SESSION 2 REVIEWERS: MARCH 13 – 16, 2020 As of February 23, 2020
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University of Texas Press Fall 2016 & Spring 2017
fall 2016 & spring 2017 frankfurt university of texas press | Index by Title | contents About Antiquities, Books for the Trade ........................4–59 Çelik ............................. 112 Trade Backlist ......................... 13, 61–63 The American Idea of Home, Friedman .....................38–39 Books for Scholars......................64–123 Arresting Development, Award Winners...........................124–125 Pizzino............................96 Sales Information ........................... 126 At the Crossroads, Paquette ...................... 78–79 Sales Representatives ...................... 127 Batos, Bolilos, Pochos, and Pelados, Staff List................................. 128–129 Richardson & Pisani .............123 Index by Author..............................129 Becoming Belafonte, Smith .. 18–19 Blood of the Earth, Young . .84 Infrastructures of Race, Picturing the Proletariat, The Burden of the Ancients, Nemsey ...........................86 Christenson .......................73 Lear .............................. 81 Inka History in Knots, Cattle in the Backlands, The Portuguese-Speaking Diaspora, Wilcox ........................... .82 Urton . .94–95 Sadlier........................ 70–71 Chrissie Hynde, Sobsey.......54–55 Iowa, Rexroth.................34–37 Practicing Transnationalism, Lundy & Lundy..................116 Classics from Papyrus to the Internet, It Starts with Trouble, Hunt, Smith, Stok . .121 Davis.........................20–21 A Pure Solar World, Youngquist....................10 –11 Connecting with -
NATHAN LYONS: Final Chapter
NATHAN LYONS: Final Chapter March 27 - April 2, 2017 Reception: Friday March 31, 7-10pm Affirmation Arts 523 W 37th Street In honor of the renowned photographer, educator, lecturer, author, and curator Nathan Lyons, Bruce Silverstein is pleased to present, in association with Affirmation Arts, Nathan Lyons: Final Chapter. This exhibition marks the first occasion that this legendary artist’s color photographs will be seen by the public. It represents the fifth and final installment of a photographic opus spanning five decades, illustrating the artist’s intention of creating and transmitting a unique visual language through photography. This exclusive first look will be a prelude to his upcoming exhibition at the George Eastman Museum in 2019. Nearly 50 years have passed since the publication of his seminal book, Notations in Passing (1971), born out of his larger, extraordinary body of work bearing the same title. The images comprising this now-iconic compilation would be the artist’s first series of ‘snapshots’. This series sought to document the American ethos of 1962-1974 through the ubiquitous vernacular elements dispersed throughout the suburban landscape. Lyons would often focus on specific advertisements, posters, signage, drawings, and graffiti–lending a voice to the otherwise fading, forgotten script. Notations in Passing was also groundbreaking in its introduction of the artist's keen interest in photographic sequencing, often laying out seemingly disparate images in pairs, allowing a range of meaning to emerge through such juxtaposition. The snapshot, not as product but as process. Unpretentious and yet important, aspiring to nothing but a notation in passing. Things as they are, or what we make of them? In attempting to let objects be, objects and object spaces, to form simultaneously a neutral yet actively observational position, to combine ‘non-photographs’ as photographs. -
RAY K. METZKER When Hands Weave the Light
LES DOUCHES LA GALERIE PRESS KIT RAY K. METZKER When hands weave the light EXHIBITION FROM MARCH 19 TO JULY 31, 2020 © Estate of Ray K. Metzker / Courtesy Les Douches la Galerie, Paris Les Douches la Galerie is pleased to present When hands weave the light, our second exhibition dedicated to the work of Ray K. Metzker. Composed of some fifty prints taken from various series, this exhibition highlights his sustained interest in experimentation. A virtuoso of light and absolute master of his prints, Metzker pushes the formal boundaries of the photographic medium as well as those of American urban space. These photographs, taken between 1957 and 1982, offer a unique visual journey through the streets of Chicago, Philadelphia, Atlantic City and several European cities. Les Douches la Galerie Contact : Françoise Morin Du mercredi au samedi 5, rue Legouvé 75010 Paris 01 78 94 03 00 de 14h à 19h lesdoucheslagalerie.com [email protected] ou sur rendez-vous When hands weave the light PRESS RELEASE In twenty-five years, Ray Metzker has produced more than a dozen series of photographs, each series radically different from the others. He has steadily sought new vision, asking, “Why does new vision matter? Do I need this? Does it increase my capacity to care? No, but it increases my capacity to think.”1 For Metzker, the struggle for new vision is an act against inertia and stillness and toward intensity and knowledge. (…) Each new series of photographs begins with a change in his preoccupations about photography or with a change in what – or where – he is photographing. -
On Error at the Buffalo School of Architecture An
Assistant Professor Adjunct James Lowder participated Assistant Professor Adjunct Michael Samuelian discussed Professor Adjunct Michael Webb was a juror for The in The Banham Symposium: On Error at the Buffalo School the volunteer work in the wake of Hurricane Sandy by the Moleskine Grand Central Terminal Sketchbook held in of Architecture and Planning. New Yorkers for Parks, of which he is a group leader, in the partnership with the Architectural League of New York and article “Coney Island Is Still Devastated, From the Boardwalk the New York Transit Museum. He gave a lecture and Visiting Professor Daniel Meridor , as lead creative for to the Neighborhood Parks,” in the New York Observer . In exhibited his drawings in the Stuckeman School of Studio D Meridor +, has continued working on architectural addition to his volunteer work, Samuelian continues his work Architecture and Landscape Architecture at Penn State designs and recently completed several projects including on the urban planning, design and marketing of the Hudson University as part of the 3W seminar. The participants were a presentation for a new awareness-generating infrastructure Yards project in Midtown Manhattan. Hudson Yards broke Michael Webb, Mark West and James Wines and a that links man-made and natural environments, an innovated ground on its first 50 story, $1.5 billion office tower in symposium at the Drawing Center in New York will feature product design for an audio company, and published the December of 2012. He also worked on the development of an them. He gave a lecture at the School of Architecture at essay “Medianeras/Sidewalls: A Film by Gustavo Taretto” exhibition at the AIA Center for Architecture celebrating the the University of Illinois-Chicago and at The Cooper Union in Framework . -
BILL BRANDT Thames & Hudson
ART+PHOTOGRAPHY SPRING 2013 Shadow & Light BILL BRANDT Thames & Hudson www.state-media.com BOOK SPRING 2013 | 1 THE BEST OF BRANDT FROM THAMES & HUDSON NORMAN CORNISH A SHOT AGAINST TIME The storryy of Norman Cornish’s prodigious career as an arrttist who converrtted his experience as a miner into compelling imagerryy has become justly famous. Born in 1919, in Spennymoorr,, Co Durham, Norman Cornish was apprenticed at the age of 14 at the Dean and Chapter Collierryy (also known as the Butcher’s Shop), and spent the next 33 years working in various pits in the Norrtth East of England. Without diminishing the harsh Bill Brandt realities of life and work during those years, his paintings create a sense Shadow and Light of time and place by depicting the lyrical qualities of his surroundings in Sarah Hermanson Meister which time is defeated. Foreword by Glenn D. Lowry ‘Fantastic … well-written Long before the Angel of the Norrtth, Cornish’s work was loved and and interesting’ admired as a symbol of the Norrtth East. For all that the mines have closed, Amateur Photographer his work continues to be an enduring testament to a community whose ISBN 978 0 500 544242 £34.95 spirit surrvvives triumphantly. Brandt Nudes A New Perspective Preface by Lawrence Durrell Foreword by Mara-Helen Wood Commentaries by Mark Haworth-Booth Essays by William Feaververr,, William Varleyy,, Michael Chaplin and Dr Gail-Nina Anderson 140 of Bill Brandt’s classic and dramatic nudes, brought together Paperback, 160pp with 134 full colour illustrations in one beautiful -
Case 20-11719-CSS Doc 103 Filed 10/19/20 Page 1 of 126 Case 20-11719-CSS Doc 103 Filed 10/19/20 Page 2 of 126
Case 20-11719-CSS Doc 103 Filed 10/19/20 Page 1 of 126 Case 20-11719-CSS Doc 103 Filed 10/19/20 Page 2 of 126 EXHIBIT A Case 20-11719-CSS Doc 103 Filed 10/19/20 Page 3 of 126 Exhibit A Core Parties Service List Served as set forth below Description Name Address Email Method of Service Counsel to the Wilmington Trust, NA Arnold & Porter Kaye Scholer LLP 250 West 55th Street [email protected] Email New York, NY 10019 [email protected] First Class Mail [email protected] Notice of Appearance and Request for Notices ‐ Counsel to Ad Hoc Ashby & Geddes, P.A. Attn: William P. Bowden [email protected] Email Committee of First Lien Lenders 500 Delaware Ave, 8th Fl P.O. Box 1150 Wilmington, DE 19899‐1150 Notice of Appearance and Request for Notices Ballard Spahr LLP Attn: Matthew G. Summers [email protected] Email Counsel to Universal City Development Partners Ltd. and Universal Studios 919 N Market St, 11th Fl Licensing LLC Wilmington, DE 19801 Counsel to the Financial Advisors BCF Business Law Attn: Claude Paquet, Gary Rivard [email protected] Email 1100 René‐Lévesque Blvd W, 25th Fl, Ste 2500 [email protected] First Class Mail Montréal, QC H3B 5C9 Canada Governmental Authority Bernard, Roy & Associés Attn: Pierre‐Luc Beauchesne pierre‐[email protected] Email Bureau 8.00 [email protected] First Class Mail 1, rue Notre‐Dame Est Montréal, QC H2Y 1B6 Canada Notice of Appearance and Request for Notices Buchalter, PC Attn: Shawn M. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
Eddie Adams Workshop
Jim Colton, Editor at Large, ZUMA Press - I Deanne Fitzmaurice, Documentary Photographer - I Ruth Fremson, Photographer - I MaryAnne Golon, Director of Photography, The Washington Post - I David Griffin, President, D Griffin Studio - I Marco Grob, Photographer/Cinematographer - I Carol Guzy, Photographer - I, P MEDIA ARCHIVE Tom Kennedy, Visual Journalist and Photo Consultant - I Elizabeth Krist, Senior Photo Editor, National Geographic - I Sarah Leen, Director of Photography, National Geographic - I PhotoWings mission is to highlight and help facilitate the power of Chip Maury, Photographer - I photography to influence the world. We help photography to be John Moore, Staff Photographer, Getty Images - I better understood, created, utilized, seen, and saved. Stacy Pearsall, Photographer - I Tim Rasmussen, Director of Photography Digital and Print Media, ESPN - I In that endeavor, we have created hundreds of hours of ad- Howard Schatz, Photographer - I free original interviews, which have been edited in multiple Brad Smith, Director of Photography, ESPN - I ways for educational purposes. Enjoy and be inspired! Michael Williamson, Photojournalist - I, P John H. White, Photojournalist - I, P Daniella Zalcman, Documentary Photographer - I I = Interview P = Presentation A = Audio All media can be found on our website: Foundry photowings.org/videos Photojournalism Workshop Kael Alford, Photojournalist/Documentary, Thematic Compilations Photographer/Videographer - I, P Jodi Bieber, photographer - I, P The Power of Photography – Andrea Bruce, -
0470 Shoah Newsletter Layout
Winter 2007 THE NEWSLETTER OF THE USC SHOAH FOUNDATION INSTITUTE FOR VISUAL HISTORY AND EDUCATIONTM TO OVERCOME PREJUDICE, INTOLERANCE, AND BIGOTRY —AND THE SUFFERING THEY CAUSE— THROUGH THE EDUCATIONAL USE OF THE INSTITUTE’S VISUAL HISTORY TESTIMONIES F OUNDATION N EWS One Year Later Winter 2007 By Douglas Greenberg partnering with the Institute to provide access to the archive on their campuses (see pages 10–11). One year ago, we began a new chapter by becoming part of the University The testimonies in the archive are also at the of Southern California College of Letters, core of two educational products launched Arts & Sciences. Being part of a great uni- this year, Recollections: Eyewitnesses Remember versity has allowed us to pursue our mission the Holocaust and Creating Character. In each with new energy and effectiveness. I am product, the testimonies provide rich, pri- especially excited to share the contents of mary source material that brings the past to this newsletter with you because it tells the life for young people to whom it is distant story of our first year at USC. and remote. “Being on a campus has provided us a way to introduce visual history to the classroom more directly than ever before.” — Douglas Greenberg Being on a campus has provided us a way to These projects would not be possible without introduce visual history to the classroom the generous funding the Institute receives more directly than ever before. The Visual from our donors. Your gifts allow educators History Archive is in use in undergraduate and students all over the globe to use the tes- classes not only at USC, but also at other timonies in our archive for educational pur- institutions with access to the archive—Rice poses. -
Jill Greenberg B
CLAMPART ! ❚ " Jill Greenberg b. 1967, Montreal Selected Exhibitions: 2017 “Like a Horse,” Fotografiska, Stockholm, Sweden “Indecisive Moment,” Robert L. Ringel Gallery, Purdue University, West Lafayette, Indiana 2016 “Indecisive Moment,” Suwon Photography Festival, Suwon, Korea “Photography is Magic,” Aperture, New York City (Curated by Charlotte Cotton) “Paintings.” Bau-Xi Photo, Toronto (Featured Exhibition—Scotiabank CONTACT Photography Festival) [solo] “Headshots: Contemporary Photographic Portraiture,” ClampArt, New York City (Curated by Brian Paul Clamp) “Beauty and the Beast: The Animal in Photography,” Museum of Photographic Arts, San Diego, California (Curated by Deborah Klotchko) “Norwood Club: Lounge Exhibtion,” Norwood Club, New York City 2015 “Wet Panties,” Mark Humphrey Gallery, Southampton, New York (Curated by Carole Reed) [solo] “Paintings,” ClampArt, New York City [solo] “Australian and International Contemporary Photography,” Olsen Irwin, Woollahra, Australia “The Growth of a Collection: Part II,” Southeast Museum of Photography, Daytona Beach, Florida “New Cats in Art Photography,” Humble Arts Foundation 2014 “Holiday House NYC,” New York City [Patrick James Hamilton Designs] “Welcome to LA/Please Come Again,” LAX Airport, Los Angeles “Cat Art Show” 101/exhibit, Los Angeles, California “Monkey Portraits and End Times,” Jaski Art Gallery, Amsterdam, The Netherlands [solo] “Horse,” O’Born Contemporary, Toronto [solo] 2013 “Jill Greenberg: Work 2001-2011,” Fotografiska, Stockholm, Sweden [solo] “FACE it,” Rockland Center -
Spring 2009 Estelle Nabeyrat Has Dual Citizenship in France And
Spring 2009 Estelle Nabeyrat has dual citizenship in France and Germany. For some years, she has been working as an independent art critic and curator within the contemporary art scene, particularly in France, Germany and Austria. While at Dora Maar House, she worked on an exploratory text about a collection of historical works that can not be exhibited, “L’exposition qui ne peut pas avoir lieu.” Since her residency, Nabeyrat has been published in “Ethique et principe iconique” in L'art même, Belgium Art Review, and “La pensée de l’art aujourd’hui” in Hors Série Beaux-Arts Magazine. She is a regular contributor to the reviews 02, artline and n.paradoxa and she will be a curator in residence in Paris at the Palais de Tokyo in 2010-11. Two Months, February 2 – March 29, 2009 Born in Manchester, England, Jane South worked at as set designer in experimental theater before moving to the United States in 1989. She has had recent solo exhibitions at the Knoxville Museum of Art, TN, the Queens Museum, Bulova Center, NY, The Weatherspoon Art Museum, Greensboro, NC, Spencer Brownstone Gallery, NY and Susanne Vielmetter Los Angeles Projects. Site-specific installations include Mass MoCA, North Adams, MA, Nassauischer Kunstverein Wiesbaden, Germany and White Columns, NY. Jane South has been included in numerous exhibitions including those at The Drawing Center, NY, Williams College Museum of Art, Williamstown, MA, Albright-Knox Art Gallery, Buffalo, NY, Pennsylvania Academy of the Fine Arts, Philadelphia, PA and the Telfair Museum of Art, Savannah, GA. Her work was also included in “Burgeoning Geometries: Constructed Abstractions” at the Whitney Museum of American Art at Altria in 2007 and “SLASH: Paper Under the Knife” at MAD (Museum of Arts & Design), New York in 2009/2010. -
Annual Report 2014–2015 MFAH by the NUMBERS July 1, 2014–June 30, 2015
μ˙ The Museum of Fine Arts, Houston annual report 2014–2015 MFAH BY THE NUMBERS July 1, 2014–June 30, 2015 • 908,000 visits to the Museum, Bayou Bend Tuition Attendance Revenue $2.5 Other Collection and Gardens, Rienzi, and the $2.1 4% 3% $7.8 13% Glassell School of Art Membership Revenue $3.1 • 112,000 visitors and students reached 5% through learning and interpretation programs FY 2015 Operating Operating Revenues Endowment • 10,300 local college students received Fund-raising (million) Spending free access to the MFAH $13.7 $33.2 22% 53% • 41,000 schoolchildren and their chaperones received free tours of the MFAH • 98 citywide community partners collaborated Total Revenues: $62.4 million with the MFAH Exhibitions, Curatorial, • 1.8 million visits recorded at mfah.org and Collections $14.2 Auxiliary 23% Activities $3.5 • 134,000 people followed the MFAH on social media 6% Fund-raising $5.2 9% • 191,000+ online visitors accessed the Documents of 20th-Century Latin American FY 2015 Education, and Latino Art Website Operating Expenses Libraries, (million) and Visitor Engagment $11.1 • 71,490 visitors attended landmark exhibition 18% Monet and the Seine: Impressions of a River Management Buildings and Grounds and General $12.2 • and Security $14.9 27,780 household members supported 20% 24% the MFAH Total Expenses: $61.1 million • 1,000+ volunteers served the community • 630 permanent and temporary staff employed by the MFAH CONTENTS ANNUAL REPORT JULY 1, 2014–JUNE 30, 2015 The Museum of Fine Arts, Houston 4 Board of Trustees 5 Committee