickinson. 6 - - - 7 JANICE DICKINSON, having been duly 8 sworn, was examined and testified as 9 follows: 10 DIRECT EXAMINATION 11 By MR. RYAN: 12 Q Good morning, Janice. 13 A Good morning. 14 Q Can you tell me where you live? 15 A I live in Tarzana, California. 16 Q And who do you live with? 17 My husband, Rocky Gerner. -
Hewletthonorsdistinguis
The Independent Voice of George W. Hewlett High School HEWLETT SPECTRUM Volume LXVI No 6 60 Everit Avenue Hewlett, New York Thursday, June 8, 2017 Inside: HEWLETT HONORS DISTINGUISHED ALUMNI by Bharvi Chavre Dukoff serves as the President of the American executive member on the UJA-Federation of On April 30, 2017, G.W. Hewlett High Association of Women Dentists. New York Sports for Youth initiative. School was filled with chatter and laughter, as Eric Baum ’89 was honored for his ac- Saul Blinkoff ’90 was recognized for alumni came back to honor their former peers. complishments in pediatric otolaryngology. his success as an animation film director and The 20th annual induction ceremony celebrated In addition to being the Director of Pediatric consultant. Blinkoff began his animation career alumni who have made groundbreaking ac- Otolaryngology at Yale University, Baum is the working on “Pocahontas,” “The Hunchback complishments utilizing the skills they acquired Director of the Pediatrics Section, Curriculum of Notre Dame,” “Mulan,” and “Tarzan” with in high school. Committee of the Division of Otolaryngology. Disney Studios. In addition to directing “Spy Courtesy of Joan Chin-Schmidt The day began with the Hewlett-Wood- His publications include a variety of peer- Groove” for MTV, “Winnie the Pooh: Spring- mere Alumni Association (HWAA) board reviewed manuscripts and poster presentations. time with Roo” and “Kronk’s New Groove,” members, honorees and alumni gathering Keith Gutstein ’89 was nominated for his Blinkoff has directed many commercials for QUOGUE WILDLIFE IS WILD and reminiscing at their old high school while achievements in law, and practices labor and many corporations including Best Buy, Dunkin’ members of the high school’s chamber orchestra employment law on behalf of management. -
Fall 2021 Catalog Download
Fall 2021 Contents New Titles 5 Collector’s Editions 29 Toiletpaper 51 Backlist 57 Photography 58 Contemporary Art 70 Fashion & Lifestyle 72 Architecture & Design 74 Antiques & Collectibles 74 Distributors 76 Contacts & Press Office 78 New Titles 6 Photography Mike Mandel Zone Eleven Photographs by Ansel Adams Zone Eleven is a reference to Ansel Adams’ Zone System, a method to control exposure of the negative in order to obtain a full range of tonality in the photographic print from the deepest black of Zone 0 to the brightest highlight in Zone 10. Zone Eleven is a metaphor coined by artist Mike Mandel in his challenge to create a book of Adams’ photographs outside of the bounds of his personal work. Many of these photographs were found in the archives of his commercial and editorial assignments, and from his experimentation with the new Polaroid material of the times. For this book, Mandel has unearthed images that are unexpected for Adams, and created a new context of facing Text by Erin O'Toole page relationships, and sequence. Zone Eleven is the product 28 x 23 cm | 11 x 9 inches of Mike Mandel’s research of over 50,000 Adams images 112 pages, 83 b&w, hardbound located within four different archives to present a body of ISBN 978-88-6208-748-3 Fall 2021 Adams’ work that was unknown until now. $55 | €50 | £45 Mike Mandel is well known for his collaboration with Larry Sultan in the 1970s - 1990s. They published 'Evidence' in 1977, a collection of 59 photographs chosen from more than two million images that the artists viewed at the archives of government agencies and tech-oriented corporations. -
167558354.Pdf
ngelina Jolie (/dʒoʊˈliː/ joh-LEE, born Angelina Jolie Voight; June 4, 1975) is an American actress, film director, and screenwriter. She has received an Academy Award, two Screen Actors Guild Awards, and three Golden Globe Awards, and was named Hollywood's highest-paid actress by Forbes in 2009 and 2011.[2][3] Jolie promotes humanitarian causes, and is noted for her work with refugees as a Special Envoy and former Goodwill Ambassador for the United Nations High Commissioner for Refugees (UNHCR). She has often been cited as the world's "most beautiful" woman, a title for which she has received substantial media attention.[4][5][6][7] Jolie made her screen debut as a child alongside her father Jon Voight in Lookin' to Get Out (1982), but her film career began in earnest a decade later with the low-budget production Cyborg 2 (1993). Her first leading role in a major film was in the cyber- thrillerHackers (1995). She starred in the critically acclaimed biographical television films George Wallace (1997) and Gia (1998), and won an Academy Award for Best Supporting Actress for her performance in the drama Girl, Interrupted (1999). Jolie achieved wide fame after her portrayal of the video game heroine Lara Croft in Lara Croft: Tomb Raider (2001), and established herself among the highest-paid actresses in Hollywood with the sequel The Cradle of Life (2003).[8] She continued her action star career with Mr. & Mrs. Smith (2005), Wanted (2008), and Salt (2010)—her biggest live-action commercial successes to date[9]—and received further critical acclaim for her performances in the dramas A Mighty Heart (2007) and Changeling (2008), which earned her a nomination for an Academy Award for Best Actress. -
Modeling Tips
Modeling Tips: Expert Modeling Advice “Not one top model I’ve worked with in 20 years went to modeling school.”1 — Susan Wehmann, Wehmann Agency “The best advice I can give is to check out an agency before going for an interview, and during the interview ask who their major clients are and what their success rate is in placing children in jobs.”2 — Elisabeth Smith, Elisabeth Smith Model Agency (Child Model Agent since 1960) “You never write the agency a check for your marketing materials, pictures, etc.”3 — Dominick Palazzo, IMI Talent Management “Children under 5 don’t need professional photographs to get started in modeling, according to a 40-page report on modeling scams issued by the New York City Department of Consumer Affairs. Snapshots also suffice for adult models at “open calls” held by legitimate modeling agencies, during which anyone is able to walk in and hear an honest evaluation of his or her modeling potential.”4 — Kiplinger’s Personal Finance “They come to me after spending two, three, four thousand dollars on classes, pictures and attending conventions and expect me to take them on, but I can tell right away that there’s no potential.”5 — Liz Bell, Liz Bell Agency “The Association of Model Agents has a list of reputable agents. Check their websites out, never go to a private address and never pay money upfront.”6 — Sarah Doukas, Managing Director, Storm Model Management “Another common scheme comes from firms that charge people hundreds or even thousands of dollars to be listed in their “talent directories,” which are then mailed to agents and producers. -
Pdf Surveillance for Foodborne Disease Outbreaks—United States, 25
A Peer-Reviewed Journal Tracking and Analyzing Disease Trends pages 993–1166 EDITOR-IN-CHIEF D. Peter Drotman EDITORIAL STAFF EDITORIAL BOARD Dennis Alexander, Addlestone Surrey, United Kingdom Founding Editor Ban Allos, Nashville, Tennessee, USA Joseph E. McDade, Rome, Georgia, USA Michael Apicella, Iowa City, Iowa, USA Managing Senior Editor Barry J. Beaty, Ft. Collins, Colorado, USA Martin J. Blaser, New York, New York, USA Polyxeni Potter, Atlanta, Georgia, USA David Brandling-Bennet, Washington, D.C., USA Associate Editors Donald S. Burke, Baltimore, Maryland, USA Charles Ben Beard, Ft. Collins, Colorado, USA Jay C. Butler, Anchorage, Alaska David Bell, Atlanta, Georgia, USA Arturo Casadevall, New York, New York, USA Charles H. Calisher, Ft. Collins, Colorado, USA Kenneth C. Castro, Atlanta, Georgia, USA Thomas Cleary, Houston, Texas, USA Patrice Courvalin, Paris, France Anne DeGroot, Providence, Rhode Island, USA Stephanie James, Bethesda, Maryland, USA Vincent Deubel, Shanghai, China Takeshi Kurata, Tokyo, Japan Ed Eitzen, Washington, D.C., USA Brian W.J. Mahy, Atlanta, Georgia, USA Duane J. Gubler, Honolulu, Hawaii, USA Richard L. Guerrant, Charlottesville, Virginia, USA Martin I. Meltzer, Atlanta, Georgia, USA Scott Halstead, Arlington, Virginia, USA David Morens, Bethesda, Maryland, USA David L. Heymann, Geneva, Switzerland J. Glenn Morris, Baltimore, Maryland, USA Sakae Inouye, Tokyo, Japan Tanja Popovic, Atlanta, Georgia, USA Charles King, Cleveland, Ohio, USA Patricia M. Quinlisk, Des Moines, Iowa, USA Keith Klugman, Atlanta, Georgia, USA S.K. Lam, Kuala Lumpur, Malaysia Gabriel Rabinovich, Buenos Aires, Argentina Bruce R. Levin, Atlanta, Georgia, USA Didier Raoult, Marseilles, France Myron Levine, Baltimore, Maryland, USA Pierre Rollin, Atlanta, Georgia, USA Stuart Levy, Boston, Massachusetts, USA David Walker, Galveston, Texas, USA John S. -
The First World AIDS Day
1 On June 5, 1981, the United States Centre for Disease Control and Prevention (CDC) issued its first warning about a relatively rare form of pneumonia among a small group of young gay men in Los Angeles, which was later deter- mined to be AIDS-related. Since that time, tens of millions of people have been infected with HIV worldwide. The Global HIV/AIDS Timeline is designed to serve as an ongoing reference tool for the many political, scientific, cultural, and community developments that have occurred over the history of the epidemic. Started in 1988, World AIDS Day is not just about raising money, but also about increasing awareness, fighting prejudice and improving education. World AIDS Day is important in reminding people that HIV has not gone away, and that there are many things still to be done. ~avert.org, 2006 2 While 1981 is generally referred to as the beginning of the HIV/AIDS epidemic, scientists believe that HIV was present years before the first case was brought to public attention. In 1959, The first known case of HIV in a human occurs in a person who died in the Congo, later confirmed as hav- ing HIV infection from his preserved blood samples. The authors of the study did not sequence a full virus from his samples, writing that "attempts to amplify HIV-1 fragments of >300 base pairs were unsuccessful, . Howev- er, after numerous attempts, four shorter sequences were obtained" that represented small portions of two of the six genes of the complete AIDS virus. In New York City, on June 28, 1959, Ardouin Antonio, a 49-year-old Jamaican-American shipping clerk dies of Pneumocystis carinii pneumonia, a disease closely associated with AIDS. -
Visible Care: Nan Goldin and Andres Serrano's Post- Mortem Photography
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Visible Care: Nan Goldin and Andres Serrano’s Post- mortem Photography https://eprints.bbk.ac.uk/id/eprint/40214/ Version: Full Version Citation: Summersgill, Lauren Jane (2016) Visible Care: Nan Goldin and Andres Serrano’s Post-mortem Photography. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Visible Care: Nan Goldin and Andres Serrano’s Post-mortem Photography Lauren Jane Summersgill Humanities and Cultural Studies Birkbeck, University of London Submitted for the Degree of Doctor of Philosophy November 2014 2 Declaration I certify that this thesis is the result of my own investigations and, except for quotations, all of which have been clearly identified, was written entirely by me. Lauren J. Summersgill October 2014 3 Abstract This thesis investigates artistic post-mortem photography in the context of shifting social relationship with death in the 1980s and 1990s. Analyzing Nan Goldin’s Cookie in Her Casket and Andres Serrano’s The Morgue, I argue that artists engaging in post- mortem photography demonstrate care for the deceased. Further, that demonstrable care in photographing the dead responds to a crisis of the late 1980s and early 1990s in America. At the time, death returned to social and political discourse with the visibility of AIDS and cancer and the euthanasia debates, spurring on photographic engagement with the corpse. Nan Goldin’s 1989 post-mortem portrait of her friend, Cookie in Her Casket, was first presented within The Cookie Portfolio.