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Darán Jóvenes Panistas 30 Mil Votos a Martha
Gómez Mont: E.U. Women’s Championship PRETENDEN LA SEGURIDAD Logra OCHoa CAMBIAR colocarse en sexta NO SE NEGOCIA SISTEMA posición NACIONAL A 10 DE SALUD DEPORTES C 1 INTERNACIONAL C 11 Año 56. No. 18,564 $6.00 Colima, CoIima Viernes 6 de Marzo de 2009 www.diariodecolima.com En Los Asmoles OtrosEstaban atados de las manos y con vendasdos ejecutados en los ojos; nuevamente los sicarios dejan mensaje; van siete asesinatos en menos de un mes Sergio URIBE ALVARADO 30 y 35 años de edad; complexión delgada, tez morena clara, de 1.60 Dos hombres fueron ejecutados la metros de estatura, pelo negro cor- madrugada de ayer en el camino to, lampiño; vestía pantalón color sacacosechas Los Asmoles-Monte azul de mezclilla, cinto color café, Grande, frente al cerro denomina- playera tipo sport color blanco con do “El Gallo”, estaban atados de las franjas a los costados color negro y manos y también tenían vendados calzaba tenis blanco con negro. los ojos; uno de ellos tenía pegada En el libramiento Los Limones, a su pecho una cartulina color aproximadamente a 1 kilómetro de blanco con la leyenda: “Esto me la autopista Colima-Manzanillo, paso por andar de chapulin y no se localizó una camioneta marca aliniarme como la gente”. Toyota, tipo Hilux, color blanco, Uno de los hoy occisos era modelo 2007, con placas de circu- Carlos César Salazar Sánchez, lación FE-35693, donde viajaban quien tenía su domicilio en los finados. el poblado de Ticuicitán. Fue Un hermano de Carlos César, consignado el 14 de septiembre de de nombre Ignacio Salazar Sán- 2003 por el agente del Ministerio chez, es trabajador del ayunta- Público Federal por delitos contra miento de Colima. -
Curriculum Vitae
38 Walker Street New York, NY 10013 tel: 212-564-8480 www.georgeadamsgallery.com LUIS CRUZ AZACETA BORN: Havana, Cuba, 1942. Emigrated to the US 1960; US Citizenship 1967. LIVES: New Orleans, LA. EDUCATION: School of Visual Arts, New York, 1969. GRANTS AND AWARDS: Joan Mitchell Foundation Grant, 2009. Penny McCall Foundation Award, 1991-92. Mid-Atlantic Grant for special projects, 1989. Guggenheim Memorial Foundation Grant, New York, 1985. New York Foundation for the Arts, 1985. Mira! Canadian Club Hispanic Award, 1984. Creative Artistic Public Service (CAPS), New York, 1981-82. National Endowment for the Arts, Washington, D.C., 1980-81, 1985, 1991-92. Cintas Foundation, Institute of International Education, New York, 1972-72, 1975-76. SOLO EXHIBITIONS: “Personal Velocity in the Age of Covid,” Lyle O. Rietzel, Santo Dominigo, DR, 2020-21. “Personal Velocity: 40 Years of Painting,” George Adams Gallery, New York, NY, 2020. “Between the Lines,” Arthur Roger Gallery, New Orleans, LA, 2019. “Luis Cruz Azaceta, 1984-1989,” George Adams Gallery, New York, NY, 2018. “Luis Cruz Azaceta: A Question of Color,” Lyle O. Reitzel, Santo Domingo, DR, 2018. “On The Brink,” Arthur Roger Gallery, New Orleans, LA, 2017. “Luis Cruz Azaceta Swimming to Havana,” Lyle O. Reitzel, New York, NY, 2016-17. “Luis Cruz Azaceta: Dictators, Terrorism, War and Exiles,” American Museum of the Cuban Diaspora, Miami, FL, 2016. “Luis Cruz Azaceta: War & Other Disasters,” Abroms-Engel Institute for Visual Arts, University of Alabama, Birmingham, AL, 2016. “State of Fear,” Pan American Art Projects, Miami, FL, 2015.* “PaintingOutLoud,” Arthur Roger Gallery, New Orleans, LA, 2014.* “Dictators, Terrorism, Wars & Exile,” Aljira: A Center for Contemporary Art, Newark, NJ, 2014.* “Louisiana Mon Amour,” Acadiana Center for the Arts, Lafayette, LA, 2013.* “Falling Sky,” Lyle O. -
DORIS SALCEDO Education Solo Exhibitions
DORIS SALCEDO 1958 Born in Bogotá, Colombia Lives and works in Bogotá Education 1984 MA, New York University 1980 BFA, Universidad de Bogotá Jorge Tadeo Lozano Solo exhibitions 2019 Doris Salcedo: Tabula Rasa, Kunsthalle St. Annen, Lubbeck, Germany Doris Salcedo: Acts of Mourning, IMMA, Dublin 2018 Fragmentos, Bogota Palimpsest, White Cube, London Prints 2003 – 2009, Alexander Bonin, New York 2017 Palimpsest, Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofía, Madrid 2016 The Materiality of Mourning, Harvard Art Museum, Boston, Massachusetts Nasher Sculpture Center, Dallas, Texas 2015 Doris Salcedo, Museum of Contemporary Art Chicago; Solomon R. Guggenheim Museum, New York; Perez Art Museum, Miami, 2016 2014 Hiroshima Art Prize: Doris Salcedo, Hiroshima City Museum of Contemporary Art, Japan FLORA arts+natura, Bogotá 2013 Robert Kinmont/Doris Salcedo, Alexander and Bonin, New York 2011 Plegaria Muda, Museo Universitario Arte Contemporáneo, Mexico; Moderna Museet Malmö, Sweden; Gulbenkian, Centro de Art Moderna, Lisbon; Museo nazionale delle arti del XXI secolo, Rome, 2012; White Cube, London, 2012; Pinacoteca, São Paulo, 2012 2008 Alexander and Bonin, New York 2007 Shibboleth, Turbine Hall, Tate Modern, London White Cube, London 2004 Neither, White Cube, London 2001 Camden Arts Centre, London 2000 Tenebrae: Noviembre 7, 1985, Alexander and Bonin, New York 1998 Doris Salcedo: Unland, New Museum of Contemporary Art, New York; SITE Santa Fe, New Mexico; San Francisco Museum of Modern Art, 1999; Tate Gallery, London, 1999 1997 -
Institute of Fine Arts Alumni Newsletter, Number 55, Fall 2020
Number 55 – Fall 2020 NEWSLETTERAlumni PatriciaEichtnbaumKaretzky andZhangEr Neoclasicos rnE'-RTISTREINVENTiD,1~1-1= THEME""'lLC.IIEllMNICOLUCTION MoMA Ano M. Franco .. ..H .. •... 1 .1 e-i =~-:.~ CALLi RESPONSE Nyu THE INSTITUTE Published by the Alumni Association of II IOF FINE ARTS 1 Contents Letter from the Director In Memoriam ................. .10 The Year in Pictures: New Challenges, Renewed Commitments, Alumni at the Institute ..........16 and the Spirit of Community ........ .3 Iris Love, Trailblazing Archaeologist 10 Faculty Updates ...............17 Conversations with Alumni ....... .4 Leatrice Mendelsohn, Alumni Updates ...............22 The Best Way to Get Things Done: Expert on Italian Renaissance An Interview with Suzanne Deal Booth 4 Art Theory 11 Doctors of Philosophy Conferred in 2019-2020 .................34 The IFA as a Launching Pad for Seventy Nadia Tscherny, Years of Art-Historical Discovery: Expert in British Art 11 Master of Arts and An Interview with Jack Wasserman 6 Master of Science Dual-Degrees Dora Wiebenson, Conferred in 2019-2020 .........34 Zainab Bahrani Elected to the American Innovative, Infuential, and Academy of Arts and Sciences .... .8 Prolifc Architectural Historian 14 Masters Degrees Conferred in 2019-2020 .................34 Carolyn C Wilson Newmark, Noted Scholar of Venetian Art 15 Donors to the Institute, 2019-2020 .36 Institute of Fine Arts Alumni Association Offcers: Alumni Board Members: Walter S. Cook Lecture Susan Galassi, Co-Chair President Martha Dunkelman [email protected] and William Ambler [email protected] Katherine A. Schwab, Co-Chair [email protected] Matthew Israel [email protected] [email protected] Yvonne Elet Vice President Gabriella Perez Derek Moore Kathryn Calley Galitz [email protected] Debra Pincus [email protected] Debra Pincus Gertje Utley Treasurer [email protected] Newsletter Lisa Schermerhorn Rebecca Rushfeld Reva Wolf, Editor Lisa.Schermerhorn@ [email protected] [email protected] kressfoundation.org Katherine A. -
David Furman Short Form Resume/Career Summary ONE
David Furman Short Form Resume/Career Summary ONE PERSON EXHIBITIONS Since l970, 47 one person shows including American Museum of Ceramic Art, Pomona, CA; Gallery 221, New York, NY; Frumkin Duval Gallery, Santa Monica, CA; O.K. Harris Works of Art, New York, NY; Margulies Taplin Gallery, Miami, FL; Elaine Horwitch Galleries, Santa Fe, NM; O.K. Harris/Kline Gallery, Birmingham, MI; Solomon Dubnick Gallery, Sacramento, CA; Dorry Gates Gallery, Kansas City, MO; Judy Youens Gallery, Houston, TX; Chicago Center for Ceramic Art, Chicago, IL; San Francisco Int'l Airport, San Francisco, CA; Southern Oregon State College, Ashland, OR; David Stuart Galleries, Los Angeles, CA; Quay Gallery, San Francisco, CA; Salt Lake Art Center, Salt Lake City, UT; North Carolina State University, Raleigh, NC; Galleria "9", Lima, Peru; University of Oregon Museum of Art, Eugene, OR; Jacqueline Anhalt Gallery, Los Angeles, CA; Gayle Weyher Gallery, Salt Lake City, UT; Tortue Gallery, Santa Monica, CA; J. Cotter Gallery, Vail/Beaver Creek, CO; UMKC Belger Art Center, Kansas City, MO, San Angelo Museum of Art, San Angelo, TX; Bakersfield Museum of Art, Bakersfield, CA. HONORS/AWARDS/FELLOWSHIPS 2011 Elected to the International Academy of Ceramics 2008 Sole Juror, California Small Images, Bakersfield Museum of Art, Bakersfield, CA 2007 Juror, XI Sculpture and Ceramics Biennale, Honduras, Central America Fellowship, Office of Citizen Exchanges, United States Dept. of State/Cultural Affairs, Honduras, Central America 2005 Silver Medal, 3rd International Ceramic Biennale, -
IFA Alumni Newsletter 2017
Number 52 – Fall 2017 NEWSLETTERAlumni Published by the Alumni Association of Contents From the Director ...............3 The Institute of Fine Arts Alumni Updates ...............20 in the Aftermath of the A Wistful ‘So Long’ to our Beloved May 4, 1970 Kent State Killings ....8 Doctors of Philosophy Conferred and Admired Director Pat Rubin ....4 in 2016-2017 .................30 Thinking out of the Box: You Never From Warburg to Duke: Know Where it Will Lead .........12 Masters Degrees Conferred Living at the Institute ............6 in 2016-2017 .................30 The Year in Pictures ............14 Institute Donors ...............32 Faculty Updates ...............16 Institute of Fine Arts Alumni Association Officers: Advisory Council Members: Committees: President William Ambler Walter S. Cook Lecture Jennifer Eskin [email protected] Jay Levenson, Chair [email protected] Susan Galassi [email protected] [email protected] Yvonne Elet Vice President and Kathryn Calley Galitz Jennifer Eskin Acting Treasurer [email protected] Susan Galassi Jennifer Perry Matthew Israel Debra Pincus [email protected] [email protected] Katherine Schwab Lynda Klich Secretary [email protected] Newsletter Johanna Levy Anne Hrychuk Kontokosta Martha Dunkelman [email protected] [email protected] [email protected] Debra Pincus Connor Hamm, student assistant [email protected] History of the Institute of Fine Arts Rebecca Rushfield, Chair [email protected] Alumni Reunion Alicia Lubowski-Jahn, Chair [email protected] William Ambler 2 From the Director Christine Poggi, Judy and Michael Steinhardt Director Metropolitan Museum of Art, the Frick varied program. It will include occasional Collection, Museum of Modern Art, and a collaboration and co-sponsorship of exhibitions, diverse range of other museums. -
The Most Important Works of Art of the Twentieth Century
This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: The Most Important Works of Art of the Twentieth Century Author: David W. Galenson URL: http://www.nber.org/chapters/c5786 Chapter 3: The Most Important Works of Art of the Twentieth Century Introduction Quality in art is not just a matter of private experience. There is a consensus of taste. Clement Greenberg1 Important works of art embody important innovations. The most important works of art are those that announce very important innovations. There is considerable interest in identifying the most important artists, and their most important works, not only among those who study art professionally, but also among a wider public. The distinguished art historian Meyer Schapiro recognized that this is due in large part to the market value of works of art: “The great interest in painting and sculpture (versus poetry) arises precisely from its unique character as art that produces expensive, rare, and speculative commodities.”2 Schapiro’s insight suggests one means of identifying the most important artists, through analysis of prices at public sales.3 This strategy is less useful in identifying the most important individual works of art, however, for these rarely, if ever, come to market. An alternative is to survey the judgments of art experts. One way to do this is by analyzing textbooks. -
S I G N a T U R E He Had So Many More Stories to Tell
SIGNATURE by Seth Thomas Pietras ’01 He Had So Many More Most of my exposure to Kirk occurred this past work hard, play hard, on the pitch and off, nihil in Stories to Tell spring at the A.W. Mellon Lecture Series at the moderato—a credo Kirk catapulted to a new level. efore I knew it, I had a large stack of National Gallery of Art in Washington, D.C. During Following the lectures and my visit with Kirk, I books on my lap—books about paradigm the series, I marveled that someone as distin- sat down with his former student Jeffrey Weiss, Bshifts and non-Euclidean geometry in guished as he would introduce himself week after chief curator of modern and contemporary art at modern art. “If you’re interested in what I’m week. Each time he arrived at the podium, it was: the National Gallery, to whom Kirk had referred saying, you need to read these,” Kirk said. “Then “Thank you for coming. I am Kirk Varnedoe.” me. Our discussion, originally intended to be an forget about it all and just look at the art.” During the fourth lecture, however, I realized informational session on modern art, rapidly I had encountered Kirk Varnedoe ’67 on the that even in a crowd of hundreds of informed resembled two kids discussing their favorite front cover of Rugby Magazine months earlier, patrons who had waited hours to gain admit- superhero; we were discussing Kirk. “He has and as a fellow rugger with a mind for art history, tance, recognition was not guaranteed. -
Fall 2013 Final
Fall 2013 Fall 2013 Volume 11 · Number 2 11 · Number Volume Volume 11 · Number 2 · Fall 2013 · ISSN: 1559-4963 editor in chief Elizabeth Crawford editorial director Rodrigo Ferreira art editor Madalyn Lucier !ction editor Claire Grandy non!ction editor Jason Didier poetry editor Hannah Jocelyn assistant editors Dipti Anand Anna Lyon Anamesa is a conversation. From its inception in 2003, the journal has sought to pro- Antonio Baiz Caitlin McKenna vide an occasion for graduate students in disparate #elds to converge upon and debate Jennifer L. Clark Brianna Meeks issues emblematic of the human condition. In doing so, Anamesa provokes scholarly, Katrina Kass Hope Morrill literary, and artistic innovation through interdisciplinary dialogue, serving New York Elizavetta Koemets Catherine Mros University’s John W. Draper Program and the graduate community at large. Naomi Kurtz Jana Pickart Christopher Labrot Anna Reumert Camille La!eur Jehan Roberson Kamsen Lau "eresa Stanley web editor Jana Pickart graphic designer Joshua Stein design consultant "eresa D’Andrea Logo and layout design, 2012 by !eresa D’Andrea Special thanks to Lauren Benton, Robin Nagle, and Robert Dimit for their continued support; to Georgia Lowe and Maggie Langlinais for their invaluable assistance. Anamesa is a biannual journal funded by the following entities of New York University’s Graduate School of Arts and Sciences: the John W. Draper Interdisciplinary Master’s Program in Humanities and Social !ought, and the O"ce of the Dean of the Graduate School of Arts and Sciences. -
Mostly Modern Miniatures: Classical Persian Painting in the Early Twentieth Century
classical persian painting in the early twentieth century 359 MARIANNA SHREVE SIMPSON MOSTLY MODERN MINIATURES: CLASSICAL PERSIAN PAINTING IN THE EARLY TWENTIETH CENTURY Throughout his various writings on Persian painting Bek Khur¸s¸nº or Tur¸basº Bek Khur¸s¸nº, seems to have published from the mid-1990s onwards, Oleg Grabar honed to a fi ne art the practice of creative reuse and has explored the place of the medium in traditional replication. Indeed, the quality of his production, Persian culture and expounded on its historiography, represented by paintings in several U.S. collections including the role played by private collections, muse- (including one on Professor Grabar’s very doorstep ums, and exhibitions in furthering public appreciation and another not far down the road), seems to war- and scholarly study of Persian miniatures.1 On the rant designating this seemingly little-known painter whole, his investigations have involved works created as a modern master of classical Persian painting. His in Iran and neighboring regions from the fourteenth oeuvre also prompts reconsideration of notions of through the seventeenth century, including some of authenticity and originality within this venerable art the most familiar and beloved examples within the form—issues that Oleg Grabar, even while largely canonical corpus of manuscript illustrations and min- eschewing the practice of connoisseurship himself, iature paintings, such as those in the celebrated 1396 recognizes as a “great and honorable tradition within Dºv¸n of Khwaju Kirmani, the 1488 Bust¸n of Sa{di, and the history of art.”5 the ca. 1525–27 Dºv¸n of Hafi z. -
Hagop Kevorkian Center 2015/2016 Review
HAGOP KEVORKIAN CENTER REVIEW 2015/2016 STAFF Director Helga Tawil-Souri Associate Director Greta Scharnweber Director of Graduate Studies Joanne Nucho Faculty Fellow Begum Adalet Program Coordinator Arthur Starr 2015–2016 Outreach Administrator Diana Shin Administrative Aide Vitandi Singh Writer-in-Residence Fall 2015 Nancy Kricorian Human Rights Activist-in-Residence Spring 2016 Sarah Leah Whitson Hagop Kevorkian Center NYU 50 Washington Square South, 4th Floor New York, NY 10012 http://neareaststudies.as.nyu.edu #nyuKevo The Hagop Kevorkian Center for Near Eastern Studies at NYU is a Title VI National Resource Center (NRC) for modern Middle Eastern Studies as named by the United States Department of Education. NRC support is essential to the Center’s graduate program (area and language studies) Editor Greta Scharnweber, Sabahat Zakariya and bolsters outreach programs to the NYU academic community, local educators, media and culture workers as well as the general public. Title VI funding, through its Foreign Language and Layout and Design Melissa Runstrom & Josh Anderson Area Studies (FLAS) fellowships, also enables important opportunities for NYU graduate students Cover Design The Goggles (Paul Shoebridge, Michael Simons, Mika Senda) to intensively study the languages of the Middle East and South Asia (including Arabic, Hebrew, Hindi, Persian, Turkish and Urdu). Copyright 2016. All rights reserved. Contents Letter from the Director Letter from the Director 5 It is a pleasure to celebrate the Kevorkian Center’s achievements by look- crew! Our indefatigable Associate Director, Greta Scharnweber, continues ing back at another great year. This HK Review also marks the mid-point of to make all aspects of what we do possible, and does so with excellence Scholars the Center’s 50th year, a milestone that we began honoring in Spring 2016 and affability. -
The Emamzadeh Yahya at Varamin: a Present History of a Living Shrine, 2018–20
Journal of Material Cultures in the Muslim World 1 (2020) 120–149 brill.com/mcmw The Emamzadeh Yahya at Varamin: A Present History of a Living Shrine, 2018–20 Keelan Overton Independent Scholar, Santa Barbara, CA, USA [email protected] Kimia Maleki Graduate Student, History of Art, Johns Hopkins University, Baltimore, MD, USA [email protected] Abstract The Emamzadeh Yahya at Varamin, a tomb-shrine located south of Tehran, is well known for supplying global museums with iconic examples of Ilkhanid-period luster tilework. After provid- ing a historiography of the site, including its plunder in the late nineteenth century, we explore its current (2018–20) “life” in order to illuminate the many ways that it can be accessed, used, perceived, and packaged by a wide range of local, national, and global stakeholders. Merging past and present history, art history and amateur anthropology, and the academic, personal, and popular voice, this article explores the Emamzadeh Yahya’s delicate and active existence between historical monument, museum object, sacred space, and cultural heritage. Keywords Emamzadeh Yahya (Imamzada Yahya) – Varamin (Veramin, Waramin) – Iran – Ilkhanid – shrine – luster – tilework – mihrab – museums – present history – COVID-19 The Emamzadeh Yahya at Varamin (35.31614, 51.648336) poses a number of art histori- cal conundrums. Despite the fact that it is located just 35 miles south of Tehran and its Ilkhanid period (1256–1353) luster tilework enjoys endless visibility online, in print, and in museums (fig. 1), the shrine itself remains relatively anonymous beyond its immedi- ate demographic and specialist research. In the age of ongoing renovations of Islamic art galleries, we expect to see its famous tiles redisplayed and reevaluated, but the com- plex’s history and interpretation tend to end at its moment of rupture in the late nine- teenth century, when its tilework was systematically removed and dispersed across the globe.