DOCSLIB.ORG

Drama's Field Station Debuts in Los Angeles

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Drama's Field Station Debuts in Los Angeles DanceStudio Art DramaUCIArts Quarterly Fall 2006 Music Drama’s Field Station Debuts in Los Angeles ow do you help drama Drama professors Douglas- students at the Claire Scott Goheen and Phil Thomp- Trevor School of the Arts son were the scenic designer Hmake the transition from the and vocal coach, respectively. university stage to the profes- Music Professor Christopher sional stage? One of the ways Dobrian provided the original is through the Field Station music, and Michael K. Hooker, Theatre, a program recently new drama professor, created initiated by Drama Depart- the sound design. Richard Bre- ment Chair Robert Cohen. stoff, assistant drama profes- Although the The program is something of a labor sor, joined the mostly student department’s campus productions and of love for Cohen who has long wanted cast in the role of Leonardo da Vinci. curriculum emphasize a professional a theater off campus that would provide The FST, by all accounts, has been a environment, it is the added step valuable collaborative opportunities for long time coming. Cohen first proposed provided by the Field Station Theatre both students and faculty. Besides using the notion of an all-University-of-Cali- (FST) that can give student actors some of his own research grants to fund fornia “field station” theater in 1966. greater insight into what to expect the FST, he recruited School professors Cohen envisioned it as “a practicum/ after graduation. The premise is to help stage its first show. Machiavelli: research outpost—comparable to UC simple: stage professional produc- The Art of Terror, which Cohen wrote, had Santa Barbara’s Channel Islands Field tions at established professional the- a critically acclaimed run at the Hayworth Station—where various UC campuses Machiavelli Richard Brestoff in aters using students, faculty and alumni. Theatre in Los Angeles through August. continued on page 2 Photo: Robert Cohen New Faculty Arrive with Diverse Talents he Claire Trevor School of the Arts Gates has enjoyed a stellar danc- for Disney theme parks in Hong Kong, faculty has grown by six, with new ing career. She was the lead dancer Tokyo and Paris. Hooker has pioneered professors in all departments. with the Joffrey Ballet from 1983 to the development of sound design T The Dance Department welcomed 1995 and with the Frankfurt Ballet from programs at the University of Cincinnati assistant professors Molly Lynch and 2000 to 2004. She now choreographs and the California Institute of the Arts. Jodie Gates. Lynch is the former artistic works for distinguished companies like The Music Department is delighted director of Ballet Pacifica, Orange Coun- the San Francisco Ballet and the Paris to welcome Hossein Omoumi as Mas- ty’s only professional ballet company. She Opera Ballet. After moving to Laguna eeh Professor in Persian Performing was director from 1988 to 2003. Lynch, Beach about two years ago, Gates Arts, and Michael Dessen, a well- who studied with Ballet Pacifica Founder founded the Laguna Dance Festival, known composer and performer. Lila Zali, is credited with turning the com- a fall program that includes perfor- Omoumi comes to UCI from the pany into a well-respected professional mances, dance workshops and films. Seattle-based Haft Dastgah Associa- Professor tion, which he founded to preserve the Michael K. classical Persian music tradition. In Hooker has addition to teaching classical Persian joined the music at the University of Washington Drama Depart- in Seattle, UCLA and the University ment. Hooker of Paris-Sorbonne, Omoumi has has impressive performed in U.S., France, Turkey, professional Greece, Denmark, Switzerland and Molly Lynch Jodie Gates Michael Hooker Hossein Omoumi credentials, England. He is an accomplished player troupe known for staging new works. having been the Senior Media Designer of the ney, the Persian reed flute, and Lynch received her BA and MFA in Dance for Walt Disney Imagineering. He helped has numerous CDs to his credit. at UCI in 1979 and 1981, respectively. create sound design and audio systems continued on page 2 Voices -- Arts Patrons Speak Out When I visit my son in Washington, DC and his friends The arts add the color to the black and white palette are discussing where their children might go to college, if of everyday life—the talented students and faculty at the UCIArts Quarterly they are interested in dance, I say UCI. UCI has the best Claire Trevor School of the Arts wield the brushes with October, 2006, No. 18 dance department in the country. The important thing about tremendous skill, imagination and enthusiasm. I’ve found Claire Trevor School of the Arts attending a major university and majoring in a field of art, is my UCI arts’ experiences to be thoroughly enriching! Dean: Nohema Fernández Managing Editor: Wendy Day-Brown that the student will also receive a liberal education. I have ~Suzanne Fromkin Copy Editor & Writer: Mark Chalon Smith supported a dance student at UCI for a number of years and Contributors: Scottie Hinkey, Catlin feel that they enter the professional world not only as good Moore, Jacquie Sisemore artists but also as educated citizens who will contribute to Staff Photographer: Jacquie Sisemore their community and the world. ~Elizabeth Stahr Design: Rob Sexton S Voices , From the Dean s desk Dear friends, Our Claire Trevor School of the Arts community is brimming with talent, energy and enthusiasm. This was an amazingly busy and productive summer as faculty and students spread through the U.S. and abroad taking part in festivals, joining touring theater companies, exploring art in other countries and developing new artwork. The Medici Scholars traveled to the East Coast, Great Britain, France and Romania to participate in workshops, develop exhibitions and perform in international master classes; interdisciplinary groups of faculty and students collaborated in theatrical pieces making their debut in Italy, Romania and Poland; other faculty performed in South America, the Far East and Europe; and both students and alumni exhibited their work in major art centers. After such a busy summer, fall never disappoints. A talented group of new faculty and students join our ranks and everyone gathers together with the momentum that quickly starts driving activity for the year. With a new Assistant Dean (Ramona Agrela) to oversee our operations and a new Director of Development (Ryan Marsh), we have a finely tuned ensemble ready to expand both our international connections and community partnerships. Nohema Fernández We are committed to making the arts vibrant in our community. Our ongoing partnerships—including those with the Orange County High School for the Arts, the Osher Lifelong Learning Institute, county elementary schools and our community’s excellent performing and visual art organizations—enrich our lives and those who we serve, particularly our students. Irvine Mayor Beth Krom, who was the Keynote Speaker at our 2006 Commencement ceremonies, inspired our graduates with thoughts of the adventures that lie ahead. Indeed! We invite you to visit us often and enjoy the many public events we present during the year. As we begin the 2006-2007 academic year, we look forward to the future and our rich partnerships. Nohema Fernández Photo: Chappell Graduation Images Irvine Mayor Beth Krom addresses class of 2006 Drama’s Field Station Debuts in Los Angeles continued from page 1 could collaborate in forming a summer point of the FST is to give the Drama truly entry-level for all, including me.” theatre.” He imagined a program “where Department a professional arm in the Goheen, a frequent Cohen collabora- selected faculty and city of Los Angeles, to provide entry-level tor, agrees, adding that it also fills a alumni could perform acting, design and stage management— gap in drama’s curriculum. “There is in the ‘field’ that and some day perhaps directing—oppor- considerable precedent for this idea in professional theater tunities for graduating students and other top-tier graduate theater programs normally flourishes: a alumni in the city and to create a venue across the country,” he says. “We need downtown metro- to showcase UCI productions in a more look no further than UC San Diego and politan district.” metropolitan setting,” Cohen explains. its La Jolla Playhouse. And there are However, “Students will learn how to work many others to be found nationally.” Cohen says, other without university-level budgets, He continues, “FST will not only pro- campuses could permanent staff assistance, office vide a rewarding off-campus ‘laboratory’ not be persuaded support, scenery and costume shops and for our own professional students and to participate and all the security features that university faculty, but will hugely increase public his plan slipped theater properly enjoys. They will visibility of the School in general and into hibernation. see their fellow alums, students and the Department of Drama, particularly.” Until now. professors alike mopping the floors, Cohen says that he plans to have He thinks building the sets, writing the publicity two FST productions next year with the benefits will brochures, managing the concessions more to come in succeeding years. soon be obvious. and probably handing out the programs “I’ve got the energy and the means “Well, the when the audience enters. It will be to do this. Now is the time.” Christopher Marshall (left) as Machiavelli, Jeff Takacs as Cesare Borgia Photo: Robert Cohen New Faculty Arrive with Diverse Talents continued from page 1 Assistant Pro- Dessen is featured on recordings by vari- museums and galleries. Her work has fessor Dessen is ous artists, including Yusef Lateef and been shown at the 2006 Whitney a trombonist and Anthony Davis. Dessen studied with both Biennial at the Whitney Museum of composer whose Lateef and Davis, as well as musician American Art in New York City, the music is influenced by George Lewis.
Load more

Recommended publications
  • Booxter Export Page 1
    Cover Title Authors Edition Volume Genre Format ISBN Keywords The Museum of Found Mirjam, LINSCHOOTEN Exhibition Soft cover 9780968546819 Objects: Toronto (ed.), Sameer, FAROOQ Catalogue (Maharaja and - ) (ed.), Haema, SIVANESAN (Da bao)(Takeout) Anik, GLAUDE (ed.), Meg, Exhibition Soft cover 9780973589689 Chinese, TAYLOR (ed.), Ruth, Catalogue Canadian art, GASKILL (ed.), Jing Yuan, multimedia, 21st HUANG (trans.), Xiao, century, Ontario, OUYANG (trans.), Mark, Markham TIMMINGS Piercing Brightness Shezad, DAWOOD. (ill.), Exhibition Hard 9783863351465 film Gerrie, van NOORD. (ed.), Catalogue cover Malenie, POCOCK (ed.), Abake 52nd International Art Ming-Liang, TSAI (ill.), Exhibition Soft cover film, mixed Exhibition - La Biennale Huang-Chen, TANG (ill.), Catalogue media, print, di Venezia - Atopia Kuo Min, LEE (ill.), Shih performance art Chieh, HUANG (ill.), VIVA (ill.), Hongjohn, LIN (ed.) Passage Osvaldo, YERO (ill.), Exhibition Soft cover 9780978241995 Sculpture, mixed Charo, NEVILLE (ed.), Catalogue media, ceramic, Scott, WATSON (ed.) Installaion China International Arata, ISOZAKI (ill.), Exhibition Soft cover architecture, Practical Exhibition of Jiakun, LIU (ill.), Jiang, XU Catalogue design, China Architecture (ill.), Xiaoshan, LI (ill.), Steven, HOLL (ill.), Kai, ZHOU (ill.), Mathias, KLOTZ (ill.), Qingyun, MA (ill.), Hrvoje, NJIRIC (ill.), Kazuyo, SEJIMA (ill.), Ryue, NISHIZAWA (ill.), David, ADJAYE (ill.), Ettore, SOTTSASS (ill.), Lei, ZHANG (ill.), Luis M. MANSILLA (ill.), Sean, GODSELL (ill.), Gabor, BACHMAN (ill.), Yung
    [Show full text]
  • Miles Coolidge
    PETER BLUM GALLERY MILES COOLIDGE Born 1963 in Montreal, Quebec, Canada Lives and works in Los Angeles, CA EDUCATION 1994 Kunstakademie Düsseldorf (class of Bernd Becher), Düsseldorf, Germany 1992 MFA, California Institute of the Arts, Valencia, CA 1986 AB, Harvard University, Cambridge, MA SOLO EXHIBITIONS 2016 Coal Seam redux, Peter Blum Gallery, New York, NY Chemical Pictures, ACME., Los Angeles, CA Photographs and Chemical Pictures, Franz Josef Albers Museum Quadrat, Bochum, Germany 2015 Coal Seam redux, kunstwerden, Essen, Germany Coal Seam, Bergwerk Prosper-Haniel, NADA Art Fair, New York, NY (curated solo booth/ACME) 2014 ACME, Los Angeles Safetyville (selection), ACME, Los Angeles 2011 New Projects, ACME., Los Angeles, CA 2008 Street Furniture, ACME., Los Angeles, CA 2007 Casey Kaplan, New York, NY 2006 Juncture, ACME., Los Angeles, CA 2005 Drawbridges, Galerie Ilka Bree, Bordeaux, France Drawbridges, Galerie Lisa Ruyter, Vienna, Austria Mound Postcard Posters, Harwood Museum of Art, University of New Mexico, Taos, NM 2003 Drawbridges, ACME., Los Angeles, CA Drawbridges, Casey Kaplan Gallery, New York, NY 2002 Traffic, ACME., Los Angeles, CA Majestic Sprawl: Some Los Angeles Photography, Pasadena Museum of California Art, Pasadena, CA Observatory Circle, Galerie Gisela Capitain, Köln, Germany 2001 Miles Coolidge: Central Valley, Ulrich Museum of Art, Wichita State University, Wichita, KS ACME., Los Angeles, CA 2000 Galerie Jennifer Flay, Paris, France Orange County Museum, Newport Beach, CA Mattawa, Casey Kaplan, New York, NY 1998 Central Valley, Casey Kaplan, New York, NY Central Valley, ACME., Los Angeles, CA James Van Damme Gallery, Brussels, Belgium Moundbuilders Golf Course, ACME., Los Angeles, CA 1996 Elevator Pictures, Casey Kaplan, New York, NY Garage Pictures, ACME., Santa Monica, CA Garage Pictures, Casey Kaplan, New York, NY Safetyville, ACME., Santa Monica, CA 1994 Elevator Pictures, Los Angeles Center for Photographic Studies, Hollywood, CA 1992 In Its Place, Main Gallery, California Institute of the Arts, Valencia, CA Blumarts Inc.
    [Show full text]
  • Thomas Demand Roxana Marcoci, with a Short Story by Jeffrey Eugenides
    Thomas Demand Roxana Marcoci, with a short story by Jeffrey Eugenides Author Marcoci, Roxana Date 2005 Publisher The Museum of Modern Art ISBN 0870700804 Exhibition URL www.moma.org/calendar/exhibitions/116 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art museumof modern art lIOJ^ArxxV^ 9 « Thomas Demand Thomas Demand Roxana Marcoci with a short story by Jeffrey Eugenides The Museum of Modern Art, New York Published in conjunction with the exhibition Thomas Demand, organized by Roxana Marcoci, Assistant Curator in the Department of Photography at The Museum of Modern Art, New York, March 4-May 30, 2005 The exhibition is supported by Ninah and Michael Lynne, and The International Council, The Contemporary Arts Council, and The Junior Associates of The Museum of Modern Art. This publication is made possible by Anna Marie and Robert F. Shapiro. Produced by the Department of Publications, The Museum of Modern Art, New York Edited by Joanne Greenspun Designed by Pascale Willi, xheight Production by Marc Sapir Printed and bound by Dr. Cantz'sche Druckerei, Ostfildern, Germany This book is typeset in Univers. The paper is 200 gsm Lumisilk. © 2005 The Museum of Modern Art, New York "Photographic Memory," © 2005 Jeffrey Eugenides Photographs by Thomas Demand, © 2005 Thomas Demand Copyright credits for certain illustrations are cited in the Photograph Credits, page 143. Library of Congress Control Number: 2004115561 ISBN: 0-87070-080-4 Published by The Museum of Modern Art, 11 West 53 Street, New York, New York 10019-5497 (www.moma.org) Distributed in the United States and Canada by D.A.P./Distributed Art Publishers, New York Distributed outside the United States and Canada by Thames & Hudson Ltd., London Front and back covers: Window (Fenster).
    [Show full text]
  • Curriculum Vitae
    Michael Ashkin www.michaelashkin.com [email protected] EDUCATION 1993 MFA, The School of the Art Institute of Chicago, Painting/Drawing, Full Merit Scholarship 1980 MA, Columbia University, New York, Middle East Languages and Cultures, Honorary President’s Fellowship, Pahlavi Foundation Scholarship 1977 BA, The University of Pennsylvania, Philadelphia, Oriental Studies, magna cum laude SOLO EXHIBITIONS 2020 “were it not for,” Kaktos Gallery, Athens, Greece, January – March 2018 “Horizont,” Bibliowicz Gallery, Cornell Unversity, Ithaca, New York, March 19– April 20 2016 “Dismal Dreaming,” Cathouse Funeral, Brooklyn, New York, March 26– May 5, and Cathouse Proper, Brooklyn, NY, April 22 – June 1 2013 “Architecture is for Creeps,” Milstein Hall Gallery, Cornell University, Ithaca, NY, March 10–April 12 2010 Johnson Museum of Art, Cornell University, Ithaca, New York, curated by Andrea Inselmann, April 3 – July 11 (artist’s book) Weatherspoon Museum of Art, Greensboro, North Carolina, January 17– April 18 2009 Secession, Vienna, Austria, curated by Annette Südbeck, November 20 – January 26, 2010 (monograph) SculptureCenter, Long Island City, New York, In Practice Projects, curated by Sarina Basta, May 10 – August 10 2005 Andrea Rosen Gallery, Gallery 2, New York, May 6– June 28 2002 Andrea Rosen Gallery, New York, November 29 – January 18, 2003 Galerie Otto Schweins, Cologne, Germany, October 30– December 21 Emily Tsingou Gallery, London, September 10 – 30 2000 Andrea Rosen Gallery, New York, January 28 – March 4 1999 Emily Tsingou Gallery,
    [Show full text]
  • Download Download
    2/20161 Science & Technology Studies ISSN 2243-4690 Co-ordinating editor Salla Sariola (University of Oxford, UK; University of Turku, Finland) Editors Torben Elgaard Jensen (Aalborg University at Copenhagen, Denmark) Sampsa Hyysalo (Aalto University, Finland) Jörg Niewöhner (Humboldt-Universität zu Berlin, Germany) Franc Mali (University of Ljubljana, Slovenia) Martina Merz (Alpen-Adria-Universität Klagenfurt, Austria) Antti Silvast (University of Edinburgh, UK) Estrid Sørensen (Ruhr-Universitat Bochum, Germany) Helen Verran (University of Melbourne, Australia) Brit Ross Winthereik (IT University of Copenhagen, Denmark) Assistant editor Louna Hakkarainen (Aalto University, Finland) Editorial board Nik Brown (University of York, UK) Miquel Domenech (Universitat Autonoma de Barcelona, Spain) Aant Elzinga (University of Gothenburg, Sweden) Steve Fuller (University of Warwick, UK) Marja Häyrinen-Alastalo (University of Helsinki, Finland) Merle Jacob (Lund University, Sweden) Jaime Jiménez (Universidad Nacional Autonoma de Mexico) Julie Thompson Klein (Wayne State University, USA) Tarja Knuuttila (University of South Carolina, USA) Shantha Liyange (University of Technology Sydney, Australia) Roy MacLeod (University of Sydney, Australia) Reijo Miettinen (University of Helsinki, Finland) Mika Nieminen (VTT Technical Research Centre of Finland, Finland) Ismael Rafols (Universitat Politècnica de València, Spain) Arie Rip (University of Twente, The Netherlands) Nils Roll-Hansen (University of Oslo, Norway) Czarina Saloma-Akpedonu (Ateneo de Manila
    [Show full text]
  • UNIVERSITY of CALIFORNIA, IRVINE Origin[Redux] Photography
    UNIVERSITY OF CALIFORNIA, IRVINE Origin[Redux] Photography as a Mechanism of Dream Transference A THESIS Submitted in partial satisfaction of the requirements for the degree of MASTER OF FINE ARTS by Joaquín Palting Thesis Committee: Professor Simon Leung, Chair Professor Jennifer Bornstein Professor Miles Coolidge Professor Gabriele Schwab 2020 © 2020 Joaquín Palting DEDICATION Dedicated to Dr. Diana Edwards and Dr. Pancracio Palting, aka Mom & Pop. “The interpretation of dreams is the royal road to a knowledge of the unconscious activities of the mind.” ~Sigmund Freud “For it is another nature that speaks to the camera rather than to the eye: “other” above all in the sense that a space informed by human consciousness gives way to a space informed by the unconscious.” ~Walter Benjamin ii TABLE OF CONTENTS Page DEDICATION ii LIST OF FIGURES iii ACKNOWLEDGEMENTS iv ABSTRACT v PREFACE 1 INTRODUCTION 2 PHOTOGRAPHY AS A MECHANISM OF DREAM TRANSFERENCE 8 CASE STUDY 13 BIBLIOGRAPHY 22 iii LIST OF FIGURES FIGURE 1 Out Taking Pictures With Mama, 1972, D.S. Edwards FIGURE 2 Untitled (Cave Interior), from the series Origin[Redux], 2020, Joaquín Palting FIGURE 3 Untitled (Dunes), 1936, Edward Weston FIGURE 4 Mendenhall Glacier, 1973, Brett Weston FIGURE 5 Untitled (Lake Reflection), 1980, D.S. Edwards FIGURE 6 Untitled (Hollywood), from the series Origin[Redux], 2020, Joaquín Palting FIGURE 7 Untitled (Flat Rock Point), from the series Origin[Redux], 2020, Joaquín Palting FIGURE 8 Untitled (Rocks), from the series Origin[Redux], 2020, Joaquín Palting FIGURE 9 Untitled (Cave Entrance), from the series Origin[Redux], 2020, Joaquín Palting FIGURE 10 Untitled (Elysian Park), from the series Origin[Redux], 2020, Joaquín Palting iv ACKNOWLEDGEMENTS I would like to express my deepest gratitude to the following people who have inspired and guided me through one of the most exciting and rewarding chapters of my life.
    [Show full text]
  • Words Without Pictures
    WORDS WITHOUT PICTURES NOVEMBER 2007– FEBRUARY 2009 Los Angeles County Museum of Art CONTENTS INTRODUCTION Charlotte Cotton, Alex Klein 1 NOVEMBER 2007 / ESSAY Qualifying Photography as Art, or, Is Photography All It Can Be? Christopher Bedford 4 NOVEMBER 2007 / DISCUSSION FORUM Charlotte Cotton, Arthur Ou, Phillip Prodger, Alex Klein, Nicholas Grider, Ken Abbott, Colin Westerbeck 12 NOVEMBER 2007 / PANEL DISCUSSION Is Photography Really Art? Arthur Ou, Michael Queenland, Mark Wyse 27 JANUARY 2008 / ESSAY Online Photographic Thinking Jason Evans 40 JANUARY 2008 / DISCUSSION FORUM Amir Zaki, Nicholas Grider, David Campany, David Weiner, Lester Pleasant, Penelope Umbrico 48 FEBRUARY 2008 / ESSAY foRm Kevin Moore 62 FEBRUARY 2008 / DISCUSSION FORUM Carter Mull, Charlotte Cotton, Alex Klein 73 MARCH 2008 / ESSAY Too Drunk to Fuck (On the Anxiety of Photography) Mark Wyse 84 MARCH 2008 / DISCUSSION FORUM Bennett Simpson, Charlie White, Ken Abbott 95 MARCH 2008 / PANEL DISCUSSION Too Early Too Late Miranda Lichtenstein, Carter Mull, Amir Zaki 103 APRIL 2008 / ESSAY Remembering and Forgetting Conceptual Art Alex Klein 120 APRIL 2008 / DISCUSSION FORUM Shannon Ebner, Phil Chang 131 APRIL 2008 / PANEL DISCUSSION Remembering and Forgetting Conceptual Art Sarah Charlesworth, John Divola, Shannon Ebner 138 MAY 2008 / ESSAY Who Cares About Books? Darius Himes 156 MAY 2008 / DISCUSSION FORUM Jason Fulford, Siri Kaur, Chris Balaschak 168 CONTENTS JUNE 2008 / ESSAY Minor Threat Charlie White 178 JUNE 2008 / DISCUSSION FORUM William E. Jones, Catherine
    [Show full text]
  • Selected Affinities
    FOR IMMEDIATE RELEASE Selected Affinities June 23 – August 31, 2018 Opening reception for the artists: Saturday, June 23, 4:00 – 6:00 pm Allan Sekula, detail from Message in a Bottle (from Fish Story Chapter 5) (first version), 1992/1994 “But it is capital that is the leading, protean force, pushing people this way and that and leaving them to stew or rot or boil over.” – Allan Sekula (1951-2013), excerpt from Fish Story Santa Monica, April 2018 — Christopher Grimes Gallery is pleased to announce its forthcoming exhibition Selected Affinities, with works by Allan Sekula, Miles Coolidge, Connie Samaras, Katie Shapiro and Billy Woodberry. From the desert to the docks, farmland to the sea, this exhibition brings together four artists, who, along with Sekula, use photography or video not only as a tool for documentation but also as part of a discourse rooted in social relations. On view for the first time at the gallery will be Sekula’s Message in a Bottle (from Fish Story Chapter 5) (first version). One of his best-known bodies of work, Fish Story is a sequential piece composed of over one hundred pictures in nine chapters documenting maritime spaces and the effects of globalization. Message in a Bottle specifically addresses the decline of the fishing economy in the small Spanish town of Vigo. Sekula has exhibited extensively both internationally and locally, with solo exhibitions most recently at Thyssen-Bornemisza Art Contemporary, Vienna, Austria; NTU Centre for Contemporary Art Singapore; and Johan Jacobs Museum, Zurich, Switzerland. His work is in the collections of the Walker Art Center, Minneapolis, MN; Museum of Modern Art New York, NY; J.
    [Show full text]
  • Journal of the Transportation Research Forum: Volume 53, Number 3, Fall 2014
    Volume 53, Number 3 Fall 2014 Transportation Research Forum NDSU Dept. 2880 PO Box 6050 Fargo, ND 58108-6050 www.trforum.org Journal of the Transportation Research Forum The Transportation Research Forum, founded in 1958, is an independent, nonprofit organization of transportation professionals who conduct, use, and benefit from research. Its purpose is to provide an impartial meeting ground for carriers, shippers, government officials, consultants, university researchers, suppliers, and others seeking exchange of information and ideas related to both passenger and freight transportation. More information on the Transportation Research Forum can be found on the Web at www.trforum.org. General Editors: Michael W. Babcock, Kansas State University and Kofi Obeng, North Carolina A&T State University Book Review Editor: Jack S. Ventura, Surface Transportation Board Associate Editors: Richard Gritta, University of Portland; Robert Harrison, University of Texas; Kevin H. Horn, G.E.C. Inc.; Wesley Wilson, University of Oregon; Barry Prentice, University of Manitoba; Carl Scheraga, Fairfield University; John Bitzan, North Dakota State University; and Starr McMullen, Oregon State University. Disclaimer: The facts, opinions, and conclusions set forth in the articles contained herein are those of the authors and quotations should be so attributed. They do not necessarily represent the views and opinions of the Transportation Research Forum (TRF), nor can TRF assume any responsibility for the accuracy or validity of any of the information contained herein. Memberships/Subscriptions: Subscriptions and/or membership forms may be obtained from the following office or online. Copyright 2014 The Transportation Research Forum All Rights Reserved ISSN 1046-1469 Published and Distributed by Transportation Research Forum NDSU Dept.
    [Show full text]
  • For Immediate Release Miles Coolidge Gallery I
    FOR IMMEDIATE RELEASE MILES COOLIDGE GALLERY I EXHIBITION DATES: JANUARY 12 – FEBRUARY 10, 2007 OPENING: THURSDAY, JANUARY 11th, 6 - 8 PM GALLERY HOURS: TUESDAY – SATURDAY, 10 - 6 PM For his fifth solo show in New York, Los Angeles-based artist, Miles Coolidge, will present two of his latest photographic projects in Gallery I. Both works recognize photography's importance in visual and popular culture, embracing the medium as a conceptual and surrealist tool in the history of art. Coolidge works between traditional photographic genres and strategies, de-familiarizing our accustomed approach to our surroundings. His most ambitious project to date, Wall of Death, is an installation of 20 color photographs that replicates a complete and full-scale representation of the performing surface of the traveling carnival act, “Don Daniel's Wall of Death Motorcycle Thrill Show,” operated by the California Hellriders, who are based in Swansea, Massachusetts. Each photograph corresponds to one of the Wall of Death's wooden panels, and the images are mounted edge-to edge on the gallery wall, echoing how the structure appears when fully assembled. Coolidge shot the images on the grounds of the Iron Horse Saloon, Ormond Beach, Florida, during “Biketoberfest 2006”. The Wall of Death is a vertical wooden cylinder in which trained motorcycle and go-kart riders perform for audiences. The riders are held to the sheer surface by the centripetal force generated by their velocities of 35 mph or more. Coolidge’s 20 images depict the 7' wooden surface on which the riders perform. Currently there are 3 Walls of Death in operation in the United States that travel between motorcycling events in the South, the Midwest and the Northeast, in addition to others based in Great Britain, Europe and perhaps elsewhere.
    [Show full text]
  • Jan | Feb | March | 2016
    jan | feb | march | 2016 s a n t a b a r b a r a m u s e u m o f a r t from the director Dear Members, This new year is especially significant as it marks an important milestone—the Museum’s 75th anniversary. On Thursday, June 5, 1941, the Santa Barbara Museum of Art opened its doors for the first time amidst a throng of community leaders, local schoolchildren, and SBMA founders. The idea for a city museum originally came from the local artist Colin Campbell Cooper. When he learned that the main post office building, erected in 1912 and abandoned for several years, was going to be sold, he proposed, in a letter published in the Santa Barbara News-Press in July of 1937, that the impressive Italianate structure should be transformed into a museum. What Cooper himself described as something of a “pipedream” came to fruition just four years later, thanks to a groundswell of support from the community and the commitment of a small, passionate army of artists and civic-minded individuals. Also voicing their enthusiasm for the project was a large group of merchants, some 125 of whom petitioned the County’s Board of Supervisors to buy the property from the federal government so that it may be used as a museum. Their plea was heeded and, before long, a number of Santa Barbara residents formed an official museum committee and a number of generous citizens offered funds to remodel the building, to construct galleries, and to add new floors and lighting that would be up to museum standards.
    [Show full text]
  • Yunhee Min CV
    YUNHEE MIN received her Bachelor of Fine Arts degree from the Art Center College of Design in Pasadena, CA in 1991 and her Master of Arts from Harvard University, Graduate School of Design in 2008, with additional studies in 1994 at Kunstakademie in Düsseldorf, Germany. Min has had numerous solo exhibitions both nationally and internationally, which include “Hammer Projects: Yunhee Min,” Hammer Museum, Los Angeles, CA; “Wilde Paintings,” “movements,” and “Into the Sun,” Susanne Vielmetter Los Angeles Projects, Culver City, CA; “For Instance,” Hammer Museum, Los Angeles, CA; “Above and Beyond,” Pasadena Museum of Contemporary Art, CA; “Distance is like the future, Circa Series,” Museum of Contemporary Art San Diego, CA; “Fading Wild,” Finesilver Gallery, San Antonio, TX; “One foot in front of the other,” Or Gallery, Vancouver, Canada; “Fast times,” ACME., Los Angeles, CA; among others. Recent group exhibitions include “The Light Touch,” Vielmetter Los Angeles, Los Angeles, CA; “Belief in Giants,” Miles McEnery Gallery, New York, NY; “Elemental | Seeing the Light,” Stuart Haaga Gallery, Descanso Gardens, Los Angeles, CA; “Spectra,” San Diego State University Downtown Gallery, San Diego, CA; “Lost line,” Los Angeles County Museum of Art, Los Angeles, CA; “ABCyz,” Launch Exhibition, Silvershed, New York, NY; “The Trans-Aestheticization of Daily Life,” University of California, Riverside Sweeney Gallery, Riverside, CA; “Too much love,” Angles Gallery, Los Angeles, CA, curated by Amy Adler; “Around About Abstraction,” Weatherspoon Art Museum, Greensboro, NC; “Wall Painting,” University of Texas at San Antonio, San Antonio, TX; “Snap Shot,” UCLA Hammer Museum, Los Angeles, CA (traveled to Museum of Contemporary Art, North Miami, FL); “Fresh,” Altoids Curiously Strong Collection, New Museum, New York, NY; “KOREAMERICAKOREA,” Sonje Museum of Contemporary Art, Seoul, Korea; “Rundgang,” Kunstakademie Düsseldorf, Düsseldorf, Germany.
    [Show full text]