Amy K. Hamlin Associate Professor of Art History St
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Program the Haiti Illumination Project
YARI YARI NTOASO CONTINUING THE DIALOGUE INTERNATIONAL CONFERENCE ON LITERATURE BY WOMEN OF AFRICAN ANCESTRY ● ACCRA, GHANA ● 2013 ● ORGANIZATION OF WOMEN WRITERS OF AFRICA ● NEW YORK UNIVERSITY MBAASEM FOUNDATION THE WOMEN FOR AFRICA FOUNDATION 2 YARI YARI NTOASO CONTINUING THE DIALOGUE Thursday, 16 May through Sunday, 19 May 2013 Sponsored by The Organization of Women Writers of Africa, Inc. New York University Institute of African American Affairs Hosted by Mbaasem Foundation Lead Partner Fundación Mujeres por África/The Women for Africa Foundation Supported by New York University Africa House New York University Accra New York University Africana Studies Program The Haiti Illumination Project Planning support provided by: The New York Council for the Humanities a state affiliate of the National Endowment for the Humanities Any views, findings, conclusions, or recommendations expressed in this program do not necessarily represent those of the National Endowment for the Humanities 3 CONFERENCE ORGANIZERS The Organization of Women Writers of Africa (OWWA) Founded in 1991 by African-American poet, performing artist, and activist Jayne Cortez and Ghanaian playwright and scholar Ama Ata Aidoo, the Organization of Women Writers of Africa, Inc. (OWWA) establishes connections between professional African women writers around the world. OWWA is a 501(c)(3) nonprofit literary organization concerned with the development and advancement of the literature of women writers from Africa and its Diaspora. OWWA is also a non-governmental organization associated with the United Nations Department of Public Information (UNDPI). www.owwainc.org and www.indiegogo.com/owwa - also on Facebook and Twitter #YariYari OWWA Co-Founders: Ama Ata Aidoo & Jayne Cortez Executive Board: J.e. -
The Social and Environmental Turn in Late 20Th Century Art
THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J. -
Nou Mache Ansanm (We Walk Together): Queer Haitian Performance and Affiliation
Women & Performance: a journal of feminist theory ISSN: 0740-770X (Print) 1748-5819 (Online) Journal homepage: http://www.tandfonline.com/loi/rwap20 Nou Mache Ansanm (We Walk Together): Queer Haitian Performance and Affiliation Dasha A. Chapman, Erin L. Durban-Albrecht & Mario LaMothe To cite this article: Dasha A. Chapman, Erin L. Durban-Albrecht & Mario LaMothe (2017) Nou MacheAnsanm (We Walk Together): Queer Haitian Performance and Affiliation, Women & Performance: a journal of feminist theory, 27:2, 143-159, DOI: 10.1080/0740770X.2017.1315227 To link to this article: https://doi.org/10.1080/0740770X.2017.1315227 Published online: 17 May 2017. Submit your article to this journal Article views: 173 View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rwap20 Women & Performance: a journal of feminist theory, 2017 Vol. 27, No. 2, 143–159, https://doi.org/10.1080/0740770X.2017.1315227 Introduction Nou Mache Ansanm (We Walk Together): Queer Haitian Performance and Affiliation Dasha A. Chapmana*, Erin L. Durban-Albrechtb and Mario LaMothec aDepartment of African and African American Studies, Duke University, Durham, N.C., USA; bIllinois State University, Bloomington, IL, USA; c African-American Cultural Center, University of Illinois-Chicago, Chicago, IL, USA I. Nou Mache Ansanm This special issue emerges from a symposium at Duke University in fall 2015, “Nou Mache Ansanm (We Walk Together): Performance, Gender, and Sexuality in Haiti,” which brought scholars, artists, and activists together to generate a dialogue around performance in relationship to Haitian genders, sexualities, and queer lifeworlds. We convened at Duke in the days leading up to Fet Gede, Haiti’s days that honor the dead. -
CHLOË BASS Artist & Public Practitioner BIO EDUCATION SOLO EXHIBITIONS + PROJECTS
CHLOË BASS Artist & Public Practitioner [email protected] / +1 917.664.3739 Website: chloebass.com BIO Chloë Bass is a multiform conceptual artist working in performance, situation, conversation, publication, and installation. Her work uses daily life as a site of deep research to address scales of intimacy: where patterns hold and break as group sizes expand. She began her work with a focus on the individual (The Bureau of Self- Recognition, 2011 – 2013), has recently concluded a study of pairs (The Book of Everyday Instruction, 2015 – 2017), and will continue to scale up gradually until she’s working at the scale of the metropolis. She is currently working on Obligation To Others Holds Me in My Place, an investigation of intimacy at the scale of immediate families. Chloë has held numerous fellowships and residencies; 2018’s include a residency at Denniston Hill, the Recess Analog Artist-in-Residence, and a BRIC Media Arts Fellowship. She is a 2019 Art Matters Grantee. Her projects have appeared nationally and internationally, including recent exhibits at the Knockdown Center, the Kitchen, the Brooklyn Museum, CUE Art Foundation, Elizabeth Foundation for the Arts Project Space, The Southeastern Center for Contemporary Art, the James Gallery, and elsewhere. Reviews, mentions of, and interviews about her work have appeared in Artforum, The New York Times, Hyperallergic, The Brooklyn Rail, BOMB, Temporary Art Review, and Artnews among others. Her monograph, The Book of Everydyay Instruction, was published by the Operating System in December 2018; she also has a chapbook, #sky #nofilter, forthcoming from DoubleCross Press. Her short-form writing has been published on Hyperallergic, Arts.Black, and the Walker Reader. -
Intersections Department of Comparative Literature Spring 2010
New York University Intersections Department of Comparative Literature Spring 2010 Our China and Japan Connection by Xudong Zhang In May of 2009, a delega- UTCP, the East China Nor- tion of Comparative Litera- mal University (Shanghai), ture faculty and graduate and Peking University students (Sage Anderson, (Beijing). NYU Professors Beata Potocki, Pu Wang, Uli Baer, Thomas Looser, Uli Baer, and Xudong and Xudong Zhang pre- Zhang), along with col- sented papers along with leagues from other NYU scholars from Tokyo, departments (East Asian Shanghai, and Beijing. Studies and History), trav- Amidst conference pro- elled to Tokyo to attend an grams, there were meals, international graduate stu- drinks, receptions, campus dent conference on “The tours, trips to Tokyo and Plural Present of Historical neighboring areas organized Life,” hosted by the Inter- by the local host and par- national Center for Philoso- ticipating institutions. A phy at University of Tokyo final reception dinner Sage Anderson, Beata Potocki, Xudong Zhang, and Pu Wang (UTCP). Our NYU stu- hosted by the NYU delega- These summer 2009 events of 2005. That summer, a dents and faculty had the tion was held at the terrace were the continuation of Comp Lit faculty and stu- privilege of sharing the fo- garden of the University of the ongoing development dent delegation (including rum of intellectual exchange Tokyo-Komaba Faculty of international exchange (China/Japan, Continued on with representatives of the Club. that began in the summer Page 4) Speaking of Arachnids... …our chair Jacques Lezra and Mediterranean Studies; how we act, and how we Inside this Issue has a theory. -
Small Beauty Book Club After Jia Qing Wilson-Yang
small beauty book club after jia qing wilson-yang convened/compiled by gabrielle civil Jan 27, 2018 impressions, questions and interpretations . Dear Lovelies, C R E A T I N G I am writing to invite you to be a part Inspired by the text and our of a new art project, the “small beauty conversation, each person will create book club” where people will read a a small beauty: a letter, poem, story, book, discuss it with others in an on-line drawing, question, diagram, map, group conversation, and then create photo, sculpture, dance, film, translation, something inspired by the text. conversation, whatever you'd like . R E A D I N G Over the 5-8 weeks after the book club-- The first book is Small Beauty by between April 7-April 28--we'll start jia qing wilson-yang. (176 pages) uploading/ sharing our small beauty (Winner of the 2017 Lambda Literary responses. Submissions can stay Award for Transgender Fiction.) private; or, on-line journal Full Stop has already expressed interest in featuring This novel, published by Canadian indie some of these in an on-line folio. But no press Metonymy, tells the story of Mei. need to put the cart before the horse. "Coping with the death of her cousin, Let's read the book and see what she abandons her life in the city to live happens! in his now empty house in a small town. There she connects with his history If you're interested, please reply to this as well as her own, learns about her e-mail and let me know. -
Revealing Judy Chicago's "The Dinner Party": an Analysis of the Curatorial Context
Graduate Theses, Dissertations, and Problem Reports 2016 Revealing Judy Chicago's "The Dinner Party": An Analysis of the Curatorial Context Sally Deskins Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Deskins, Sally, "Revealing Judy Chicago's "The Dinner Party": An Analysis of the Curatorial Context" (2016). Graduate Theses, Dissertations, and Problem Reports. 5479. https://researchrepository.wvu.edu/etd/5479 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Revealing Judy Chicago’s The Dinner Party: An Analysis of the Curatorial Context Sally Deskins Thesis submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Art History Kristina Olson, M.A., Chair Rhonda Reymond, Ph.D. John Bernard Schultz, Ph.D. Melissa Bingmann, -
Intersections Spring 2012
Department of Comparative Literature New York University Intersections Spring 2012 Lucretius and Modernity Conference by Liza Blake Jacques Lezra began the new light on Sir Isaac Newton’s conference by musing on the discussion of the Lucretian tricky nature of the “and” link- “swerve” in his scientific ing “Lucretius and Modernity.” thought. Papers such as Phil Mitsis’s The influence of the Lu- “How Modern is the Question cretian tradition on philosophi- of the Freedom of the Will?” cal modernity was another and Joseph Farrell’s “Lucretius pressing topic for many speak- and the Symptomology of Mod- ers. In the opening keynote, ernism” provocatively took up “Lucretius and the Speculative the question of what was at Sciences of Origins”, Catherine stake in attempting to consider Wilson reconsidered Lucretius Conference organizer Jacques Lucretius as modern. Keynote speaker Catherine Wilson and the Epicurean tradition to Lezra on “The Nature of Marx’s from the University of Aberdeen Other papers considered posit a new way of considering Things” the connections between Lu- the narrative we tell about On October 26-28, 2011, ties Initiative, the Gallatin cretius and modern scientific Kant’s philosophical career and speakers from around the School of Individualized Study, practices. David Konstan ar- his transition from anthropol- world and from all disciplines the Medieval and Renaissance gued that Lucretius’s notions of ogy to critical philosophy. Katja converged on the Lucretius Center, Poetics and Theory, infinity actually correspond to Vogt considered Lucretius’s and Modernity Conference, the Classics, English, French, and modern scientific thought in his argument for the “truth” of Annual Ranieri Colloquium on Philosophy, Lucretius and Mod- “Lucretius the Physicist and sense perception from a mod- Ancient Studies. -
What Is Forbidden? the Women’S Art Institute 20Th Anniversary Exhibition
What is Forbidden? The Women’s Art Institute 20th Anniversary Exhibition Artists’ Biographies and Statements The Catherine G. Murphy Gallery St. Catherine University St. Paul, Minnesota September 7 - October 19, 2019 What is Forbidden? The Women’s Art Institute 20th Anniversary Exhibition Artists’ Biographies and Statements The Catherine G. Murphy Gallery St. Catherine University St. Paul, Minnesota September 7 - October 19, 2019 Curators: Elizabeth Erickson Patricia Olson A.K. Garski What is Forbidden? The Women’s Art Institute 20th Anniversary Exhibition 5 Creating the Women’s Art Institute Each year, we carefully study the applications and, we disperse the scholarship funds. Then, we find new articles and images to add into the curriculum and, through our conversation, we come into a place where we are reminded of our specific purpose—to change the world for women, and therefore for men, and ultimately to stop wars. Early in my career as an artist and educator, I recognized the social agreements that built the patriar- chy, as did my colleague Patricia Olson. We first met when we, along with several dozen other women, founded the Women’s Art Registry of Minnesota, a women’s collective art gallery in downtown Minne- apolis in 1976. These were the years when more and more women worked to articulate their under- standing of this perception for themselves, and we felt their company through their books and speeches. After that, action was the only choice. And so, we began the first Women’s Art Institute at the Minneapolis College of Art and Design in 1999. Since then we have been teachers, mentors, facilitators, and cheerleaders for over 300 women artists during the past 20 years. -
Unpleasant Truths / Comfortable Lies
UNPLEASANT TRUTHS / COMFORTABLE LIES UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT TRUTHS / COMFORTABLE LIES / UNPLEASANT -
Haiti in a Globalized Frame Program
Haiti in a Globalized Frame International Conference February 14-16, 2013 Winthrop-King Institute for Contemporary French and Francophone Studies Florida State University, Tallahassee Conference Directors: Martin Munro and Charles Forsdick Administrative Coordinator: Racha Sattati Program All sessions take place in the Center for Global and Multicultural Engagement (The Globe) on the FSU campus. Details are subject to change. THURSDAY, FEBRUARY 14 11:00AM– Complimentary Bus from Hotel Duval (pick-up at North Monroe entrance) to FSU Campus 11:30AM – Complimentary Bus from Hotel Duval (pick-up at North Monroe entrance) to FSU Campus 11:00 am- 12:00 pm – Refreshments 12:00 pm-6:00 pm – Registration, 1ST Floor, The Globe 12:30 pm-1:00 pm – Welcome by organizers; introduction to art project by Édouard Duval Carrié, Auditorium 1:00 pm-2.30 pm – Panels 1A, 1B, 1C Panel 1A, The Ripple Effects of Saint-Domingue Slavery and Emancipation in the Modern World Chair: Aletha Stahl (Earlham College) • Aletha Stahl (Earlham College): “Haiti, Benin, and the Empty Frame of a Shared Past” • Elizabeth Colwill (University of Hawai'i, Manoa): “PERFORMING FREEDOM: Ritual Reverberations of Slave Emancipation in Saint Domingue” • Maria Julia De Vinatea (Université de la Sorbonne, Centre Roland Mousnier- CNRS): “La circulation des idées abolitionnistes haïtiennes en Amérique Latine” Panel 1B, Influences cubaines chez quatre romanciers haïtiens Chair: Chadia Chambers-Samadi (Augustana College) • Steve Puig (St. John’s University): “‘D'île en île’: la présence de -
SFD+I Events Program
EVENTS PROGRAM WILL RAWLS: EVERLASTING STRANGER SAT JUL 17 - AUG 15 + SUN JUL 18 | 12 - 3 PM HENRY ART GALLERY In Everlasting Stranger, New York-based choreographer and writer Will Rawls (b. 1978, Boston, MA) activates relationships between language, dance, and image through the fragmentary medium of stop-motion animation. In his installation, time and movement slow as a live, automated camera photographs the frame-by-frame actions of four dancers. While the performers occupy the labor of becoming images, visual capture is staged as an obsessive process that is constant yet compromised by the movement it aims to fix. Here, as in previous works, Rawls develops strategies of evasion and engagement within systems that mediate, distort, and abstract the body. Rawls’s exhibition takes inspiration from the work of Guyanese writer Wilson Harris and his surrealist novel The Infinite Rehearsal (1987). In the book, the constrictive projections of the colonial gaze manifest as a child’s fever dream where ghosts reinterpret time, genealogy, and identity as unstable matter. Harris’s novel serves as a conduit through which Rawls addresses the misrepresentation that haunts all forms of capture, including photography and choreography. Within the temporal delirium that marks existence in quarantine, Rawls animates the life that appears between frames. FREE ADMISSION A DISTANCED DANCE PARTY FOR WHEN TOMORROW COMES AGAIN JUL 18 | 8 - 10 PM VOLUNTEER PARK I wanna dance (in the park at a distance) with somebody! will you join?! You’re invited to a socially distanced dance party facilitated by SFD+I faculty artists Alyza DelPan-Monley and Alice Gosti.