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Las Meninas (Group)
Las Meninas (group) Dated 17.8.57. on the back Cannes Oil on canvas 194 x 260 cm Donated by the artist, 1968 MPB 70.433 The work . Chronologically, this work is the first in the series where Picasso produced a personal interpretation of the whole of Velázquez’s work. The same characters as in Velázquez’s work appear here, although, with an aesthetically different form, with variations in certain elements of the composition. On the one hand, the vertical format is substituted for the horizontal. On the other, where in Velázquez's work the figure around whom the entire composition revolves is the Infanta Margarita, in Picasso's work, the Infanta still has an essential role but so does the figure of the painter who, shown in disproportionate size and holding two palettes, takes a major role, reinforcing in this way the idea that the most important thing in the entire creation of art is the artist himself. In this way, moving towards the right of the composition, the form simplifies and the figures to the right contrast with the more elaborate figures of Velázquez and the first 'menina'. Another major variant is the treatment of light and colour. This variation has a direct effect on the painting’s luminosity with the opening of large windows to the right which, in Velázquez’s work, remain closed. The lack of colour contrasts with this luminosity. Blacks and whites dominate the composition, whether on purpose since Picasso had used this resource before or due to the only reference he had being a large photographic blow-up in black and white. -
NEO-Orientalisms UGLY WOMEN and the PARISIAN
NEO-ORIENTALISMs UGLY WOMEN AND THE PARISIAN AVANT-GARDE, 1905 - 1908 By ELIZABETH GAIL KIRK B.F.A., University of Manitoba, 1982 B.A., University of Manitoba, 1983 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE FACULTY OF GRADUATE STUDIES (Department of Fine Arts) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA . October 1988 <£> Elizabeth Gail Kirk, 1988 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Fine Arts The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date October, 1988 DE-6(3/81) ABSTRACT The Neo-Orientalism of Matisse's The Blue Nude (Souvenir of Biskra), and Picasso's Les Demoiselles d'Avignon, both of 1907, exists in the similarity of the extreme distortion of the female form and defines the different meanings attached to these "ugly" women relative to distinctive notions of erotic and exotic imagery. To understand Neo-Orientalism, that is, 19th century Orientalist concepts which were filtered through Primitivism in the 20th century, the racial, sexual and class antagonisms of the period, which not only influenced attitudes towards erotic and exotic imagery, but also defined and categorized humanity, must be considered in their historical context. -
UC Irvine Electronic Theses and Dissertations
UC Irvine UC Irvine Electronic Theses and Dissertations Title Surrealism: a Marxist Enterprise in 1930s London Permalink https://escholarship.org/uc/item/6vk769zn Author Obarski, Susan King Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE Surrealism: a Marxist Enterprise in 1930s LonDon DISSERTATION submitteD in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Visual Studies by Susan King Obarski Dissertation Committee: Professor James D. Herbert, Chair Professor Cécile Whiting Associate Professor Catherine L. Benamou 2014 © 2014 Susan King Obarski DEDICATION To my parents Joan anD Jim King, and my Daughter Katie Obarski, for their love and unconditional support. ii TABLE OF CONTENTS Page LIST OF FIGURES v ACKNOWLEDGMENTS xi CURRICULUM VITAE xii ABSTRACT OF THE DISSERTATION xiv INTRODUCTION 1 CHAPTER 1: Establishing the Revolutionary Aims of British Surrealism 11 Extending Unit One 15 Aligning with Breton and Local British Traditions 18 Part of a Growing British Left 21 The International Surrealist Exhibition 31 Postmortem anD Response to the Press 46 Standing with anD Against English Culture 48 Conclusions 56 CHAPTER 2: Eileen Agar anD the Compromises of Pursuing A Free Revolutionary Art 65 Surrealism ConceiveD Upmarket 72 Autobiography of an Embryo 76 Angel of Anarchy 93 Agar as ProDucer 97 Cultural Production as a Political Cause 106 Conclusions 113 CHAPTER 3: Speaking to the Masses with Surrealist Film 125 Contributions to the British Surrealist Group 136 Presenting the Social by Experimental Means 144 Evolving Labor and Technology in The Birth of the Robot 154 MoDern Workers in Spare Time 161 Conclusions 174 CHAPTER 4: Exhibiting Picasso’s Guernica: Melding Marxist ideology and Capitalist Enterprise to Oppose Fascism 185 Spain as a Defining Surrealist Issue 189 Unity and Conflict in the A.I.A. -
3"T *T CONVERSATIONS with the MASTER: PICASSO's DIALOGUES
3"t *t #8t CONVERSATIONS WITH THE MASTER: PICASSO'S DIALOGUES WITH VELAZQUEZ THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Joan C. McKinzey, B.F.A., M.F.A. Denton, Texas August 1997 N VM*B McKinzey, Joan C., Conversations with the master: Picasso's dialogues with Velazquez. Master of Arts (Art History), August 1997,177 pp., 112 illustrations, 63 titles. This thesis investigates the significance of Pablo Picasso's lifelong appropriation of formal elements from paintings by Diego Velazquez. Selected paintings and drawings by Picasso are examined and shown to refer to works by the seventeenth-century Spanish master. Throughout his career Picasso was influenced by Velazquez, as is demonstrated by analysis of works from the Blue and Rose periods, portraits of his children, wives and mistresses, and the musketeers of his last years. Picasso's masterwork of High Analytical Cubism, Man with a Pipe (Fort Worth, Texas, Kimbell Art Museum), is shown to contain references to Velazquez's masterpiece Las Meninas (Madrid, Prado). 3"t *t #8t CONVERSATIONS WITH THE MASTER: PICASSO'S DIALOGUES WITH VELAZQUEZ THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Joan C. McKinzey, B.F.A., M.F.A. Denton, Texas August 1997 ACKNOWLEDGMENTS The author would like to acknowledge Kurt Bakken for his artist's eye and for his kind permission to develop his original insight into a thesis. -
The Student Newspaper of North Carolina State University Since 1920
THE STUDENT NEWSPAPER OF NORTH CAROLINA STATE UNIVERSITY SINCE 1920 w WEDNESDAY MARCH 2005 technicianonline.com ” ’ ‘"“"“"““"§.1‘;;;i;i bitHCQrBfifiQ Homecoming committee begins work First meeting discusses The Pack Howl subcommit- Pack Howl entertainment tee was the largest ofthe night, and Williams believes the size choices will result in a greater array of opinions. ' Iosh Harrell “I think a lot of the people StaffWriter interested in this event are in it for the band, it is arguably Homecoming chair Amanda the biggest event ofthe week,” Lilley and the rest of the sub— Williams said. “But there are so committee chairs said they many other things thatwe have were hoping for a good turn to take care of, such as the pep out Tuesday night. rally, getting prizes donated They got it. for the raffle and other kinds About 50 people, both old of performances that go on and new members, turned out during the week.” JEFF REEVES/TECHNIQAN at the Alumni Building to let The committee also feels Football players Marcus Stone and Brian Clarkjoust in the Brickyard Tuesday. Service Raleigh set up thejousting platform to promote their their voices be heard for next that a balance must be struck service project which takes place on April 2. Service Raleigh is an organization supported by Parks Scholars and Student Government. year’s Homecoming, sched- between pleasing students and uled for the week of Oct. 23— alumni alike. 29, capped off by the football “We’re really trying to con- game against the Golden Eagles centrate on more mainstream of Southern Mississippi. -
Hyperobjects for Artists
Hyperobjects for Artists A reader, edited by Timothy Morton and Laura Copelin with Peyton Gardner Table of Contents: 01 Timothy Morton 02 Brenda Hillman * 03 Ester Partegas 04 Kim Stanley Robinson 05 Heather Davis 06 TVGOV 07 Joan Naviyuk Kane * 08 Charles Mary Kubricht 09 Marc von Schlegell 10 Olafur Eliason * 11 Ester Partegas 12 Candice Lin 13 Joan Naviyuk Kane 14 Beatriz Cortez * 15 Ester Partegas 16 Lynn Xu 17 Jennifer Walshe 18 Timothy Donnelley 19 Ursula K. Le Guin 20 Kathelin Gray Contributors Acknowledgements Sources and Copyright *Artworks Chapter One Timothy Morton Hyperobjects and Creativity A hyperobject is a name I invented for something that is so vastly distributed in time and space, relative to the observer, that we might not think it’s even an object at all. It’s good to have a word for things that are now only too thinkable, if not totally visible—global warming, radiation, the biosphere… Words enable you to think. Stabilizing all kinds of intense and novel feelings and sensations in a word allows for a release of (creative) energy, because you don’t have to keep on figuring the basic coordinates out—you have a word, which means things are capable of being figured out, seen… This doesn’t make everything all right, of course, but it does mean that the way you undergo the gigantic things that structure your life, from hurricanes to the mass mobilization algorithms we call social media (a phrase that begins to sound like “military intelligence”), doesn’t take up all your spare psychic processing power. -
Cowboy Chronicle August 2015 Page 1
Cowboy Chronicle August 2015 Page 1 VISIT US AT SASSNET .COM Cowboy Chronicle Page 2 August 2015 The Cowboy Chronicle CONTENTS 5 SASS CONVENTION ((( SIGN-U P TODA Y!! ! ))) Editorial Staff 6 FROM THE EDITOR Skinny Skinny’s Soapbox . We Will Miss Slipnoose . Editor-in-Chief 8-11 COVER FEATURE Misty Moonshine Texas Senior Games 2015 . 12-15 NEWS Managing Editor Hall of Fame Thirteenth SASS Convention 2015 . Tex and Cat Ballou 16-29 ON THE RANGE Editors Emeritus Thunder In Paradise . Mississippi Fandango . 30-35 CLUB REPORTS Adobe Illustrator A Pair Of Jewels . Pine Mountain Posse Match . Layout & Design 36 THE WILD BUNCH CORNER Wild Bunch New Hampshire . Mac Daddy 38-45 GUNS & GEAR Graphic Design Dispatches From Camp Baylor . Square Deal Jim 46-50 HISTORY Advertising Manager The Sultana Disaster . Little Known Famous People . (703) 764-5949 • Cell: (703) 728-0404 51 REVIEWS BOOKS [email protected] Fighting For Air (Young Doc Holliday) . 54-57 PROFILES Staff Writers 2015 Scholarship Recipients . Big Dave, Capgun Kid 58-67 ARTICLES Capt. George Baylor One Pot Chuck . Comic Book Corner . Col. Richard Dodge 68 ARTICLES TM Jesse Wolf Hardin, Joe Fasthorse Cowboy Action Shooting (Shooting The Stage) . Larsen E. Pettifogger, Palaver Pete 70-73 STRAIGHT SHOT Tennessee Tall and Rio Drifter Wyatt Earp (pt. I) The Fighting Pimp . Texas Flower 74 GENERAL STORE /CLASSIFIEDS Whooper Crane and the Missus The Cowboy Chronicle 76, 77 SASS MERCANTILE is published by Nice Collectibles . The Wild Bunch, Board of Directors of SASS NEW MEMBERS The Single -
PICASSO 25 Y Ears of Editi on Ceramics from the Rosenbaum Collection
PICASSO 25 YeArS Of edITI On CerAmICS frOm The rOSenbAum COlleCTIOn Carnegie Arts Center Turlock, CA September 15, 2013 - January 15, 2014 PICASS O 25 YeArS Of edItIOn CerAmICS elcome to the Carnegie Arts Center. We are pleased Wto present Picasso: 25 Years of Edition Ceramics from the Rosenbaum Collection. The exhibition includes 46 ceramic works created by Pablo Picasso in collaboration with Georges and Suzanne ramie and the artisans at their madoura pottery in Vallauris, france, between 1947 and 1971. Internationally famed for his paintings, sculptures, and graphics, Pablo Picasso (1881-1973) was long intrigued by ceramics. After seeing the works of the madoura potters at a crafts fair in 1946, he asked Georges and Suzanne ramie, owners of the studio, to provide him with the opportunity to work with Picasso and madame ramie examine a plate which has ceramics. The workshop arrangement they established--where just come from an oven at the madoura Pottery. an artist is paired with highly trained assistants to produce finished works--was a familiar one to Picasso who had similar experiences working in printmaking and sculpture workshops. for the next 25 years, he closely collaborated with madoura pottery, producing his own thrown pieces as well as the edition ceramics seen in this ex hibit. The madoura Pottery, Vallauris, france, 1947. Picasso and the madoura studio ultimately produced 633 different plates, bowls, vases and pitchers in limited editions ranging from 25 to 500. Picasso's involvement in producing the objects varied. he sometimes made the clay molds used for the designs, at other times he painted plates or pitchers that subsequently served as models for the editions. -
Jaime Gil De Biedma
·_IF ·-~ ------=::=--- --- ·---..c---- " A Jou rnal of International Litefature and "the Arts _,£. ~- r Painting by Jose Hernandez Munoz MUNDUS ARTIUM A Journal of International Literature and the Arts Spring 1969, Volume 11, Number 2 Department of English Ohio University Athens, Ohio USA. 1 THE IMMORTAL Photography by Lois Siegel MUNDUS ARTIUM STAFF Editor-in-Chief, Rainer Schulte Associate Editor, Roma A. King, Jr, Assistant to the Editors, Thomas J. Hoeksema ADVISORY BOARD Glauco Cambon Jack Morrison Wallace Fowlie Morse Peckham Otto Graf Joachim von Rintelen Walter Hollerer Austin Warren Mundus Artium is a journal of international literature and the arts, published three times a year by the Department of English, Ohio University. Annual subscription $4.00; single copies $1.50 for United States, Canada, and Mexico. All other countries: $4.50 a year, and $1.75 for single copies, obtainable by writing to The Editors, Mundus Artium, Department of English, Ellis Hall, Box 89, Ohio University, Athens, Ohio, U.S.A. 45701. Checks drawn on European accounts should be made payable to Kreissparkasse Simmern, 654 Simmern/Hunsriick, Germany, Konto Nr. 6047. Montreal distributor: Mansfield Book Mart, 2065 Mansfield St., Montreal, P.Q., Canada. Manuscripts should be sent to the editors and should be accompanied by a self-addressed envelope with the appropriate return postage. Mundus Artium will consider for publication poetry, fiction, short drama, essays on literature and the arts, photography, and photographic reproductions of paintings and sculpture. It will include a limited number of book reviews. Copyright, 1969. Rainer Schulte and Roma A. King, Jr. Design by Don F. -
Ballast Quarterly Review, V16n4, Summer 2001
University of Northern Iowa UNI ScholarWorks Ballast Quarterly Review Summer 2001 Ballast Quarterly Review, v16n4, Summer 2001 Roy R. Behrens University of Northern Iowa, [email protected] Let us know how access to this document benefits ouy Copyright ©2001 Roy R. Behrens Follow this and additional works at: https://scholarworks.uni.edu/ballast Part of the Arts and Humanities Commons Recommended Citation Behrens, Roy R., "Ballast Quarterly Review, v16n4, Summer 2001" (2001). Ballast Quarterly Review. 63. https://scholarworks.uni.edu/ballast/63 This Periodical is brought to you for free and open access by UNI ScholarWorks. It has been accepted for inclusion in Ballast Quarterly Review by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. ' ' ~ · ·\ El B A A T Q U A R Ballast Quarterly Review Volume 16 Number 4 Summer 200 I. Copyright © 200 I by Roy R. Behrens, editor, publisher and art director. ISSN I 093-5789. E-mail <[email protected]>. FINLEY Ballast is an acronym for Books Art Language PETER Logic Ambiguity Science and Teaching, as well DUNNE as a distant allusion to Blast, the short-lived "Tommy," says I, publication founded during World War I by "spell cat," I Wyndham Lewis, the Vorticist artist and says. "Go to th' writer. Ballast is mainly a pastiche of astonish divvie," says the ing passages from books, magazines, diaries cheerub. "Very and other writings. Put differently, it is a jour smartly answer nal devoted to wit. the contents of which are ed," says Mary intended to be insightful, amusing or thought Ellen . -
Art and Social Change a Critical Reader
ART AND SOCIAL CHANGE A CRITICAL READER EDITED BY WILL BRADLEY AND CHARLES ESCHE TATE PUBLISHING IN ASSOCIATION WITH AFTERALL First published 2007 by order of the Tate Trustees by Tate Publishing, a division of Tate Enterprises Ltd Millbank, London sw1p 4rg www.tate.org.uk/publishing In association with Afterall Central Saint Martins College of Art & Design, University of the Arts London 107–109 Charing Cross Road London wc2h 0du Copyright © Tate, Afterall 2007 Individual contributions © the authors 2007 unless otherwise specified Artworks © the artists or their estates unless otherwise specified All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 978-1-85437-626-8 Distributed in the United States and Canada by Harry N. Abrams Inc., New York Library of Congress Cataloging in Publication Data Library of Congress Control Number: 2007934790 Designed by Kaisa Lassinaro, Sara De Bondt Printed by Graphicom SPA, Italy CONTENTS 99 Deutschland Deutschland Über Alles Kurt Tucholsky and John Heartfield Preface [7] Charles Esche 104 Bauhaus no.3, The Students Voice Kostufra Introduction [9] Will Bradley 106 The Fall of Hannes Meyer Kostufra Colour plates [25] 108 Letter, August 1936 PART I – 1871 Felicia Browne 36 Letters, October 1870–April 1871 110 We Ask Your Attention Gustave Courbet British Surrealist Group 29 October 1870 18 March 1871 115 Vision in Motion 7 April 1871 László Moholy-Nagy 30 April 1871 PART III – 1968 40 Socialism from the Root Up William Morris and E. -
“The List” -- Prime-Time Television Shows Niceole Has Watched. (Rules
“The List” -- Prime-time television shows Niceole has watched. (Rules: watched at least one full episode of a drama, comedy, or reality show, including reruns that aired in syndication.) 1. 1st & 10 2. The 100 3. 12 Monkeys 4. 2 Broke Girls 5. 20/20 6. 21 Jump Street 7. 227 8. 24 9. 240-Robert 10. 30 Rock 11. 3rd Rock from the Sun 12. The 4400 13. 48 Hours/48 Hours Mystery 14. 666 Park Avenue 15. 60 Minutes 16. 7th Heaven 17. 8 Simple Rules 18. 9 to 5 19. 90210 (new) 20. A to Z 21. A Gifted Man 22. A Year in the Life 23. A-Team 24. About a Boy 25. Absolutely Fabulous 26. According to Jim 27. Adam-12 28. The Addams Family 29. Adventures of Brisco County Jr. 30. Adventures of Ozzie and Harriet 31. The Affair 32. The After 33. Agent Carter 34. Agent X 35. Agents of S.H.I.E.L.D. 36. Airwolf 37. Alcatraz 38. Alf 39. Alfred Hitchcock Presents 40. Alice 41. All American Girl 42. All in the Family 43. Allegiance 44. Ally McBeal 45. Almost Human 46. Almost Perfect 47. The Amazing Race 48. Amazing Stories 49. Amen 50. American Crime 51. American Crime Story: People vs. OJ Simpson 52. American Dad 53. American Horror Story 54. American Inventor 55. American Odyssey 56. The Americans 57. America's Funniest Home Videos 58. America’s Got Talent 59. America's Most Wanted 60. America's Next Top Model 61. The Andy Griffith Show 62. Angie 63.