John T. Scott
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A General Survey of Religious Concepts and Art of North, East, South, and West Africa
DOCUMENT RESUME ED 369 692 SO 023 792 AUTHOR Stewart, Rohn TITLE A General Survey of Religious Concepts and Art of North, East, South, and West Africa. PUB DATE Jun 92 NOTE llp.; Paper presented at the Annual Meeting of the National Art Education Association (Kansas City, KS, 1990). AVAILABLE FROMRohn Stewart, 3533 Pleasant Avenue South, Minneapolis, MN 55408 ($3). PUB TYPE Reports Descriptive (141) Speeches/Conference Papers (150) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Area Studies; *Art; *Art Education; *Cultural Background; Foreign Countries; Higher Education; Interdisciplinary Approach; Multicultural Education; *Religion; *Religious Cultural Groups IDENTIFIERS *Africa ABSTRACT This paper, a summary of a multi-carousel slide presentation, reviews literature on the cultures, religions, and art of African people. Before focusing on West Africa, highlights of the lifestyles, religions, and icons of non-maskmaking cultures of North, West and South African people are presented. Clarification of West African religious concepts of God, spirits, and magic and an examination of the forms and functions of ceremonial headgear (masks, helmets, and headpieces) and religious statues (ancestral figures, reliquaries, shrine figures, spirit statues, and fetishes) are made. An explanation of subject matter, styles, design principles, aesthetic concepts and criteria for criticism are presented in cultural context. Numerous examples illustrated similarities and differences in the world views of West African people and European Americans. The paper -
Art Power : Tactiques Artistiques Et Politiques De L’Identité En Californie (1966-1990) Emilie Blanc
Art Power : tactiques artistiques et politiques de l’identité en Californie (1966-1990) Emilie Blanc To cite this version: Emilie Blanc. Art Power : tactiques artistiques et politiques de l’identité en Californie (1966-1990). Art et histoire de l’art. Université Rennes 2, 2017. Français. NNT : 2017REN20040. tel-01677735 HAL Id: tel-01677735 https://tel.archives-ouvertes.fr/tel-01677735 Submitted on 8 Jan 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. THESE / UNIVERSITE RENNES 2 présentée par sous le sceau de l’Université européenne de Bretagne Emilie Blanc pour obtenir le titre de Préparée au sein de l’unité : EA 1279 – Histoire et DOCTEUR DE L’UNIVERSITE RENNES 2 Mention : Histoire et critique des arts critique des arts Ecole doctorale Arts Lettres Langues Thèse soutenue le 15 novembre 2017 Art Power : tactiques devant le jury composé de : Richard CÁNDIDA SMITH artistiques et politiques Professeur, Université de Californie à Berkeley Gildas LE VOGUER de l’identité en Californie Professeur, Université Rennes 2 Caroline ROLLAND-DIAMOND (1966-1990) Professeure, Université Paris Nanterre / rapporteure Evelyne TOUSSAINT Professeure, Université Toulouse - Jean Jaurès / rapporteure Elvan ZABUNYAN Volume 1 Professeure, Université Rennes 2 / Directrice de thèse Giovanna ZAPPERI Professeure, Université François Rabelais - Tours Blanc, Emilie. -
Love Songs Press Release
1 THE MOST ROMANTIC SONGS RECORDED BY THE ACCLAIMED AARON NEVILLE, INCLUDING TRACKS WITH LINDA RONSTADT AND THE NEVILLE BROTHERS, COLLECTED ON NEW COMPILATION AARON NEVILLE: LOVE SONGS “With an angelic voice capable of reconciling spiritual opposites-–wisdom and innocence, masculinity and femininity, the sacred and the profane--(Aaron) Neville can pretty much find the soul of any song...(using) that famous catch in his throat to convey the exuberance of unbridled passion.” --Rolling Stone (1995) The sweet soulful voice of Aaron Neville--the most familiar figure of New Orleans’ first family of music--has been brought to bear on love songs since the late ‘60s. Now 14 of those love songs from his most successful period, the ‘80s and ‘90s, have been collected on Aaron Neville: Love Songs (A&M/UME), released January 14, 2003. With the album co-compiled by Neville himself, each digitally remastered track was selected for its power of romance rather than its chart position. As a result, Aaron Neville: Love Songs brings most of these songs, spanning the years 1981 to 1997, together for the first time on any compilation. The album is the latest in the artist-driven, genre-crossing yet thematic Love Songs series which has previously included collections from Etta James, Elton John, and Stephanie Mills and is scheduled to release albums from Diana Ross, Marvin Gaye, the Moody Blues, Peggy Lee and more. Two recordings heard on Aaron Neville: Love Songs are actually from The Neville Brothers (Aaron, Art, Charles and Cyril): their Nawlins renditions of the doo-wop classic “The Ten Commandments Of Love” and ballad standard “Mona Lisa,” both from the siblings’ 1981 Joel Dorn-produced album Fiyo On The Bayou. -
Driskell's 2019 Oral History
Oral History Center University of California The Bancroft Library Berkeley, California David C. Driskell David C. Driskell: Life Among The Pines Getty Trust Oral History Project Interviews conducted by Bridget Cooks and Amanda Tewes in 2019 Interviews sponsored by the J. Paul Getty Trust Copyright © 2020 by J. Paul Getty Trust Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1954 the Oral History Center of The Bancroft Library, formerly 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 method of collecting historical information through recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in 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. ********************************* Copyright in the manuscript and recording is owned by the J. Paul Getty Trust, which has made the materials available under Creative Commons licenses as follows: Manuscript is licensed under CC-BY (https://creativecommons.org/licenses/by/4.0/) and recording is licensed under CC-BY-NC (https://creativecommons.org/licenses/by-nc/4.0/) Rights to reproduce images must be secured from the original rights- holders: DC Moore Gallery and the National Museum of African American History and Culture. -
ENROLLED 2021 Regular Session HOUSE BILL NO. 351 by REPRESENTATIVES PIERRE, AMEDEE, BRYANT, ROBBY CARTER, WILFORD CARTER, COX, D
ENROLLED 2021 Regular Session HOUSE BILL NO. 351 BY REPRESENTATIVES PIERRE, AMEDEE, BRYANT, ROBBY CARTER, WILFORD CARTER, COX, DUPLESSIS, FREEMAN, GREEN, HARRIS, HUGHES, TRAVIS JOHNSON, JONES, GREGORY MILLER, NEWELL, SEABAUGH, SELDERS, STAGNI, WHITE, AND WILLARD 1 AN ACT 2 To amend and reenact R.S. 49:155(A) and (B), relative to state symbols; to designate 3 "Southern Nights" by Allen Toussaint as the official state cultural song; and to 4 provide for related matters. 5 Be it enacted by the Legislature of Louisiana: 6 Section 1. R.S. 49:155(A) and (B) are hereby amended and reenacted to read as 7 follows: 8 §155. State song 9 A. The official state song for the State of Louisiana shall be a musical 10 composition, with words and music by Doralice Fontane, entitled: "Give Me 11 Louisiana"; the words and music1 reading as follows: 12 Give me Louisiana, 13 The state where I was born 14 The state of snowy cotton, 15 The best I've ever known; 16 A state of sweet magnolias 17 And creole melodies 18 Oh give me Louisiana, 19 The state where I was born 20 Oh what sweet old mem'ries 21 The mossy old oaks bring Page 1 of 6 CODING: Words in struck through type are deletions from existing law; words underscored are additions. HB NO. 351 ENROLLED 1 It brings us the story of our Evangeline 2 A state of old tradition, 3 Of old plantation days 4 Makes good old Louisiana 5 The sweetest of all states. 6 Give me Louisiana, 7 A state prepared to share 8 That good old southern custom, 9 Hospitality so rare; 10 A state of fruit and flowers, 11 Of sunshine and spring showers 12 Oh give me Louisiana, 13 The state where I was born 14 Its woodlands, Its marshes 15 Where humble trappers live 16 Its rivers, Its valleys, 17 A place to always give 18 A state where work is pleasure, 19 With blessings in full measure 20 Makes good old Louisiana 21 The dearest of all states. -
Fall 2020 Art @UMGC
FALL 2020 ART @ UMGCUMGC NEWS AND PERSPECTIVES FOR FRIENDS OF THE ARTS AT UNIVERSITY OF MARYLAND GLOBAL CAMPUS A MODEL JUST LOOKIN’ GALLERY CELEBRATES REMEMBERING PHILANTHROPIST 25 YEARS OF SUCCESS DAVID C. DRISKELL 4 10 16 GREETINGS CONTENTS From the President Dear Art Patrons, I hope this message finds you and those you love safe and well. On behalf of University of Maryland Global Campus (UMGC) and the 90,000 students we serve each year, I thank you for your belief in our mission and for your continued support of our Arts Program. As some of you know, in July 2020, after some 20 years with UMGC and more than eight years as president, I announced my intention to retire upon the appointment of a successor. I did so confident in the future of this institution and of its role in the community. As our world has adjusted to the global pandemic, we have been fortunate at UMGC that our online presence has offered us a measure of protection, and we have maintained our operational sta bility while shifting to remote working arrangements to protect our students, faculty, staff, and guests. Our Arts Program, too, is well positioned to continue to support our public mission. While we have postponed on-site exhibitions as we operate remotely, we continue to explore ways that the Arts Program can serve the community—such as through this virtual newsletter. I invite you to visit umgc.edu/art for the latest news and updates. In challenging times in particular, we need the inspiration that art can provide by highlighting Just Lookin’ Gallery the beauty that surrounds us, celebrating the resilience of the human spirit, and testifying to the 10 Celebrates 25 Years power of creativity to reimagine our world in better and brighter ways. -
Elvis Costello Began Writing Songs at the Age of Thirteen. 2017 Marked the 40Th Anniversary of the Release of His First Record Album, My Aim Is True
Elvis Costello began writing songs at the age of thirteen. 2017 marked the 40th anniversary of the release of his first record album, My Aim Is True. He is perhaps best known for the songs, “Alison”, “Pump It Up”, “Everyday I Write The Book” and his rendition of the Nick Lowe song, “(What’s So Funny ‘Bout) Peace Love and Understanding”. His record catalogue of more than thirty albums includes the contrasting pop and rock & roll albums: This Year’s Model, Armed Forces, Imperial Bedroom, Blood and Chocolate and King Of America along with an album of country covers, Almost Blue and two collections of orchestrally accompanied piano ballads, Painted From Memory - with Burt Bacharach and North. He has performed worldwide with his bands, The Attractions, His Confederates - which featured two members of Elvis Presley’s “T.C.B” band - and his current group, The Imposters – Steve Nieve, Pete Thomas and Davey Faragher - as well as solo concerts, most recently his acclaimed solo show, “Detour”. Costello has entered into songwriting collaborations with Paul McCartney, Burt Bacharach, the Brodsky Quartet and with Allen Toussaint for the album The River In Reverse, the first major label recording project to visit New Orleans after Hurricane Katrina and completed there while the city was still under curfew. In 2003, Costello acted as lyrical editor of six songs written with his wife, the jazz pianist and singer Diana Krall for her album, The Girl In The Other Room. He has written lyrics for compositions by Charles Mingus, Billy Strayhorn and Oscar Peterson and musical settings for words by W.B. -
Videostudio Playback
VideoStudio Playback Houston Conwill Maren Hassinger Fred Holland Ishmael Houston-Jones Ulysses Jenkins Senga Nengudi Howardena Pindell 10 06 16 Spring 2011 04 –“I am laying on the between the predeter- “No, Like This.” floor. My knees are up. mined codes of language Movements in My left arm is extended and their meaning to the side.” when actually used. Performance, –“Is it open?” By setting live human Video and the –“The palm of my left hand bodies to a technologically is open. Um, it’s not really reproduced voice, Babble Projected Image, open. It’s kind of cupped a addresses the mutable 1980–93 little bit, halfway between boundary between human open and shut.” and machine. While –“Like this?” mechanical manipulation Thomas J. Lax –“No, like this.” is commonly thought to –“Do we have to do this be synthetic and external now?” to original artistic work, –“Like this?” their performance demon- –“Okay.” strates the ways in which –“Okay.” technology determines something thought to This informal, circuitous, be as organic and natural instruction begins a as the human body. vignette in Babble: First Impressions of the White For its conceptual frame- Man (1983), a choreo- work, this exhibition graphic collaboration draws on Babble’s tension between artists Ishmael between spontaneous Houston-Jones and human creativity and Fred Holland. Although technology’s possibilities Houston-Jones is, as he and limitations. Bring- says, laying on the floor ing together work in film with his knees up and and video made primarily his left arm open, his between 1980 and 1986 voice is prerecorded and by seven artists who were removed from his onstage profoundly influenced by body. -
Ronald Reagan, Louisiana, and the 1980 Presidential Election Matthew Ad Vid Caillet Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2011 "Are you better off "; Ronald Reagan, Louisiana, and the 1980 Presidential election Matthew aD vid Caillet Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the History Commons Recommended Citation Caillet, Matthew David, ""Are you better off"; Ronald Reagan, Louisiana, and the 1980 Presidential election" (2011). LSU Master's Theses. 2956. https://digitalcommons.lsu.edu/gradschool_theses/2956 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. ―ARE YOU BETTER OFF‖; RONALD REAGAN, LOUISIANA, AND THE 1980 PRESIDENTIAL ELECTION A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of History By Matthew David Caillet B.A. and B.S., Louisiana State University, 2009 May 2011 ACKNOWLEDGEMENTS I am indebted to many people for the completion of this thesis. Particularly, I cannot express how thankful I am for the guidance and assistance I received from my major professor, Dr. David Culbert, in researching, drafting, and editing my thesis. I would also like to thank Dr. Wayne Parent and Dr. Alecia Long for having agreed to serve on my thesis committee and for their suggestions and input, as well. -
Neutral Ground Or Battleground? Hidden History, Tourism, and Spatial (In)Justice in the New Orleans French Quarter
University of Massachusetts Boston ScholarWorks at UMass Boston American Studies Faculty Publication Series American Studies 2018 Neutral Ground or Battleground? Hidden History, Tourism, and Spatial (In)Justice in the New Orleans French Quarter Lynnell L. Thomas Follow this and additional works at: https://scholarworks.umb.edu/amst_faculty_pubs Part of the African American Studies Commons, Africana Studies Commons, American Studies Commons, and the Tourism Commons Neutral Ground or Battleground? Hidden History, Tourism, and Spatial (In)Justice in the New Orleans French Quarter Lynnell L. Thomas The National Slave Ship Museum will be the next great attraction for visitors and locals to experience. It will reconnect Americans to their complicated and rich history and provide a neutral ground for all of us to examine the costs of our country’s development. —LaToya Cantrell, New Orleans councilmember, 20151 In 2017, the city of New Orleans removed four monuments that paid homage to the city’s Confederate past. The removal came after contentious public de- bate and decades of intermittent grassroots protests. Despite the public process, details about the removal were closely guarded in the wake of death threats, vandalism, lawsuits, and organized resistance by monument supporters. Work- Lynnell L. Thomas is Associate Professor of American Studies at University of Massachusetts Boston. Research for this article was made possible by a grant from the College of the Liberal Arts Dean’s Research Fund, University of Massachusetts Boston. I would also like to thank Leon Waters for agreeing to be interviewed for this article. 1. In 2017, Cantrell was elected mayor of New Orleans; see “LaToya Cantrell Elected New Or- leans’ First Female Mayor,” http://www.nola.com/elections/index.ssf/2017/11/latoya_cantrell _elected_new_or.html. -
Marley, Review of Riffs and Relations
ISSN: 2471-6839 Cite this article: Anna O. Marley, review of “Riffs and Relations: African American Artists and the European Modernist Tradition,” Phillips Collection, Panorama: Journal of the Association of Historians of American Art 6, no. 2 (Fall 2020), https://doi.org/10.24926/24716839.10748. Riffs and Relations: African American Artists and the European Modernist Tradition Curated by: Adrienne L. Childs Exhibition schedule: Phillips Collection, Washington, DC, February 29, 2020–January 3, 2021 Exhibition catalogue: Adrienne L. Childs, with contributions by Valerie Cassel Oliver and Renee Maurer, and the foreword by Dorothy Kosinski, exh. cat., Washington, DC: Phillips Collection in association with Rizzoli Electa, 2019. 208 pp.; 108 color illus.; 13 b/w illus. Hardcover: $50.00 (ISBN: 9780847866649) Reviewed by: Anna O. Marley, Kenneth R. Woodcock Curator of Historical American Art, Pennsylvania Academy of the Fine Arts Riffs and Relations: African American Artists and the European Modernist Tradition is a must-see exhibition for scholars of American art. The installation is sensitive, dynamic, and revelatory, and the catalogue is a much-needed contribution to scholarship, a primer on modern and contemporary African American artists’ fraught relations with European modernism. Thankfully, it has been extended through the fall of 2020. For those who cannot travel to see the exhibition in person, I hope this review and images will encourage you to seek out the catalogue. The fact that the exhibition takes place at the Phillips Collection in Washington, DC, and only there, is important. Since the thesis of the exhibition is that African American twentieth- and twenty-first-century art is in deep dialogue with European modernism, it is meaningful that the show is held at an institution known for its collection of European and American masterpieces. -
Press Release for Immediate Release Berry Campbell Presents Lilian Thomas Burwell: Soaring Curated by Melissa Messina
PRESS RELEASE FOR IMMEDIATE RELEASE BERRY CAMPBELL PRESENTS LILIAN THOMAS BURWELL: SOARING CURATED BY MELISSA MESSINA NEW YORK, NEW YORK, March 27, 2021— Berry Campbell is pleased to present Lilian Thomas Burwell: Soaring. This exhibition marks the esteemed Maryland-based artist’s first solo exhibition in New York. The exhibition title, Soaring, is an homage to the late Dr. David Driskell’s essay, Soaring With a Painterly Voice, written on the occasion of Burwell’s 1997 survey exhibition at Hampton University Museum, Virginia. Driskell described Burwell’s work as, “transcendental in showing stylistic diversity of earthly beauty and cosmic vision.” Lilian Thomas Burwell: Soaring, organized by guest curator, Melissa Messina, highlights the dynamic transition in Burwell’s abstract visual language from two-dimensional painterly planes to three-dimensional sculptural forms. Burwell’s paintings from the late 1970s and early 1980s employ a distinctly bold palette and reference organic forms found in natural floral and earthly phenomena. The exhibition centers on the painting Skybound (1984), which marks the first time that the artist cut into her canvas, creating positive and negative space. This pivotal act gave way to Burwell’s examination of form, bringing forth Burwell’s signature style of three-dimensional, painted wall sculpture. These wall sculptures, which would become the artist’s signature focus for more than two decades. Lilian Thomas Burwell: Soaring opens at Berry Campbell, New York April 22 and continues through May 28, 2021. The exhibition is accompanied by a 20-page exhibition catalogue with an essay by Melissa Messina. On the occasion of the exhibition, Berry Campbell will digitally screen the documentary, Kindred Spirits: Artists Hilda Wilkinson Brown and Lilian Thomas Burwell, on Wednesday, April 28, 2021, 4 pm - 10 pm and May 8, 2021, 1 - 5 pm.