USC Dornsife in the News Archive - 2019
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Print Prince of Darkness
section M pages 3,5 | SUNDAY, MARCH 7, 2004 ARTS THE PRINCE OF DARKNESS Enrique Martínez Celaya illuminates absence and loss in his moody, murky paintings BOB EIGHMIE/HERALD STAFF BLACK HOLES: Above, the artist paints a mural mixed with his blood at the Museum of Art. Enrique Martínez Celaya favors stark and simple statements that evoke loss, like the empty boat in The Helper (Abruptness), top left, or the faint white outlines of father and son in Distance, top right. ART REVIEW BY ELISA TURNER [email protected] His paintings come from places where most of the lights have flickered and died. Looking at them, you feel as if you've stum- bled in from a leafy outdoors noisy with sunlight bouncing off cars and kids, having just pushed the door open onto a house boarded up for years. Other paintings can make you feel as if you've left a familiar kitchen, bright and busy with pots simmering and knives chopping, and then stepped into a living room just as the power fails, when arm chairs and family photos vanish into a chilly black hole. The heavy darkness in the paintings of Enrique Martínez Celaya can make you blink and squint. You want to peer into their light-devouring voids, trying to make out the telltale surroundings for his chalky white outlines of men, women, and children, trying to figure out where these hollowed-out families, MISERY IN MADRID who are really more phantom than flesh, belong. The tantalizing pleasures and secrets gingerly offered by this The absence of another subject dramatically shadowed his talk. -
Full Article
VOL. CLVIII . No. 54,503 Arts &LEISURE SUNDAY, NOVEMBER 23, 2008 Courtesy of LA Louver, Venice, Calif. “The Young” (2008), for which the artist, Enrique Martínez Celaya, mixed oil and wax on canvas — a technique he uses for many works. Layers of Devotion (and the Scars to Prove It) By JORI FINKEL SANTA MONICA, Calif. severed the tips of two fingers and the L.A. Louver gallery in Venice, MAGINE you’re an artist nearly cut your thumb to the bone. Calif., which opened on Thursday finishing work for a big gallery You’ve hit an artery. Blood is and runs through January 3. show. You’re standing on a spurting everywhere. To make matters worse, he had ladder trying to reach the top of a This is the scene that played out attached the chain-saw blade to a Iwooden sculpture with a chain saw; in June for the artist Enrique grinder for speed. the next thing you know, you’ve Martínez Celaya, when he was He credits his studio manager, sliced open your left hand. You’ve preparing for his first exhibition at Catherine Wallack, with thinking VOL. CLVIII . No. 54,503 THE NEW YORK TIMES, Arts& LEISURE SUNDAY, NOVEMBER 23, 2008 as a physicist at the Brookhaven The other works in his Santa National Laboratory on Long Island. Monica studio that day, another Mr. Martínez Celaya is one of the sculpture and a dozen good-size rare contemporary artists who paintings now at L.A. Louver, are trained as a physicist. He studied also lessons in isolation — quantum electronics as a graduate sparse landscapes and astringent student at the University of snowscapes, boyish figures that California, Berkeley, until he found seem lost against the wide horizon, himself more and more often and animals holding their own, sneaking away to paint, something sometimes with no humans in sight. -
ENRIQUE MARTINEZ CELAYA, B. 1964 ACADEMIC APPOINTMENTS
ENRIQUE MARTINEZ CELAYA, b. 1964 ACADEMIC APPOINTMENTS AND EDUCATION Provost Professor of Humanities and Arts, University of Southern California, 2017-present Roth Distinguished Visiting Scholar, Dartmouth College, 2016-2017 Montgomery Fellow, Dartmouth College, 2014-present Visiting Presidential Professor, University of Nebraska, 2007–2010 Associate Professor, Pomona College and Claremont Graduate University, 1994-2003 MFA, University of California, Santa Barbara, 1994 Skowhegan School of Painting and Sculpture, 1994 MS, University of California, Berkeley, 1988 BS, Cornell University, 1986 SELECTED SOLO EXHIBITIONS 2022 Hood Museum of Art, Dartmouth College, The Grief of Almost, Hanover, New Hampshire Fisher Museum of Art, University of Southern California, SEA SKY LAND: towards a map of everything, Los Angeles, California Monterey Museum of Art, Enrique Martínez Celaya and Robinson Jeffers, Monterey, California Doheny Memorial Library, University of Southern California, Enrique Martínez Celaya and Robinson Jeffers, Los Angeles, California 2021 The Huntington Library, Art Museum, and Botanical Gardens, There-bound, San Marino, California Galerie Judin, Enrique Martínez Celaya and Käthe Kollwitz: Von den ersten und den letzten Dingen (Of First and Last Things), Berlin, Germany Baldwin Gallery, A Third of the Night, Aspen, Colorado Galería Casado Santapau, Un poema a Madrid, Madrid, Spain 2019 Blain|Southern, The Mariner’s Meadow, London, United Kingdom 13th Havana Biennial, Detrás del Muro, Havana, Cuba Kohn Gallery, The Tears of Things, Los Angeles, California 2018 Galleri Andersson/Sandström, The Other Life, Stockholm, Sweden 2017 Jack Shainman Gallery, The Gypsy Camp, New York, New York Galerie Judin, The Mirroring Land, Berlin, Germany Fredric Snitzer Gallery, Nothing That Is Ours, Miami, Florida 2016 The Phillips Collection, One-on-One: Enrique Martínez Celaya/ Albert Pinkham Ryder, Washington, D.C. -
How and Why Children Learn About Sounds, Letters, and Words in Reading Recovery Lessons
DOCUMENT RESUME ED 437 616 CS 013 828 AUTHOR Fountas, Irene C.; Pinnell, Gay Su TITLE How and Why Children Learn about Sounds, Letters, and Words in Reading Recovery Lessons. INSTITUTION Reading Recovery Council of North America, Columbus, OH. PUB DATE 1999-00-00 NOTE 12p. PUB TYPE Guides Classroom Teacher (052) Journal Articles (080) Reports Research (143) JOURNAL CIT Running Record; v12 n1 p1-6,10-11,13-14 Fall 1999 EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Beginning Reading; Classroom Research; *Classroom Techniques; Learning Activities; *Learning Processes; *Literacy; Primary Education; Word Recognition IDENTIFIERS Lesson Structure; *Orthography; Phonological Awareness; *Reading Recovery Projects; Word Learning ABSTRACT This article takes a look at Reading Recovery lesson elements to compare the teaching and learning within the lesson components to several areas of learning that have been identified at the national level as important to children's literacy learning. The lesson elements examined in the article are: (1) phonological awareness; (2) orthographic awareness; and (3) word learning in reading and writing. The article states that the first two areas of knowledge, and the way they are interrelated, contribute to young children's growth in the ability to solve words while reading for meaning, while the third area strongly supports learning in the first two areas and also helps to accelerate early learning in literacy. These elements together contribute to the child's development of a larger process in which the reader uses "in-the-head" strategies in an efficient way to access and orchestrate a variety of information, including meaning and language systems, with the visual and phonological information in print. -
KYLA THOMAS Verna and Peter Dauterive Hall • Office 401D 635 Downey Way • Los Angeles, CA 90089 [email protected] • (213) 821-8923
1 KYLA THOMAS Verna and Peter Dauterive Hall • Office 401D 635 Downey Way • Los Angeles, CA 90089 [email protected] • (213) 821-8923 EMPLOYMENT University of Southern California Associate Sociologist, Center for Economic and Social Research 2016 - present EDUCATION Princeton University Ph.D., Sociology 2016 Dissertation: “Hidden (Dis)Advantages of Class: How Cultural Signals of Class Shape U.S. Labor Market Outcomes” Committee: Paul DiMaggio (Chair), Viviana Zelizer, Devah Pager, Susan Fiske M.A., Sociology 2012 Comprehensive Exams: Sociology of Culture, Economic Sociology, Social Stratification University of California, Los Angeles B.A., Sociology and Communication Studies (Dual Major) 2008 College Honors, Departmental Honors in Sociology, Summa Cum Laude PUBLICATIONS Peer-Reviewed Articles *Authors contributed equally Thomas, Kyla. 2019. “When Disney Came to Broadway: Assessing the Impact of Corporatization in an Art World.” Poetics, 77: 101384. DOI: 10.1016/j.poetic.2019.101384. Finch, Brian, Kyla Thomas, and Audrey Beck. 2019. “The Great Recession and Adverse Birth Outcomes: Evidence from California.” Social Science & Medicine – Population Health, 9: 100470. DOI: 10.1016/j.ssmph.2019.100470. Finch, Brian, Audrey Beck*, D. Brian Burghart*, Richard Johnson*, David Klinger*, and Kyla Thomas*. 2019. “Using Crowd-Sourced Data to Explore Police-Related-Deaths in the United States (2000–2017): The Case of Fatal Encounters”. Open Health Data, 6(1): 1. DOI: 10.5334/ohd.30. Thomas, Kyla. 2018. “The Labor Market Value of Taste: An Experimental Study of Class Bias in U.S. Employment.” Sociological Science 5: 562-595. Updated January 2020 2 Thomas, Kyla. 2017. “Sounds of Disadvantage: Musical Taste and the Origins of Ethnic Difference.” Poetics 60: 29-47. -
Who Pays SX Q3 2019.Xlsx
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PUBLIC NOTICE Washington, D.C
REPORT NO. PN-1-210716-01 | PUBLISH DATE: 07/16/2021 Federal Communications Commission 45 L Street NE PUBLIC NOTICE Washington, D.C. 20554 News media info. (202) 418-0500 APPLICATIONS File Number Purpose Service Call Sign Facility ID Station Type Channel/Freq. City, State Applicant or Licensee Status Date Status 0000152871 Renewal of FX K201ES 90670 Main 88.1 RIPLEY CSN INTERNATIONAL 07/14/2021 Accepted License /BLYTHE, CA For Filing From: To: 0000152850 Minor FX K258BE 142149 99.5 ESTES PARK, EDUCATIONAL 07/14/2021 Accepted Modification CO MEDIA FOUNDATION For Filing From: To: 0000152559 License To FX W235BX 140352 94.9 COLLIERS, WV OHIO MIDLAND 07/13/2021 Accepted Cover NEWSGROUP, LLC For Filing From: To: 0000152733 Renewal of FM KKLP 175839 Main 91.1 PERRIS, CA EDUCATIONAL 07/14/2021 Accepted License MEDIA FOUNDATION For Filing From: To: 0000152782 Minor FX W284DG 201346 104.7 HEMPSTEAD, CONNOISSEUR 07/14/2021 Accepted Modification NY MEDIA LICENSES, For Filing LLC From: To: 0000152614 Assignment LPD W40DO- 186486 40 MIDLAND CITY, LANDOVER 2 LLC 07/13/2021 Accepted of D AL For Filing Authorization From: LANDOVER 2 LLC To: Lowcountry 34 Media, LLC Page 1 of 34 REPORT NO. PN-1-210716-01 | PUBLISH DATE: 07/16/2021 Federal Communications Commission 45 L Street NE PUBLIC NOTICE Washington, D.C. 20554 News media info. (202) 418-0500 APPLICATIONS File Number Purpose Service Call Sign Facility ID Station Type Channel/Freq. City, State Applicant or Licensee Status Date Status 0000152725 Displacement LPD K40NJ-D 186693 40 CENTERVILLE, LANDOVER -
Enrique Martinez Celaya
ENRIQUE MARTINEZ CELAYA Biography 1964 Born in Havana, Cuba Education 1994 Master of Fine Arts, Painting, University of California, Santa Barbara, CA 1994 Skowhegan School of Painting and Sculpture, Skowhegan, ME 1988 Master of Science, Quantum Electronics, University of California, Berkeley, CA 1986 Bachelor of Science, Applied & Engineering Physics, Cornell University, Ithaca, NY Solo Exhibitions 2021 Enrique Martínez Celaya: A Third of the Night, Baldwin Gallery, Aspen, CO, 12 February - 14 March 2021 2020 Enrique Martínez Celaya: The Sword or the Road, Nancy Littlejohn Fine Art, Houston, TX, 18 January - 29 February 2020 2019 The Tears of Things, Kohn Gallery, Los Angeles, CA, 13 September 2019 The Mariners Meadow, Blain Southern, London, UK, 23 May - 13 July 2019 The Boy: Witness and Marker 2003 - 2018, Robischon Gallery, Denver, CO 2018 The Other Life, Galleri Andersson/Sandström, Stockholm, Sweden 2017 Nothing That Is Ours, Fredric Snitzer Gallery, Miami, FL The Mirroring Land, Galerie Judin, Berlin, Germany The Gypsy Camp, Jack Shainman Gallery, New York, NY 2016 Self and Sea, Parafin, London, United Kingdom, 19 May - 9 July 2016 (catalogue) Enrique Martínez Celaya: Small Paintings 1974-2015, Abroms-Engel Institute for the Visual Arts, Birmingham, AL, 22 January - 19 March 2016 One-on-One: Enrique Martinez Celaya / Albert Pinkham Ryder, The Phillips Collection, Washington, D.C. 2015 Enrique Martinez Celaya: Empires - Land, Jack Shainman Gallery, New York, 10 September - 24 October 2015 Enrique Martínez Celaya, L.A. Louver, Venice, -
Print Layout 1
DECEMBER 2003 the art of living Sabina Wong-Sutch meets artist, former professor and mentor, Enrique Martínez Celaya, a successful and refreshingly human, tender and intelligent artist on a mission to remind us all of the priorities in life. Images courtesy of Enrique Martínez Celaya After artist Enrique Martínez Celaya decided to leave a as Martínez Celaya recalls, "We were so poor we all lived in promising career of quantum physics in the 1980s, he spent one room, and there was not even a bathtub." At age 12, the two years eking out a living by selling some of his paintings family relocated to Puerto Rico, his last stop before he would in San Francisco's Golden Gate Park. One day a passer-by move to America. In Puerto Rico, Martínez Celaya was asked to purchase not a painting, but his sketchbook, and apprenticed to the Spanish painter, Mayol, where he learned desperate for the money, Martínez Celaya had but little the classical methods of painting. Academically, he began to choice. A serendipitous meeting at a recent reception brought show his genius in physics and in the arts. "There was tur- the two together again. Martínez Celaya asked if he could moil in my life so I used art in pretty much the same way as buy his sketchbook back for "any sum of money" from this I use it now: how to understand things better. My work at the man. "Sorry," came the buyer's reply, he simply loved the time was very messy, and really reflected the ‘grossness’ of work and had come to develop a passionate affinity with it: my life at the time. -
Enrique Martinez Celaya
ENRIQUE MARTINEZ CELAYA Born 1964, Cuba Lives and works in Los Angeles, CA Enrique Martínez Celaya is an artist, author, and former scientist whose work has been exhibited and collected by major institutions around the world, and he is the author of books and papers in art, poetry, philosophy, and physics. He has created projects and exhibitions for the State Hermitage Museum in St. Petersburg, Russia, The Phillips Collection, Washington D.C., and the Museum der bildenden Künste Leipzig, among many others, as well as for institutions customarily outside of the art world, including the Berliner Philharmonie, the Cathedral Church of Saint John the Divine in New York, and the Dorotheenstadt Cemetery in Berlin. Work by the artist is held in over 50 public collections internationally, including the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Whitney Museum of American Art, the Moderna Museet in Stockholm, The Museum of Fine Arts, Houston, Museum der bildenden Künste Leipzig, and the Wadsworth Atheneum Museum of Art, Hartford. He is the author of several books including, Collected Writings and Interviews 2010-2017, Collected Writings and Interviews 1990-2010, and The Nebraska Lectures, all published by the University of Nebraska Press (Lincoln), as well as, October, published by Cinubia Press (Amsterdam), On Art and Mindfulness: Notes from the Anderson Ranch, published by Whale & Star Press and the Anderson Ranch Arts Center (Los Angeles, Snowmass), as well as the artist book Guide, which was later serialized by the magazine Works & Conversations (Berkeley). His work has been the subject of several monographic publications including Enrique Martínez Celaya, 1992-2000 published by Wienand Verlag (Köln), Enrique Martínez Celaya: Working Methods published by Ediciones Polígrafa (Barcelona), and most recently Martínez Celaya, Work and Documents 1990-2015 published by Radius Books (Santa Fe). -
(Or Loaned to IE) Northeast Europe
type English IndoEuropean NorthEast Europe Messopotamia Dravidian India Etruscan (note c=k) Celtic-Old Irish Hungarian Turkic (Central Asia) Miscellaneous outlying American Indians Definition (or loaned to IE) proto FU or Ugor Sumerian, (& Akkad) (mostly Tamil) Asian & African similarities Penut,(California) Maya (CentralAmerican) levente=manly?, champion,knight (arch) lwe'n > lüan=handsome, 1 āḷ =manly, vigorous daliás (arch) levent, levend=free, volunteer? beautifull /Chinese vala-ki=some-one, 2 ? some ? ? roinnt vala-mi=some-thing birkach, bazı Baskir ber nise chonaite =abode lakos (as in Mór-lakos) *lakka= shelter, lug x=abode, =residents of Mór/Salasaca- abode, lakos /Anc Greek eaves, roof, attick, dag=dwelling lakkei=palace, chonai=residence lak-ás=appartment, Kechua [Mór=Kvenka city] 3 ab living space or Pelazg) abode lagas=Sumerian city fort?castle (see "home") lak-ni= to reside at ev=residence, dweling place huasi=abode,home?/Kechua *kunta=clan land, chon.aite =abode 4 ab home, homeland home/English tribal group, home _unu=settlement, home tayakan chonai=residence hon =home, homeland hane=house wasi=home/house/Kechua 5 adj abundant p-leanty/English eralamaka fúirsea-ch=abundant bő=abundant, plenty bol=abundant, generous báh=abundant /Egypt kúr > gir 10 =anger har-ag=anger, *k>h ikari=anger, rage /Japanese *kore, *mirkke murgu, mir 2; kir=angry mérg-es=angry hirsli=angry, gerez=anger qarija=angry/Mongol 6 adj angry, anger anger /English (kiroa/Finn) šur=enraged kaṟavu =rage _irce=agitated (irked?) feargh =angry (not from Ossetic) -
ENRIQUE MARTINEZ CELAYA, B. 1964 ACADEMIC
ENRIQUE MARTINEZ CELAYA, b. 1964 ACADEMIC APPOINTMENTS AND EDUCATION Provost Professor of Humanities and Arts, University of Southern California, 2017-present Roth Distinguished Visiting Scholar, Dartmouth College, 2016-2017 Montgomery Fellow, Dartmouth College, 2014-present Visiting Presidential Professor, University of Nebraska, 2007–2010 Associate Professor, Pomona College and Claremont Graduate University, 1994-2003 MFA, University of California, Santa Barbara, 1994 Skowhegan School of Painting and Sculpture, 1994 MS, University of California, Berkeley, 1988 BS, Cornell University, 1986 SELECTED SOLO EXHIBITIONS 2019 Kohn Gallery, The Tears of Things, Los Angeles, California Blain|Southern, The Mariner’s Meadow, London, United Kingdom 13th Havana Biennial, Detrás del Muro, Havana, Cuba 2018 Galleri Andersson/Sandström, The Other Life, Stockholm, Sweden 2017 Jack Shainman Gallery, The Gypsy Camp, New York, New York Galerie Judin, The Mirroring Land, Berlin, Germany Fredric Snitzer Gallery, Nothing That Is Ours, Miami, Florida 2016 The Phillips Collection, One-on-One: Enrique Martínez Celaya/ Albert Pinkham Ryder, Washington, D.C. Abroms-Engel Institute for the Visual Arts, Small Paintings: 1974- 2015, Birmingham, Alabama Parafin, Self and Sea, London, United Kingdom Baldwin Gallery, Self and Land, Aspen, Colorado 2015 Jack Shainman Gallery, Empires: Land and Empires: Sea, New York, New York L.A. Louver, Lonestar, Venice, California 2014 Hood Art Museum, Dartmouth College, Burning as It Were a Lamp, Hanover, New Hampshire Galleri Andersson/Sandström, A Wasted Journey, A Half-finished Blaze, Umeå, Sweden Parafin, The Seaman’s Crop, London, United Kingdom 2013 Strandverket Konsthall, The Tower of Snow, Marstrand, Sweden SITE Santa Fe, The Pearl, Santa Fe, New Mexico Fredric Snitzer Gallery, Burning as It Were a Lamp, Miami, Florida 2012 The State Hermitage Museum, The Tower of Snow, St.