Leonardo Reviews

Total Page:16

File Type:pdf, Size:1020Kb

Leonardo Reviews LEON4004_pp401-413.ps - 6/21/2007 3:40 PM Leonardo Reviews LEONARDO REVIEWS this book’s ability to convey the world- aid the organizational structure in the Editor-in-Chief: Michael Punt wide connectivity that was emerging in effort to present basic themes. These, Managing Editor: Bryony Dalefield the second half of the 20th century. in turn, allow us more easily to place One of the stronger points of the book the recent art history of Argentina, Associate Editor: Robert Pepperell is the way the research translates the Brazil, Mexico, Uruguay, Venezuela, A full selection of reviews is regional trends of the mid-1940s into Croatia, the Czech Republic, Hungary published monthly on the LR web site: an environment that was setting the and Poland in relation to that of the <www.leonardoreviews.mit.edu>. stage for the international art world of West. the 1960s to take form. In effect, the The range of artists is equally local communities gave way to a global impressive. Included are (among vision, due, in part, to inexpensive air others) Josef Albers, Bernd and Hilla BOOKS travel, the proliferation of copying Becher, Max Bill, Lucio Fontana, Eva technologies and the growing ease Hesse, On Kawara, Sol LeWitt, Bruce of linking with others through long Nauman, Hélio Oiticica, Blinky distance telecommunication devices. Palermo, Bridget Riley, Jesus Rafael BEYOND GEOMETRY: Authored by six writers (Lynn Soto, Frank Stella, Jean Tinguely, and XPERIMENTS IN ORM E F , Zelevansky, Ines Katzenstein, Valerie Victor Vasarely. Among the noteworthy 1940S–1970S Hillings, Miklós Peternák, Peter Frank contributions are the sections integrat- edited by Lynn Zelevansky. MIT Press, and Brandon LaBelle), each chapter of ing significant artists. For example, Cambridge, MA, U.S.A., 2004. this book is filled with an abundance of I was particularly taken with Max Bill’s 232 pp., illus. Trade. examples. These range from European influence and compositions. No doubt ISBN: 0-262-24047-5. and Latin American concrete art, others were as well, for Bill’s name Argentine Arte Madi, Brazilian Neo- comes up often throughout the book. Reviewed by Amy Ione, The Diatrope Concretism, Kinetic and Op Art, Born in Switzerland in 1908, he trained Institute, Santa Rosa, CA, U.S.A. Minimalism and various forms of Post- at the Bauhaus with Josef Albers before E-mail: <ione@diatrope.com>. Minimalism, including systematic forms of process and conceptual art. Topical As we enter the 21st century, it is themes delineate the book’s scope and strange to think that the highly experi- offer a sense of the survey: “The For- Reviews Panel: Nameera Ahmed, Peter Anders, mental work of the mid-20th century is ties and Fifties,” as the name suggests, Fred Andersson, Wilfred Arnold, Kasey Asberry, now historical. Many of these projects introduces influential modes of abstrac- Jan Baetens, Niran Bahjat-Abbas, Curtis Bahn, remind us of the distance between our John F. Barber, Marc Battier, René Beekman, tion employed during the first decade David Beer, Roy R. Behrens, Martha Blassnigg, accelerated, wired lives and the quite and a half after World War II. “The Barry Blundell, Alex Brown, Paul Brown, Annick animated, perceptually exciting work Object and the Body” examines the Bureaud, Chris Cobb, Donna Cox, Sean Cubitt, of the last century. Yet, what is often move from two to three dimensions. Nina Czegledy, Andrea Dahlberg, Victoria de lost when we look at this history is how “Light and Movement” is not confined Rijke, Shawn Decker, Margaret Dolinsky, Dennis much of it formed the art world we Dollens, Luisa Paraguai Donati, Victoria to projects made with light; it also Duckett, Maia Engeli, Anthony Enns, Enzo know. Beyond Geometry: Experiments in extends to perceptual aspects of Kinetic Ferrara, George Gessert, Elisa Giaccardi, Thom Form, 1940s–1970s ably points this out, and Op Art. “Repetition and Seriality” Gillespie, Allan Graubard, Dene Grigar, Diane demonstrating that we can discern is an examination of projects that elimi- Gromala, Rob Harle, Craig Harris, Josepha more similarities throughout the globe Haveman, Paul Hertz, Craig J. Hilton, Coral nated the need for traditional composi- Houtman, Amy Ione, Jude James, Stephen Jones, in the 20th century than is often tion. “The Object Redefined” examines Richard Kade, Nisar Keshvani, John Knight, thought to be the case. works that undermined the traditional Veronique Koken, Judy Kupferman, Jim Laukes, Showcasing the work of artists on art object and constituted a breaking Mike Leggett, Katia Maciel, Roger Malina, three continents, this book (actually a down of barriers that was commensu- Jacques Mandelbrojt, Malcolm F. Miles, Rick catalogue for an exhibition of the same Mitchell, Robert A. Mitchell, Martha Patricia rate with the social mores of the late Niño Mojica, Christopher Morris, Michael name at the Los Angeles County Art 1960s and 1970s. Finally, “The Problem Mosher, Alex Mulder, Frieder Nake, Maureen A. Museum) abundantly demonstrates of Painting” reminds us of the peren- Nappi, Angela Ndalianis, Marcus Neustetter, how artists in Europe, South America nial question whether painting is dead. Simone Osthoff, Jack Ox, Narendra Pachkhede, and the United States explored com- Robert Pepperell, Kjell Yngve Petersen, Cliff Although the authors of the six chap- Pickover, Alise Piebalga, Patricia Pisters, Michael parable forms despite their minimal ters are guilty of some repetition from Punt, Kathleen Quillian, Harry Rand, Sonya awareness of similar aesthetic develop- essay to essay, this overlap also served Rapoport, Trace Reddell, Alex Rotas, Henry See, ments elsewhere. Integrating 200 works to underscore the degree to which the Bill Seeley, Basak Senova, Aparna Sharma, by 139 artists, the survey’s geographic visions included in Beyond Geometry defy George K. Shortess, Joel Slayton, Yvonne and stylistic reach is impressive. No Spielmann, David Surman, Eugene Thacker, Pia classification. Indeed, since many of the Tikka, David Topper, René van Peer, Stefaan Van doubt all readers will discover treasures artists and, by extension, a great deal of Ryssen, Zainub Verjee, Ian Verstegen, Claudia previously unknown to them tucked in the research are outside the boilerplate Westermann, Stephen Wilson, Arthur Woods, these pages, while also delighting in chronology, the repetitive portions Soh Yeong, Jonathan Zilberg. ©2007 ISAST LEONARDO, Vol. 40, No. 4, pp. 401–412, 2007 401 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/leon.2007.40.4.410 by guest on 01 October 2021 LEON4004_pp401-413.ps - 6/21/2007 3:40 PM adopting theories of concrete art saw as the emotional excesses of opment of movies and animation in the associated with the Dutch modernist abstract expressionism was not a uni- United States in the 1930s and 1940s. Theo van Doesburg. These theories form expression. All in all, the different Anime is not, however, restricted by were based on mathematics, which authors successfully place the work the age and subject matter constraints Bill believed “enable[d] certain prob- discussed in the context of art history often imposed on Western animated lems to be solved without compromise, and the aesthetic and social issues of stories. Additionally, where the audi- in a world that is full of compromises the time. Still, the limitations within ence for Western animation is primarily and failed speculations.” One who this book’s format and design remind children, anime is viewed and enjoyed was influenced by his work was the the reader that a catalogue can add to by men and women of all ages. self-taught French painter François an exhibition, but in order to appreci- Nor is anime dependent on Western Morellet, who encountered Bill’s work ate the words a first-hand exposure to animated films for its look and feel. in 1951 on a visit to Brazil. the works is unbeatable. According to Drazen, anime often Despite all its positive attributes, reflects high creative values, shows serious readers should note that this great attention to artistic detail, utilizes NIME XPLOSION HE book falls short as a research work. For A E : T the latest production technology, and example, when Peternák compares WHAT? WHY? & WOW! draws attention to itself through its François Morellet’s Random Distribution OF JAPANESE ANIMATION sophistication. In contrast, until of 40,000 Squares Using the Odd and Even by Patrick Drazen. Stone Bridge Press, recently, familiar Western animations Numbers of a Telephone Directory, 1960 Berkeley, CA, U.S.A., 2003. 382 pp., have seemed similar to newspaper with Béla Julesz’s Random Dot Stereo- illus. Paper. ISBN: 1-880656-72-8. cartoons: simplistic, lacking in details, gram (RDS), he demonstrates that he childish. does not know the difference between Reviewed by John F. Barber, School of Arts As for what it represents, Drazen Julesz’s RDS and the autostereogram, and Humanities, The University of Texas argues that anime was developed and is which was invented in 1979 by Christo- at Dallas. E-mail: <jfbarber@eaze.net>. still utilized as a methodology for inter- pher Tyler. There are also perceptual nal cultural communication, a way to limitations that speak more to the The popular culture cachet of Japanese reinforce Japanese cultural myths and failure of translating the varieties of art animation, or “anime,” both entertains preferred modes of social behavior. The into a book than a failure on the part of and confounds its audience and fact that anime was never developed, anyone involved in the project. Finally, observers; it is at once familiar and originally, for export adds now to the this survey repeatedly brings to mind strange. Its themes are both broad— confusion suffered over specific refer- the value in engaging with the artistic war and peace, love and death, the ences and markers sharply fixed in one imagination in real time and on its own history of the past and the potential of culture being translated to another.
Recommended publications
  • Keywords Studios 2019 Annual Report
    Keywords Studios plc Studios Keywords Annual Report Annual Report and Accounts 2019 and Accounts 2019 Building our platform for growth Keywords Studios plc Overview Strategic report Annual Report and Accounts 2019 Pages 1–6 Pages 8–44 Highlights 1 Q&A with Andrew Day 8 At a glance 2 Chief Executive’s review 10 Investment summary 4 Market outlook 16 Chairman’s statement 6 Business model 18 Our strategy 22 Service line review 24 Our people, our culture 28 KPIs 34 Financial and operating review 36 Responsible Business report 40 Board engagement with our stakeholders 43 Principal risks and uncertainties 45 2019 Highlights Our vision is to be the world’s leading technical and creative services platform for the video games industry and beyond. At Keywords Studios (Keywords), we are using our passion for games, technology and media to create a global services platform. In 2019, we delivered strong growth as we invested in a strengthened and more diversified services platform. Alternative performance measures* The Group reports certain Alternative performance measures (APMs) to present the financial performance of the business which are not GAAP measures as defined by International Financial Reporting Standards (IFRS). Management believes these measures provide valuable additional information for the users of the financial information to understand the underlying trading performance of the business. In particular, adjusted profit measures are used to provide the users of the accounts a clear understanding of the underlying profitability of the business over time. For full definitions and explanations of these measures and a reconciliation to the most directly referenceable IFRS line item, please see pages 135 to 143.
    [Show full text]
  • Studio Bench: the DIY Nomad and Noise Selector
    Studio Bench: the DIY Nomad and Noise Selector Amit Dinesh Patel Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy August 2019 Abstract This thesis asks questions about developing a holistic practice that could be termed ‘Studio Bench’ from what have been previously seen as three separate activities: DIY electronic instrument making, sound studio practice, and live electronics. These activities also take place in three very specific spaces. Firstly, the workshop with its workbench provides a way of making and exploring sound(- making) objects, and this workbench is considered more transient and expedient in relation to finding sounds, and the term DIY Nomad is used to describe this new practitioner. Secondly, the recording studio provides a way to carefully analyse sound(-making) objects that have been self-built and record music to play back in different contexts. Finally, live practice is used to bridge the gap between the workbench and studio, by offering another place for making and an opportunity to observe and listen to the sound(-making) object in another environment in front of a live audience. The DIY Nomad’s transient nature allows for free movement between these three spaces, finding sounds and making in a holistic fashion. Spaces are subverted. Instruments are built in the studio and recordings made on the workbench. From the nomadity of the musician, sounds are found and made quickly and intuitively, and it is through this recontextualisation that the DIY Nomad embraces appropriation, remixing, hacking and expediency. The DIY Nomad also appropriates cultures and the research is shaped through DJ practice - remixing and record selecting - noise music, and improvisation.
    [Show full text]
  • National Morgan Horse Show July ?6, 27
    he ULY 9 8 MORGAN HORSE NATIONAL MORGAN HORSE SHOW JULY ?6, 27 THE MORGAN HORSE Oldest and Most Highly Esteemed of American Horses MORGAN HORSES are owned the nation over and used in every kind of service where good saddle horses are a must. Each year finds many new owners of Morgans — each owner a great booster who won- ders why he didn't get wise to the best all-purpose saddle horse sooner. Keystone, the champion Morgan stallion owned by the Keystone Ranch, Entiat, Washington, was winner of the stock horse class at Wash- ington State Horse Show. Mabel Owen of Merrylegs Farm wanted to breed and raise hunters and jumpers. She planned on thoroughbreds until she discovered the Morgan could do everything the thoroughbred could do and the Morgan is calmer and more manageable. So the Morgan is her choice. The excellent Morgan stallion, Mickey Finn, owned by the Mar-La •antt Farms, Northville, Michigan, is another consistent winner in Western LITTLE FLY classes. A Morgan Horse on Western Range. Spring Hope, the young Morgan mare owned by Caven-Glo Farm Westmont, Illinois, competed and won many western classes throughout the middle-west shows the past couple of years, leaving the popular Quar- ter horse behind in many instances. The several Morgan horses owned by Frances and Wilma Reichow of Lenore, Idaho, usually win the western classes wherever they show. J. C. Jackson & Sons operate Pleasant View Ranch, Harrison, Mon- tana. Their Morgan stallion, Fleetfield, is a many-times champion in western stock horse classes. They raise and sell many fine Morgan horses each year.
    [Show full text]
  • PA THOROUGHBRED REPORT March 2021 / Issue No
    PA THOROUGHBRED REPORT March 2021 / Issue No. 84 Madam Meena Madam IN THIS ISSUE PENN VET TEST IS A SPORT BREAKTHROUGH PEACE AND JUSTICE - A SIRE ON THE RISE THE ULTRA-CONSISTENT MADAM MEENA Letter From the Executive Secretary Once again, Governor Wolf has proposed cutting $199 million from the Race Horse Development Trust Fund. Let me begin by saying that this is only a proposal and is very unlikely to gain any traction in the House or the Senate. This same proposal failed to gain any meaningful support last year. This move is illegal and we are confident that the RHDTF will withstand this assault, but we must take every attack on the fund very seriously. I would like to refer you to the following sections of the Trust language: S1405.1 Protection of the Fund – Daily assessments collected or received by the department under section 1405 (relating to the Pennsylvania Race Horse Development Trust Fund) are not funds of the State. S1405.1 – The Commonwealth shall not be rightfully entitled to any money described under this section and sections 1405 and 1406. Our Equine Coalition is made up of Breeder and Horsemen organizations throughout Pennsylvania, both Thoroughbred and Standardbred. We are hard at work with the best lobbying firms in the state to prevent this injustice from happening but we’re going to need your help! If you’re involved in our program and are a resident of PA, please contact your Representative and Senator and tell them your specific story, and if possible, ask others that you may know in our business to share their stories.
    [Show full text]
  • Last Update January 1St, 2018 Saki CHIKARAISHI Born in 1982
    Last update January 1st, 2018 Saki CHIKARAISHI Born in 1982, Saitama, Japan/ Live in Tokyo, Japan website www.muknit.com mail info@muknit.com ●Education Apr.2000-Mar.2004 Department of Information Design, Tama Art University 2004 Acquisition of BFA ●Solo Exhibitions 2017 Nov. “Knit Illumination in Shintora Avenue” Shintora Avenue, Tokyo, Japan Sep. Nagasaki Art Project ”Knit Invaders in Nagasaki” Nagasaki Museum of History and Culture/Teramachi, Nagasaki, Japan 2016 Dec. Tsukure! Musako vol.4 “Saki Chikaraishi Hyper Knit Christmas” TASKO Inc. Musashi-Koyama Factory, Tokyo, Japan May “Knit Invasions in YKK” YKK Head Office, Tokyo, Japan Jan. “Back To The Fiber : KAMISANSUI” Sibuya Hikarie aiiima3, Tokyo, Japan 2013 Aug. "Haunted House" Ikejiri Institute of Design, Tokyo, Japan 2012 Sep. "UNIVERSE ⇄ UNIVERSE" Elttob Tep Issey Miyake Ginza, Tokyo, Japan 2011 Oct. ISETAN DESIGN WEEK "Re-Style Knit Jack" Isetan Department Shinjuku Main Store, Tokyo, Japan Oct. "Welcome! The Mansion of Strange Knitting" Seibu Art Gallery, Seibu Department Ikebukuro Main Store, Tokyo, Japan Feb. "Knitting Grand Strategy" Alternative Space, Seibu Department Store, Shibuya, Tokyo, Japan 2009 Nov. "Welcome! Knitting X'mas Party" Roppongi Hills Umu, Tokyo, Japan Feb. "Globe Groove" The Artcomplex Center of Tokyo, Tokyo, Japan 2008 Feb. "My Dream Trip" The Artcomplex Center of Tokyo, Tokyo, Japan 2005 Apr. "Sakippo" Wada Gallery, Tokyo, Japan ●Group Exhibitions 2017 Nov. “GOTENYAMA ART & TECHNOLOGY WEEK 2017” Gotenyama, Tokyo, Japan Oct. “ART PROJECT TAKASAKI 2017” Around Takasaki Station West Exit, Gunma, Japan Sep. “The 7th New Artists Exhibition” Kawaguchi Art Gallery ATLIA, Saitama, Japan Aug. “Hotel Art Fes” Park Hotel Tokyo, Tokyo, Japan Apr.
    [Show full text]
  • Linda O' Carroll Memorial Adult Amateur Clinic
    CALIFORNIA DRESSAGE SOCIETY AUGUST 2017 V. 23, I 8 PHOTOS BY CHRISTOPHER FRANKE Linda O’ Carroll Memorial Adult Amateur Clinic - North - June 9-11 Having the opportunity to ride with Hilda Gurney Thank you CDS for the 2017 Linda O’Carroll Memorial in the Adult Amateur Clinic series this year was really great! A big CDS Adult Amateur Clinic Series – North with Hilda Gurney. I was thank-you to CDS for sponsoring this educational series for AA’s lucky enough to be chosen from the wait list. and to my East Bay Chapter for selecting me to attend. The first day of the clinic, Hilda worked on basic things with us. I took my Trakehner gelding Tanzartig Ps whom I competed at Keep the reins short, ride with my legs not from my seat, don’t lean I-1 last year. As Hilda did with each horse and rider pair, she honed back. She said I was a very powerful and strong rider, but Ugo didn’t right in with specific instruction to improve our performance. The need that from me. Hilda liked all of my warm-up exercises, and specific exercises she had different pairs use are too numerous to said we had great rhythm and cadence, and our flying changes were outline here, but I particularly liked her comments about warming pretty good. She said that we needed help in learning how to count up our horses as she drew the parallel to the training pyramid and for the threes. Hilda said that I have great feel, and understood what using it as a guide when suppling the horse in warm-up.
    [Show full text]
  • … … Mushi Production
    1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Mushi Production (ancien) † / 1961 – 1973 Tezuka Productions / 1968 – Group TAC † / 1968 – 2010 Satelight / 1995 – GoHands / 2008 – 8-Bit / 2008 – Diomédéa / 2005 – Sunrise / 1971 – Deen / 1975 – Studio Kuma / 1977 – Studio Matrix / 2000 – Studio Dub / 1983 – Studio Takuranke / 1987 – Studio Gazelle / 1993 – Bones / 1998 – Kinema Citrus / 2008 – Lay-Duce / 2013 – Manglobe † / 2002 – 2015 Studio Bridge / 2007 – Bandai Namco Pictures / 2015 – Madhouse / 1972 – Triangle Staff † / 1987 – 2000 Studio Palm / 1999 – A.C.G.T. / 2000 – Nomad / 2003 – Studio Chizu / 2011 – MAPPA / 2011 – Studio Uni / 1972 – Tsuchida Pro † / 1976 – 1986 Studio Hibari / 1979 – Larx Entertainment / 2006 – Project No.9 / 2009 – Lerche / 2011 – Studio Fantasia / 1983 – 2016 Chaos Project / 1995 – Studio Comet / 1986 – Nakamura Production / 1974 – Shaft / 1975 – Studio Live / 1976 – Mushi Production (nouveau) / 1977 – A.P.P.P. / 1984 – Imagin / 1992 – Kyoto Animation / 1985 – Animation Do / 2000 – Ordet / 2007 – Mushi production 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Tatsunoko Production / 1962 – Ashi Production >> Production Reed / 1975 – Studio Plum / 1996/97 (?) – Actas / 1998 – I Move (アイムーヴ) / 2000 – Kaname Prod.
    [Show full text]
  • Results Book
    Results Book Equestrian 6 - 19 August Version History 1.0 19/08/2016 Veronica Costa First version Report Update: Eventing - 1.1 13/09/2016 Veronica Costa Competition Officials Equestrian Hipismo / Sports equéstres Eventing CCE (Concurso completo de equitação) / CC (Concours complet) Competition Format and Rules Formato e regras da competição / Format et régles de compétition As of 25 JUL 2016 Olympic competition format Eventing at the Rio 2016 Olympic Games comprises the team and individual events, and is made up of the following distinct tests: dressage, cross-country and jumping. There will also be two official horse inspections to test the health and wellbeing of the animals. Each test takes place on consecutive days, during which each athlete rides the same horse. The results count towards the individual and team events. A team consists of three to four horse/rider combinations. The total points are calculated by combining the overall scores of the team’s best three athletes. After the three tests, the eventing team medals are awarded. The eventing individual competition adds a fourth round, as its jumping test has a qualifier preceding the final. After the first jumping test, the 25 highest ranked athletes (including all riders tied for 25th place, with a maximum of three participants per NOC) qualify for the jumping individual final. The final ranking of the individual athletes is determined by the combined points earned in all four tests (dressage, cross country, first jumping test, jumping individual final). The tests: Dressage This test of compulsory movements evaluates the horse's obedience, flexibility and harmony with the rider.
    [Show full text]
  • Eva's Death Is a Mystery the Death of Eva Blau, 17 Year Old Hut­ Appeared
    - • W"I - THE BANK OF AMERICA ml rYou don't have to strain by any means to were arranging contracts to put their land in maintain five branches in South Vietnam. Manhattan Bank and our friend the Bank of vilify the Bank of America. Just a simple agricultural preserve the Bank of America Recently a banker was quoted as saying, America. account of it's policies and actions are btought suit against the farm ow11e;s whos~ "\\" e believe we're going to win this war These investors in conjunction with the enough to tell of the bank's predatory nature. land they held mortgages on to prevent and afterwards you '11 have a major job of Asian Development Bank underwrite the While Western Demokracies were acqui­ completion of the contract with the county reconstruction on your hands. That wiJl securities necessary for development of escing to the fascist dictators, the double government. The Bank certainly did not want mean financing and financing means banks." the Third World countries, This effectively diplomacy was at the same time mouthing the land they had underwritten to be put in That's why the Bank of America refused to puts the Third Wor Id under the directorship condemnations of fascism and the Bank of agricultural preserve when it could possibly oppose the war for they hope to stay and of American business which includes the Italy in true patriotic spirit became the be subdivided and built upon. The notion of make money after the war is \Von. Bank of America as the nation's largest Bank of America.
    [Show full text]
  • Download the Report
    inaugural report Oregon Cultural Trust fy 2003 – fy 2006 Grant dollars from the Cultural Trust are transformational. In historic Oregon City, they helped bring a more stable operating structure to separate organizations with marginal resources. As a result, we continue to share Oregon’s earliest stories with tens of thousands of visitors, many of them students, every year. —David Porter Clackamas Heritage Partners September 2007 Dear Oregon Cultural Trust supporters and interested Oregonians: With genuine pride we present the Oregon Cultural Trust’s inaugural report from the launch of the Trust in December 2002 through June 30, 2006 (the end of fiscal year 2006). It features the people, the process, the challenges and the success stories. While those years were difficult financial ones for the State, the Trust forged ahead in an inventive and creative manner. Our accomplishments were made possible by a small, agile and highly committed staff; a dedicated, hands-on board of directors; many enthusiastic partners throughout the state; and widespread public buy-in. As this inaugural report shows, the measurable results, given the financial environ- ment, are almost astonishing. In brief, more than $10 million was raised; this came primarily from 10,500 donors who took advantage of Oregon’s unique and generous cultural tax credit. It also came from those who purchased the cultural license plate, those who made gifts beyond the tax credit provision, and from foundations and in-kind corporate gifts. Through June 30, 2006, 262 grants to statewide partners, county coalitions and cultural organizations in all parts of Oregon totaled $2,418,343.
    [Show full text]
  • An Animated Look at Kazakh National Identity J
    e Allegorical Aĭdaḣar 43 e Allegorical Aĭdaḣar: An Animated Look at Kazakh National Identity Jake Zawlacki Louisiana State University Baton Rouge, USA Abstract e little-known Kazakh animated film, Why the Swallow’s Tail is Forked (1967), written and directed by Amen Khaydarov, not only holds the position as the first example, but is also acclaimed as the greatest work of Kazakh animation by critics, academics, and contemporary animators. Je film, based on the traditional Kazakh folk tale of the same name, was significantly altered by Khaydarov in his auteurist direction resulting in a radical retelling. Despite these alterations, Khaydarov’s variant of the folk tale resonated with viewers of the period as well as today. In this paper I argue how certain motifs are changed, added, and removed from the original folk tale by Khaydarov, consciously or unconsciously, to incorporate new allegorical elements in the folk tale. Jis essay takes an “animated look” at the film in that it performs a close reading of a folk tale through a film medium. After performing a shot by shot analysis, I deconstruct alleged “traditional” Kazakh elements, then analyze the dreamlike nature of pastoral national identity, the interplay of film, written, and spoken folklore, and the rhizomatic structure of folklore through audio and visual elements. Ultimately, I return to the film and display it as a construction of a specific nationalist narrative thus shedding light on the broader pastoral nationalist vision. Introduction While touring the grounds of Kazakhfilm studio with Gali Murzashev, a contemporary Kazakh animator who once worked under the late Amen Khaydarov in the 1980s, Why the Swallow’s Tail is Forked (1967) (1) arose in our conversation.
    [Show full text]
  • Issue Two 2020
    Issue Two T H E 2020 QUARTERLY Official Publication of the United States Icelandic Horse Congress Member Association of FEIF (InternationalISSUE Federation TWO of2020 Icelandic • ICELANDIC Horse Associations) HORSE QUARTERLY 1 2 ICELANDIC HORSE QUARTERLY • ISSUE TWO 2020 ISSUE TWO 2020 • ICELANDIC HORSE QUARTERLY 3 4 ICELANDIC HORSE QUARTERLY • ISSUE TWO 2020 ISSUE TWO 2020 • ICELANDIC HORSE QUARTERLY 5 Boarding Training d o n d Lessons Education a a l r e o c l Sales Trips I o d C n i Barn address 719-209 2312 n 13311 Spring Valley Rd coralie@tamangur-icelandics.com Larkspur, CO 80118 www.tamangur-icelandics.com F I 6 ICELANDIC HORSE QUARTERLY • ISSUE TWO 2020 ISSUE TWO 2020 • ICELANDIC HORSE QUARTERLY 7 ICELANDIC HORSE QUARTERLY THE ICELANDIC HORSE QUARTERLY 10 NEWS Issue Two 2020 10 USIHC News Official Publication of the United States Icelandic Horse Congress (USIHC), 14 FEIF News a member association of FEIF 17 Club Updates (International Federation of Icelandic Horse Associations). ©2020 All rights reserved. 22 FEATURES The Icelandic Horse Quarterly is published in March, June, September, and December 22 Going Virtual by Alex Pregitzer & Emily Potts by the USIHC as a benefit of membership. Renew online at www.icelandics.org. 25 Made in Germany by Lisa Cannon Blumhagen Deadlines are January 1 (for the March 29 Devotion by Tory Bilski issue), April 1, July 1, and October 1. We reserve the right to edit submissions. All 30 Iceland’s First Horse Imports by Kristina Stelter articles represent the opinions of their authors alone; publication in the Quarterly does 32 The Road to Collection by Sigrún Brynjarsdóttir not imply an endorsement of any kind by the USIHC.
    [Show full text]