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Faith Ringgold the Studiowith and Quilts That Tell Stories ART HIST RY KIDS
Faith Ringgold The Studiowith and quilts that tell stories ART HIST RY KIDS THE GOLDEN AGE IN AFRICAN AMERICAN CULTURE Art is connected to everything... music, history, science, math, literature, and more! Let’s explore how this month‘s art relates to some of these subjects. What is the Harlem Renaissance? From the 1910’s - the 1930’s the northern Manhattan neighborhood of Harlem was booming with creativity. From fashion to food, music to dance, literature to art... amazing things were happening around every corner. This map illustrates the concentration of jazz clubs, restau- rants, and theaters in Harlem. As we spend this week connecting Faith Ringgold’s art to these other subjects, we’ll use her book, Harlem Renaissance Party, as our guide. Faith Ringgold’s book, Harlem Renaissance Party, takes us on a tour of the rich literary, culinary, musical, and theatrical scene in Harlem during the 1930’s. The following pages explore the Harlem Renaissance as Ringgold describes it in her book (and she should know, because she was actually there!) Click the image above to see a story time reading of the book! Illustration by Elmer Simms Campbell | Image credit: Beinecke Rare Book & Manuscript Library February 2019 | Week 3 1 Faith Ringgold The Studiowith and quilts that tell stories ART HIST RY KIDS CONNECTING THE DOTS Geography The United States of America Here are maps of The United States of America, New York state, and Harlem – a neighborhood in the Manhattan borough of New New York State York City. February 2019 | Week 3 2 Faith Ringgold The Studiowith and quilts that tell stories ART HIST RY KIDS CONNECTING THE DOTS Literature - Poetry + Folk Tales Langston Hughes Zora Neale Hurston 1936 photo by Carl Van Vechten Langston Hughes was one of the strongest Zora Neale Hurston wrote Mules and Men – literary voices during the Harlem Renaissance. -
Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis. -
ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP
ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious. -
Aca Galleriesest. 1932
EST. 1932 ACA GALLERIES Faith Ringgold Courtesy of ACA Galleries Faith Ringgold, American People Series #19: U.S. Postage Stamp Commemorating the Advent of Black Power, 1967 th ACA GALLERIES 529 West 20 Street New York, NY 10011 | t: 212-206-8080 | e: [email protected] | acagalleries.com EST. 1932 ACA GALLERIES The Enduring Power of Faith Ringgold’s Art By Artsy Editors Aug 4, 2016 4:57 pm Portrait of Faith Ringgold. Photo by Grace Matthews. In 1967, a year of widespread race riots in America, Faith Ringgold painted a 12-foot-long canvas called American People Series #20: Die. The work shows a tumult of figures, both black and white, wielding weapons and spattered with blood. It was a watershed year for Ringgold, who, after struggling for a decade against the marginalization she faced as a black female artist, unveiled the monumental piece in her first solo exhibition at New York’s Spectrum Gallery. Earlier this year, several months after Ringgold turned 85, the painting was purchased by the Museum of Modern Art, cementing her legacy as a pioneering artist and activist whose work remains searingly relevant. Where did she come from? Ringgold was born in Harlem in 1930. Her family included educators and creatives, and she grew up surrounded by the Harlem Renaissance. The street where she was raised was also home to influential activists, writers, and artists of the era—Thurgood Marshall, W.E.B. Dubois, and Aaron Douglas, to name a few. “It’s nice th ACA GALLERIES 529 West 20 Street New York, NY 10011 | t: 212-206-8080 | e: [email protected] | acagalleries.com EST. -
Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive
Article Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive Kathy Carbone ABSTRACT The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The CalArts Feminist Art Program (1971–1975) played an influential role in this movement and today, traces of the Feminist Art Program reside in the CalArts Institute Archives’ Feminist Art Materials Collection. Through a series of short interrelated archives stories, this paper explores some of the ways in which women responded to and engaged the Collection, especially a series of letters, for feminist projects at CalArts and the Women’s Art Library at Goldsmiths, University of London over the period of one year (2017–2018). The paper contemplates the archive as a conduit and locus for current day feminist identifications, meaning- making, exchange, and resistance and argues that activating and sharing—caring for—the archive’s feminist art histories is a crucial thing to be done: it is feminism-in-action that not only keeps this work on the table but it can also give strength and definition to being a feminist and an artist. Carbone, Kathy. “Dear Sister Artist,” in “Radical Empathy in Archival Practice,” eds. Elvia Arroyo- Ramirez, Jasmine Jones, Shannon O’Neill, and Holly Smith. Special issue, Journal of Critical Library and Information Studies 3. ISSN: 2572-1364 INTRODUCTION The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The California Institute of the Arts (CalArts) Feminist Art Program, which ran from 1971 through 1975, played an influential role in this movement and today, traces and remains of this pioneering program reside in the CalArts Institute Archives’ Feminist Art Materials Collection (henceforth the “Collection”). -
Poetry Project Newsletter
THE POETRY PROJECT NEWSLETTER www.poetryproject.org APR/MAY 10 #223 LETTERS & ANNOUNCEMENTS FEATURE PERFORMANCE REVIEWS KARINNE KEITHLEY & SARA JANE STONER REVIEW LEAR JAMES COPELAND REVIEWS A THOUGHT ABOUT RAYA BRENDA COULTAS REVIEWS RED NOIR KEN L. WALKER INTERVIEWS CECILIA VICUÑA POEMS DEANNA FERGUSON CALENDAR BRANDON BROWN REVIEWS AARON KUNIN, LAUREN RUSSELL, JOSEPH MASSEY & LAUREN LEVIN TIM PETERSON REVIEWS JENNIFER MOXLEY DAVID PERRY REVIEWS STEVE CAREY JULIAN BROLASKI REVIEWS NATHANAËL (NATHALIE) STEPHENS BILL MOHR REVIEWS ALAN BERNHEIMER DOUGLAS PICCINNINI REVIEWS GRAHAM FOUST ERICA KAUFMAN REVIEWS MAGDALENA ZURAWSKI MAXWELL HELLER REVIEWS THE KENNING ANTHOLOGY OF POETS THEATER ROBERT DEWHURST REVIEWS BRUCE BOONE $5? 02 APR/MAY 10 #223 THE POETRY PROJECT NEWSLETTER NEWSLETTER EDITOR: Corina Copp DISTRIBUTION: Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 The Poetry Project, Ltd. Staff ARTISTIC DIRECTOR: Stacy Szymaszek PROGRAM COORDINATOR: Corrine Fitzpatrick PROGRAM ASSISTANT: Arlo Quint MONDAY NIGHT COORDINATOR: Dustin Williamson MONDAY NIGHT TALK SERIES COORDINATOR: Arlo Quint WEDNESDAY NIGHT COORDINATOR: Stacy Szymaszek FRIDAY NIGHT COORDINATORS: Nicole Wallace & Edward Hopely SOUND TECHNICIAN: David Vogen BOOKKEEPER: Stephen Rosenthal ARCHIVIST: Will Edmiston BOX OFFICE: Courtney Frederick, Kelly Ginger, Nicole Wallace INTERNS: Sara Akant, Jason Jiang, Nina Freeman VOLUNTEERS: Jim Behrle, Elizabeth Block, Paco Cathcart, Vanessa Garver, Erica Kaufman, Christine Kelly, Derek Kroessler, Ace McNamara, Nicholas Morrow, Christa Quint, Lauren Russell, Thomas Seeley, Logan Strenchock, Erica Wessmann, Alice Whitwham The Poetry Project Newsletter is published four times a year and mailed free of charge to members of and contributors to the Poetry Project. Subscriptions are available for $25/year domestic, $45/year international. Checks should be made payable to The Poetry Project, St. -
25Th Anniversary
25th Anniversary Montblanc de la Culture 25th Anniversary Montblanc de la Culture Arts Patronage Award Arts Patronage Montblanc de la Culture 25th Anniversary Arts Patronage Award 1992 25th Anniversary Montblanc de la Culture Arts Patronage Award 2016 Anniversary 2016 CONTENT MONTBLANC DE LA CULTURE ARTS PATRONAGE AWARD 25th Anniversary — Preface 04 / 05 The Montblanc de la Culture Arts Patronage Award 06 / 09 Red Carpet Moments 10 / 11 25 YEARS OF PATRONAGE Patron of Arts — 2016 Peggy Guggenheim 12 / 23 2015 Luciano Pavarotti 24 / 33 2014 Henry E. Steinway 34 / 43 2013 Ludovico Sforza – Duke of Milan 44 / 53 2012 Joseph II 54 / 63 2011 Gaius Maecenas 64 / 73 2010 Elizabeth I 74 / 83 2009 Max von Oppenheim 84 / 93 2 2008 François I 94 / 103 3 2007 Alexander von Humboldt 104 / 113 2006 Sir Henry Tate 114 / 123 2005 Pope Julius II 124 / 133 2004 J. Pierpont Morgan 134 / 143 2003 Nicolaus Copernicus 144 / 153 2002 Andrew Carnegie 154 / 163 2001 Marquise de Pompadour 164 / 173 2000 Karl der Grosse, Hommage à Charlemagne 174 / 183 1999 Friedrich II the Great 184 / 193 1998 Alexander the Great 194 / 203 1997 Peter I the Great and Catherine II the Great 204 / 217 1996 Semiramis 218 / 227 1995 The Prince Regent 228 / 235 1994 Louis XIV 236 / 243 1993 Octavian 244 / 251 1992 Lorenzo de Medici 252 / 259 IMPRINT — Imprint 260 / 264 Content Anniversary Preface 2016 This year marks the 25th anniversary of the Montblanc Cultural Foundation: an occasion to acknowledge considerable achievements, while recognising the challenges that lie ahead. Since its inception in 1992, through its various yet interrelated programmes, the Foundation continues to appreciate the significant role that art can play in instigating key shifts, and at times, ruptures, in our perception of and engagement with the cultural, social and political conditions of our times. -
JUNE 27–29, 2013 Thursday, June 27, 2013, 7:30 P.M. 15579Th
06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 23 JUNE 2 7–29, 2013 Two Works by Stravinsky Thursday, June 27, 2013, 7:30 p.m. 15, 579th Concert Friday, June 28, 2013, 8 :00 p.m. 15,580th Concert Saturday, June 29, 2013, 8:00 p.m. 15,58 1st Concert Alan Gilbert , Conductor/Magician Global Sponsor Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Giants Are Small Generous support from The Andrew W. Mellon Foundation, Clifton Taylor, Lighting Designer The Susan and Elihu Rose Foun - Irina Kruzhilina, Costume Designer dation, Donna and Marvin Matt Acheson, Master Puppeteer Schwartz, the Mary and James G. Margie Durand, Make-Up Artist Wallach Family Foundation, and an anonymous donor. Featuring Sara Mearns, Principal Dancer* Filming and Digital Media distribution of this Amar Ramasar , Principal Dancer/Puppeteer* production are made possible by the generos ity of The Mary and James G. Wallach Family This concert will last approximately one and Foundation and The Rita E. and Gustave M. three-quarter hours, which includes one intermission. Hauser Recording Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic June 2013 23 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 24 New York Philharmonic Two Works by Stravinsky Alan Gilbert, Conductor/Magician Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director A production created by Giants Are Small Clifton Taylor, Lighting Designer Irina Kruzhilina, Costume Designer Matt Acheson, Master Puppeteer Margie Durand, Make-Up Artist Featuring Sara Mearns, Principal Dancer* Amar Ramasar, Principal Dancer/Puppeteer* STRAVINSKY Le Baiser de la fée (The Fairy’s Kiss ) (1882–1971) (1928, rev. -
Beyond the Machine Photo by Claudio Papapietro
Beyond The Machine Photo by Claudio Papapietro Juilliard Scholarship Fund The Juilliard School is the vibrant home to more than 800 dancers, actors, and musicians, over 90 percent of whom are eligible for financial aid. With your help, we can offer the scholarship support that makes a world of difference—to them and to the global future of dance, drama, and music. Behind every Juilliard artist is all of Juilliard—including you. For more information please contact Tori Brand at (212) 799-5000, ext. 692, or [email protected]. Give online at giving.juilliard.edu/scholarship. The Juilliard School presents Center for Innovation in the Arts Edward Bilous, Founding Director Beyond the Machine 19.1 InterArts Workshop March 26 and 27, 2019, 7:30pm (Juilliard community only) March 28, 2019, 7pm Conversation with the artists, hosted by William F. Baker 7:30pm Performance Rosemary and Meredith Willson Theater The Man Who Loved the World Treyden Chiaravalloti, Director Eric Swanson, Actor John-Henry Crawford, Composer On film: Jared Brown, Dancer Sean Lammer, Dancer Barry Gans, Dancer Dylan Cory, Dancer Julian Elia, Dancer Javon Jones, Dancer Nicolas Noguera, Dancer Canaries Natasha Warner, Writer, Director, and Choreographer Pablo O'Connell, Composer Esmé Boyce, Choreographer Jasminn Johnson, Actor Gwendolyn Ellis, Actor Victoria Pollack, Actor Jessica Savage, Actor Phoebe Dunn, Actor David Rosenberg, Actor Intermission (Program continues) Please make certain that all electronic devices are turned off during the performance. The taking of photographs -
Home Improvement Television: Holmes on Homes Makes It Right
Home Improvement Television: Holmes on Homes Makes It Right Jean Bruce Ryerson University Abstract: Holmes on Homes is a Canadian home improvement television program and the centrepiece of HGTV (Home and Garden Television), featuring Mike Holmes as the series’ star contractor and host. This paper argues that by looking back at earlier incarnations of film and television melodrama, we can determine the way in which Holmes on Homes reinvents the home improvement subgenre. By playing out reality TV’s central tension between fiction and non-fiction, Holmes on Homes reveals its larger themes of justice and redemption, which befit its unique position between the documentary and the classic melodrama. Keywords: Reality TV; Holmes on Homes; Home improvement television; Documentary TV; Classic melodrama Résumé : Holmes on Homes, mettant en vedette l’entrepreneur Mike Holmes, est une émission canadienne sur l’amélioration du foyer et la pièce de résistance du réseau HGTV (Home and Garden Television). Cet article soutient que nous pouvons recourir à des exemples anciens de mélodrames à la télévision et au cinéma, pour déterminer la manière dont cette émission réinvente le sous-genre « amélioration du foyer ». En effet, Holmes on Homes, en développant les tensions centrales de la téléréalité entre fiction et vérité, révèle ses thèmes clés de justice de rédemption qui reflètent sa position unique entre documentaire et mélodrame classique. Mots clés : Téléréalité; Holmes on Homes; Télévision sur l’amélioration du foyer; Télévision documentaire; Mélodrame classique Introduction When specialty network Home and Garden Television (HGTV) Canada applied for its broadcasting licence in 1996, the “nature of the service” it would provide was described as follows: The licensee will offer a 24-hour-a-day specialty service devoted to pro- gramming that presents practical, hands-on advice and instruction about homes and gardens. -
Helping Restore Native Bay Oysters Page 1 of 4
wjz.com - 'Reef Balls' Helping Restore Native Bay Oysters Page 1 of 4 WJZ Baltimore, Maryland News Weather: 'Reef Balls' Helping Restore Native Bay Oysters Advertisement Seen On Oct 20, 2006 1:14 pm US/Eastern 'Reef Balls' Helping Restore Native Bay Oysters Alex DeMetrick Reporting (WJZ) Officials from the Chesapeake Bay Foundation (CBF) say they have seen a significant success in Eastern Bay, near Kent Island, that shows using "reef balls" can be a successful approach to restoring the native Bay oyster. CBF and project partners Maryland Environmental Service (MES) and the National Oceanic and Atmospheric Administration (NOAA) will host boat trips to the reef ball site, and will lift several out of the water to highlight the project's accomplishments. Reef balls without oysters will be available on the boat for visual comparisons. CBF, MES and NOAA, with funding from the Fish America Foundation, planted 69 reef balls on the site in 2005. Twenty "set," meaning tiny oysters had attached to the reef balls at CBF's Oyster Restoration Center. Less than one year after they were placed on the Eastern Bay reef, these oysters have grown over two inches in length, and have an excellent survival rate. Reef balls - large, igloo-like concrete structures - are still a relatively new approach to restoring oysters to the planted in the Bay, and oysters can attach themselves to the concrete "reefs." There, the oysters can grow into adults, filtering pollutants from the water and creating a rich habitat for fish and other creatures. Project partners also include CBF and South River Federation volunteers, who helped create the reef balls. -
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