DOCSLIB.ORG

Welcome to the Full Conference Schedule Wednesday A.M. Committee on Diversity Practices Meeting Committee on Intellectua

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Welcome to the Full Conference Schedule Wednesday A.M. Committee on Diversity Practices Meeting Committee on Intellectua 108th CAA Annual Conference Welcome to the Full Conference Schedule Wednesday A.M. WORKSHOP ◼ EVENT △ MEETING ⊛ IDEA EXCHANGE 8:00 AM –10:00 AM WEDNESDAY The Student Center, Columbia College Chicago, 754 South Wabash Avenue – 4th Floor – Room 430 △ Committee on Diversity Practices Meeting 8:00 AM –10:00 AM WEDNESDAY The Student Center, Columbia College Chicago, 754 South Wabash Avenue – 3rd Floor – Room 357 △ Committee on Intellectual Property Meeting 8:00 AM –10:00 AM WEDNESDAY The Student Center, Columbia College Chicago, 754 South Wabash Avenue – 3rd Floor – Room 329 △ Museum Committee Meeting 8:00 AM –10:00 AM WEDNESDAY The Student Center, Columbia College Chicago, 754 South Wabash Avenue – 3rd Floor – Room 314 △ Services to Artists Committee Meeting Current as of: 01/28/20 https://collegeart.org/ 1 of 77 108th CAA Annual Conference 8:00 AM –10:00 AM WEDNESDAY Craft will set us free. Artisan labor as decolonial internationalism in the Bienal de La Habana., Paloma The Student Center, Columbia College Chicago, 754 Checa-Gismero South Wabash Avenue – 3rd Floor – Room 358 △ Services to Historians of Visual Arts Committee Decolonizing the Arts and Crafts movement, Imogen Hart, Meeting University of California, Berkeley [Whose Modernism? – can fashion unpick colonial legacies?], 8:00 AM –10:00 AM WEDNESDAY Leopold CJ Kowolik, York University / Sheridan College The Student Center, Columbia College Chicago, 754 South Wabash Avenue – 4th Floor – Room 429 8:30 AM –10:00 AM WEDNESDAY △ Students and Emerging Professionals Hilton Chicago – Lobby Level – Continental C Committee Meeting Expanding Dialogues of Diaspora: Examining Manifestations of Middle Eastern Art, Architecture 8:30 AM –10:00 AM WEDNESDAY and Patronage in the Americas Hilton Chicago – Lower Level – Salon C-5 Chair: Caroline Olivia Wolf, University of Tennessee at "My Kind of Town": Chicago, Civics, and the Built Chattanooga Environment Discussant: Fernando Luis Martinez Nespral, University of Chairs: Lindsay E. Shannon, North Central College; Mary Buenos Aires Ruth Springer, Jacksonville State University A Reasoned Construction: The Mosque-type Chapels of Piety and Prejudice in Chicago’s Early Religious Architecture, Sixteenth Century Mexico, Luis Carlos Barragán Barbara B. Mooney, University of Iowa Masjid and Mezquita: Translating the Mosque in "It Seemed Like a Good Idea": Progressive Ideals, Civic Values, Contemporary Chile, Courtney Lesoon, Massachusetts and the Architecture of Chicago's High-Rise Public Housing, Institute of Technology 1950-1962, Thomas Leslie, Iowa State University Patrons and Saints: Saliba Douaihy’s ‘Symbolic’ Sixties, Chicago’s “Hymn to the Lake”: The Art, Architecture, and Mostafa Heddaya, Princeton University Landscape of the World’s Largest Water Filtration Plant, Infrastructure, Diaspora, and Place: Indexing Beirut in Rachel Leibowitz HONEYBABY HONEYBABY (Michael Schultz, 1974), Samhita How to See Through a Blind Alley: Participatory Disruptions Sunya, University of Virginia of Chicago’s “Cul-de-Sac Initiative,” ca. 1993, Douglas Gabriel, Harvard University 8:30 AM –10:00 AM WEDNESDAY Hilton Chicago – 3rd Floor – Astoria Room 8:30 AM –10:00 AM WEDNESDAY Latin American Art from/in Canada: Challenging Hilton Chicago – 4th Floor – 4K and Expanding Narratives and Territories Architecture in Disguise: Soft Power and the AMERICAN SOCIETY FOR HISPANIC ART HISTORICAL STUDIES Masterplan at Mid-Century, 1945-75 Chairs: Alena L. Robin, The University of Western Ontario; Chairs: Joss Kiely; Michael Abrahamson, University of Utah Analays Alvarez Hernandez, Universite de Montreal Mid-century Michigan Masterplans: The Case of Two From Latin American Objects to Latin American Art at the Campuses, Bader AlBader, University of Michigan Montreal Museum of Fine Arts, Erell Hubert, Montreal Modernism in post-war American Cities – comprehensive Museum of Fine Arts downtown planning, and Victor Gruen’s pedestrian mall Interventions “en la west coast”: Latin American Art in model, Kelly Anne Gregg, Ball State Vancouver, 1980s-2019, Gabriela Aceves-Sepúlveda, Simon Envisioning growth in the heart of decline: planning Fraser University downtown Detroit 1941 - 1967, Conrad Christiaan Kickert, ¿Cómo se dice «Settler Colonialism»?: Connecting Decolonial University of Cincinnati Art Histories in Latin America and Canada, Daniel Santiago Richard Neutra’s Rush City: From Mobilization to Sáenz, Columbia University McCarthyism to Americanization, Brett Tippey 8:30 AM –10:00 AM WEDNESDAY 8:30 AM –10:00 AM WEDNESDAY Hilton Chicago – Lobby Level – Continental A Hilton Chicago – 3rd Floor – Marquette Room Reflections on Colorism Decolonizing Modern Craft Chair: Stephanie Brown Chair: Julie D Hollenbach, NSCAD University Discussant: Sarah Webb, University of Illinois Springfield Am I Enough, Stephanie Brown Current as of: 01/28/20 https://collegeart.org/ 2 of 77 108th CAA Annual Conference Colorism Healing, Sarah Webb, University of Illinois 8:30 AM –10:00 AM WEDNESDAY Springfield Hilton Chicago – Lobby Level – Continental B Colorism: Looking Outside the Brown Paper Bag, Ashley Toward the Practice of Freedom: Equity and Adele Jones, Independent Artist Inclusion in the Classroom Through Another’s Eyes, Ashley D Adams SECAC Chair: Augusta Rose Toppins, University of Tennessee at 8:30 AM –10:00 AM WEDNESDAY Chattanooga Hilton Chicago – 3rd Floor – Williford B Slow Photography, Beyond the Snapshot: Staged, Failure as a Practice of Freedom: Reflections on Failures of Serialized, and Archival Practices in Postwar Japan Whiteness in College Art Pedagogy, Sunny Spillane, University of North Carolina at Greensboro Chairs: Ayelet Zohar, Tel Aviv University; Frank Feltens, Confront, Connect, Communicate: Diversity and Inclusion in Smithsonian Institution Design Education, Anne Berry, Cleveland State University Through “Young Eyes”: The Postwar Student Photography Confront, Connect, Communicate: Diversity and Inclusion in Movement and Photography as Anonymous Action, Kelly Design Education, Sherry Freyermuth, Lamar University Midori McCormick Teacher as Participant: Reconfiguring Authority as a Mode of The Vital Materialities of Hiroko Komatsu’s Photography, Resistance, Gaia Scagnetti, Pratt Institute and Nida Franz Prichard, Princeton University Abdullah, Pratt Institute Challenging Conventions of Seeing: Photography in the Art Toward a Pedagogy of Solidarity (or: Thinking Beyond Equity of Suga Kishio, Enokura Kōji and Nomura Hitoshi, Oshrat and Inclusion), Heath Schultz, University of Tennessee at Dotan, Tel Aviv University Chattanooga Traces of Fukushima, Ayelet Zohar, Tel Aviv University 9:00 AM –10:00 PM WEDNESDAY 8:30 AM –10:00 AM WEDNESDAY Columbia College Chicago, 623 South Wabash Ave – Hilton Chicago – Lower Level – Salon C-6 First Floor – The Hokin Gallery Subversive Pioneers: Women and Self- ARTexchange Gallery Hours Representation ARTSPACE Chair: Joan Hawkins 10:00 AM –12:00 PM WEDNESDAY Subversive Selves: Women Artists' Nude Self-Portraits, The Student Center, Columbia College Chicago, 754 Lauren Jimerson, Independent Scholar South Wabash Avenue – 4th Floor – Room 430 The Female Nude as Epistemological Citation, Di Wang, △ Committee on Design Meeting University of Oxford Museum Director Reimagined: Cornelia Bentley Sage Quinton 10:00 AM –12:00 PM WEDNESDAY and Modern Art in America, Eliza Butler, Columbia The Student Center, Columbia College Chicago, 754 University South Wabash Avenue – 3rd Floor – Room 358 Barbara Hammer:Boundless, Joan Hawkins △ Committee on Research & Scholarship Meeting 8:30 AM –10:00 AM WEDNESDAY 10:00 AM –12:00 PM WEDNESDAY Hilton Chicago – 3rd Floor – Joliet Room The Student Center, Columbia College Chicago, 754 The Politics and Opacities of Grievability South Wabash Avenue – 3rd Floor – Room 314 Chairs: Jamie DiSarno, University at Buffalo; Conor △ Committee on Women in the Arts Meeting Moynihan, RISD Museum 10:00 AM –12:00 PM WEDNESDAY Discussant: Anne Marie Butler, Kalamazoo College The Student Center, Columbia College Chicago, 754 Estás en mi (You Are Within Me): Feminist Artistic Responses South Wabash Avenue – 3rd Floor – Room 329 to Gender Violence, and the “Grievable” Student Body in △ Education Committee Meeting Contemporary Mexico, Alberto McKelligan Hernandez Chemical Portraits: From Grievability to Accountability, 10:00 AM –12:00 PM WEDNESDAY Shimrit Lee, New York University The Student Center, Columbia College Chicago, 754 Right-to-Truth: An Alternative History of Istanbul’s Taksim, South Wabash Avenue – 4th Floor – Room 429 Esra Akcan, Cornell University △ International Committee Meeting Current as of: 01/28/20 https://collegeart.org/ 3 of 77 108th CAA Annual Conference 10:00 AM –12:00 PM WEDNESDAY 10:30 AM –12:00 PM WEDNESDAY The Student Center, Columbia College Chicago, 754 Hilton Chicago – Lower Level – Salon C-4 South Wabash Avenue – 3rd Floor – Room 357 After School: Creating and Maintaining △ Professional Practices Committee Meeting Community and Critical Discourse Outside of Academia 10:30 AM –12:00 PM WEDNESDAY ARTSPACE Hilton Chicago – 3rd Floor – Williford B Chairs: Jacquelyn Lee Strycker, School of Visual Arts; Alison A Foreign Eye: Photography, Women, and Global McNulty, Parsons School of Design Encounters in the Twentieth Century Panelists: Quinn L. Dukes, Performance is Alive, School of HISTORIANS OF GERMAN, SCANDINAVIAN, AND CENTRAL Visual Arts; Sharon M. Louden, Visual Arts at Chautauqua EUROPEAN ART AND ARCHITECTURE Institution; Lynnette Miranda, United States Artists; Rachel Chairs: Jordan Troeller, University of Graz,
Load more

Recommended publications
  • Sloane Drayson Knigge Comic Inventory (Without
    Title Publisher Author(s) Illustrator(s) Year Number Donor Box # 1,000,000 DC One Million 80-Page Giant DC NA NA 1999 NA Sloane Drayson-Knigge 1 A Moment of Silence Marvel Bill Jemas Mark Bagley 2002 1 Sloane Drayson-Knigge 1 Alex Ross Millennium Edition Wizard Various Various 1999 NA Sloane Drayson-Knigge 1 Open Space Marvel Comics Lawrence Watt-Evans Alex Ross 1999 0 Sloane Drayson-Knigge 1 Alf Marvel Comics Michael Gallagher Dave Manak 1990 33 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 1999 1 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 1999 2 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 1999 3 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 1999 4 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 2000 5 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 2000 6 Sloane Drayson-Knigge 1 Aphrodite IX Top Cow Productions David Wohl and Dave Finch Dave Finch 2000 0 Sloane Drayson-Knigge 1 Archie Marries Veronica Archie Comics Publications Michael Uslan Stan Goldberg 2009 600 Sloane Drayson-Knigge 1 Archie Marries Veronica Archie Comics Publications Michael Uslan Stan Goldberg 2009 601 Sloane Drayson-Knigge 1 Archie Marries Veronica Archie Comics Publications Michael Uslan Stan Goldberg 2009 602 Sloane Drayson-Knigge 1 Archie Marries Betty Archie Comics Publications Michael Uslan Stan Goldberg 2009 603 Sloane Drayson-Knigge 1 Archie Marries Betty Archie Comics Publications Michael Uslan Stan Goldberg 2009
    [Show full text]
  • Luisa Rabbia
    GALLERY PETER BLUM LUISA RABBIA PETER BLUM GALLERY LUISA RABBIA Born 1970 in Pinerolo (Torino, Italy) Lives and works in Brooklyn, New York SELECTED SOLO EXHIBITIONS 2020 From Mitosis to Rainbow, Peter Blum Gallery, New York, NY 2018 Death&Birth, Peter Blum Gallery, New York, NY 2017 Love, Collezione Maramotti, Reggio Emilia, Italy (catalogue) 2016 Territories, Frieze Art Fair, Peter Blum Gallery, New York, NY A Matter of Life, RLWindow, Ryan Lee Gallery, New York, NY 2014-15 Drawing, Peter Blum Gallery, New York, NY Waterfall, installation for the façade of the Isabella Stewart Gardner Museum, Boston, MA Everyone, Studio Eos, Rome, Italy 2012 Coming and Going, Peter Blum Chelsea, New York, NY 2010 Luisa Rabbia, Fundación PROA, Buenos Aires, Argentina, curated by Beatrice Merz (catalogue) You Were Here. You Were There, Galerie Charlotte Moser, Genève, Switzerland 2009 Luisa Rabbia: Travels with Isabella. Travel Scrapbooks 1883/2008, Fondazione Querini Stampalia, Venezia, Italy In viaggio sotto lo stesso cielo, Fondazione Merz, Torino, Italy, curated by Beatrice Merz 2008 Travels with Isabella. Travel Scrapbooks 1883/2008, Isabella Stewart Gardner Museum, Boston, MA, curated by Pieranna Cavalchini (catalogue) 2007 Yesterdaytodaytomorrow, Mario Diacono Gallery, Boston, MA Together, Galleria Rossana Ciocca, Milano, Italy Luisa Rabbia, Massimo Audiello Gallery, New York, NY 2006 Luisa Rabbia, Marta Cervera Gallery, Madrid, Spain 2005 ISLANDS, GAMeC Galleria d'Arte Moderna e Contemporanea Raffaele de Grada, San Gimignano, Italy, curated by
    [Show full text]
  • Celebrating 50 Years of Arte Povera Published on Iitaly.Org (
    Celebrating 50 Years of Arte Povera Published on iItaly.org (http://www.iitaly.org) Celebrating 50 Years of Arte Povera Alexandra M. Fanelli (December 28, 2017) The Italian art movement comes back this year with roaring success as the protagonist of several shows conquering New York's art scene as well as Europe's. It was November 1967, two months after his exhibition “Arte Povera e IM Spazio” at Genoa’s Galleria La Bertesca, that the Italian critic Germano Celant [2] published a manifesto on Flash Art magazine that would theorize and launch the Arte Poveramovement. The Origins Literally translated as ‘poor art’, the title refers to a group of Italian anti-establishment artists who, during the period of turmoil at the end of the 1960s in Italy, attacked the established ideals and the superficial consumer culture with unconventional materials and style. The term “poor” was not an indication of cheap, rather a reference to the artists’ use of humble, unconventional often ephemeral materials -wood, dirt, rags, steel, sacks, vegetables- alluding as well to the Polish director Jerzy Grotowski’s concept of “poor theater,” which stripped away lavish costumes and detailed sets and encouraged the actor’s relationship with the audience. Page 1 of 3 Celebrating 50 Years of Arte Povera Published on iItaly.org (http://www.iitaly.org) The poveristi favored an art form that was more conceptual and got rid of unnecessary layers, as a rejection of traditional 'high' art. “Arte Povera was concerned with taking away, eliminating, and downgrading things to a minimum,” said Mr. Celant. Among the core figures associated with the movement are Giovanni Anselmo [3], Alighiero Boetti [4], Jannis Kounellis [5], Michelangelo Pistoletto [6], Giuseppe Penone [7], Alberto Burri [8], Lucio Fontana [9], Emilio Prini [10], Pino Pascali [11], Enrico Castellani [12], Piero Manzoni [13], Luciano Fabro [14], Pier-Paolo Calzolari [15], Mario Merz [16], and his wife Marisa Merz [17], the only female member of Arte Povera.
    [Show full text]
  • American Prints 1860-1960
    American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks Bennington College, Bennington, Vermont Introduction The 124 prints which make up this exhibition have been selected from my collection of published on the occasion over 800 prints. The works exhibited at Bennington have been confined to those made by ot an exhibitionat the American artists between 1860 and 1960. There are European and contemporary prints in my A catalogue suchasthis and the exhibitionwhich collection but its greatest strengths are in the area of American prints. The dates 1860 to Suzanne Lemberg Usdan Gallery accompaniesit.. is ot necessity a collaborativeeffortand 1960, to which I have chosen to confine myself, echo for the most part my collecting Bennington College would nothave been possible without thesupport and interests. They do, however, seem to me to be a logical choice for the exhibition. lt V.'CIS Bennington \'ermonr 05201 cooperation of many people. around 1860 that American painters first became incerested in making original prints and it April 9 to May9 1985 l am especially graceful to cbe Bennington College Art was about a century later, in the early 1960s, that several large printmaking workshops were Division for their encouragementand interestin this established. An enormous rise in the popularity of printmaking as an arcistic medium, which projectfrom thestart. In particular I wouldlike co we are still experiencing today, occurred at that cime. Copyright © 1985 by MatthewMarks thankRochelle Feinstein. GuyGood... in; andSidney The first American print to enter my collection, the Marsden Hartley lirhograph TilJim, who originally suggestedche topicof theexhibi- (Catalogue #36 was purchased nearly ten years ago.
    [Show full text]
  • K O R E a N C in E M a 2 0
    KOREAN CINEMA 2006 www.kofic.or.kr/english Korean Cinema 2006 Contents FOREWORD 04 KOREAN FILMS IN 2006 AND 2007 05 Acknowledgements KOREAN FILM COUNCIL 12 PUBLISHER FEATURE FILMS AN Cheong-sook Fiction 22 Chairperson Korean Film Council Documentary 294 206-46, Cheongnyangni-dong, Dongdaemun-gu, Seoul, Korea 130-010 Animation 336 EDITOR-IN-CHIEF Daniel D. H. PARK Director of International Promotion SHORT FILMS Fiction 344 EDITORS Documentary 431 JUNG Hyun-chang, YANG You-jeong Animation 436 COLLABORATORS Darcy Paquet, Earl Jackson, KANG Byung-woon FILMS IN PRODUCTION CONTRIBUTING WRITER Fiction 470 LEE Jong-do Film image, stills and part of film information are provided by directors, producers, production & sales companies, and Film Festivals in Korea including JIFF (Jeonju International Film Festival), PIFF APPENDIX (Pusan International Film Festival), SIFF (Seoul Independent Film Festival), Women’s Film Festival Statistics 494 in Seoul, Puchon International Fantastic Film Festival, Seoul International Youth Film Festival, Index of 2006 films 502 Asiana International Short Film Festival, and Experimental Film and Video Festival in Seoul. KOFIC appreciates their help and cooperation. Contacts 517 © Korean Film Council 2006 Foreword For the Korean film industry, the year 2006 began with LEE Joon-ik's <King and the Clown> - The Korean Film Council is striving to secure the continuous growth of Korean cinema and to released at the end of 2005 - and expanded with BONG Joon-ho's <The Host> in July. First, <King provide steadfast support to Korean filmmakers. This year, new projects of note include new and the Clown> broke the all-time box office record set by <Taegukgi> in 2004, attracting a record international support programs such as the ‘Filmmakers Development Lab’ and the ‘Business R&D breaking 12 million viewers at the box office over a three month run.
    [Show full text]
  • Graphic No Vels & Comics
    GRAPHIC NOVELS & COMICS SPRING 2020 TITLE Description FRONT COVER X-Men, Vol. 1 The X-Men find themselves in a whole new world of possibility…and things have never been better! Mastermind Jonathan Hickman and superstar artist Leinil Francis Yu reveal the saga of Cyclops and his hand-picked squad of mutant powerhouses. Collects #1-6. 9781302919818 | $17.99 PB Marvel Fallen Angels, Vol. 1 Psylocke finds herself in the new world of Mutantkind, unsure of her place in it. But when a face from her past returns only to be killed, she seeks vengeance. Collects Fallen Angels (2019) #1-6. 9781302919900 | $17.99 PB Marvel Wolverine: The Daughter of Wolverine Wolverine stars in a story that stretches across the decades beginning in the 1940s. Who is the young woman he’s fated to meet over and over again? Collects material from Marvel Comics Presents (2019) #1-9. 9781302918361 | $15.99 PB Marvel 4 Graphic Novels & Comics X-Force, Vol. 1 X-Force is the CIA of the mutant world—half intelligence branch, half special ops. In a perfect world, there would be no need for an X-Force. We’re not there…yet. Collects #1-6. 9781302919887 | $17.99 PB Marvel New Mutants, Vol. 1 The classic New Mutants (Sunspot, Wolfsbane, Mirage, Karma, Magik, and Cypher) join a few new friends (Chamber, Mondo) to seek out their missing member and go on a mission alongside the Starjammers! Collects #1-6. 9781302919924 | $17.99 PB Marvel Excalibur, Vol. 1 It’s a new era for mutantkind as a new Captain Britain holds the amulet, fighting for her Kingdom of Avalon with her Excalibur at her side—Rogue, Gambit, Rictor, Jubilee…and Apocalypse.
    [Show full text]
  • Development Before Democracy: Inter-American Relations in the Long 1950S
    FORUM FOR INTER-AMERICAN RESEARCH (FIAR) VOL. 11.3 (DEC. 2018) 94-109 ISSN: 1867-1519 © forum for inter-american research Development before Democracy: Inter-American Relations in the long 1950s STELLA KREPP (UNIVERSITY OF BERN) Abstract Even though Latin American diplomats had been central actors in the debate surrounding human rights in the nascent years of the United Nations, the predominant preoccupation in the 1950s centred on development. Latin American politicians generally framed development as “social progress,” arguing that political and civil rights were meaningless unless basic needs were met. Nonetheless, this decidedly materialist approach to human rights is complicated when considering how, within months of each other in 1959, both the Inter-American Development Bank and the Inter-American Commission of Human Rights were founded. Looking at debates in the Organization of American States (OAS), this paper relates the fundamentally uneasy relationship between human rights and development in the inter-American system in the 1950s and early 60s. Keywords: Democracy, Latin America, Inter-American Comission of Human Rights 1. Introduction debates on the difficult relationship between the two concepts of development and democracy In the first report of the Panel of Nine on the raged in the 1950s. In many ways, the 1950s Alliance for Progress, chairperson Raúl Saéz of are the “forgotten decade” in the crisis-driven Chile warned: “The Alliance, like all revolutionary narrative of Cold War Latin America (Grandin movements…cannot be expressed simply 426).[2] This might seem surprising, as the through general concepts of freedom and 1950s in Latin America were a pivotal decade in representative democracy’, because these inter-American relations and in institutionalising democratic ideals were “too far removed from development and human rights in the inter- the needs of the impoverished masses in most American system.
    [Show full text]
  • OPT 2015 Catalogue
    OKANAGAN PRINT TRIENNIAL international exhibition of printmaking VERNON PUBLIC ART GALLERY OKANAGAN PRINT TRIENNIAL 2015 Vernon Public Art Gallery March 19 - May 21, 2015 Vernon Public Art Gallery 3228 - 31st Avenue, Vernon BC, V1T 2H3, Canada www.vernonpublicartgallery.com 250.545.3173 executive dorector’s Foreword The Vernon Public Art Gallery is proud to host the first international Okanagan Print Triennial (OPT) exhibition. This ambitious project was launched in 2009 as a national open juried print exhibition and expanded in 2012 to include the Americas. Wanting to highlight the important role printmaking has both in contemporary work and through historical methodologies, OPT was created to bring together the very best in current printmaking practices. This successful partnership between VPAG, the Kelowna Art Gallery and UBC Okanagan has flourished since its inception and was recognized for its regional importance by the BC Arts Council through the award of an innovations grant. Interest in this exhibition continues to grow and applications were received from 179 artists from 35 countries around the world. I would like to thank our Jurors Liz Wylie, Curator, Kelowna Art Gallery; Briar Craig, Artist and Professor of Printmaking, UBC Okanagan; Lubos Culen, Artist and Curator, Vernon Public Art Gallery for the many hours they contributed to the selection of the final 23 artists from 12 countries whose art will be exhibited at the 2015 OPT and are included in this publication. In conjunction with the OPT, the Kelowna Art Gallery will be hosting a solo exhibition for the winner of the 2012 OPT, Mitch Mitchell: For Whom You Build.
    [Show full text]
  • Phillips Gallery Guide.Indd
    919 BROADWAY NASHVILLE, TN 37203 WWW.FRISTCENTER.ORG FRISTFristFristFRIST CENTERCenterCenter CENTER forfor FOR FOR thethe THETHE VisualVisual VISUAL Arts ArtsARTS ARTS The Phillips Collection, America’s first museum of believed that we benefit as viewers by giving modern art, was founded in Washington, D.C. in ourselves over to the direct experience of a work 1921, a decade before the Museum of Modern Art of art. In this way we enter the artist’s world (est. 1929) and the Whitney Museum of American “to see as artists see.” Phillips responded to Art (est. 1930) opened in New York. From its individual artists on their own merits, not to artistic inception, The Phillips Collection has championed movements. In his extensive critical writings the very best American art and artists. Its in-depth Phillips made clear that he was seeking “artists of holdings of American paintings are broad in scope, creative originality and of sincere independence.” yet cannot be characterized as either encyclopedic To See as Artists See: American Art from The or strictly historical. Rather, it is a rich assembly Phillips Collection is divided into ten thematic of independent-minded American artists, most sections, which aim to reveal the breadth of of whom were actively exhibiting when their work America’s modernist vision from approximately entered the museum’s collection. In fact, many 1850 to 1960. The exhibition begins with the great of the more than seventy artists included in this heroes of American art of the late nineteenth exhibition became acquaintances and good friends century whose work set the course for modern art with the museum’s founder, Duncan Phillips in the United States.
    [Show full text]
  • Narrow but Endlessly Deep: the Struggle for Memorialisation in Chile Since the Transition to Democracy
    NARROW BUT ENDLESSLY DEEP THE STRUGGLE FOR MEMORIALISATION IN CHILE SINCE THE TRANSITION TO DEMOCRACY NARROW BUT ENDLESSLY DEEP THE STRUGGLE FOR MEMORIALISATION IN CHILE SINCE THE TRANSITION TO DEMOCRACY PETER READ & MARIVIC WYNDHAM Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Creator: Read, Peter, 1945- author. Title: Narrow but endlessly deep : the struggle for memorialisation in Chile since the transition to democracy / Peter Read ; Marivic Wyndham. ISBN: 9781760460211 (paperback) 9781760460228 (ebook) Subjects: Memorialization--Chile. Collective memory--Chile. Chile--Politics and government--1973-1988. Chile--Politics and government--1988- Chile--History--1988- Other Creators/Contributors: Wyndham, Marivic, author. Dewey Number: 983.066 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU Press. Cover photograph: The alarm clock, smashed at 14 minutes to 11, symbolises the anguish felt by Michele Drouilly Yurich over the unresolved disappearance of her sister Jacqueline in 1974. This edition © 2016 ANU Press I don’t care for adulation or so that strangers may weep. I sing for a far strip of country narrow but endlessly deep. No las lisonjas fugaces ni las famas extranjeras sino el canto de una lonja hasta el fondo de la tierra.1 1 Victor Jara, ‘Manifiesto’, tr. Bruce Springsteen,The Nation, 2013.
    [Show full text]
  • The Geography of the Class Culture Wars
    The Geography of the Class Culture Wars Lisa R. Pruitt† I. CULTURE WARS ACROSS THE RURAL–URBAN AXIS 770 II. CLASS COMPLICATIONS IN RURAL AMERICA: THE WELL OFF, THE WORKERS, AND THE WHITE TRASH 791 III. POLITICS, POLICY, AND WORK-FAMILY STRUGGLES IN RURAL AMERICA 804 IV. MAKING AMENDS: WORK AS A BRIDGE TO SOMEWHERE 809 As suggested by the title of her new book, Reshaping the Work- Family Debate: Why Men and Class Matter, Joan Williams takes class seriously. Class matters, Williams argues, because “socially conscious progressives”1 need political allies to achieve progress with their agenda for work-family reform.2 Williams calls us not only to think about class and recognize it as a significant axis of stratification and (dis)advantage, but also to treat the working class with respect and dignity. Emblematic of Williams’s argument is her challenge to us to “[d]iscard[] Marxian analyses from 30,000 feet” and “come down to learn enough about work- ing-class life to end decades of casual insults.”3 In other words, be nice † Professor of Law, U.C. Davis School of Law, [email protected]. Thanks to Monica J. Bau- mann, Rebecca Lovell, Patricija Petrac, Rachel R. Ray, Maytak Chin, James R. Beck, and Monica Crooms for excellent research and editorial assistance, and to students in my Law and Rural Livelih- oods class for engagement with these ideas. Jennifer Sherman, Angela P. Harris, Will Rhee, Ezra Rosser, Ruth Ann Bertsch, and Robert T. Laurence provided very helpful comments on an earlier draft, and the faculties at the Salmon P.
    [Show full text]
  • AN EXAMINATION of ART FORGERY and the LEGAL TOOLS PROTECTING ART COLLECTORS Leila A
    ARE YOU FAUX REAL? AN EXAMINATION OF ART FORGERY AND THE LEGAL TOOLS PROTECTING ART COLLECTORS Leila A. Amineddoleh | Cardozo Arts and Entertainment Law Journal Document Details All Citations: 34 Cardozo Arts & Ent. L.J. 59 Search Details Jurisdiction: National Delivery Details Date: July 19, 2016 at 9:02 PM Delivered By: kiip kiip Client ID: KIIPLIB02 Status Icons: © 2016 Thomson Reuters. No claim to original U.S. Government Works. ARE YOU FAUX REAL? AN EXAMINATION OF ART..., 34 Cardozo Arts &... 34 Cardozo Arts & Ent. L.J. 59 Cardozo Arts and Entertainment Law Journal 2016 Article ARE YOU FAUX REAL? AN EXAMINATION OF ART FORGERY AND THE LEGAL TOOLS PROTECTING ART COLLECTORS r1 Leila A. Amineddoleh a1 Copyright (c) 2016 Yeshiva University; Leila A. Amineddoleh INTRODUCTION 61 I. BACKGROUND 62 A. Rise in Authorship 62 B. The Existence of Forgeries 64 C. A Robust Art Market Leads to Increasing Prices and the Prevalence of Forgeries 66 1. The Current Market is Full of Forgeries 66 2. There is a Circular Relationship: The Art Market Thrives, Prices Increase, and 69 Connoisseurship Gains Greater Importance II. HOW THE LAW GRAPPLES WITH AUTHENTICITY 70 A. The First High Profile Authentication Battle in US Courts: Hahn v. Duveen 70 III. WHAT DOES IT MEAN TO BE “AUTHENTIC”? 72 A. Authenticity as a Three-Legged Stool 72 B. The Vulnerability of Modern Masters Leads to the Shuttering of One of the Most 74 Prestigious American Galleries C. Sometimes There is No Definitive Answer Regarding Authorship 79 D. Authenticity Disputes Have Altered the Landscape for Art Experts 80 E.
    [Show full text]