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First-Ever Exhibition of British Pop Art in London
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE | 1 8 J u l y 2 0 1 3 FIRST- EVER EXHIBITION OF BRITISH POP ART IN LONDON Peter Blake, Kim Novak, 1959 Allen Jones, First Step, 1966 Gerald Laing, Number Seventy-One, Private Collection Allen Jones Collection 1965 Courtesy of Institute for Cultural Exchange, Tübingen Courtesy of Waddington Custot Galleries, London When Britain Went Pop! British Pop Art: The Early Years Christie’s Mayfair, 103 New Bond Street 9 October – 24 November, 2013 "Pop Art is: popular (designed for a mass audience), transient (short-term solution), expendable (easily- forgotten), low-cost, mass-produced, young (aimed at youth), witty, sexy, gimmicky, glamorous, Big Business" – Richard Hamilton London - In October 2013 Christie’s, in association with Waddington Custot Galleries, will stage When Britain Went Pop!, an exhibition exploring the early revolutionary years of the British Pop Art movement, which will launch Christie's new gallery space in Mayfair. This is the first comprehensive exhibition of British Pop Art to be held in London. When Britain Went Pop! aims to show how Pop Art began in Britain and how British artists like Richard Hamilton, Peter Blake, David Hockney, Allen Jones and Patrick Caulfield irrevocably shifted the boundaries between popular culture and fine art, leaving a legacy both in Britain and abroad. British Pop Art was last explored in depth in the UK in 1991 as part of the Royal Academy’s survey exhibition of International Pop Art. This exhibition seeks to bring a fresh engagement with an influential movement long celebrated by collectors and museums alike, but many of whose artists have been overlooked in recent years. -
The Origins and Meanings of Non-Objective Art by Adam Mccauley
The Origins and Meanings of Non-Objective Art The Origins and Meanings of Non-Objective Art Adam McCauley, Studio Art- Painting Pope Wright, MS, Department of Fine Arts ABSTRACT Through my research I wanted to find out the ideas and meanings that the originators of non- objective art had. In my research I also wanted to find out what were the artists’ meanings be it symbolic or geometric, ideas behind composition, and the reasons for such a dramatic break from the academic tradition in painting and the arts. Throughout the research I also looked into the resulting conflicts that this style of art had with critics, academia, and ultimately governments. Ultimately I wanted to understand if this style of art could be continued in the Post-Modern era and if it could continue its vitality in the arts today as it did in the past. Introduction Modern art has been characterized by upheavals, break-ups, rejection, acceptance, and innovations. During the 20th century the development and innovations of art could be compared to that of science. Science made huge leaps and bounds; so did art. The innovations in travel and flight, the finding of new cures for disease, and splitting the atom all affected the artists and their work. Innovative artists and their ideas spurred revolutionary art and followers. In Paris, Pablo Picasso had fragmented form with the Cubists. In Italy, there was Giacomo Balla and his Futurist movement. In Germany, Wassily Kandinsky was working with the group the Blue Rider (Der Blaue Reiter), and in Russia Kazimer Malevich was working in a style that he called Suprematism. -
Waiting for God by Simone Weil
WAITING FOR GOD Simone '111eil WAITING FOR GOD TRANSLATED BY EMMA CRAUFURD rwith an 1ntroduction by Leslie .A. 1iedler PERENNIAL LIBilAilY LIJ Harper & Row, Publishers, New York Grand Rapids, Philadelphia, St. Louis, San Francisco London, Singapore, Sydney, Tokyo, Toronto This book was originally published by G. P. Putnam's Sons and is here reprinted by arrangement. WAITING FOR GOD Copyright © 1951 by G. P. Putnam's Sons. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner without written per mission except in the case of brief quotations embodied in critical articles and reviews. For information address G. P. Putnam's Sons, 200 Madison Avenue, New York, N.Y.10016. First HARPER COLOPHON edition published in 1973 INTERNATIONAL STANDARD BOOK NUMBER: 0-06-{)90295-7 96 RRD H 40 39 38 37 36 35 34 33 32 31 Contents BIOGRAPHICAL NOTE Vll INTRODUCTION BY LESLIE A. FIEDLER 3 LETTERS LETTER I HESITATIONS CONCERNING BAPTISM 43 LETTER II SAME SUBJECT 52 LETTER III ABOUT HER DEPARTURE s8 LETTER IV SPIRITUAL AUTOBIOGRAPHY 61 LETTER v HER INTELLECTUAL VOCATION 84 LETTER VI LAST THOUGHTS 88 ESSAYS REFLECTIONS ON THE RIGHT USE OF SCHOOL STUDIES WITII A VIEW TO THE LOVE OF GOD 105 THE LOVE OF GOD AND AFFLICTION 117 FORMS OF THE IMPLICIT LOVE OF GOD 1 37 THE LOVE OF OUR NEIGHBOR 1 39 LOVE OF THE ORDER OF THE WORLD 158 THE LOVE OF RELIGIOUS PRACTICES 181 FRIENDSHIP 200 IMPLICIT AND EXPLICIT LOVE 208 CONCERNING THE OUR FATHER 216 v Biographical 7\lote• SIMONE WEIL was born in Paris on February 3, 1909. -
2017 Abstracts
Abstracts for the Annual SECAC Meeting in Columbus, Ohio October 25th-28th, 2017 Conference Chair, Aaron Petten, Columbus College of Art & Design Emma Abercrombie, SCAD Savannah The Millennial and the Millennial Female: Amalia Ulman and ORLAN This paper focuses on Amalia Ulman’s digital performance Excellences and Perfections and places it within the theoretical framework of ORLAN’s surgical performance series The Reincarnation of Saint Orlan. Ulman’s performance occurred over a twenty-one week period on the artist’s Instagram page. She posted a total of 184 photographs over twenty-one weeks. When viewed in their entirety and in relation to one another, the photographs reveal a narrative that can be separated into three distinct episodes in which Ulman performs three different female Instagram archetypes through the use of selfies and common Instagram image tropes. This paper pushes beyond the casual connection that has been suggested, but not explored, by art historians between the two artists and takes the comparison to task. Issues of postmodern identity are explored as they relate to the Internet culture of the 1990s when ORLAN began her surgery series and within the digital landscape of the Web 2.0 age that Ulman works in, where Instagram is the site of her performance and the selfie is a medium of choice. Abercrombie situates Ulman’s “image-body” performance within the critical framework of feminist performance practice, using the postmodern performance of ORLAN as a point of departure. J. Bradley Adams, Berry College Controlled Nature Focused on gardens, Adams’s work takes a range of forms and operates on different scales. -
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963. -
EASTERN PAVILIONS Print Portfolio
EASTERN PAVILIONS Print Portfolio 0.1 Paradox of a Pavilion Without Walls Circulating The most thrilling moment of John Berger’s television series Ways of Seeing (1972) has to be the opening scene in which, with purposive insolence, Berger applies a stanley knife to Sandro Botticelli’s Venus and Mars, which hangs in a Regency sitting room. ‘Tonight,’ Berger’s voiceover sounds, ‘isn’t so much the paintings themselves that I want to consider, as the way we now see them in the second half of the twentieth century.’ The image of a gaping canvas cuts to a printing press. Now the redacted Venus looks out at us from rows and columns, multiplied many times, on paper reams speeding through a printer. Later a wide shot reveals the defaced Botticelli in its setting - a fragment of a set constructed within a studio. ‘The image of any painting can be seen in a million different places at any time, as you look at them now on your screen your wallpaper is around them... at this same moment they are on many other screens.’ Berger’s opening iconoclastic act peels away reproduction after reproduction, artifice after artifice. In the little Penguin published book, which wears its insides on its cover, Berger acknowledges his indebtedness to the German philosopher-critic Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction. Published in 1936, the essay describes with messianical acuity how mechanical reproduction - the democratizing effects of mass printing press and photography - has transformed the ways a work of art is experienced in modernity. -
Damien Hirst Visual Candy and Natural History
G A G O S I A N 7 February 2018 DAMIEN HIRST VISUAL CANDY AND NATURAL HISTORY EXTENDED! Through Saturday, March 3, 2018 7/F Pedder Building, 12 Pedder Street Central, Hong Kong I had my stomach pumped as a child because I ate pills thinking they were sweets […] I can’t understand why some people believe completely in medicine and not in art, without questioning either. —Damien Hirst Gagosian is pleased to present “Visual Candy and Natural History,” a selection of paintings and sculptures by Damien Hirst from the early- to mid-1990s. The exhibition coincides with Hirst’s most ambitious and complex project to date, “Treasures from the Wreck of the Unbelievable,” on view at Palazzo Grassi and Punta della Dogana in Venice until December 3. Since emerging onto the international art scene in the late 1980s as the protagonist of a generation of British artists, Hirst has created installations, sculptures, paintings and drawings that examine the complex relationships between art, beauty, religion, science, life and death. Through series as diverse as the ‘Spot Paintings’, ‘Medicine Cabinets’, ‘Natural History’ and butterfly ‘Kaleidoscope Paintings,’ he has investigated and challenged contemporary belief systems, tracing the uncertainties that lie at the heart of human experience. This exhibition juxtaposes the joyful, colorful abstractions of his ‘Visual Candy’ paintings with the clinical forms of his ‘Natural History’ sculptures. Page 1 of 3 The ‘Visual Candy’ paintings allude to movements including Impressionism, Abstract Expressionism and Pop Art, while the ‘Natural History’ sculptures—glass tanks containing biological specimens preserved in formaldehyde—reflect the visceral realities of scientific investigation through minimalist design. -
Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education. -
Outside the Square: a Considered Approach to the Treatment of a Three-Dimensional Paper Object
Outside the square: A considered approach to the treatment of a three-dimensional paper object Ute Larsen and Camilla Baskcomb ABSTRACT Three-dimensional paper objects can cause quandaries for paper conservators who are accustomed to dealing with two- dimensional works, their structural aspect often requiring the collaboration of conservators and museum professionals from other disciplines. This paper describes the process of conserving a rare inflatable terrestrial paper globe and explores possible methods of displaying such an object. The early 19th-century globe is part of the Voyager New Zealand Maritime Museum’s (VNZMM) collection. Preliminary research has revealed that none of the few remaining examples of this type of globe held in international collections have been conserved to date. The unusual functional nature of this three-dimensional object and how this challenges the conservators’ conventional working methods will be explored. KEYWORDS globe, inflatable, paper, Pocock INTRODUCTION In 2001, during an impromptu tidy-up in the paper conservation studio at the Auckland Art Gallery Toi o Tãmaki (AAG), a box labelled ‘Handle like raw eggs’ came to light and sparked our interest. What was this folded, crumpled and torn work made from ultrathin tissue? After carefully unpacking it, we knew that we were looking at a map of the world in a rather unusual format and in a very poor state (see Figure 1). 2010 almost detached bamboo ring and several loose pieces. All components had been kept in an old cardboard box (see Figure 2). AI CC M B OO Figure 2 The bamboo ring and the South Pole before treatment. -
Magazine Media
SEPTEMBER 2012: IMAGES & ICONS M M MediaMagazine edia agazine Menglish and media centre issue 41 | septemberM 2012 FEMINIST ICONS OF NORDIC NOIR THE ICONOGRAPHY OF THE ALBUM COVER STEVE JOBS AND THE ICONIC APPLE THE ICONOGRAPHY OF THE WESTERN english english and media centre SELF-IMAGE AND THE | issue | 41 issue | september 2012 MEDIA ICONS IN THE HOOD MM MM MediaMagazine is published by the English and Media Centre, a Welcome to new readers just starting out on your media and non-profit making organisation. film journey – and welcome back to those of you returning to A2 The Centre publishes a wide range and other Level 3 courses. of classroom materials and runs courses for teachers. If you’re This first issue of the year is on Images and Icons – traditionally studying English at A Level, look out the first port of call in Media Studies. You’ll already be well for emagazine, also published by practised in reading and analysing still and moving images, but the Centre. what’s this slippery term icon? And what does iconography mean in the context of The English and Media Centre Media Studies? You’ll know the word from the graphic symbols on your desktop, but 18 Compton Terrace that’s only one meaning. At its simplest, it’s described as: ‘An image; a representation’ London N1 2UN or ‘a symbol resembling the thing it represents’. Most definitions remark on the Telephone: 020 7359 8080 term’s derivation from religious imagery: ‘the representation or picture of a sacred Fax: 020 7354 0133 or sanctified Christian personage, traditionally used and venerated in the Eastern Email for subscription enquiries: Church’ (http://www.thefreedictionary.com/icon). -
Networks of Music Groups As Success Predictors
Networks of Music Groups as Success Predictors Dmitry Zinoviev Mathematics and Computer Science Department Suffolk University Boston, Massachussets 02114 Email: dzinoviev@suffolk.edu Abstract—More than 4,600 non-academic music groups process of penetration of the Western popular music culture emerged in the USSR and post-Soviet independent nations in into the post-Soviet realm but fails to outline the aboriginal 1960–2015, performing in 275 genres. Some of the groups became music landscape. On the other hand, Bright [12] presents an legends and survived for decades, while others vanished and are known now only to select music history scholars. We built a excellent narrative overview of the non-academic music in the network of the groups based on sharing at least one performer. USSR from the early XXth century to the dusk of the Soviet We discovered that major network measures serve as reason- Union—but with no quantitative analysis. Sparse and narrowly ably accurate predictors of the groups’ success. The proposed scoped studies of few performers [13] or aspects [14] only network-based success exploration and prediction methods are make the barren landscape look more barren. transferable to other areas of arts and humanities that have medium- or long-term team-based collaborations. In this paper, we apply modern quantitative analysis meth- Index Terms—Popular music, network analysis, success pre- ods, including statistical analysis, social network analysis, and diction. machine learning, to a collection of 4,600 music groups and bands. We build a network of groups, quantify groups’ success, I. Introduction correlate it with network measures, and attempt to predict Exploring and predicting the success of creative collabo- success, based solely on the network measures. -
Mihi Whakatau and Welcome
Mihi Whakatau and Welcome Tāmaki herenga waka Tāmaki whai rawa Tāmaki pai Tāmaki Makaurau Ko ngā kurī purepure o Tāmaki e kore e ngaro i te pō On behalf of the Aotearoa New Zealand Association of Art Educators (ANZAAE) 2014 conference steering committee, it is my privilege to extend a warm welcome to you all. We are excited to be offering Te Aho I Muri Nei – Supporting Innovation as a forum in which we can all share ideas, perspectives and experiences and engage in constructive dialogue to expand our thinking and weave links that connect us to people, knowledge, theory and practice in the Arts. It gives me great pleasure to welcome so many distinguished guests and participants who have come from near and far to take part in our proceedings over the next three days. As a local, I welcome you to our city and hope you all have an opportunity to enjoy some of what Auckland has to offer. I would also like to take this opportunity to acknowledge and thank our host and major sponsor AUT, and in particular, the Art and Design School for partnering this conference. Your support has been a tremendous help in the shaping and success of Te Aho I Muri Nei – Supporting Innovation. We are privileged to share in your state of the art facilities and welcoming generosity. I hope that these next three days not only provides an opportunity to communicate, but also to collaborate - through interesting and fruitful discussions and conversations, fresh ideas and a new impetus for our work.