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DEFINING FORM / a GROUP SHOW of SCULPTURE Curated by Indira Cesarine
DEFINING FORM / A GROUP SHOW OF SCULPTURE Curated by Indira Cesarine EXHIBITING ARTISTS Alexandra Rubinstein, Andres Bardales, Ann Lewis, Arlene Rush, Barb Smith, Christina Massey, Colin Radcliffe, Daria Zhest, Desire Rebecca Moheb Zandi, Dévi Loftus, Elektra KB, Elizabeth Riley, Emily Elliott, Gracelee Lawrence, Hazy Mae, Indira Cesarine, Jackie Branson, Jamia Weir, Jasmine Murrell, Jen Dwyer, Jennifer Garcia, Jess De Wahls, Jocelyn Braxton Armstrong, Jonathan Rosen, Kuo-Chen (Kacy) Jung, Kate Hush, Kelsey Bennett, Laura Murray, Leah Gonzales, Lola Ogbara, Maia Radanovic, Manju Shandler, Marina Kuchinski, Meegan Barnes, Michael Wolf, Nicole Nadeau, Olga Rudenko, Rachel Marks, Rebecca Goyette, Ron Geibel, Ronald Gonzalez, Roxi Marsen, Sandra Erbacher, Sarah Hall, Sarah Maple, Seunghwui Koo, Shamona Stokes, Sophia Wallace, Stephanie Hanes, Storm Ascher, Suzanne Wright, Tatyana Murray, Touba Alipour, We-Are-Familia x Baang, Whitney Vangrin, Zac Hacmon STATEMENT FROM CURATOR, INDIRA CESARINE “What is sculpture today? I invited artists of all genders and generations to present their most innovative 2 and 3-dimensional sculptures for consideration for DEFINING FORM. After reviewing more than 600 artworks, I selected sculptures by over 50 artists that reflect new tendencies in the art form. DEFINING FORM artists defy stereotypes with inventive works that tackle contemporary culture. Traditionally highly male dominated, I was inspired by the new wave of female sculptors making their mark with works engaging feminist narratives. The artworks in DEFINING FORM explode with new ideas, vibrant colors, and display a thoroughly modern sensibility through fearless explorations of the artists and unique usage of innovative materials ranging from fabric, plastic, and foam to re-purposed and found objects including chewing gum, trash and dirt. -
Eleanor Antin by Rachel Mason
3 Laraaji I do a variety of things that keep me in a place of openness and fow – staying connected with my laughter, staying soft, staying with my breath. So the way I stay centered in New York: I visit the parks. Two of my favorite parks are Riverside Park and Central Park. I also go dancing a lot, especially dancing with shoes off, which allows me to open up, be free, and move beyond my local body sense of self into an open energetic spatial feld. So practicing, opening, and communing and interacting with a feld that is much larger than a location called New York City. So also meditation. Meditation for me means dropping, in a transcendental way, into conscious present time and being there, and just staying there not doing anything. Not thinking anything. Not processing any thought fow. Staying out of the processing of linear thought fow, staying out of the act of processing a local personal history identity, and being empty. Meditation is staying empty, staying out of local time, space, and mind. That’s how I stay centered in New York. Centered means being in my center. The center for me is not my body. The center for me is source, the self that holds me as an eternal being. So my center is spirit. Some of us refer to this as spirit or as God or as vol. 003 creative intelligence or as soul or as origin or as source, but when I am in it I no longer need to have a name for it. -
Bangor University to Cut £5M
Bangor Remembrance 2018 100 Years On - Bangor Remembers The Fallen FREE Page AU Match 9 Reports Inside AU Focus Fixture: Ultimate Frisbee Page 53 November Issue 2018 Issue No. 273 seren.bangor.ac.uk @SerenBangor Y Bangor University Students’ Union English Language Newspaper Bangor University To Cut £5m VICE-CHANCELLOR EXCLUSIVE INTERVIEW “Protect the student experience at all costs,” says Vice-Chancellor John G. Hughes FULL by FINNIAN SHARDLOW also mentioned as a reason for these However, Hughes says further cuts unions. Plaid Cymru’s Sian Gwenllian cuts. will need to be made to secure Bangor’s AM expressed “huge concern,” INTERVIEW angor University are aiming to 50 jobs are at risk as compulsory long-term future. maintaining that the university must make savings of £5m. redundancies are not ruled out. “What we’re doing is taking prudent avoid compulsory redundancies. Sta received a letter from Vice- In the letter, seen by Newyddion steps to make sure we don’t get into a In an exclusive interview with Seren, INSIDE BChancellor, John G. Hughes, warning 9, Prof. Hughes said: “Voluntary serious situation.” Hughes said that students should of impending “ nancial challenges” redundancy terms will be considered Hughes added: “ ere was a headline not feel the e ects of cuts, and that facing the institution. in speci c areas, but unfortunately, in e Times about three English instructions have been given to “protect PAGE 4-5 e letter cites the demographic the need for compulsory redundancies universities being close to bankruptcy. the student experience at all costs,” decline in 18-20 year-olds which has cannot be ruled out at this stage.” An important point is that Bangor is especially in “student facing areas.” impacted tuition fee revenues as a is letter comes 18 months a er nowhere near that. -
The Social and Environmental Turn in Late 20Th Century Art
THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J. -
CHARLES E. HEANEY: MEMORY, IMAGINATION, and PLACE Hallie Ford Museum of Art at Willamette University January 22 Through March 19, 2005
CHARLES E. HEANEY: MEMORY, IMAGINATION, AND PLACE Hallie Ford Museum of Art at Willamette University January 22 through March 19, 2005 Teachers Guide This guide is to help teachers prepare students for a field trip to the exhibition, Charles Heaney: Memory, Imagination, and Place; offer ways to lead their own tours; and propose ideas to reinforce the gallery experience and broaden curriculum concepts. Teachers, however, will need to consider the level and needs of their students in adapting these materials and lessons. Preparing for the tour: • If possible, visit the exhibition on your own beforehand. • Using the images (print out sets for students, create a bulletin board, etc.) and information in the teacher packet, create a pre-tour lesson plan for the classroom to support and complement the gallery experience. If you are unable to use images in the classroom, the suggested discussions can be used for the Museum tour. • Create a tour Build on the concepts students have discussed in the classroom Have a specific focus, i.e. the theme Memory, Imagination and Place; subject matter; art elements; etc. Be selective – don’t try to look at or talk about everything in the exhibition. Include a simple task to keep students focused. Plan transitions and closure for the tour. • Make sure students are aware of gallery etiquette. At the Museum: • Review with students what is expected – their task and museum behavior. • Focus on the works of art. Emphasize looking and discovery through visual scanning (a guide is included in this packet). If you are unsure where to begin, a good way to start is by asking, “What is happening in this picture?” Follow with questions that will help students back up their observations: “What do you see that makes you say that?” or “Show us what you have found.” • Balance telling about a work and letting students react to a work. -
The Future of the German-Jewish Past: Memory and the Question of Antisemitism
Purdue University Purdue e-Pubs Purdue University Press Books Purdue University Press Fall 12-15-2020 The Future of the German-Jewish Past: Memory and the Question of Antisemitism Gideon Reuveni University of Sussex Diana University Franklin University of Sussex Follow this and additional works at: https://docs.lib.purdue.edu/purduepress_ebooks Part of the Jewish Studies Commons Recommended Citation Reuveni, Gideon, and Diana Franklin, The Future of the German-Jewish Past: Memory and the Question of Antisemitism. (2021). Purdue University Press. (Knowledge Unlatched Open Access Edition.) This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. THE FUTURE OF THE GERMAN-JEWISH PAST THE FUTURE OF THE GERMAN-JEWISH PAST Memory and the Question of Antisemitism Edited by IDEON EUVENI AND G R DIANA FRANKLIN PURDUE UNIVERSITY PRESS | WEST LAFAYETTE, INDIANA Copyright 2021 by Purdue University. Printed in the United States of America. Cataloging-in-Publication data is on file at the Library of Congress. Paperback ISBN: 978-1-55753-711-9 An electronic version of this book is freely available, thanks to the support of librar- ies working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books Open Access for the public good. The Open Access ISBN for this book is 978-1-61249-703-7. Cover artwork: Painting by Arnold Daghani from What a Nice World, vol. 1, 185. The work is held in the University of Sussex Special Collections at The Keep, Arnold Daghani Collection, SxMs113/2/90. -
Artist's Proposal
Gabbert Artist’s Proposal 14th Street Roundabout Page 434 of 1673 Gabbert Sarasota Roundabout 41&14th James Gabbert Sculptor Ladies and Gentlemen, Thank you for this opportunity. For your consideration I propose a work tentatively titled “Flame”. I believe it to be simple-yet- compelling, symbolic, and appropriate to this setting. Dimensions will be 20 feet high by 14.5 feet wide by 14.5 feet deep. It sits on a 3.5 feet high by 9 feet in diameter base. (not accurately dimensioned in the 3D graphics) The composition. The design has substance, and yet, there is practically no impediment to drivers’ visibility. After review of the design by a structural engineer the flame flicks may need to be pierced with openings to meet the 150 mph wind velocity requirement. I see no problem in adjusting the design to accommodate any change like this. Fire can represent our passions, zeal, creativity, and motivation. The “flame” can suggest the light held by the Statue of Liberty, the fire from Prometheus, the spirit of the city, and the hearth-fire of 612.207.8895 | jgsculpture.webs.com | [email protected] 14th Street Roundabout Page 435 of 1673 Gabbert Sarasota Roundabout 41&14th James Gabbert Sculptor home. It would be lit at night with a soft glow from within. A flame creates a sense of place because everyone is drawn to a fire. A flame sheds light and warmth. Reference my “Hopes and Dreams” in my work example to get a sense of what this would look like. The four circles suggest unity and wholeness, or, the circle of life, or, the earth/universe. -
Oregon's Percent for Art Program
connections | percent for art | september Oregon’s Percent for Art Program: A Public Legacy Contents Oregon’s Commitment to Art in Public Spaces 2 Process and Impact of the State Art Collection 3 Art Melds with Engineering at Portland State University 4 2 0 0 6 A Timeless Mosaic at SOU’s Hannon Library 5 A Landmark Sculpture for the State of Oregon 6 Developing Public Art in Oregon’s Smaller Communities 7 Artist Profile: Henk Pander 8 photo: bruce forster Introduction Oregon Realizes its Commitment to Art in Public Spaces Living up to its pioneering reputation, Oregon was one of the first states in the nation to pass “I can never assume that I am in the studio Percent for Art legislation. Enacted in 1975, the state statute guides the acquisition of Oregon’s State Art alone. For I am in a partnership as I work. I am Collection, which includes more than 2,500 original art a partner with the site and the community. I am works. From Astoria to Agness, Baker City to Milton- Freewater, Bend to Klamath Falls, state buildings a partner with the city and its bureaus, with its and public spaces host permanent reminders of the citizens and with the future of place. And my breadth, variety and aesthetics of our history, environ- ment, people, and changing concerns. goal in these partnerships is to create a work How the Percent for Art Program Developed which will provide a personal experience within the public setting, and keep on ticking.” The Percent for Art statute (ors 276.075) sets aside “not less than 1% of the direct construction funds of – Tad Savinar new or remodeled state buildings with construction Artist, Portland budgets of $100,000 or greater for the acquisition of art work which may be an integral part of the building, attached thereto, or capable of display in other State Buildings.” • A commitment to helping artists attain public Since its inception, the Percent for Art program has recognition and visibility through Percent for Art maintained: opportunities. -
The Politics of Urban Cultural Policy Global
THE POLITICS OF URBAN CULTURAL POLICY GLOBAL PERSPECTIVES Carl Grodach and Daniel Silver 2012 CONTENTS List of Figures and Tables iv Contributors v Acknowledgements viii INTRODUCTION Urbanizing Cultural Policy 1 Carl Grodach and Daniel Silver Part I URBAN CULTURAL POLICY AS AN OBJECT OF GOVERNANCE 20 1. A Different Class: Politics and Culture in London 21 Kate Oakley 2. Chicago from the Political Machine to the Entertainment Machine 42 Terry Nichols Clark and Daniel Silver 3. Brecht in Bogotá: How Cultural Policy Transformed a Clientist Political Culture 66 Eleonora Pasotti 4. Notes of Discord: Urban Cultural Policy in the Confrontational City 86 Arie Romein and Jan Jacob Trip 5. Cultural Policy and the State of Urban Development in the Capital of South Korea 111 Jong Youl Lee and Chad Anderson Part II REWRITING THE CREATIVE CITY SCRIPT 130 6. Creativity and Urban Regeneration: The Role of La Tohu and the Cirque du Soleil in the Saint-Michel Neighborhood in Montreal 131 Deborah Leslie and Norma Rantisi 7. City Image and the Politics of Music Policy in the “Live Music Capital of the World” 156 Carl Grodach ii 8. “To Have and to Need”: Reorganizing Cultural Policy as Panacea for 176 Berlin’s Urban and Economic Woes Doreen Jakob 9. Urban Cultural Policy, City Size, and Proximity 195 Chris Gibson and Gordon Waitt Part III THE IMPLICATIONS OF URBAN CULTURAL POLICY AGENDAS FOR CREATIVE PRODUCTION 221 10. The New Cultural Economy and its Discontents: Governance Innovation and Policy Disjuncture in Vancouver 222 Tom Hutton and Catherine Murray 11. Creating Urban Spaces for Culture, Heritage, and the Arts in Singapore: Balancing Policy-Led Development and Organic Growth 245 Lily Kong 12. -
Art As Communication: Y the Impact of Art As a Catalyst for Social Change Cm
capa e contra capa.pdf 1 03/06/2019 10:57:34 POLYTECHNIC INSTITUTE OF LISBON . PORTUGAL C M ART AS COMMUNICATION: Y THE IMPACT OF ART AS A CATALYST FOR SOCIAL CHANGE CM MY CY CMY K Fifteenth International Conference on The Arts in Society Against the Grain: Arts and the Crisis of Democracy NUI Galway Galway, Ireland 24–26 June 2020 Call for Papers We invite proposals for paper presentations, workshops/interactive sessions, posters/exhibits, colloquia, creative practice showcases, virtual posters, or virtual lightning talks. Returning Member Registration We are pleased to oer a Returning Member Registration Discount to delegates who have attended The Arts in Society Conference in the past. Returning research network members receive a discount o the full conference registration rate. ArtsInSociety.com/2020-Conference Conference Partner Fourteenth International Conference on The Arts in Society “Art as Communication: The Impact of Art as a Catalyst for Social Change” 19–21 June 2019 | Polytechnic Institute of Lisbon | Lisbon, Portugal www.artsinsociety.com www.facebook.com/ArtsInSociety @artsinsociety | #ICAIS19 Fourteenth International Conference on the Arts in Society www.artsinsociety.com First published in 2019 in Champaign, Illinois, USA by Common Ground Research Networks, NFP www.cgnetworks.org © 2019 Common Ground Research Networks All rights reserved. Apart from fair dealing for the purpose of study, research, criticism or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please visit the CGScholar Knowledge Base (https://cgscholar.com/cg_support/en). -
Donald Heald Rare Books a Selection of Fine Books and Manuscripts
Donald Heald Rare Books A Selection of Fine Books and Manuscripts Donald Heald Rare Books A Selection of Fine Books and Manuscripts Donald Heald Rare Books 124 East 74 Street New York, New York 10021 T: 212 · 744 · 3505 F: 212 · 628 · 7847 [email protected] www.donaldheald.com Americana: Items 1 - 27 Travel: Items 28 - 50 Color Plate & Illustrated: Items 51 - 71 Natural History: Items 72 - 95 Miscellany: Items 96 - 100 All purchases are subject to availability. All items are guaranteed as described. Any purchase may be returned for a full refund within ten working days as long as it is returned in the same condition and is packed and shipped correctly. The appropriate sales tax will be added for New York State residents. Payment via U.S. check drawn on a U.S. bank made payable to Donald A. Heald, wire transfer, bank draft, Paypal or by Visa, Mastercard, American Express or Discover cards. AMERICANA 1 BLASKOWITZ, Charles (ca. 1743-1823). A Topographical Chart of the Bay of Narraganset in the Province of New England with all the Isles contained therein, among which Rhode Island and Connonicut [sic] have been particularly surveyed ... To which has been added the Several works and batteries raised by the Americans ... London: William Faden, 22 July 1777. Engraved map, dissected into 16 sections at a contemporary date, linen-backing renewed (expert restoration at the corners). Sheet size: 37 x 25 1/8 inches. Rare first edition of Blaskowitz’s famed Revolutionary War map of Narragansett Bay published by Faden. Charles Blaskowitz arrived in America in the early 1760s as a young but evidently skilled surveyor and began work in upstate New York and along the St. -
Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia Michael David Lawson East Tennessee State University
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2019 Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia Michael David Lawson East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Comparative Literature Commons, Cultural History Commons, Disability Studies Commons, European History Commons, European Languages and Societies Commons, Folklore Commons, History of Religion Commons, History of Science, Technology, and Medicine Commons, Medieval History Commons, Medieval Studies Commons, Scandinavian Studies Commons, and the Social and Cultural Anthropology Commons Recommended Citation Lawson, Michael David, "Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia" (2019). Electronic Theses and Dissertations. Paper 3538. https://dc.etsu.edu/etd/3538 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia ————— A thesis presented to the faculty of the Department of History East Tennessee State University ————— In partial fulfillment of the requirements for the degree