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C a H U I L L A
C A H U I L L A Sculpture by Lewis deSoto C A H U I L L A Sculpture by Lewis deSoto Essay by Nick Stone Published by sotolux press ©2006 Lewis deSoto, CAHUILLA, customized truck, Jacquard tapestry, sound and lighting system, Installation at the Aldrich Contemporary Art Museum, Ridgefield, CT, 2006 Photograph by Terri Garneau 360 Lb.-ft. One Ton Mash-up Lewis deSoto’s Cahuilla is a product of the surreal, poetic simultaneity found in dreams, a manifestation in three gleaming dimensions of the rhizomatic “and… and… and…” idiom which Deleuze and Guattari declared muscular enough to wrestle with ontology itself. One imagines a dreamer’s breathless description to a bemused companion upon awakening: “It was an enormous truck, painted with the colors of the desert… and it was also kind of a giant dollar bill, with the same lettering and symbols that money has… and it was also a casino – there was a woven craps table on the back and I could see the slot machine lights and hear the dealers… and at the same time, the dealers’ voices were chanting in Cahuilla… it was unbelievable.” Too, like a dream, Cahuilla is a vehicle capable of taking its passenger on a ride that is both sensual and conceptual; many of the components in its sequence of familiar forms are themselves transitive, stealthily piloted by an interior significance. In elements ranging from luxurious aluminum customizations to traditional beaded and woven motifs and a hybridized soundtrack, deSoto refers to a singular convergence of indigeneous tradition, newfound economic prosperity, a distinctly regional form of reified self- expression and the practical needs of desert survival. -
Faculty San Francisco State University Bulletin 2020-2021
Faculty San Francisco State University Bulletin 2020-2021 MICHAEL ALBERT (1977), Professor of Management; B.A. (1972), State FACULTY University of New York, Albany; M.B.A. (1974), Ph.D. (1977), Georgia State University. • # • A (p. 1) OLIVIA ALBIERO (2016), Assistant Professor of Modern Languages and Literatures; B.A. (2006), M.A. (2008), University of Padua; M.A. (2011), • B (p. 2) Ph.D. (2016), University of Washington. • C (p. 4) • D (p. 6) MICHELLE ALEGRIA-HARTMAN (2004), Adjunct Professor of Biology; B.A. • E (p. 8) (1982), University of California, Berkeley; B.S. (1985), M.A. (1993), San Francisco State University; Ph.D. (2002), University of California, Davis. • F (p. 8) • G (p. 9) ABEER ALJARRAH (2018), Assistant Professor of Computer Science; • H (p. 11) B.Sc. (2005) Jordan University of Science and Technology, M.Sc. • I (p. 13) (2010), Yarmouk University; Ph.D. (2018), University of North Carolina at Charlotte. • J (p. 13) • K (p. 14) DIANE ALLEN (2008), Professor of Physical Therapy; B.S. (1978), University • L (p. 15) of California, San Francisco; M.S. (1991), University of North Carolina, • M (p. 18) Chapel Hill; Ph.D. (2005), University of California, Berkeley. • N (p. 20) GWEN ALLEN (2007), Professor of Art; B.A. (1994), Smith College; M.A. • O (p. 20) (1999), Stanford University; Ph. D (2004), Stanford University. • P (p. 21) SARAH ALLEN (2004), Adjunct Professor of Biology; • Q (p. 22) • R (p. 22) FRANK ALMEDA (1998), California Academy of Sciences Research • S (p. 24) Professor, Adjunct Professor of Biology; B.A. (1968), University of South Florida; Ph.D. -
Sport and Scholarship: a New Approach to College Affordability at the University of Minnesota
Sport and Scholarship: A New Approach to College Affordability at the University of Minnesota A PROJECT SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Molly E. Gale IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF LIBERAL STUDIES May 2013 ©2013 Molly E. Gale For my family i TABLE OF CONTENTS List of Illustrations .............................................................................................................. iii Acknowledgements .............................................................................................................. iv List of Abbreviations ............................................................................................................ v Chapter: 1 – Introduction ..................................................................................................................... 1 2 – Fan Identification ............................................................................................................ 6 3 – Fan Identification Case Studies .................................................................................. 17 4 – The Compelling Experience Framework and Innovation ....................................... 28 5 – The College Funding Crisis ......................................................................................... 33 6 – Innovation in Public Institutions ................................................................................. 42 7 – Social Identity Theory ................................................................................................. -
CARLA GANNIS [email protected] :: :: Twitter: @Carlagannis CV
CARLA GANNIS [email protected] :: www.carlagannis.com :: twitter: @carlagannis CV SOLO & TWO PERSON EXHIBITIONS 2017 Carla Gannis, DAM Gallery, Berlin, Germany The Selfie Drawings : An Augmented Reality Artist Book and Installation, Pratt Institute Libraries, Brooklyn, NY Augmented Gardens and Other Emoji Delights, New Media Artspace, Baruch College, New York, NY, curated by Katherine Behar 2016 A Subject Self-Defined, Cyberfest 10, NY Media Center, Brooklyn, NY La Emoji Lujuria, Sedition Art, Online Exhibition A Subject Self-Defined, Transfer Gallery, Brooklyn, NY 2015 The Garden of Emoji Delights, Real Art Ways, Hartford, CT The Garden of Emoji Delights, EBK Gallery, Hartford, CT Robbi Carni, Digital Sweat Gallery, curated by Christian Petersen, Online Exhibition The Garden of Emoji Delights, Hudson River Museum, Yonkers, NY 2014 The Garden of Emoji Delights Kasia Kay Gallery, Chicago, Il The Garden of Emoji Delights, Transfer Gallery, Brooklyn, NY The Non-Facial Recognition Project, Center for the Digital Arts, Peekskill, New York 2013 <legend> </legend> | Carla Gannis & Justin Petropoulos (two-person collaboration), Transfer Gallery, Brooklyn, New York in conjunction with book publication by Jaded Ibis Press of Gannis/ Petropoulos collaboration 2012 The Multiversal Hippozoonomadon & Prismenagerie, Pablo’s Birthday, New York, NY The Non Facial Recognition, Edelman Gallery, New York, NY Pop Noir: Carla Gannis & Sandra Bermudez (two-person), The George Gallery, Laguna Beach, CA 2010 What is not on my mind, Pablo’s Birthday, New -
Jan | Feb | March | 2020
jan | feb | march | 2020 SANTA BARBARA MUSEUM OF ART from the director Dear Members, Happy New Year! The year 2020 is truly one for celebrating! The Museum continues to present groundbreaking exhibitions, including that of Tatsuo Miyajima. On view through April 19, this exciting installation represents the artist’s first solo U.S. museum exhibition in over two decades and the rare opportunity to experience the captivating and immersive light-based work that embodies his Buddhist practice. In addition, a selection of small-format American paintings will grace a section of Ridley-Tree Gallery in later March, highlighting the important Preston Morton Collection of American art. This installation is an impressive reminder of the breadth of the Museum’s holdings in that area and includes beautiful works by Frederic Edwin Church, Thomas Eakins, Walter Gay, and William Merritt Chase, just to name a few. The ever-popular Parallel Stories Lecture Series returns with Pulitzer Prize-winning author Jane Smiley in February and former California and U.S. Poet Laureate Juan Felipe Herrera in March. In addition, Art Matters makes a comeback this winter season with engaging lectures by eminent scholars on the artists Michelangelo and Frederick Hammersley. Finally, this year marks the beginning of the countdown to the October 11 re-opening of SBMA’s galleries, which have been closed due to the current renovation project. This will be the first time that Members and visitors will have the opportunity to experience the extraordinary transformation of the Museum, including new dedicated exhibition spaces for contemporary art, photography, and new media; a breathtaking re- installation of Ludington Court; a new grand staircase; and refined finishes and state-of-the-art lighting. -
RISD Graduate Studies Term
Experimental Publishing Studio NewHive version of this syllabus here Dept: RISD Graduate Studies Term: Spring 2015 Course number: GRAD-206G-01 Classroom: AUD 522 Days / time: Wednesday 1:10PM — 6:10PM Instructor: Paul Soulellis [email protected] Office hours: By appointment Course Description Publishing has never been a fixed notion. “What is publishing today?” remains a relevant inquiry, but with an expanding field of response, as platforms, channels and modes of production mutate and multiply. Let’s begin with “the post,” exposing its origins as a physical note publicly nailed to a piece of wood. Its descendents persist today, plainly visible on the wall, in the feed and in the stream as traces of a deeper history of documents — the scriptural economy. Is posting (always) publishing? We’ll examine substrate, blankness and the possibility of saying nothing as a post-media publishing strategy. And as certain legacies recede (privacy, authorship, copyright), how is publishing still “making public?” Let’s unpack (and entangle) these and other ways to explore the public circulation of work in a post-digital space. We’ll draw trajectories to and from the emergence of the networked artist in the 20th century, into the last twenty years, and particularly around the last two, as self-publishing becomes more and more inseparable from the artist’s ambient practice (and work) itself. The semester will be devoted to the creation of our own “performing publishing” studio, disseminating work as a highly diffused, ongoing performance, rather than discrete events. The development of publishing manifestos and projects, working in public, research-based exploration, non-traditional tools and platforms, experimentation and collaboration will be encouraged. -
Self-Portrait), 1999–2015
Contact: Katrina Carl Public Relations Manager 805.884.6430 [email protected] Lewis deSoto, Paranirvana (Self-Portrait), 1999–2015. Painted vinyl infused cloth, electric air fan, 3rd in a series with color variations. Courtesy of Chandra Cerrito Contemporary. Lewis deSoto Paranirvana (Self-Portrait) Newly-Commissioned Work Breathes Life into Santa Barbara Museum of Art’s Historic Ludington Court On View April 17 – July 31, 2016 April 15, 2016―Lewis deSoto’s multi-media works are informed by the artist’s long-standing interest in anthropology, history, mythology, and religion. All are engaged in the artist’s forthcoming solo exhibition—an installation featuring his monumental scale, inflatable sculpture, Paranirvana (Self-Portrait) (1999–2015). Inspired by the 12th-century Buddha at Gal Vihara in Sri Lanka, and conceived in the wake of his father’s death, this work serves as not only a representation of universal life, death, and supreme consciousness; but also, embellished with features similar to the artist, a self-portrait. The 26-foot-long Paranirvana (Self-Portrait) is activated―or rather brought to life―with an industrial fan, which inflates (inhales) when switched on at the beginning of the day, and deflates (exhales) when switched off at closing. As such, the work provides allusions to the spiritual breath (Prana) in Hindu philosophy, prevalent in the common practice of yoga. Enormous yet ephemeral, witty yet also thought-provoking, Paranirvana (Self-Portrait) rouses reflections upon existence, loss, and spirituality. Paranirvana -
Starteam 17.0
StarTeam 17.0 Server Administration Help Micro Focus The Lawn 22-30 Old Bath Road Newbury, Berkshire RG14 1QN UK http://www.microfocus.com © Copyright 2019 Micro Focus or one of its affiliates. MICRO FOCUS, the Micro Focus logo and StarTeam are trademarks or registered trademarks of Micro Focus or one of its affiliates. All other marks are the property of their respective owners. 2019-02-03 ii Contents StarTeam Server Administration .......................................................................5 Welcome to StarTeam .........................................................................................................5 Introduction ......................................................................................................................... 5 Installation and Licensing for StarTeam ....................................................................5 Products Included with StarTeam Enterprise Licenses ............................................ 6 Products Included with StarTeam Enterprise Advantage Licenses .......................... 8 Contacting Support .................................................................................................. 9 Standard StarTeam Architecture Overview .............................................................. 9 MPX Components .................................................................................................. 11 About Source Control ............................................................................................. 13 Atomic Check-ins .................................................................................................. -
AQ Volume 3 Page 8.Pages
The Postcolonial Contemporary John Zarobell I assure you, my cemetery has no recollection Of unmarked mass graves, scattered bone fragments; That skull and cross-bones over the gate? Added by Disney— Leftover prop from Zorro. Adds a little romance. —Deborah Miranda, from “Interviews with California Missions” Today Junípero Serra is being canonized by Pope Francis in Washington DC. Fr. Serra is the Franciscan friar who started the missions in present-day California and was thus responsible for the resettlement and Christianization of the Native populations here, including countless deaths, beatings, rapes, imprisonment, and the repression of cultural practices, languages, and traditions. For most descendants of these California natives, it is clear this man was no saint. The pope has his reasons of course, and for the first new-world pope, honoring the Spanish settlers of California is a way of honoring all of the Spanish-speaking Catholics of the United States, many of whom followed in Fr. Serra’s footsteps by walking north into California from Mexico. Yet the sanctification of colonial domination underlines many unanswered questions in the history of the lands we occupy and other territories around the world. In some sense these issues have been buried, particularly in the United States, by the marginalization of the native population and alienation of these people from their traditional lands. Colonial displacement has often been made invisible by countless historical changes that have occurred, but artists continue to disinter meaning from the colonial encounter and the long shadow it casts across the landscape. The advent of postcolonial studies has flooded the intellectual market with excavations of so many dimensions of the colonial past and its present ramifications in our ways of thinking and coming to terms with the world. -
Sister Cities Are Shining Paths at Sfo
NEWS February 16, 2007 FOR IMMEDIATE RELEASE: Contact: Michael C. McCarron Director, Bureau of Community Affairs (650) 821-4000 [email protected] SF-07-07 SISTER CITIES ARE SHINING PATHS AT SFO Sister City Art Installation Marks 50th Anniversary of San Francisco’s Sister City Relationship with Osaka SAN FRANCISCO -- The San Francisco International Airport (SFO) and the San Francisco Arts Commission unveiled the art installation Shining Paths: San Francisco’s Sister Cities, an illumination of the City’s fourteen sister city relationships by Bay Area artist and teacher Lewis deSoto, at a press conference in SFO’s International Terminal prior to the departure of members of the Osaka Sister City Committee on United Flight 885, bound for Kansai International Airport (KIX). The delegation, including Supervisor Ross Mirkarimi and Public Defender Jeff Adachi, is traveling to Japan to celebrate the 50th anniversary of the sister city relationship between San Francisco and Osaka. Shining Paths is an extension of the installation On the Air, which was commissioned as part of the International Terminal construction, completed in 2000. On the Air is a 12,000 square foot design in terrazzo, with bronze medallions on the floor of the Airport’s International Terminal’s arrival lobby area. The terrazzo design features a global isobar map, with 160 bronze medallions representing international airports around the world. The imagery for the medallions is created from the actual airport landing approach plates used by pilots. Shining Paths uses the same aeronautical map imagery for each city’s airport, overlaid with the image of the city’s flower. -
K L S Lewis Desoto K L S
K L S Lewis deSoto K L S Works by Lewis deSoto Essay by Nick Stone published by sotolux press ©2007 1 2 KLS Preface, 2006, 34"x34" pigment on paper Symphony of Colors . KLS represents a conversation, a relay of sorts, between three artists: the American Lewis deSoto, noted for his singular talent for colliding media; the German Hermann Hesse, author of classics like Siddharta, Steppenwolf, and The Glass Bead Game; and the fictional Klingsor, hero of Hesse's 1919 novella, Klingsor's Last Summer. These are our players: deSoto, Hesse, and Klingsor. The relay, then, takes place as follows: deSoto sampling Hesse writing Klingsor painting Montagnola. Taking Montagnola as a center point and working our way outward, from Klingsor to Hesse to deSoto, a concentric spiral of inspiration and artistic engagement emerges to which KLS provides a satisfying visual counterpart. We begin in 1919, in the village of Montagnola, part of the the Italian-speaking canton of Ticino in southern Switzerland. Here a middle-aged painter named Klingsor drinks the heady wine of his last days, feverishly painting his natural surroundings and ultimately composing one final masterpiece, a self-portrait, before his death. Klingsor's story is told in seven chapters; despite their linear succession from page to page, their sense of time is more cyclical than linear. Even Klingsor's death is confirmed as an event not in the final chapter, but early in the preface: in a typically masterful Hesse gambit, we begin with Klingsor's end. The novella proceeds, not as a straightforward narrative, but as a symphony of vibrant sensations ranging from the ecstatic to the terrible. -
Vagabond Halfback
VAGABOND HALFBACK The Saga Of Johnny Blood McNally Ralph Hickok Copyright © 2017 Ralph Hickok All rights reserved. No part of this document may be reproduced, transcribed, or copied, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the express prior written permission of Ralph Hickok. To request such permission, or to make any comments or suggestions about this document, E-mail the author: [email protected] ISBN-13: 978-1434830302 ISBN-10: 1434830306 Dedicated to the memory of my sister, Ellen Jane Hickok-Wall 1946-2017 She loved many, was loved by many, is missed by many PREFACE or years before Vince Lombardi arrived, Green Bay was F haunted by the spirit of Packer teams past. After winning six of the National Football League’s first 24 championships, the Packers won only 55 games, while losing 107 and tying 3, from 1945 through 1958. No wonder that Packer fans dwelt on the past, and the great legends of the past—Canadeo, Hutson, Herber, Hubbard, Hinkle, Dilweg, Lewellen, Isbell, Michalske, Lambeau. But the greatest legend of all was Johnny Blood, because he was not only a great football player, but also a colorful, flamboyant personality off the field. (His one-time teammate and fellow member of the Pro Football Hall of Fame, Clarke Hinkle, once said, “Next to Johnny Blood, Joe Namath looks like Little Lord Fauntleroy.”) I grew up in Green Bay during that period and, by the time I was thirteen and thinking of becoming a writer, I knew that someday I wanted to write a book about this legendary charac- ter.