Thomas Chimes
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Journalistic Networks and the Diffusion of Local News: the Brief, Happy News Life of the “Francisville Four”
This is a repository copy of Journalistic Networks and the Diffusion of Local News: The Brief, Happy News Life of the “Francisville Four”. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/127472/ Version: Accepted Version Article: Anderson, CW orcid.org/0000-0002-3893-8411 (2010) Journalistic Networks and the Diffusion of Local News: The Brief, Happy News Life of the “Francisville Four”. Political Communication, 27 (3). pp. 289-309. ISSN 1058-4609 https://doi.org/10.1080/10584609.2010.496710 © Taylor & Francis Group, LLC. This is an Accepted Manuscript of an article published by Taylor & Francis in Political Communication on 06 Aug 2010, available online: https://doi.org/10.1080/10584609.2010.496710 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 “The Role Played by Journalistic Networks in the Construction of “Public” Issues: The Brief, Happy News Life of the ‘Francisville Four,” Chris Anderson Revise and Resubmit at Political Communication 2 “Common Knowledge” About the Blogger-Journalist Relationship The last eight years have seen the analysis of the relationship between “blogging” and “journalism” emerge as an academic growth industry. -
Irving Sandler
FROM THE ARCHIVES: HANS HOFMANN: THE PEDAGOGICAL MASTER By Irving Sandler May 30, 1973 Irving Sandler died on June 2, 2018 at the age of 92. A frequent contributor to A.i.A., Sandler was best known for chronicling the rise and the aftermath of Abstract Expressionism. One of his most significant articles for A.i.A., the impact of Hans Hofmann, who taught such artists as Helen Frankenthaler and Allan Kaprow, thereby influencing not only second- and third-generation Ab Ex painters but other developments in American art after 1945. Sandler highlights Hofmann’s interest in the deep traditions of European art, and his belief that the best abstract painting continues its manner of modeling the world. “It was in this cubic quality, this illusion of mass and space, that the man-centered humanist tradition—or what could be saved of it—was perpetuated,” Sandler wrote, summarizing a central tenet of Hofmann’s teachings. The full essay, from our May/June 1973 issue, is presented below. In June we re-published Sandler’s essay “The New Cool-Art,” on the rise of Minimalism. —Eds. As both a painter and a teacher Hans Hofmann played a germinal part in the development of advanced American art for more than thirty years. This article will deal only with his pedagogical role—a topic chosen with some trepidation, for to treat an artist as a teacher is often thought to demean his stature as an artist. The repute of Hofmann’s painting has suffered in the past because of this bias, but no longer, since he is now firmly and deservedly established as a pathfinding master of Abstract Expressionism. -
SARAH Mceneaney
SARAH McENEANEY Born in Munich, Germany, 1955 Lives and works in Philadelphia, PA Education 1979 Pennsylvania Academy of the Fine Arts, Philadelphia, PA 1973–75 University of the Arts, Philadelphia, PA Selected Solo and Two-Person Exhibitions 2018 #Wehavenopresident, Leroy Johnson and Sarah McEneaney, Marginal Utility, Philadelphia, PA 2017 Home Work, Sarah McEneaney/Ann Toebbe, Zevitas Marcus, Los Angeles, CA Tibor de Nagy Gallery, New York, NY 2016 When You Wish, Locks Gallery, Philadelphia, PA Out West Back East, Adams/Ollman, Portland, OR 2014 Tibor de Nagy Gallery, New York, NY 2013 Trestletown, Locks Gallery, Philadelphia, PA 2012 Tibor de Nagy Gallery, New York, NY 2009 Locker Plant, Chinati Foundation, Marfa, TX Tibor de Nagy Gallery, New York, NY 2008 Locks Gallery, Philadelphia, PA Mills College Art Museum, Oakland CA Tibor de Nagy Gallery, New York, NY 2004 Gallery Schlesinger, New York, NY Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA Reynolds Gallery, Richmond, VA 2002 Gallery Schlesinger, New York, NY 2001 More Gallery Inc., Philadelphia, PA 2000 List Gallery, Swarthmore College, Swarthmore, PA 1997 More Gallery Inc., Philadelphia, PA 1990 Morris Gallery, Pennsylvania Academy of the Fine Arts, Philadelphia, PA 1987 More Gallery Inc., Philadelphia, PA 1984 Noel Butcher Gallery, Philadelphia, PA 1982 Third Street Gallery, Philadelphia, PA Rosemont College, Rosemont, PA 1979 Third Street Gallery, Philadelphia, PA Selected Group Exhibitions 2019 LandEscape: New Visions of the Landscape from the -
Press Release Al Held
PRESS RELEASE AL HELD Black and White Paintings 1967–1969 Opens Thursday February 18 from 6-8 pm Exhibition continues through March 26, 2016 Cheim & Read is pleased to present eight monumental black and white paintings, dating from 1967 to 1969, Al Held (1928–2005). An exhibition of Held’s “Alphabet Paintings,” made between 1961 and 1967, was exhibited at the gallery in 2013. This exhibition focuses on the unique series of paintings Held began in 1967, in which various geometric forms, arranged in multiple perspectives, are rendered within the strict confines of a black-and-white palette. Perhaps inspired by the India ink drawings of lines, circles, triangles, and squares that he made in 1966, Held had already begun moving away from the flat, boldly-colored shapes of his earlier work. Using charcoal and white acrylic directly on canvas, he started sketching multi-dimensional, interlocking configurations, surrounding them with colored ground. In late 1967, this B/W V 1967-68 acrylic on canvas experimentation yielded to an increasingly graphic, complex, and illusory 114 x 114 in 289.6 x 289.6 cm space. While compositions were still worked out on the canvas, often in several iterations, Held’s soft-edged charcoal was replaced by the sharply defined contours of uniformly painted forms, their thick black outlines positioned against a stark white field. The paintings featured in this exhibition encompass the initial phase of this new body of work. The “B/W series” is comprised of Held’s first fully realized canvases in his new style and limited palette, while works from the “Phoenicia” series are more explicit in their development of multiple perspectives and vanishing points, resulting in evermore ambiguous spatial relationships. -
Press Release
FOR IMMEDIATE RELEASE CONTACT : LOCKS GALLERY 215.629.1000 / 215.629.3868 fax [email protected] Thomas Chimes On Alfred Jarry June 18–July 16, 2010 Gallery Hours: Tuesda y–Saturday, 10a m–6pm Summer Hours (July-August): Monday –Friday, 10a m–6pm Concerning Bosse de nage cynocephalus, 1990, oil on wood, 36 x 39 7/8 inches June 2010, Philadelphia, PA – Locks Gallery is pleased to present an exhibition of paint - ings by Thomas Chimes. Thomas Chimes: On Alfred Jarry, will be on view at Locks Gallery from June 18 through July 16th, 2010. Alfred Jarry, the French poet and playwright, and originator of Pere Ubu was a frequent subject of Thomas Chimes’s paintings. Having discovered Jarry in the early 60s and sketched drawings of Ubu in 1966, Chimes’ first painted image of Alfred Jarry dates to 1973. This presentation of Chimes’ work focuses on both Jarry’s image and his writing as a subject for Chimes and includes paintings created between 1976 and 2002. As Michael Taylor noted in his 2007 retrospective of Chimes, of all his artistic forebears and influences, Jarry was the foremost, and Chimes continued to draw inspiration from his writing up through his last works. On view are several paintings from the 80s - profile views of Jarry, a series of “white por - traits” that became among the artist’s best known works; several of these paintings are borrowed from private collections for this display. With a career spanning over five decades, the work of Thomas Chimes is in the collec - tions of such museums as the Allentown Art Museum, Centre Pompidou National (over) 600 Washington Square South Philadelphia PA 19106 tel 215.629.1000 fax 215.629.3868 [email protected] www.locksgallery.com Museum of Modern Art, Paris, Corcoran Museum of Art, Delaware Art Museum, Museum of Contemporary Art, Los Angeles, Museum of Modern Art, National Gallery of Art, Washington, D.C., Pennsylvania Academy of the Fine Arts, Philadelphia Museum of Art, Phoenix Art Museum, Portland Art Museum, Smithsonian American Art Museum, Wadsworth Atheneum Art Museum and Yale University Art Gallery. -
Sarah Mceneaney
Sarah McEneaney Born Munich, Germany, 1955 Education 1979 Certificate, Pennsylvania Academy of the Fine Arts, Philadelphia, PA 1973-75 University of the Arts (formerly Philadelphia College of Art), Philadelphia, PA Selected Solo and Two-Person Exhibitions: 2017 Sarah McEneaney/Ann Toebbe, Home Work , Zevitas Marcus , Los Angeles, CA Tibor de Nagy, New York, also 2014, 2012, 2009, 2008,2006 2016 Adams/Ollman, Portland, Oregon Locks Gallery, Philadelphia, also 2013 and 2008 2014 The Art Show/ ADAA , Tibor de Nagy Gallery 2009 Locker Plant, Chinati Foundation, Marfa, Texas 2008 Mills College Art Museum, Oakland CA 2004 Gallery Schlesinger, New York; also 2003, 2002, 2001 Institute of Contemporary Art, University of Pennsylvania, Philadelphia (catalog) Reynolds Gallery, Richmond, VA 2001 More Gallery, Philadelphia, also 2000, 1997, 1996, 1994, 1993, 1992, 1988, 1987 2000 List Gallery, Swarthmore College, Swarthmore, PA 1990 Morris Gallery, Pennsylvania Academy of the Fine Arts, Philadelphia 1984 Noel Butcher Gallery, Philadelphia 1982 Third Street Gallery, Philadelphia, also 1981, 1979 Rosemont College, Rosemont, PA Selected Group Exhibitions: 2017 Stories Told, Inman Gallery, Houston TX The Woodmere Annual, Woodmere Art Museum, Philadelphia Mirror Face, Cleve Carney Art Gallery, College of DuPage, Glen Ellyn , IL A More Perfect Union, Woodmere Art Museum, Philadelphia 2016 #PUSSYPOWER!, David and Schweitzer, Brooklyn NY Philadelphia Painters, Marlin and Regina Miller Gallery, Kutztown University, Kutztown, PA Happiness, Liberty, Life? American Art and Politics, Pennsylvania Academy of the Fine Arts,Phila. 2015 The Holiday Show, Locks Gallery, Philadelphia More Than One: Print Publications from The Print Center, City Hall, Philadelphia Pressure Points: 27 Artists in Print, Savery Gallery, Philadelphia Explorer in his Wildernis: Woodcuts C.R. -
2016 ANNUAL REPORT Letter from Our President & CEO
2016 ANNUAL REPORT Letter from our President & CEO Art gives us insight into a snapshot in time. It is often a profound and palpable More than ever, the museum uses the arts and culture as a catalyst to drive expression of the artist’s emotion and mindset. It allows us to view the world in a interaction, experimentation and social change throughout our city and region. moment and in a continuum – what led to the creation of each piece, what it meant Its programs, exhibits, and partnerships enlighten, engage, energize and empower at the time and what it means now. people—transforming the community one person and one idea at a time. So, too, can we look at the Allentown Art Museum of the Lehigh Valley. We are a What’s now; what’s new; what’s next? Here’s what we’re doing and how we’re doing reflection of where we’ve been, where we are now and where we strive to go as we it. We hope you’ll continue to be an instrumental part of it and we thank you for all boldly redefine the role of arts and culture in our region. that you have done to make this possible. David Mickenberg As you’ll see in this annual report, we are reimagining the Museum and all it offers The Priscilla Payne Hurd President and CEO to be both a beacon for and reflection of the 21st century. Our past year was filled with self-assessment, exploration, and experimentation: what should our Museum be in our community’s future? Just as importantly, what could it be? This unparalleled opportunity compelled us to develop a new strategic and operational vision, building on a distinguished past and crafting an extraordinary future. -
Pat Steir Was Born in 1940 in Newark, New Jersey. She Studied Art and Philosophy at Boston University and Received Her BFA from the Pratt Institute in 1962
PAT STEIR Pat Steir was born in 1940 in Newark, New Jersey. She studied art and philosophy at Boston University and received her BFA from the Pratt Institute in 1962. She is a founding board member of Printed Matter Inc., New York, and the feminist journal, Heresies. She was also a board member of Semiotext(e). Her work has been the subject of major institutional exhibitions and projects including: the Museum of Art, Rhode Island School of Design, Providence, Rhode Island; Los Angeles County Museum of Art, California; Neuberger Museum of Art, Purchase, New York; Butler Institute of American Art, Youngstown, Ohio; Dallas Museum of Art, Texas; The Baltimore Museum of Art, Maryland; Des Moines Art Center, Iowa; Brooklyn Museum, New York; The Whitney Museum of American Art, New York; MoMA PS1, New York; The Irish Museum of Modern Art, Dublin, Ireland; Centre National d’Art Contemporain de Grenoble, France; Musée d’art Contemporain, Lyon, France; Cabinet des Estampes, Musée d’Art et Histoire, Geneva, Switzerland; Centre d’Art Contemporain, Palais Wilson, Geneva, Switzerland; Kunstmuseum Bern, Switzerland; The Tate Gallery, London; Rijksmuseum, Amsterdam; Gemeentemuseum Den Haag, The Hague, among many others. Steir’s work is held in the permanent collections of the Denver Art Museum, Colorado; Foundation Cartier, Paris; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Louvre, Paris; the Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; The San Francisco Museum of Fine Arts, California; The Solomon R. Guggenheim Museum, New York; Tate Gallery, London; Walker Art Gallery, Minneapolis, MN; and the Whitney Museum of American Art, New York, among other institutions worldwide. -
Reciprocal Museum List
RECIPROCAL MUSEUM LIST DIA members at the Affiliate level and above receive reciprocal member benefits at more than 1,000 museums and cultural institutions in the U.S. and throughout North America, including free admission and member discounts. This list includes organizations affiliated with NARM (North American Reciprocal Museum) and ROAM (Reciprocal Organization of American Museums). Please note, some museums may restrict benefits. Please contact the institution for more information prior to your visit to avoid any confusion. UPDATED: 10/28/2020 DIA Reciprocal Museums updated 10/28/2020 State City Museum AK Anchorage Anchorage Museum at Rasmuson Center AK Haines Sheldon Museum and Cultural Center AK Homer Pratt Museum AK Kodiak Kodiak Historical Society & Baranov Museum AK Palmer Palmer Museum of History and Art AK Valdez Valdez Museum & Historical Archive AL Auburn Jule Collins Smith Museum of Fine Art AL Birmingham Abroms-Engel Institute for the Visual Arts (AEIVA), UAB AL Birmingham Birmingham Civil Rights Institute AL Birmingham Birmingham Museum of Art AL Birmingham Vulcan Park and Museum AL Decatur Carnegie Visual Arts Center AL Huntsville The Huntsville Museum of Art AL Mobile Alabama Contemporary Art Center AL Mobile Mobile Museum of Art AL Montgomery Montgomery Museum of Fine Arts AL Northport Kentuck Museum AL Talladega Jemison Carnegie Heritage Hall Museum and Arts Center AR Bentonville Crystal Bridges Museum of American Art AR El Dorado South Arkansas Arts Center AR Fort Smith Fort Smith Regional Art Museum AR Little Rock -
Gabriel Martinez
GABRIEL MARTINEZ Born 1967, Miami, FL Lives and Works in Philadelphia, PA EDUCATION 2003 Skowhegan School of Painting and Sculpture, Skowhegan, ME 1991 Master of Fine Art, Photography, Tyler School of Art, Temple University, Elkins Park, PA 1989 Bachelor of Fine Arts, Photography, University of Florida, Gainesville, FL SELECTED INDIVIDUAL EXHIBITIONS 2016 Solo Project, Prince St. Project Space, Leslie Lohman Museum of Gay and Lesbian Art, New York, NY [forthcoming] 2015 Bayside Revisited, The Print Center, Philadelphia, PA 2011 Gabriel Martinez, Samsøñ, Boston, MA 2009 Allcott Gallery, University of North Carolina at Chapel Hill, NC 2007 Self-Portraits, Samsøñ, Boston, MA Current Mischief, Sol Mednick Gallery, University of the Arts, Philadelphia, PA 2003 Confidence & Faith, Philadelphia Art Alliance, Philadelphia, PA 2000 Bachelor (Anonymous), Rosenbach Museum and Library, Philadelphia, PA 1998 Dominion over Gentility, Nexus Foundation for Today’s Art, Philadelphia, PA 1995 100% Body Surface, Nexus Foundation for Today‘s Art, Philadelphia, PA 1994 The Amusement Room, Challenge Exhibition, Dene M. Louchheim Galleries, Samuel S. Fleisher Art Memorial, Philadelphia,PA 1993 Vanity, Book Trader Gallery, Philadelphia, PA SELECTED PERFORMANCES 2011 Solo Performance, Vertigo Performance Art Series, Waterloo Center for the Arts, Cedar Falls, IA Blind Justice, Collaborative with Roxana Pérez-Méndez, Socrates Sculpture Park, NY 2009 Salvavida, Collaborative with Roxana Pérez-Méndez, No Soul for Sale- A Festival of Independents, X-Initiative, New -
Resume of Ralph Cipriano Author and Journalist Ralphcipriano.Com
Resume of Ralph Cipriano Author and journalist ralphcipriano.com Ralph Cipriano is a veteran muckraking reporter who has exposed corruption in city and county governments, the Philadelphia D.A.’s office, local police departments, Ivy League Football and the Catholic Church. He’s a former newspaper reporter for the Albany Times Union, Los Angeles Times and Philadelphia Inquirer who now works as an author, blogger, and freelance journalist. Author: Target: The Senator; A Story About Power And Abuse of Power, published November 2017. The rise and fall of the “Vince of Darkness,” former Pennsylvania Senator Vincent J. Fumo, who personified a bare-knuckles, take-no-prisoners style of politics, and reigned for nearly a generation as a power broker. Courtroom Cowboy, The Life of Legal Trailblazer Jim Beasley, published December 2008. The law school at Temple University is named after Beasley, a legendary Philadelphia trial lawyer who, before he went to college on the GI Bill, was a high school dropout driving a Greyhound bus. The Hit Man; A True Story of Murder, Redemption and the Melrose Diner, published in 2012, about the life of John Veasey, a former Mafia hit man who survived three gunshots in the head to become a federally protected witness who brought down the Philly mob. Free-lance writer: Sins of the Fathers; Philly’s Version of Spotlight Saw Pedophile Priests Walk And The Innocent Sent to Prison; Newsweek cover story, Dec. 8, 2017. Catholic Guilt; How four men in a lurid rape case were sent to prison by a lying, scheming altar boy; Newsweek, cover story Jan. -
Mill Creek Farm Annual Report 2008
MILL CREEK FARM ANNUAL REPORT 2008 "Beautiful, visionary work" -Johanna Gilligan A Little Taste of Everything · Mill Creek Farm 3451 Walnut Street · Franklin Building Annex Suite P-117A · Philadelphia, PA 19104-6205 Email: [email protected] · www.millcreekurbanfarm.org Mission A Little Taste of Everything (ALTOE) is a non-profit agency dedicated to increasing access to nutritious, affordable foods and providing food systems education for low- income populations in Philadelphia. ALTOE’s mission is put into action through the Mill Creek Farm (MCF) project, a collectively run urban education farm that utilizes vacant land to improve local access to nutritious foods and to promote sustainable resource use by growing and distributing produce and by demonstrating ecological methods of living. MCF is committed to: Improving consumer access to nutritious foods and building food security; Educating local school groups and the greater Philadelphia community about urban agriculture, natural resource management and sustainable living; Developing a greater sense of community within the Mill Creek neighborhood; Managing stormwater run-off and providing a model for vacant land reclamation. "Thank you for the best time I ever had at a farm, you're ok." -Ricky, visiting the farm with a group from Mural Arts History ALTOE grew out of a youth-driven project at University City High School in conjunction with the Urban Nutrition Initiative (UNI) and received its non-profit status in 2005. ALTOE evolved from previous efforts to improve food security in West Philadelphia communities through school gardens and farmers’ markets. In August 2005, the Philadelphia Water Department (PWD) and the Pennsylvania Horticultural Society (PHS) gave ALTOE access to ~1.5 acres of vacant land, at 49th and Brown Streets in the Mill Creek Neighborhood of West Philadelphia, to start the MCF project.