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Dean *Anthony Vidler to receive ACSA Centennial Award The Association of Collegiate Schools of Architecture (ACSA) announced today that Anthony Vidler will receive a special Centennial Award at next week’s 100th ACSA Annual Meeting in Boston. Anthony Vidler is Dean and Professor at the Irwin S. Chanin School of Architecture of The Cooper Union, where he has served since 2001. The Centennial Award was created by the ACSA Board of Directors in recognition of Dean Vidler’s wide ranging contributions to architectural education. Says Judith Kinnard, FAIA, ACSA president: “Anthony Vidler’s teaching and scholarship have had a major impact on architectural education. We invited him to receive this special award during our 100th anniversary and give the keynote lecture because of his extraordinary ability to link current issues in architecture and urbanism to a broad historic trajectory. His work forces us to question our assumptions as we engage contemporary conditions as designers.” Anthony Vidler received his professional degree in architecture from Cambridge University in England, and his doctorate in History and Theory from the University of Technology, Delft, the Netherlands. Dean Vidler was a member of the Princeton University School of Architecture faculty from 1965 to 1993, serving as the William R. Kenan Jr. Chair of Architecture, the Chair of the Ph.D. Committee, and Director of the Program in European Cultural Studies. In 1993 he took up a position as professor and Chair of the Department of Art History at the University of California, Los Angeles, with a joint appointment in the School of Architecture from 1997. -
Acu.1203.Cor
18 | The Cooper Union for the Advancement of Science and Art Notes was in Mentors: The Mentoring of Artists , an exhibit honoring the Marriages and artist-mentor relationship, at the Firehouse Center for the Falcon Engagements Foundation in Portland, Maine, August to October 2011 . Derek Dalton Musa (BSE’ 03 ) and Gloria Corinne Cochrane Nippert are Frey Yudkin (A’ 48 ) continues to engaged and planning a 2012 wed - teach and is showing her work at Hewlett Library in March and April ding. Garrett Ricciardi (A’ 03 ) and Lindsay Ross were married in July 2012 . Alex Katz (A’ 49 ) had 2011 solo shows at Gavin Brown’s enter - Constance Ftera (A’53) was in the 2011 . Sara and Michael Kadoch prise and Senior & Shopmaker 4th National Juried Exhibition (BSE’ 05 ) married on June 12 , 2011 at Prince Street Gallery. Gallery. (A’ 49 ) had a in New York. Kristen Breyer (A’ 06 ) Henry Niese and (A’ 08 ) married Laura Miller Margolius (A’42) with solo show of paintings and drawings Jeff Castleman 1960 s as an international network on Saturday, September 3, 2011 , at one of her art pieces in her home in from the mid- 1950 s to present enti - of artists, composers and designers the UC Berkeley Botanical Gardens Bronxville, New York. tled The Painter’s Palette at Gold Leaf Rosyln Fassett (A’56), Cameroon employing a “do-it-yourself” atti - Earth, oil painting, 50 x 40 Redwood Grove in Berkely Studios in Washington, DC, private collections. Irving Lefkowitz tude and focusing on blurring California. Included in their wed - September to November 2011 . -
Bios of RED SPRING Curating the End of the World Contributors
Bios of RED SPRING Curating the End of the World Contributors RED SPRING is dedicated to living legend, Algernon Miller, a Father of Afrofuturist Art. Ekpe Abioto Ekpe (pronounced “eck-pay), a “musical philanthropist” and artistic director of GENIUS UNLIMITED, who specializes in children’s music and cultural entertainment. Since his career began in 1974, his motivational learning workshops on self-esteem, creative thinking, conflict resolution, drug prevention, and gang awareness have been well received by students, teachers, and administrators. As a musician, producer, recording artist, songwriter and arts educator, he plays African instruments such as the djembe drum, kalimba (thumb piano), shekere, and others, flute and saxophone. He gives entertaining and educational performances at schools, churches, festivals, colleges and universities, and is currently promoting his two CD’s entitled, “I AM A GENIUS” and “THE SPIRIT OF AFRICAN MUSIC.” His interactive music video “DON’T TOUCH A GUN” has been recognized and used as an effective means of keeping guns out of the hands of children. He is a part of The African Jazz Ensemble, a 10-piece band made up of some of Memphis' finest musicians. They've played together for over 40 years, and members have toured the world with Michael Jackson, Al Green, BB King, Eric Clapton, the Dells, Luther Allison, and Rufus and Carla Thomas. They formed the African Jazz Ensemble as a way to incorporate African influences into more traditional jazz, soul and R&B. Linda D. Addison is one of the most honored speculative poets of all time. Over the course of more than 300 published poems, stories and articles, Addison has been awarded the Horror Writer Association’s Bram Stoker Award six times. -
The Impact of the Compact by Dr. Mario Garcia
THE IMPACT OF THE COMPACT BY DR. MARIO GARCIA AN IN-DEPTH INVESTIGATION WITH CASE STUDIES INCLUDING: OF THE RENAISSANCE 20 Cent, Germany OF THE TABLOID FORMAT 24 SATA, Croatia Bohuslaningen, Sweden Crain’s Chicago Business, USA De Standaard, Belgium Diario de Noticias, Portugal El Litoral, Argentina El Mercurio, Chile Goteborgs Posten, Sweden Het Parool, Holland Kleine Zeitung, Austria Liberation, France Newsday, USA Philadelphia Weekly, USA VERSION 1.0 Quick, USA A GARCIA MEDIA WHITE PAPER Reflejos, USA APRIL 25, 2005 S.F. Examiner, USA THE IMPACT OF THE COMPACT 1 The big buzz about small formats E VERYTHING MAKES A COMEBACK. There is an eternal renaissance of essential things. In journalism, design, literature and art. Things tend to simplify themselves. As life in big cities turns more chaotic, technology becomes more accessible with wireless, fast communication available to larger mass- es of the population. For the printed media, this translates into smaller formats, more reader-friendly for users who seek simpler storytelling, quicker messages, and who seem to prefer, as in everything else, the smaller packages. In the case of newspapers, we have had to wait a long time and climb a steep mountain to get to this exciting moment in which more newspapers are look- ing at smaller formats as an option. For many, it is already a reality. Conversion from broadsheet to tabloid has paid off: Readers like it, advertisers get used to it faster than anyone thought, and the “wave” of tabloid conversions extends globally. Even the United States is taking a peek into what some of their news- papers will look like in a format other than the huge broadsheet that has served as the canvas for decades. -
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Joan Shorenstein Center on the Press, Politics and Public Policy Discussion Paper Series Leading the Way to Better News: The Role of Leadership in a World Where Most of the “Powers That Be” Became the “Powers That Were” By Geoffrey Cowan Shorenstein Center Fellow, Fall 2007 University Professor and Annenberg Family Chair in Communication Leadership, University of Southern California February 15, 2008 #D-44 © 2008 President and Fellows of Harvard College. All rights reserved. Abstract During the past several years, as traditional news operations have faced sharp declines in circulation, advertising, viewership, and audiences, and as they have begun to make a seemingly unrelenting series of cuts in the newsroom budgets, scholars and professionals have been seeking formulas or models designed to reverse the trend. During those same years, many of the major news organizations that dominated the landscape a generation ago, those that David Halberstam called “The Powers That Be,” have lost their leadership role and been absorbed by other companies. This paper argues that while there is good reason to worry about the decline in what might be called “boots-on-the-ground” journalism, there are reasons to be hopeful. While most of those concerned with the topic have urged structural changes in ownership, this paper argues that the key is leadership. To understand the demands on leaders, it is essential to understand which of three motives is most important to the publication’s owners: profits, influence, or personal prestige. Each motive presents distinct challenges and opportunities. Looking at the fate of a number of large media organizations over the past decade, the paper argues that the most important model for success is outstanding leadership that combines a talent for business, entrepreneurship and innovation with a profound commitment to great journalism. -
Anne Dudek Trademarktalent.Com/Annedudek
Anne Dudek trademarktalent.com/annedudek TELEVISION [selected credits] Corporate Series Regular Comedy Central Bosch Recurring Amazon You’re The Worst Recurring FX The Inbetween Recurring NBC The Flash Recurring The CW The Magicians Recurring SYFY Mad Men Recurring AMC Those Who Kill Recurring A&E Covert Affairs Series Regular USA Masters Of Sex Guest Star Showtime The Mindy Project Guest Star Hulu Longmire Guest Star A&E Aquarius Guest Star NBC The Devil You Know Guest Star HBO NCIS: New Orleans Guest Star CBS House M.D. Recurring FOX Big Love Recurring HBO * SAG Award Nomination, Outstanding Performance by an Ensemble in a Drama Series Grey’s Anatomy Guest Star ABC Grimm Guest Star NBC Criminal Minds Guest Star CBS Castle Guest Star ABC Private Practice Guest Star ABC Bones Recurring FBC Touch Guest Star FOX Rizzoli & Isles Guest Star TNT The Mentalist Guest Star CBS Untitled Victor Fresco Pilot Series Regular ABC Numbers Guest Star CBS Big Day Recurring ABC Psych (pilot) Series Regular USA Law & Order: Criminal Intent Guest Lead NBC How I Met Your Mother Recurring CBS Head Cases Guest Star FBC Charmed Guest Star WB Less Than Perfect Recurring ABC Invasion Recurring ABC Desperate Housewives Guest Star ABC Friends Guest Star NBC Six Feet Under Guest Star HBO Judging Amy Guest Star CBS ER Guest Star NBC The Book Group Series Regular Channel 4 Television (UK) For The People (pilot) Series Regular Lifetime Early Edition Guest Star CBS FILM The Friend She Met Online MOW Dir: Curtis Crawford Middle Man Indie Dir: Ned Crowley The Waiting Indie -
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The Cooper Union for the Advancement of Science and Art Atcooper 2 | the Cooper Union for the Advancement of Science and Art
Winter 2008/09 The Cooper Union for the Advancement of Science and Art atCooper 2 | The Cooper Union for the Advancement of Science and Art Message from President George Campbell Jr. Union The Cooper Union has a history characterized by extraordinary At Cooper Union resilience. For almost 150 years, without ever charging tuition to a Winter 2008/09 single student, the college has successfully weathered the vagaries of political, economic and social upheaval. Once again, the institution Message from the President 2 is facing a major challenge. The severe downturn afflicting the glob- al economy has had a significant impact on every sector of American News Briefs 3 U.S. News & World Report Ranking economic activity, and higher education is no exception. All across Daniel and Joanna Rose Fund Gift the country, colleges and universities are grappling with the prospect Alumni Roof Terrace of diminished resources from two major sources of funds: endow- Urban Visionaries Benefit ment and contributions. Fortunately, The Cooper Union entered the In Memory of Louis Dorfsman (A’39) current economic slump in its best financial state in recent memory. Sue Ferguson Gussow (A’56): As a result of progress on our Master Plan in recent years, Cooper Architects Draw–Freeing the Hand Union ended fiscal year 2008 in June with the first balanced operat- ing budget in two decades and with a considerably strengthened Features 8 endowment. Due to the excellent work of the Investment Committee Azin Valy (AR’90) & Suzan Wines (AR’90): Simple Gestures of our Board of Trustees, our portfolio continues to outperform the Ryan (A’04) and Trevor Oakes (A’04): major indices, although that is of little solace in view of diminishing The Confluence of Art and Science returns. -
(Iowa City, Iowa), 1952-09-04
, The Weather Serving the State Fair aDd wanner today. University of Iowa Partl, rload, .ad _nn « Frida . rurh toda,. Campus and 17: low. 41. Hll'h Wedn - Iowa City al owan day. 72: low•• 1. Eat. 1868 AP Leased Wue Five Cents Iowa City. lower. ThW'Sday. September 4. 19S2-VoL 86. No. 23S Here Probers Hear, Ike To Appear Attorney Admit Japanese. War Criminals Hurl ,I During 12-Sfafe Toilr justlce!~:'~~~~~~~ department's criminal"t:; dl- 'Railroaded' Accusation At Allies Schedules 11 Stops New Rains Hit Korean Front vWon, testified Wednesday he ac cepted '750 as a clft from a In Statewide Sweep Washinaton lawYer whose firm won dl.mi.tal ot • U. S. criminal Highlanders Select ScoHish Wool Contend Trials Gen. Dwight Eisenhower, re complaint a,al~t the Carnation Navy Reaches publican presidential nominee, Milk company in 1947. will make a rear platforrn appear He denied any wron,doln,. but ance in Iowa City on Sept. 18. .ald: "I wouldn't do It apin." No Conclusion ~ Were Pol~ti(al according to his campaign train Under questlonln" Mullally also tour announced Wednesday. acknowled.(ed he bolTo)"ed $500 Arthur E. Summerfield. Repub trom another Washlnctoh lawyer, In Sub Probe Leo DeOrRy, part owner of the "': Maneuverlngs lican National chairman said Ei WASHINGTON (A')-The Navy senhower will begin a 12-state Waahlnftlon Redskins pro footbaU TOKYO (JP) -Japan's convicted team lifter recommend In, dismis IIld Wednesday it has invesli campaign train tour Sept. 15. lated reports of recent presence war criminals spoke out Wedn - SummerCield said the GOP sal of a war frauds Che In which of unidentl!ied submarines of( day for the first time, and accu d presidential standard bearer will Deeney served as an attorney. -
Exhibition Guide Haptic
Alexander Gray Associates 510 West 26 Street New York NY 10001 United States Tel: +1 212 399 2636 www.alexandergray.com Haptic July 7 – August 12, 2016 Haptic: of or relating to the sense of touch, in particular relating to the perception and manipulation of objects using the senses of touch and proprioception. Alexander Gray Associates presents Haptic, featuring work by artists Polly Apfelbaum, Amy Bessone, Alexandre da Cunha, Leonardo Drew, Melvin Edwards, Ann Hamilton, Harmony Hammond, Sheila Hicks, William J. O’Brien, Howardena Pindell, Norbert Prangenberg, Jacolby Satterwhite, Hassan Sharif, and Betty Woodman. Together, they simultaneously expand and question traditional craft practices within the context of contemporary art. Ground Floor Gallery In Number 177, Leonardo Drew employs paint and small pieces of wood to create a totemic sculpture with irregular edges. Drew regularly uses cotton, rope, charred wood, and industrial waste materials to construct pieces that display themes of decay, rebirth, and evolution. His work is tied to the history of assemblage practiced by a number of black artists and activists in Los Angeles in the 1950s and 60s, which curator Naima Keith explains as a strategy “to aesthetically redress conflict and destruction through artistic forms that bring together fragments from the communities around [the artists].” For Drew, his interest in weathered looking materials is tied to his upbringing near the landfill in Bridgeport, CT, though importantly he buys all new materials, and subjects them to aging Leonardo Drew processes in his studio before assembling them. As the critic Michael O’Sullivan Number 177, 2015 Wood, paint commented on Drew’s solo-exhibition in the Hirshhorn Museum and Sculpture Garden in 100h x 6.5w x 5d in 2000, “on the one hand, his trash can be viewed as a profoundly sad commentary on wastefulness, poverty, classism and decay, while on the other hand, it also comes across as a joyful celebration of life's textures.” In JI, Amy Bessone considers the female form as a vessel and venerated object. -
THE SHAPE-SHIFTER How Lynda Benglis Left the Bayou and Messed with with the Establishment
THE SHAPE-SHIFTER How Lynda Benglis left the bayou and messed with with the establishment BY M.H. MILLER Senior Editor You notice her face first. This is odd, because she’s nude, her body bronzed and oiled, with one wiry arm holding a large dou- ble-sided dildo between her legs. Her eyes aren’t even in play; a pair of white sunglasses covers them. The focus is really on her face, framed by an androgynous hairstyle that could have been cut and pasted from the cover of David Bowie’s Aladdin Sane. Her eyebrows are shaved. Her expression, to the extent that it’s readable, rests somewhere between a smirk and a grimace. Lynda Benglis was about to turn 33, and she wanted her nude self-portrait to run alongside a feature article about her by Robert Pincus-Witten in the November 1974 issue of Artforum. John Coplans, Artfo- rum’s editor, wouldn’t allow that, so her dealer at the time, Paula Cooper Gallery, took out an ad, which cost $2,436. Benglis paid for it, which involved a certain amount of panic. In the middle of October, as the issue was getting ready to go to the printer, she reached out to Cooper, frantically trying to track down collectors with outstanding payments so she could put the money toward the ad. “Everyone seems out to get me,” she wrote. Benglis’s ad might have been written off as a quirky footnote for an artist who would go on to become a pioneer of contemporary art in numerous guises, from video to sculpture to painting and beyond. -
Morphing Lincoln Center Elizabeth Diller, Ricardo Scofidio, Jorge Otero-Pailos
Morphing Lincoln Center Elizabeth Diller, Ricardo Scofidio, Jorge Otero-Pailos Future Anterior, Volume 6, Number 1, Summer 2009, pp. 84-97 (Article) Published by University of Minnesota Press DOI: https://doi.org/10.1353/fta.0.0027 For additional information about this article https://muse.jhu.edu/article/364599 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] 1. Juilliard School / Alice Tully Hall, Lincoln Center, New York City. Original building, Pietro Belluschi, architect, 1969. Intervention and restoration, Diller + Scofidio, architects, 2006– 8. Night view from southeast during construction, 2008. Photograph by Iwan Baan. Interview Elizabeth Diller and Ricardo Morphing Lincoln Center Scofidio Interviewed by Jorge Otero - Pailos Elizabeth Diller and Ricardo Scofidio have added their signa- ture to Lincoln Center’s Julliard School building, forty years after Pietro Belluschi’s original design was completed in 1968. Their intervention involved demolishing the eastern façade and extending the footprint of the building over the existing plaza toward Broadway. In this interview, Diller and Scofidio argue that their radical transformation of the historic fabric nevertheless functions as a means of preserving the most his- torically significant features of the original building, including its internal organization, which was previously hidden behind uniform travertine and is now exposed through strategically located glass apertures. In a significant departure from typo- logical and stylistic theories of architectural restoration, Diller and Scofidio advance the notion of morphing as a way to extend the significant elements of a historic building without mimicking or negating them. JORGE OTERO - PAILOS: Let’s start with the question of unity.