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Copyright by Cary Cordova 2005
Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez. -
Report of the Commission on Institutional History and Community
Report of the Commission on Institutional History and Community Washington and Lee University May 2, 2018 1 Table of Contents Introduction …………………………………………………………………………...3 Part I: Methodology: Outreach and Response……………………………………...6 Part II: Reflecting on the Legacy of the Past……………………………………….10 Part III: Physical Campus……………………………………………………………28 Conclusion…………………………………………………………………………….45 Appendix A: Commission Member Biographies………………………………….46 Appendix B: Outreach………………………………………………………………..51 Appendix C: Origins and Development of Washington and Lee………………..63 Appendix D: Recommendations………………………………………………….....95 Appendix E: Portraits on Display on Campus……………………………………107 Appendix F: List of Building Names, Markers and Memorial Sites……………116 2 INTRODUCTION Washington and Lee University President Will Dudley formed the Commission on Institutional History and Community in the aftermath of events that occurred in August 2017 in Charlottesville, Virginia. In February 2017, the Charlottesville City Council had voted to remove a statue of Robert E. Lee from a public park, and Unite the Right members demonstrated against that decision on August 12. Counter- demonstrators marched through Charlottesville in opposition to the beliefs of Unite the Right. One participant was accused of driving a car into a crowd and killing 32-year-old Heather Heyer. The country was horrified. A national discussion on the use of Confederate symbols and monuments was already in progress after Dylann Roof murdered nine black church members at Emanuel African Methodist Episcopal (AME) Church in Charleston, South Carolina, on June 17, 2015. Photos of Roof posing with the Confederate flag were spread across the internet. Discussion of these events, including the origins of Confederate objects and images and their appropriation by groups today, was a backdrop for President Dudley’s appointment of the commission on Aug. -
Muralism from the Museum to the Street ______
Muralism from the Museum to the Street ________________________________________ Course Number: VISST-300-16 Professor: Monica Bravo, PhD Class Meetings: Tuesdays 12-3 PM Email: [email protected] Classroom: Grad Center room 3 Office Hours: SF Library Tues. 11-12 and by appt. Course Description: Murals are typically large and often made for public consumption, whether displayed outside or indoors. Unlike many other forms of painting, a mural is literally part of a wall rather than created on a free-standing support such as a canvas or board. Site specificity is thus an essential part of a mural’s context. San Francisco is home to a number of important twentieth-century murals whose content is political and activist. This course will trace muralism’s history in San Francisco with an emphasis on Mexican, Chicanx, and women’s contributions. We will make several site visits to murals by Diego Rivera, Coit Tower, the Women’s Building, as well as contemporary graffiti in the Mission. This class encourages students to think big—either in terms of scale and/or social impact—about their own artmaking practices. Juana Alicia, La Llorona’s Sacred Waters, 2004. York and 24th Street, the Mission, SF. Learning Objectives: Upon completion of this course, students will be able to: • Identify various materials and techniques used to create murals, and understand their relatives benefits and drawbacks. • Apply the tools of formal analysis and critical visual thinking to murals, both familiar and unknown (visual literacy). • Critically evaluate textual analyses about murals in terms of their context, rhetoric, use of evidence, and interpretations. -
2013 Issue #5
Flint Institute of Arts fiamagazineNOV–DEC 2013 Website www.flintarts.org Mailing Address 1120 E. Kearsley St. contents Flint, MI 48503 Telephone 810.234.1695 from the director 2 Fax 810.234.1692 Office Hours Mon–Fri, 9a–5p exhibitions 3–4 Gallery Hours Mon–Wed & Fri, 12p–5p Thu, 12p–9p video gallery 5 Sat, 10a–5p Sun, 1p–5p art on loan 6 Closed on major holidays Theater Hours Fri & Sat, 7:30p featured acquisition 7 Sun, 2p acquisitions 8 Museum Shop 810.234.1695 Mon–Wed, Fri & Sat, 10a–5p Thu, 10a–9p films 9–10 Sun, 1p–5p calendar 11 The Palette 810.249.0593 Mon–Wed & Fri, 9a–5p Thu, 9a–9p news & programs 12–17 Sat, 10a–5p Sun, 1p–5p art school 18–19 The Museum Shop and education 20–23 The Palette are open late for select special events. membership 24–27 Founders Art Sales 810.237.7321 & Rental Gallery Tue–Sat, 10a–5p contributions 28–30 Sun, 1p–5p or by appointment art sales & rental gallery 31 Admission to FIA members .............FREE founders travel 32 Temporary Adults .........................$7.00 Exhibitions 12 & under .................FREE museum shop 33 Students w/ ID ...........$5.00 Senior citizens 62+ ....$5.00 cover image From the exhibition Beatrice Wood: Mama of Dada Beatrice Wood American, 1893–1998 I Eat Only Soy Bean Products pencil, color pencil on paper, 1933 12.0625 x 9 inches Gift of Francis M. Naumann Fine Art, LLC, 2011.370 FROM THE DIRECTOR 2 I never tire of walking through the sacred or profane, that further FIA’s permanent collection galleries enhances the action in each scene. -
Dorothy Hood
Dorothy Hood Selected Solo Exhibitions 2020 Earth & Space: Dorothy Hood and Daniel Kayne, Deborah Colton Gallery, Houston, Texas Dorothy Hood: Collage, McClain Gallery, Houston, Texas 2018 Kindred Spirits: Louise Nevelson & Dorothy Hood, Museum of Fine Arts, Houston, Texas Cosmic Attraction: Dorothy Hood & Don Redman, Deborah Colton Gallery, Houston, Texas 2017 Dorothy Hood: Select Paintings, Deborah Colton Gallery, Houston, Texas 2016 Color of Being/El Color del Ser: Dorothy Hood (1918-2000), Art Museum of South Texas, Corpus Christi, Texas 2003 Dorothy Hood: A Pioneer Modernist, Art Museum of South Texas, Corpus Christi, Texas 1988 Dorothy Hood’s Collages: Connecting Change, Wallace Wentworth Gallery, Washington, DC 1986 Dorothy Hood, Wallace Wentworth Gallery, Washington, DC 1978-79 Dorothy Hood, Meredith Long Contemporary, New York, New York 1978 Paintings, Drawings by Dorothy Hood, McNay Art Museum, San Antonio, Texas 1976 Dorothy Hood, Marienne Friedland Gallery, Toronto, Ontario, Canada 1975 Dorothy Hood, Art Museum of South Texas, Corpus Christi, Texas Dorothy Hood, Michener Galleries, University of Texas at Austin, Texas 1974 Dorothy Hood, New York University, Potsdam, New York Dorothy Hood, Tibor de Nagy Gallery, New York, New York 1972 Dorothy Hood, Everson Museum of Art, Syracuse, New York 1971 Dorothy Hood, Rice University, Houston, Texas 1970 Dorothy Hood: Recent Paintings, Contemporary Arts Museum, Houston, Texas 1965 Dorothy Hood, Witte Museum, San Antonio 1963 Dorothy Hood, Museum of Fine Arts, Houston, Texas 1961 Dorothy -
Notable Photographers Updated 3/12/19
Arthur Fields Photography I Notable Photographers updated 3/12/19 Walker Evans Alec Soth Pieter Hugo Paul Graham Jason Lazarus John Divola Romuald Hazoume Julia Margaret Cameron Bas Jan Ader Diane Arbus Manuel Alvarez Bravo Miroslav Tichy Richard Prince Ansel Adams John Gossage Roger Ballen Lee Friedlander Naoya Hatakeyama Alejandra Laviada Roy deCarava William Greiner Torbjorn Rodland Sally Mann Bertrand Fleuret Roe Etheridge Mitch Epstein Tim Barber David Meisel JH Engstrom Kevin Bewersdorf Cindy Sherman Eikoh Hosoe Les Krims August Sander Richard Billingham Jan Banning Eve Arnold Zoe Strauss Berenice Abbot Eugene Atget James Welling Henri Cartier-Bresson Wolfgang Tillmans Bill Sullivan Weegee Carrie Mae Weems Geoff Winningham Man Ray Daido Moriyama Andre Kertesz Robert Mapplethorpe Dawoud Bey Dorothea Lange uergen Teller Jason Fulford Lorna Simpson Jorg Sasse Hee Jin Kang Doug Dubois Frank Stewart Anna Krachey Collier Schorr Jill Freedman William Christenberry David La Spina Eli Reed Robert Frank Yto Barrada Thomas Roma Thomas Struth Karl Blossfeldt Michael Schmelling Lee Miller Roger Fenton Brent Phelps Ralph Gibson Garry Winnogrand Jerry Uelsmann Luigi Ghirri Todd Hido Robert Doisneau Martin Parr Stephen Shore Jacques Henri Lartigue Simon Norfolk Lewis Baltz Edward Steichen Steven Meisel Candida Hofer Alexander Rodchenko Viviane Sassen Danny Lyon William Klein Dash Snow Stephen Gill Nathan Lyons Afred Stieglitz Brassaï Awol Erizku Robert Adams Taryn Simon Boris Mikhailov Lewis Baltz Susan Meiselas Harry Callahan Katy Grannan Demetrius -
KATE BREAKEY Born Adelaide, South Australia, 1957 Moved to The
KATE BREAKEY Born Adelaide, South Australia, 1957 Moved to the USA in 1988 (Austin Texas) Currently lives and works in Tucson Arizona Education 1988-91 Master of Fine Arts, University of Texas at Austin 1979-81 Bachelor of Fine Arts, South Australian School of Art, (now University of South Australia) 2007 1975-78 Diploma in Graphic Design, South Australian School of Art. SACAE Grants/Awards 2004 Photographer of the Year Award, Houston Center for Photography, TX 2002 Oscart Awards, Visual Arts, Best Photography, Adelaide, SA Returning Artist Residency Grant Arts SA , (Helpmann Academy) Artist in Residence, Adelaide, SA 1999 Award of Olympus Japan Co., Ltd., 3rd Tokyo International Photo-Biennale 1991/90 Royal Kazen Endowed Presidential Scholarship in Art 1991- 1989 University of Texas Merit Award Scholarships 1988 The International Forestry Conference for the Australian Bi-centenary Tree Images Exhibition, Jurors award South Australian Arts Board Grant, (Time Spirit Place -3 person collaboration) 1987 Australian Arts Development Grant,(Portraits of South Australian Aborigines) 1982 Australian Visual Arts Board Travel Grant 1978 Advertiser Prize for outstanding Design Student in Illustration 1977 Adelaide Art Engravers Award for outstanding Graphic Design Student Permanent Collections The Anne & Gordon Samstag Museum of Art, Adelaide, SA Albury Regional Arts Center, NSW, Australia Art Gallery of New South Wales, Sydney, Australia Art Gallery of South Australia, Adelaide, South Australia. Austin Museum of Art, Austin, TX Australian National -
Summer 2013 in “John Singer Sargent Watercolors,” Brooklyn Museum, NY
museumVIEWS A quarterly newsletter for small and mid-sized art museums John Singer Sargent, Simplon Pass: Reading, c.1911. Opaque and translucent watercolor and wax resist with graphite underdrawing. Summer 2013 In “John Singer Sargent Watercolors,” Brooklyn Museum, NY 1 museumVIEWS Features Summer 2013 Page 3 • Biennale • From the AAM Page 4 • Notes about an Artist: Left: Reference photo for Norman Rockwell’s Breakfast Table Politcal Arguement Above: Norman Rockwell, Breakfast Table Politcal Arguement, Ellsworth Kelly (detail) 1948. Illustration for The Saturday Evening Post. Both in “Norman Rockwell: Behind the Camera,” McNay Art Museum, TX • Building an Emergency Plan Page 5 • African-American Art Hits the Nation’s Museums • Numbers Game: Some Museum Statistics • Research Results in Surprise Findings Page 6 • Baruch and Rubin Pair up for Conference Pages 7 • Tips for Travel Off the Beaten Track Page 8-11 • newsbriefs Pages 12 • Textiles Take Center Stage in Denver Pages 13-19 • summerVIEWS Ridley Howard, Blues and Pink (detail), 2012. Oil on linen. In “Ridley Howard,” Museum of Fine Arts, Boston, MA Jeffrey Gibson, Much Stronger Than You Know, 2013. Acrylic and oil paint on deer hide stretched over wood panel. In “Jeffrey Gibson: Said the Pigeon museumVIEWS to the Squirrel,” National Academy Museum, NY Editor: Lila Sherman Publisher: Museum Views, Ltd. 2 Peter Cooper Road, New York, NY 10010 Phone: 212.677.3415 FAX: 212.533.5227 Email: [email protected] On the web: www.museumviews.org MuseumVIEWS is supported by grants from the Horace W. Goldsmith Foundation and Bloomberg. MuseumVIEWS is published 4 times a year: Winter (Jan. -
Cine Mudo Latinoamericano
Cine mudo latinoamericano Inicios, nación, vanguardias y transición Coordinadores Aurelio de los Reyes García-Rojas David M.J. Wood INICIOS, NACIÓN, VANGUARDIAS Y TRANSICIÓN INICIOS, NACIÓN, VANGUARDIAS CINE MUDO LATINOAMERICANO UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO INSTITUTO DE INVESTIGACIONES ESTÉTICAS CINE MUDO LATINOAMERICANO: INICIOS, NACIÓN, VANGUARDIAS Y TRANSICIÓN INSTITUTO DE INVESTIGACIONES ESTÉTICAS Director Renato González Mello Secretaria Académica Geneviève Lucet Coordinador de Publicaciones Jaime Soler Frost CINE MUDO LATINOAMERICANO: INICIOS, NACIÓN, VANGUARDIAS Y TRANSICIÓN Coordinadores Aurelio de los Reyes y David M. J. Wood UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO INSTITUTO DE INVESTIGACIONES ESTÉTICAS México 2015 Catalogación en la fuente Dirección General de Bibliotecas, UNAM PN1995.75 .C55 2015 Cine mudo latinoamericano: inicios, nación, vanguardias y transición / Aurelio de los Reyes (Aurelio de los Reyes García-Rojas) y David M.J. Wood (coordinadores). Primera edición, México: unam, Instituto de Investigaciones Estéticas, 2015, 268 p., ils. ISBN 978-607-02-7463-3 1. Cine mudo — América Latina. I. Reyes, Aurelio de los, editor. II. Wood, David M.J., editor. Diseño de portada: Fabiola Wong Gutiérrez Ilustración de portada: Catedral Metropolitana, fragmento de filme no identificado, finales del siglo xix principios del xx. Foto: Filmoteca unam. Conaculta-inah-Méx. Reproducción autorizada por el Instituto Nacional de Antropología e Historia Primera edición: 6 de noviembre de 2015 D.R. © 2015 Universidad Nacional Autónoma de México Avenida Universidad 3000 Ciudad Universitaria, Coyoacán, 04510, México Instituto de Investigaciones Estéticas Tel: (55) 5622 7250 ext. 85026 [email protected] www.esteticas.unam.mx ISBN 978-607-02-7463-3 Esta obra está licenciada por el Instituto de Investigaciones Estéticas. -
Life in the Abstract Some Painters Care Only About Color, Form and Technique
December 2000 By Lisa Gray Life in the Abstract Some painters care only about color, form and technique. Dorothy Hood was emphatically not one of them; such bloodless art, she wrote, "is hardly a thing the soul can bear." Her gigantic paintings existed to transmit emotion: joy, discomfort, mourning or anger. Dorothy Hood called the paintings "landscapes of my psyche," and said that behind each one lay an event. "I have no objections to events coming through in art," she told a critic. "In fact, I would consider it a failure if they didn't." It's only natural to wonder what those events were. Hood offered few clues; she believed that a work of art should speak for itself. And like most people, she revealed her life story only in bits and pieces, offering different fragments to different friends: the Neruda poem; the ashram trip; her stint as a model; her husband's mental decline; her impressive successes; her fear of being alone. Hood died in October. This story is an attempt to gather those fragments, to describe in words the life she described in her art. Dorothy Hood's childhood started happy. She was born in 1919, the first (and only) child of Frank Hood and his pretty wife, Georgiana. Frank became vice president of Houston's City Bank and Trust Co., and in her early years, Dorothy lived the safe, Episcopalian life you'd expect of a banker's daughter. But in Hood's early adolescence, her family suddenly cracked in a way that she was reluctant to explain precisely, even to friends. -
Yolanda M. Lopez Papers CEMA 11
http://oac.cdlib.org/findaid/ark:/13030/tf109nb0nx No online items Guide to the Yolanda M. Lopez Papers CEMA 11 Finding aid prepared by Project archivist: Salvador Güereña; principal processors: Todd Chatman; student assistants: Aneesa Motala; machine-readable finding aid created by Alexander Hauschild UC Santa Barbara Library, Department of Special Collections University of California, Santa Barbara Santa Barbara, California, 93106-9010 Phone: (805) 893-3062 Email: [email protected]; URL: http://www.library.ucsb.edu/special-collections © 1999 Guide to the Yolanda M. Lopez CEMA 11 1 Papers CEMA 11 Title: Yolanda M. Lopez papers Identifier/Call Number: CEMA 11 Contributing Institution: UC Santa Barbara Library, Department of Special Collections Language of Material: English Physical Description: 8.5 linear feet(19 boxes: 18 document boxes, 1 oversize portfolio box and posters) Date (bulk): Bulk, 1961-1998 Date (inclusive): 1961-2007 General Physical Description note: 1.5 linear feet (3 hollinger boxes, 1 oversize portfolio box, 1 flat file portfolio box of silkscreen prints) Shelf location: For current information on the location of these materials, please consult the library's online catalog. creator: Lopez, Yolanda M., 1942- Biography Yolanda Lopez was born in San Diego, California in 1942. As the eldest daughter of three, she was raised by her mother and her mother's parents in the Logan Heights neighborhood. After graduating high school, Lopez moved to the San Francisco Bay Area and in 1968 became part of the San Francisco State University Third World Strike. She also worked as a community artist in the Mission District with a group called Los Siete de la Raza. -
2006 Annual Report
CONTENTS PAGE 1 Board and Staff PAGE 2 Introduction PAGE 4 PRIME TIME Family Reading Time PAGE 5 Louisiana Cultural Vistas Magazine PAGE 6 Readings in Literature and Culture (RELIC) PAGE 7 Teacher Institutes for Advanced Study PAGE 8 Teaching American History PAGE 9 Key Ingredients: America by Food PAGE 10 Louisiana Association of Museums PAGE 10 Humanist of the Year & State Poet Laureate PAGE 11 Tennessee Williams Festival & American Routes PAGE 12 Grants Grants Analysis (p. 12) Public Humanities Grants (p. 12) Documentary Film & Radio Grants (p. 17) Outreach Grants (p. 19) ABOUT THE COVER: PAGE 22 2006 Humanities Awards PAGE 23 Past Board Members Port and City of New Orleans, circa 1858, a gouache on woven French-made paper by Adrien Persac, depicts antebellum New PAGE 24 2006 Donors to the LEH Orleans looking upriver from Mandeville Street along the banks of the Mississippi. courtesy of The Historic New Orleans Collection; purchased through the Clarisse Grima Fund LOUISIANA ENDOWMENT for the HUMANITIES BOARD OF DIRECTORS ADMINISTRATIVE STAFF CONSULTANTS Linda Spradley Legislative Liaison Alice G. Pecoraro, PhD Michael Sartisky, PhD Linda Langley Morgan City, Chair President/Executive Director Program Evaluation Restech Network Administrator Laura Ladendorf John R. Kemp Faye Flanagan M. Cleland Powell III Kevin M. Kelly Designer, Deputy Director Project Director, New Orleans, Vice Chair Darrow Louisiana Cultural Vistas Prime Time Family Janet R. Wood Sarah Kracke Jennifer Mitchel Reading Time® Lafayette, Treasurer Baton Rouge Associate Director for Grants Olivia Pass, PhD R. Lewis McHenry, JD Charles A. Landry, JD Warren Meyer Associate Director, New Orleans, Secretary Baton Rouge Associate Director of Prime Time Family Administration Reading Time® Judy M.