Vol. 25, No. 4 April 2021 You Can’T Buy It
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Weaverswaver00stocrich.Pdf
University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley. -
Curriculum Vitae Ezra Shales, Ph.D. [email protected] Professor
Curriculum Vitae Ezra Shales, Ph.D. [email protected] Professor, Massachusetts College of Art and Design Publications Books Holding Things Together (in process) Revised editions and introductions to David Pye, Nature and Art of Workmanship (1968) and Pye, Nature and Aesthetics of Design (1964) (Bloomsbury Press, 2018) The Shape of Craft (Reaktion Books, anticipated publication Winter 2017-2018) Made in Newark: Cultivating Industrial Arts and Civic Identity in the Progressive Era (Rutgers University Press, 2010) Peer-Reviewed Scholarly Publications “Craft” in Textile Terms: A Glossary, ed. Reineke, Röhl, Kapustka and Weddigen (Edition Immorde, Berlin, 2016), 53-56 “Throwing the Potter’s Wheel (and Women) Back into Modernism: Reconsidering Edith Heath, Karen Karnes, and Toshiko Takaezu as Canonical Figures” in Ceramics in America 2016 (Chipstone, 2017), 2-30 “Eva Zeisel Recontextualized, Again: Savoring Sentimental Historicism in Tomorrow’s Classic Today” Journal of Modern Craft vol. 8, no. 2 (November 2015): 155-166 “The Politics of ‘Ordinary Manufacture’ and the Perils of Self-Serve Craft,” Nation Building: Craft and Contemporary American Culture (Smithsonian American Art Museum, 2015), 204-221 “Mass Production as an Academic Imaginary,” Journal of Modern Craft vol. 6, no. 3 (November 2013): 267-274 “A ‘Little Journey’ to Empathize with (and Complicate) the Factory,” Design & Culture vol. 4, no. 2 (Summer 2012): 215-220 “Decadent Plumbers Porcelain: Craft and Modernity in Ceramic Sanitary Ware,” Kunst Og Kultur (Norwegian Journal of Art and Culture) vol. 94, no. 3 (Fall 2011): 218-229 “Corporate Craft: Constructing the Empire State Building,” Journal of Modern Craft vol. 4, no. 2 (July 2011): 119-145 “Toying with Design Reform: Henry Cole and Instructive Play for Children,” Journal of Design History vol. -
Kunstausstellungen in Der Schweiz Als Mittel Der Auswärtigen Kulturpolitik Der Weimarer Republik Und Des "Dritten Reiches" 1919-1939
Kunstausstellungen in der Schweiz als Mittel der auswärtigen Kulturpolitik der Weimarer Republik und des "Dritten Reiches" 1919-1939 Autor(en): Saehrendt, Christian Objekttyp: Article Zeitschrift: Schweizerische Zeitschrift für Geschichte = Revue suisse d'histoire = Rivista storica svizzera Band (Jahr): 54 (2004) Heft 4 PDF erstellt am: 04.10.2021 Persistenter Link: http://doi.org/10.5169/seals-81379 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Miszellen / Melanges SZG/RSH/RSS 54, 2004, Nr. 4 Kunstausstellungen in der Schweiz als Mittel der auswärtigen Kulturpolitik der Weimarer Republik und des «Dritten Reiches» 1919-1939 Christian Saehrendt Auswärtige Kulturpolitik begleitet die Außenpolitik Deutschlands seit ungefähr 100 Jahren. -
Vol. 22, No. 2 February 2018 You Can’T Buy It
ABSOLUTELY FREE Vol. 22, No. 2 February 2018 You Can’t Buy It Artwork is by Betsy Jones McDonald which is part of the exhibit, Everchanging Tides, on view at the Charleston Artist Guild Gallery in Charleston, SC, from February 1 - 28, 2018. See the article on page 6. ARTICLE INDEX Advertising Directory This index has active links, just click on the Page number and it will take you to that page. Listed in order in which they appear in the paper. Page 1 - Cover - Charleston Artist Guild Gallery - Betsy Jones McDonald Page 3 - Ella Walton Richardson Fine Art Page 2 - Article Index, Advertising Directory, Contact Info, Links to blogs, and Carolina Arts site Page 4 - Nance Lee Sneddon Page 4 - Editorial Commentary Page 5 - The Wells Gallery at the Sanctuary, Fabulon Art & Halsey-McCallum Studios Page 5 - City Gallery at Waterfront Park Page 6 - Charleston Artist Guild, City of North Charleston & Robert Lange Studios Page 6 - Karen Burnette Garner & Whimsy Joy by Roz Page 8 - Ella Walton Richardson Fine Art & Helena Fox Fine Art Page 7 - Call for Lowcountry Ceramic Artists, Rhett Thurman, Anglin Smith Fine Art, DONALD WEBER Page 9 - Helena Fox Fine Art cont., Society of Bluffton Artists & Coastal Discovery Museum Helena Fox Fine Art, Spencer Art Galleries, The Wells Gallery at the Sanctuary, Page 10 - Art League of Hilton Head, Lander University and Main & Maxwell Corrigan Gallery & Saul Alexander Foundation Gallery Page 13 - Metropolitan Arts Council Page 14 - West Main Artists Co-op x 2 Page 8 - Emerge SC & James Smith for Governor “CHARLESTON” Page 16 - West Main Artists Co-op cont. -
2018 Season in Review
SOFTBALL 339 2018 SEASON IN REVIEW FINAL TEAM STANDINGS CONFERENCE OVERALL W L PCT. W L PCT. 1. Michigan* 18 3 .857 44 13 .772 2. Minnesota^ 17 4 .810 41 17 .707 3. Indiana 17 6 .739 26 30 .464 4. Ohio State 14 8 .636 36 16 .692 Northwestern 14 8 .636 38 19 .667 6. Illinois 13 8 .619 37 18 .673 7. Wisconsin 11 9 .550 29 23 .558 8. Michigan State 10 12 .455 26 26 .500 9. Nebraska 9 13 .409 31 23 .574 10. Purdue 7 15 .318 16 40 .286 11. Maryland 7 16 .304 18 37 .327 12. Iowa 6 16 .273 21 32 .396 13. Penn State 5 18 .217 9 41 .180 14. Rutgers 4 16 .200 19 31 .380 * - Big Ten Champion ^ - Big Ten Tournament Champion ALL-BIG TEN TEAMS AND INDIVIDUAL HONORS Player of the Year: Kendyl Lindaman, So., MINN Pitcher of the Year: Meghan Beaubien, Fr., MICH Freshman of the Year: MEGHAN BEAUBIEN, MICH Coach of the Year: Carol Hutchins, MICH FIRST TEAM SECOND TEAM ALL-FRESHMAN TEAM KIANA SHERLUND, Jr., OF, ILL Stephanie Abello, Jr., C, ILL Bella Loya, UTL, ILL Carly Thomas, Jr., OF, ILL Maddi Doane, Sr., OF, ILL Taylor Lambert, OF, IND Tara Trainer, Jr., P, IND Rebecca Blitz, Sr., OF, IND Maddie Westmoreland, DP, IND Maddie Westmoreland, Fr., DP, IND Gabbi Jenkins, So., OF, IND MEGHAN BEAUBIEN, P, MICH MEGHAN BEAUBIEN, Fr., P, MICH Allison Doocy, So., P, IOWA Natalia Rodriguez, SS, MICH TERA BLANCO, Sr., 1B, MICH Allie Wood, Sr., OF, IOWA Ellee Jensen, OF, MINN Faith Canfield, Jr., 2B, MICH Sky Ellazar, Sr., 2B, MD Rachel Lewis, 2B, NU LEA FOERSTER, Sr., OF, MSU Katie Alexander, Jr., C, MICH Kenna Wilkey, UTL, NU Amber Fiser, So., P, MINN Ellee Jensen, -
Street Photography Resources
An Overview of Street Photography Collections at the Historical Society of Washington, D.C. Arranged by Approximate Date Range Research queries & appointment requests: [email protected] Visit our online catalog at DCHistory.PastPerfectOnline.com/ Learn More DCHistory.org/research Descriptions of Street Photography Collections in Special Photograph Collections Collection Collection Name Collection Description Identifier Whetzel Associates, Inc., Aerial Consists of about 1200 aerial photographs of the Washington D.C. metropolitan area and some adjacent Virginia and SP 0001 Photograph Collection, 1955- Maryland counties, taken in the mid to late 1950s from the Whetzel Associates, Inc. 1959 Consists of 350 aerial photographs (some via autogiro) taken from 1934 to 1940. The primary emphasis is on the Mall Aero Services Photograph SP 0002 and Capitol Hill but other views, all west of the Anacostia River, are included. Images are grouped by location, but Collection, 1930s. described individually. Consists of 43 glass-plate images taken by Gideon Hawley Baxter (1854-1928), primarily from 1913 to 1919. Most Gideon Hawley Baxter Glass- SP 0003 were taken from the Old Post Office (where Dr. Baxter was employed) from which he documented parades or Plate Negative Collection. ceremonies on Pennsylvania Avenue. Joseph E. Bishop Photograph Consists of about 350 photographs taken by Joseph E. Bishop during the 1920s; primarily of Old Downtown SP 0004 Collection. Washington, but also includes the Georgetown, Foggy Bottom, and Southwest neighborhoods. Consists of about 900 photographs and research notes assembled by James Borchert during research for his Ph. D James Borchert Alley Life in dissertation "American mini-ghettoes : alleys, alley dwellings and alley dwellers in Washington, D.C., 1850-1970". -
National Endowment for the Arts Annual Report 1990
National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................ -
Annual Report Dear Members and Friends
FY 2012 Annual Report Dear Members and Friends, We launched Fiscal Year 2012 (July 1, 2011 through June 30, 2012) with the Currier’s first video exhibition entitled Shifting Terrain. Organized by Assistant Curator Nina Bozicnik, the exhibition featured nine videos by seven accomplished regional artists, all of whom explored the theme of landscape in distinctive ways. From there, we reflected on the dynamic, turbulent decades of the ‘60s, ‘70s and ‘80s with iconic images in Backstage Pass: Rock and Roll Photography, organized by the Portland Museum of Art, Maine. The FY12 exhibition program celebrated the Currier’s own growing photography collection in a show organized by Kurt Sundstrom, A New Vision: Modernist Photography in Spring 2012. It included more than 103 striking images by Europeans and Americans who IMAGES expanded the boundaries of photography with a new abstracted COVER: A family visits the Museum approach to framing everyday subjects. during Vacation Week and enjoys a Drawing in the Gallery program. In its commitment to highlighting the most accomplished artists of ABOVE: Visitors to the exhibition Shifting Terrain: Landscape Video New England, the Currier presented a show featuring the ceramics watch an installation called Dead Standing and Selva Oscura: Drawing of Karen Karnes, a seminal figure in the studio pottery movement; of Dead Standing by Mary Ellen Strom. and Cristi Rinklin’s evocative installation Diluvial, which filled the BOTTOM: Artist Eric Aho teaches a Putnam Gallery with mural-sized paintings, wallpaper and translucent Master Class at the Currier Art Center during his exhibition Transcending images enhanced by sunlight coming through the window wall. -
Annual Report 2016
Collecting Exhibiting Learning Connecting Building Supporting Volunteering & Publishing & Interpreting & Collaborating & Conserving & Staffing 2016 Annual Report 4 21 10 2 Message from the Chair 3 Message from the Director and the President 4 Collecting 10 Exhibiting & Publishing 14 Learning & Interpreting 18 Connecting & Collaborating 22 Building & Conserving 26 Supporting 30 Volunteering & Staffing 34 Financial Statements 18 22 36 The Year in Numbers Cover: Kettle (detail), 1978, by Philip Guston (Bequest of Daniel W. Dietrich II, 2016-3-17) © The Estate of Philip Guston, courtesy McKee Gallery, New York; this spread, clockwise from top left: Untitled, c. 1957, by Norman Lewis (Purchased with funds contributed by the Committee for Prints, Drawings, and Photographs, 2016-36-1); Keith and Kathy Sachs, 1988–91, by Howard Hodgkin (Promised gift of Keith L. and Katherine Sachs) © Howard Hodgkin; Colorscape (detail), 2016, designed by Kéré Architecture (Commissioned by the Philadelphia Museum of Art for The Architecture of Francis Kéré: Building for Community); rendering © Gehry Partners, LLP; Inside Out Photography by the Philadelphia Museum of Art Photography Studio A Message A Message from the from the Chair Director and the President The past year represented the continuing strength of the Museum’s leadership, The work that we undertook during the past year is unfolding with dramatic results. trustees, staff, volunteers, city officials, and our many valued partners. Together, we Tremendous energy has gone into preparations for the next phase of our facilities have worked towards the realization of our long-term vision for this institution and a master plan to renew, improve, and expand our main building, and we continue reimagining of what it can be for tomorrow’s visitors. -
EDISON's Warriors
EDISON’S WaRRIORS Christoph Cox Real security can only be attained in the long run through confusion. — Hilton Howell Railey, commander of the Army Experimental Station1 Simulantur quae non sunt. Quae sunt vero dissimulantur. — Motto of the 23rd Special Troops2 In “The Invisible Generation,” an experimental text from 1962, William S. Burroughs unveiled a proposal to unleash urban mayhem via the use of portable tape recorders. “Now consider the harm that can be done and has been done when recording and playback is expertly carried out in such a way that the people affected do not know what is happening,” he wrote. “Bands of irresponsible youths with tape recorders playing back traffic sounds that confuse motorists,” Burroughs gleefully imagined, could incite “riots and demonstrations to order.”3 Championing the productive (and destructive) powers of portable audio, “The Invisible Generation” is an emblematic text in the history of sound art and DJ culture. Yet, nearly 20 years earlier, Burroughs’s vision had already been conceived and deployed by none other than the United States Army, whose “ghost army,” the 23rd Special Troops, included several units dedicated to “sonic deception” and its results: enemy confusion and carnage.4 The first division in American Armed Forces history assigned exclusively to camouflage and deception, the 23rd was a military oddity. Despite the centrality of deception in the history of warfare from the Trojan Horse on, soldiers drilled in the West Point code of duty, honor, trust, and integrity were ill-suited to a life of simulation and dissimulation; and American officers tended to dismiss deceptive tactics as underhanded, a sign of weakness in every sense.5 It’s not surprising, then, that the 23rd consisted primarily of a population with an occupational predisposition to deception, invention, and fabrication: artists. -
The Ghost Army of World War II: How One Top-Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery Online
XumZy [Read now] The Ghost Army of World War II: How One Top-Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery Online [XumZy.ebook] The Ghost Army of World War II: How One Top- Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery Pdf Free Rick Beyer, Elizabeth Sayles DOC | *audiobook | ebooks | Download PDF | ePub #19765 in Audible 2016-01-08Format: UnabridgedOriginal language:EnglishRunning time: 252 minutes | File size: 67.Mb Rick Beyer, Elizabeth Sayles : The Ghost Army of World War II: How One Top-Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery before purchasing it in order to gage whether or not it would be worth my time, and all praised The Ghost Army of World War II: How One Top-Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery: 46 of 46 people found the following review helpful. A MUST READ FOR ANY FAN OF WWIIBy RC MayerImagine, captured German maps showing 15,000 Allied troops in a location that there were no troops. Imagine, Nazirsquo;s keeping their soldiers out of position opposite what they think are thousand of enemy troops. Imagine, they can hear the US tanks lining up on the opposite riverbank. They can even here the soldiers yell ldquo;Hey Private! Put out that cigarette! Therersquo;s gas tanks over there!rdquo; Imagine, Nazi civilian spys transmitting radio broadcasts to Berlin that they overheard conversations in a pub in from soldiers in 4th Infantry Division that they were moving into Metz this evening. -
11/14/75 - Presentation of Books - White House Historical Society and National Geographic” of the Sheila Weidenfeld Files at the Gerald R
The original documents are located in Box 7, folder “11/14/75 - Presentation of Books - White House Historical Society and National Geographic” of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Some items in this folder were not digitized because it contains copyrighted materials. Please contact the Gerald R. Ford Presidential Library for access to these materials. Digitized from Box 7 of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library TELEPHONE CABLE ADDRESS (202) 296-7500 NATGEOSOC, WASHINGTON TELEX 892398 WASHINGTON, D . C . 20036 S P ECIAL PUBLICATIONS DIVISION DONALD J. CRUMP ASSOCIATE DIRECTOR October 22, 1975 Mrs. Sheila Weidenfeld Press Secr etar y to Mr s . For d The White House Washington, D. C. 20500 Dear Sheila: No one has mentioned this before, but the White House His torical Association loses approximately $500 for each day's delay in unveiling the new FIRST LADIES book. These are funds that help buy antiques for the Mansion and pay for much of the White House redecor ating.