2020 Bard College Awards Program
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Untitled, Digital Print and Oil on Canvas, 11 ¼ X 9 3/16 In
Authenticity, Originality and the Copy: Questions of Truth and Authorship in the Work of Mark Landis, Elizabeth Durack, and Richard Prince A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Arts in the Art History Program of the College of Design, Architecture, Art, and Planning April 2012 by Rebekah Catherine Shipe BA, Lycoming College, 2009 Committee Chair: Morgan Thomas, Ph.D. Reader: Kimberly Paice, Ph.D. Reader: Vincent Sansalone Abstract As contemporary artists transgress accepted definitions of authenticity and challenge ideas of originality and creativity, we must re-evaluate our understanding of these concepts. By focusing on three illuminating case studies, I examine how recent practices complicate basic concepts of authorship and artistic truth. Chapter One explores the case of art forger, Mark Landis (b. 1955), to illuminate the ambiguity of the copy and the paradoxical aura of forgeries in the wake of postmodernism. Focusing on the case of Australian artist Elizabeth Durack (1915-2000), who created and exhibited paintings under the fictitious persona of an Aboriginal artist, Eddie Burrup, Chapter Two links the controversies surrounding her work to key theoretical explorations of aura, reproducibility, and originality. Chapter Three deals with the self-conscious deployment of postmodern notions of originality and authorship in the re-photographed photographs of notorious ‘appropriation artist’ Richard Prince (b. 1949). The thesis aims to draw out a number of key patterns with regard to notions of the copy, authenticity, and originality in contemporary culture: the slipperiness of the line drawn between the fake and the original (for example, a kind of excess of ‘uniqueness’ that carries over into the copy); the material interplay between ‘old’ technologies such as painting and new reproductive (e.g. -
Unobtainium-Vol-1.Pdf
Unobtainium [noun] - that which cannot be obtained through the usual channels of commerce Boo-Hooray is proud to present Unobtainium, Vol. 1. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We invite you to our space in Manhattan’s Chinatown, where we encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections by appointment or chance. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Please contact us for complete inventories for any and all collections. The Flash, 5 Issues Charles Gatewood, ed. New York and Woodstock: The Flash, 1976-1979. Sizes vary slightly, all at or under 11 ¼ x 16 in. folio. Unpaginated. Each issue in very good condition, minor edgewear. Issues include Vol. 1 no. 1 [not numbered], Vol. 1 no. 4 [not numbered], Vol. 1 Issue 5, Vol. 2 no. 1. and Vol. 2 no. 2. Five issues of underground photographer and artist Charles Gatewood’s irregularly published photography paper. Issues feature work by the Lower East Side counterculture crowd Gatewood associated with, including George W. Gardner, Elaine Mayes, Ramon Muxter, Marcia Resnick, Toby Old, tattooist Spider Webb, author Marco Vassi, and more. -
SCAN | Journal of Media Arts Culture
:: SCAN | journal of media arts culture :: Scan Journal vol 2 number 3 december 2005 Lost City Found: an interview with Luc Sante Peter Doyle Luc Sante’s books Low life: Lures and Snares of Old New York (1991) and Evidence (1992) both helped produce and partook of a much broader awakening of interest in hitherto neglected cultural histories of cities of the New World. In lucid, imaginative but unforced prose, Low life maps the simultaneously familiar and wildly exotic undercultures of late nineteenth century New York - the grifters, drifters, dopers, prostitutes, orphans, con men, gangsters, sexual adventurers, bohemians and eccentrics, and the tenements, alleys, saloons, clubs, brothels and tea pads they inhabited. Evidence revisits that physical territory via a series of NYPD homicide photographs from the early twentieth century. Rigorously considered, yet expressed in clear poetic prose, Evidence offers subtle textual meditations on the photograph at large and the forensic photograph in particular. These two works, with their keen attention to the fabric of the everyday, and their broader sympathies for fringe and outsider cultures have significantly contributed to an awakening of interest in cultural histories of New York and of cities in general. Sante’s Factory of Facts (1998) weaves personal memoir, family memoir and broad ‘ethno-history’ into a meditation on language, cultural ancestry and selfhood. Sante has written regularly for The New York Review of Books since the 1980s, in which appeared his important essay ‘My Lost City’ (That essay has been more recently anthologised in Best American Essays 2004). This interview was conducted via email in the aftermath of Sante’s visit to Sydney in late 2004, during which he delivered a keynote address at Macquarie University Media Department’s Ghost Town Seminar. -
Pieces 1990 - 2005 Pdf, Epub, Ebook
KILL ALL YOUR DARLINGS: PIECES 1990 - 2005 PDF, EPUB, EBOOK Luc Sante,Greil Marcus | 304 pages | 18 Oct 2007 | Puncture Publications | 9781891241536 | English | Portland, United States Kill All Your Darlings: Pieces 1990 - 2005 PDF Book Added to Watchlist. Call us on or send us an email at. Jan 23, David rated it really liked it Shelves: anthologies-and-collections , read-in , unexpectedly-terrific. If he were in my arts weekly, I'd read him every week and it probably wouldn't change my consumption patterns at all. My thoughts on why Luc Sante is annoying TK. If I pitched you a story about the Beat generation led by Harry Potter, the new Harry Osborne, a guy from X-Men and the guy from Boardwalk Empire with half his face missing, I'm sure the reaction would be pretty great. Would like to read his other book, Low Life. May 20, Paul Bryant rated it liked it Shelves: autobiography-memoir. Permissions Librarian Erin Darke Apr 01, Valentine Valentino rated it really liked it. View 2 comments. Kill Your Darlings repeats the initial reaction to Carr's response to Ginsberg's complicated life, "Perfect. Color: Color. If this item isn't available to be reserved nearby, add the item to your basket instead and select 'Deliver to my local shop' at the checkout, to be able to collect it from there at a later date. When he's on which is most of the time here , he creates vivid images and ideas that perfectly describe what he's talking about -- whether it be New York, the invention of the blues, Bob Dylan, or visual art. -
The Professor, the Bishop, and the Country Squire
THE PROFESSOR. THE BISHOP, AND THE COUNTRY SQUIRE CHAPTER IT Second, one of his most passionate interests was the increase in the num The Professor, the Bishop, ber of Episcopal ministers. He was committed to one way above all others to further this objective, namely to find sincere young men of good character and the Country Squire (and usually modest finances) and to help them obtain first a college and then a seminary education. Third, John McVickar was the most influential member, a charter trustee, and for a long time the Superintendent of the Society for Promoting Religion In 1935 in preparation for the 75th anniversary of the founding of the Col and Learning. This was an off-shoot of the great landed endowments of Trini lege, George H. Genzmer, librarian and lecturer in English at Bard, com ty Church, New York City, established in 1839 as a separate corporation for piled a chronology (which he entitled "Annals of the College") running the purpose of supporting the college and seminary training of aspirants for from the College's earliest beginnings up as far as 1918. This chronology is the ministry. Its assets consisted of lands in downtown New York, and in the more precise in its dating and covers a wider area of the College's life than 1850's were yielding $10,000 to $20,000 per year. (A century later the any other historical treatment of Bard. assets had increased to over a million dollars and the annual income to nearly Mr. Genzmer starts his list of the dates of the events which led up to the $100,000.)' The Society's steady, firm support proved to be the determina founding of the College, with the year 1787, the birth of John McVickar. -
The Great Warden and His College
CHAPTER Ill The Great Warden and His College Robert Brinckerhoff Fairbairn was Warden of St. Stephen's College for 36 years - from 1862 until 1898, a year before his death at age 81. He was styled the ''Great Warden''. by Thomas Richey, one of his predecessors, and that designation has continued throughout all of the College's history. The present-day college still gains a sense of Fairbairn's appearance and presence from the bronze bust of him which is above the mantel in the Presidents' Room of Kline Commons, and from the oil portrait hanging over the fireplace in the foyer of the President's office. In appearance Fairbairn was of slightly less than middle height, round, ruddy and of a stern visage. This sternness, however, was more that of dignity than of hardness. He was tender hearted and had delicate regard for the feelings and wishes of others. He was as devout as he was just, and abounded with kindness, self~sacrificing generosity, and refinement. 1 He was born in Greenwich Village, New York City, in 1818. His father, a Scotchman, was a modestly circumstanced book publisher and his mother a native of Poughkeepsie. After ordinary schooling and special training in the Mechanics school, he worked for three years in a book and stationery store, and then at the age of 16, decided to prepare himself for the ministry of the Episcopal Church. He started at Bristol College in Pennsylvania, and upon the demise of that institution he went on to Washington College (now Trinity) in Hartford, graduating with a bachelor of arts in 1840 at age 22. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
Distributed Art Publishers, Inc. 155 Sixth Avenue New York NY 10013 Tel: 212 627-1999 Fax: 800-478-3128
Distributed Art Publishers, Inc. 155 Sixth Avenue New York NY 10013 Tel: 212 627-1999 Fax: 800-478-3128 Fall/Winter 2009 Title Supplement GENERAL INTEREST T. Adler Books/Stonemaster Press The Stonemasters: California Rock Climbing 1970-1980 Text by John Long, Dean Fidelman. In the early 1970s, a small band of young rock climbers, decked out in bandanas, shades and cut-offs, came together and blew open the conventions of climbing. Dubbing themselves the Stonemasters, these now legendary adventurers established techniques that allowed for some of the most spectacular climbs to be done with a minimum of apparatus. Beyond their unsurpassed skills as climbers, the Stonemasters embodied a lifestyle--they were loud, proud, smoked dope, chalked their lightning-flash insignia across rockfaces, took the light stuff seriously and the serious stuff lightly--and the glamour of this lifestyle made a massive impact on 1970s youth culture across the world. Among the first Stonemasters were Rick Accomazzo, Richard Harrison, Mike Graham, Robs Muir, Gib Lewis, Bill Antel, Jim Hoagland, Tobin Sorenson, John Bachar and John Long, but the character or myth of the Stonemaster caught on like wildfire, spreading from coast to coast and across the ocean, and spawning Stonemasters everywhere. Here, Dean Fidelman's thrilling archival photos reveal for the first time an era defined by risk, camaraderie and non-conformity. Tales from original Stonemaster John Long and others recall the highs and lows of the early days--a magical time in the annals of adventure sports--in this exciting and beautifully produced volume. The Stonemasters: California Rock Climbing 1970-1980 ISBN 978-0-9840949-0-5 Hbk, 10 x 12 in. -
"Hyde Park" Estate
ìt q s By Civiles W, Snell, Historian Biodi Föbruary 17* 1^55* 76 pages# TV,BLE OF CCgfiTîTTS Chapter: Pc pet X.—Hydo Park In Colonial Dhya, 1705 - 17d6— -------— 1 Star y of 1705 original grant— — — -- —— 1 Liip I -Pierre Fauconnier*s Eyde Park ratent— — ——— 2 Sketch of Piorro Fauconnier*b Life-— 3 XI* -A-Sr. John B'.rd et Kyde Parte. 17/-o - 17«^---------- Kap II-Br.Jcha Ihrd’ ß Hyde Fork Eetate, 1746-1750 Kap III-Ir . John Bard* a Lot Ko. Kap---------------------- Bragina of "?.ed Bouso*— — - — Location of "Red Bous«"-— — — — — -— — - - — - — — - Saanary— — — — — — — — — — — — B. Brief Biographical Sketch of Tir« John Bord— — - —- 14 III. A-Sr. Sacnel Bard At Hyde Park, 1777 - 1S2I--- Drawing of Ir. Efemel Bard*a Eyde Purk Kuneion Kip IV-Dr.SaKuel Bard* a Fyde Park Eetate— — Rtefcrks and Conclusions— — —— — — — — B.Brief Bio/gaphioal Sketch of Dr. P nuol B-rd----------— 24 IV. A .Brief Blopraphleal Sketch of Par. Drvld Kosack— — 28 P.Pr. Drvid Hasack at Hyde Pnrk. lfp8 - ifafr.--------------31 l!ap V-Iir.I>.7id Eosack’ a fly do Park Let at t— — — — — 3© Dr. Eoaack Improves his Petals— — —----------------- — — y i Drawing of Dr. Eosack's Eyde Perk Ms ns ion----- ----------- — 33 1830 Description of the Hyde Park Estate— — ----------- - 37 Life at Hyde Park, 1830 to 1835---------------------------------- 39 Artist *s View of Hyde Park, 1832--------------------------------- 44 Informtion froa the Local Historian— — — ----- ------ — - 48 V. Valteg Langdoa. Jr. at Hyde Park. lPdO - 1894-;----— — 5° Drama's Sketch of L&ngdoa Faally—— — ------ —— 5® Kap YI-AstcsvLongdoa Estate, 1840----------------- — -------- — 51 Life and Changes at Hyde lark--— — — --------------- — $2 Death of Valter Langdon, J r . -
Bard College
! BARD COLLEGE Founded in 1860, in New York’s Hudson River Valley, Bard College is a liberal arts school that has consistently reinvented itself. Founded as St. Stephens College to prepare men for the seminary, the school became a secular undergraduate division of Columbia University, then all-male, in 1928. Six years later, the College was renamed Bard College, to honor St. Stephens founder, John Bard. In 1944, Bard went co-ed and ended its association with Columbia. Bard also become a haven for scholars who had managed to flee from war-torn European nations during and after World War II. Today, while it is primarily a 2,000 undergraduate college, Bard also operates an Early College (Simon’s Rock in Great Barrington, Massachusetts; four Early College high schools (in Manhattan, Queens, New Orleans, Newark, NJ, Cleveland, OH); two music schools (the Conservatory in New York State and the Longy School in Cambridge, MA) as well as several undergraduate and graduate programs abroad. Bard also operates a degree-granting program for inmates in New York State prisons that became a story on 60 Minutes. Bard’s president, Leon Botstein, a highly-accomplished classical musician, was the youngest college president in the United States when he was appointed in 1975 at the age of 28. Forty years later, he is the longest-serving college president working at the same school. Bard loses just over ten percent of a freshman class each year and has a higher attrition rate than other selective liberal arts colleges. The four-year graduation rate for the class that entered in 2009 was 60 percent, according to College Results Online. -
Bard History 10-11
About Bard | History of Bard http://www.bard.edu/about/history/ Applying Student Profile Inquiries Finances Forms Visiting Bard on the Road Accepted Students Transfer Students International Students Bard Conservatory of Music Graduate Students Catalogue Bernard Iddings Bell Warden of the College 1919–1933 "No facts taught here are worth anything until students have assimilated them, Ludlow Hall, built in 1869, houses the College's administrative offices. correlated them, interpreted them. It is the student, not Bard College was founded, as St. Stephen's College, in 1860 , a time of national crisis. the bit of knowledge, that While there are no written records of the founders' attitude toward the Civil War, a passage we are teaching." from the College's catalogue of 1943 applies also to the time of the institution's establishment: History Our Location "While the immediate demands in education are for the training of men for Publications the war effort, liberal education in America must be preserved as an Employment important value in the civilization for which the War is being fought. Since education, like life itself, is a continuous process of growth and effort, HEOA Disclosures the student has to be trained to comprehend and foster his own growth and Contacting Bard direct his own efforts. " Catalogue Giving to Bard This philosophy molded the College during its early years and continues to inform its academic aims. Also see the Bard Archives . Timeline of Bard History John Bard , who founded St. Stephen's in association with the New York City leadership of the Episcopal church, came from a family of physicians and teachers, whose country estate, Hyde Park, lent its name to that Hudson River town. -
Artists Among Us Media Alert FINAL
ARTISTS AMONG US, THE WHITNEY'S FIRST-EVER PODCAST WITH HOST CARRIE MAE WEEMS, DEBUTS MAY 14 Debuting on May 14, the five-episode podcast responds to and expands upon David Hammons's Day's End NEW YORK, May 3, 2021 – On May 14, 2021, the Whitney Museum of American Art will launch its first-ever podcast Artists Among Us. Consisting of five episodes, Artists Among Us is hosted by influential artist and photographer Carrie Mae Weems and features both expected and unexpected voices. Created by the Whitney with Sound Made Public, podcast episodes respond to and expand upon David Hammons’s permanent public sculpture Day’s End (2014-21). Artists Among Us not only explores the work of Hammons, but it also pays tribute to Gordon Matta- Clark and his visionary sculpture Day’s End (1975) and delves into the many histories and changing landscapes of the Hudson River waterfront and New York’s Meatpacking District. Along with Weems, contributing voices include Jane Crawford, Tom Finkelpearl, Bill T. Jones, Kellie Jones, Glenn Ligon, Alan Michelson, Florent Morellet, Luc Sante, Adam D. Weinberg, and others. “Day’s End doesn’t have any one story to tell, any single history that it celebrates,” says Carrie Mae Weems, host of the podcast. “It’s an absence, a frame of a building that no longer exists. But it’s so rooted in its site at the meeting point of the city and the river that we might also see that absence as an opening—a space for the many absences and invisible histories of this place to speak.” “Hammons’s sculpture is so simple in its outlines but so rich in its meanings and in the stories it evokes,” said Anne Byrd, director of interpretation and research at the Whitney.