2012 George Eastman House Exhibitions
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Expanding the Cultural Imagination Through Photography ICS [3] 1
Impact case study (REF3b) Institution: University of Brighton Unit of Assessment: D34 Art and Design: History, Practice and Theory Title of case study: Expanding the Cultural Imagination through Photography ICS [3] 1. Summary of the impact Our research has harnessed the power of photography to expand the cultural imagination, creating new works and interpretive practices that enrich, illuminate and challenge perceptions of society and the world in which we live. Through exhibition, publication, and public and community engagement, our research has: 1) created cultural legacies for major public (Millennium Dome, Treasury) and commercial (Airbus) projects; 2) provided enhanced cultural experiences to multiple audiences and specific communities in the UK and Europe, provoking reflection on ideas of place and identity, and contributing to processes of cultural memory and reconciliation (Association of Jewish Refugees, Healing Through Remembering) and; 3) expanded photography within the cultural economy, working in partnership (Photoworks, Multistory) to build and sustain audiences for photography within and beyond the region. 2. Underpinning research University of Brighton (UoB) research in photography comprises three interlocking strands: the positioning of photography as a medium of critical artistic significance within the wider cultural economy and public sphere; the development of forms of visual storytelling that shape contemporary narratives of place, and; photography as a mode of enquiry into cultural history and memory. In 2003, in partnership with Photoworks and the University of Sussex, UoB was instrumental in founding the Brighton Photo Biennial to raise the public and professional profile of photography. In parallel, Photoforum (2003), launched by GREEN and LOWRY, provided the intellectual underpinning for developments in practice that fostered a critical debate around the medium’s changing uses and increasing cultural prominence. -
Pilot Season
Portland State University PDXScholar University Honors Theses University Honors College Spring 2014 Pilot Season Kelly Cousineau Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Let us know how access to this document benefits ou.y Recommended Citation Cousineau, Kelly, "Pilot Season" (2014). University Honors Theses. Paper 43. https://doi.org/10.15760/honors.77 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Pilot Season by Kelly Cousineau An undergraduate honorsrequirements thesis submitted for the degree in partial of fulfillment of the Bachelor of Arts in University Honors and Film Thesis Adviser William Tate Portland State University 2014 Abstract In the 1930s, two historical figures pioneered the cinematic movement into color technology and theory: Technicolor CEO Herbert Kalmus and Color Director Natalie Kalmus. Through strict licensing policies and creative branding, the husband-and-wife duo led Technicolor in the aesthetic revolution of colorizing Hollywood. However, Technicolor's enormous success, beginning in 1938 with The Wizard of Oz, followed decades of duress on the company. Studios had been reluctant to adopt color due to its high costs and Natalie's commanding presence on set represented a threat to those within the industry who demanded creative license. The discrimination that Natalie faced, while undoubtedly linked to her gender, was more systemically linked to her symbolic representation of Technicolor itself and its transformation of the industry from one based on black-and-white photography to a highly sanctioned world of color photography. -
MASTER PLAN DOCUMENT.Indd
Master Plan for the RICHARDSON OLMSTED COMPLEX Buffalo, NY September 2009 9.29.09 Prepared For: THE RICHARDSON CENTER CORPORATION By: CHAN KRIEGER SIENIEWICZ CKS ARCHITECTURE AND URBAN DESIGN in collaboration with: Richardson Center Corporation (RCC) Richardson Architecture Center, Inc Reed Hilderbrand *Stanford Lipsey, Chairman Peter J. Atkinson - Capital Projects Manager, Landscape Architecture Publisher, The Buffalo News Harvard University Art Museums Watertown, MA *Howard Zemsky, Vice Chairman Anthony Bannon - Director, Urban Design Project President, Taurus Capital Partners, LLC. George Eastman House Public Process URBAN DESIGN PROJECT Buffalo, NY *Christopher Greene, Secretary Barbara A. Campagna, FAIA, LEED AP - Graham Gund Architect of the Partner, Damon & Morey, LLP National Trust for Historic Preservation City Visions/ City Properties Real Estate Development *Paul Hojnacki, Treasurer Brian Carter, Ex Offi cio - Dean and Professor, Louisville, KY President, Curtis Screw Company University at Buffalo School of Architecture and Planning Clarion Associates Carol Ash, Commissioner Louis Grachos - Director, Economic Modeling NYS Offi ce of Parks, Recreation, and Historic Preservation Albright-Knox Art Gallery Chicago, Il *Clinton Brown, President Robert Kresse – Attorney, Parsons Brinckerhoff Clinton Brown Co. Architecture, PC Hiscock & Barclay, LLP Permitting Buffalo, NY Paul Ciminelli, President & CEO Lynn J. Osmond - President and CEO, Ciminelli Development Company Chicago Architecture Foundation Bero Architecture Historic Preservation -
LEGS’ DIAMOND, Stances Affecting Nationad Invest Through Constructive Financing Amd Berlin, Oct
? .■ '-^2 ^ r -1% V' -i Y rrS. I 't - It -S »• f T -4 — jf* f ♦ • r'«t" v>'“' ' . MSVIVBBSmiN 4« » Va >» •^ii* iv 1 A/ A fVUtifeL DAILY GISGULATIOV JV-s* for'tiie Month of September, 1 9 S0 I.... p.. ■ Innrsis tng - sjowdlBest, a et .«a^i^. ;’, V- *a.»2u V so tool jm ibalU fy :>*' •“V b y sbowen Me ionMit or Tnes* I v., c IW'‘.iTir- Members of the Audit Barean Vf, vT- , , of OrenlsSons.' u C ,h •» . t »J» * • •.• . - . j i ’A. ‘ »_________ . ................l>’^ -3' m'K- ^ lW’"i;, ~ ■. '•WiE.WsiLfS +■ I O f , ■» •* , -V t. #. —_ S O C tH ^ lilO|911i)cY, OC?rOMR .13, 1030. •hVBILVB ?A €jB r ‘ PRICE THBIIE C E N lt 1:^4 , yOL. XLV., NO. 11. (Oassilled AdrertlBins on Page It) u*s- 1 rS-T? V- WEATHER MAPS TALCOTTVILIl NEW INVENTION T he.M enacing: M uzzlie of ^.IJnele San»?i * rest G iin Atlantic Skippers May Now HANISKILtED Know Conditions All Alongr the Ocean Routes. ^ '• iimM'm- GOINGJOWORK New York, Oct. 13—(AP)— Samples of a north Atlantic weather map which would en able ship captains to tell at a glance toe weather conditions John McKofle Meets Death at any point in their course Fascists' WiMbws, were brought back to New York today by Charles J. Pan- Instantly When Hit by nill, vice president of toe Radio- Distege Pistols and mtuine Corporation. He has been arranging with weather Automobile Driven by bureaus abroad for co-operation F^kt on Streets — hside in preparing toe service. -
President Meets President UR Field Patrol Unit Seligman Attends State of the Union Address Hockey Star Follows Tapped for Kidnapping Team USA
CampusTHURSDAY, JANUARY 21, 2016 / VOLUME 143, ISSUE 1 Times SERVING THE UNIVERSITY OF ROCHESTER COMMUNITY SINCE 1873 / campustimes.org New President Meets President UR Field Patrol Unit Seligman Attends State of the Union Address Hockey Star Follows Tapped for Kidnapping Team USA BY ANGELA LAI BY AUDREY GOLDFARB PUBLISHER CONTRIBUTING WRITER BY JUSTIN TROMBLY Confident and congenial, Tara MANAGING EDITOR Lamberti stands proud at 5’4”, the shortest goalie and only Divi- A new Department of Pub- sion III player in the country to lic Safety (DPS) patrol unit be invited to the U.S. National is set to roll out next month, Field Hockey Trials this month. coming in the wake of the The First Team All-American has kidnapping of two Univer- compiled a myriad of accolades sity seniors in early December. during her collegiate career. The The new unit, which will focus senior led the league in shutouts on giving DPS a visible and ac- this season and earned recog- cessible presence on campus, will nition as the Liberty League start patroling on Sunday, Feb. 7, Defensive Player of the Year, almost a month to the day after the but this invitation to take her students were abducted and held at talents to the next level is her gunpoint in an off-campus house. claim to fame. UR President Joel Seligman Passing up opportunities to announced the unit in a recent play at the Division I level, email to students, which dis- Lamberti chose UR to better cussed both the kidnapping and PHOTO COURTESY OF THE OFFICE OF CONGRESSWOMAN LOUISE SLAUGHTER balance academics, athletics, a Monroe County Grand Jury UR President Joel Seligman, Democratic Leader Nancy Pelosi, and Representative Louise Slaughter mingle in Pelosi’s Capitol and social life, in addition to indictment against six defen- Hill office before President Barack Obama’s State of the Union address Jan. -
James Skalman, M.F.A
JAMES SKALMAN work tel: 619.849.2618 fax: 619.849.7033 email: [email protected] website: www.jamesskalman.com EDUCATION 1984 Master of Fine Arts, Painting/Sculpture University of North Carolina, Chapel Hill, 1981 Bachelor of Arts, Painting/Printmaking San Diego State University TEACHING EXPERIENCE 1991 - present Point Loma Nazarene University, Professor Department of Art and Design, Chair 2000-2012 1986 - 1991 San Diego State University, Adjunct Instructor 1986 - 1987 Grossmont College, Visiting Instructor 1982 - 1984 University of North Carolina, Chapel Hill , Graduate T.A. SOLO EXHIBITIONS 2012-13 Las Vistas, a site-specific installation commissioned by San Diego State University for the SDSU downtown Gallery, San Diego, California 2001 Sudan Interior Mission: SNOW, a site-specific installation commissioned by BIOLA University, Los Angeles, California 1998 Water Level, an outdoor site-specific sculpture on the campus of the University of North Carolina, Chapel Hill 1995-96 "Samuel...?" , an installation, commissioned by the Museum of Contemporary Art, San Diego 1994-95 La Torre, an installation, commissioned by Installation Gallery as part of " inSITE94 " , La Torre de Tijuana , Tijuana, B.C. , Mexico 1991 Side Pockets, David Lewinson Gallery, Del Mar, CA. 1989 Field Plug, an installation commissioned by the University Gallery, University of Massachusetts at Amherst 1989 Hall, an outdoor sculptural project commissioned by Artpark, Lewiston, New York. 1988 Containment, an installation commissioned by the La Jolla Museum of Contemporary -
Gloria Swanson
Gloria Swanson: An Inventory of Her Papers at the Harry Ransom Center Descriptive Summary Creator: Swanson, Gloria, 1899-1983 Title: Gloria Swanson Papers [18--]-1988 (bulk 1920-1983) Dates: [18--]-1988 Extent: 620 boxes, artwork, audio discs, bound volumes, film, galleys, microfilm, posters, and realia (292.5 linear feet) Abstract: The papers of this well-known American actress encompass her long film and theater career, her extensive business interests, and her interest in health and nutrition, as well as personal and family matters. Call Number: Film Collection FI-041 Language English. Access Open for research. Please note that an appointment is required to view items in Series VII. Formats, Subseries I. Realia. Administrative Information Acquisition Purchase (1982) and gift (1983-1988) Processed by Joan Sibley, with assistance from Kerry Bohannon, David Sparks, Steve Mielke, Jimmy Rittenberry, Eve Grauer, 1990-1993 Repository: Harry Ransom Center, University of Texas at Austin Swanson, Gloria, 1899-1983 Film Collection FI-041 Biographical Sketch Actress Gloria Swanson was born Gloria May Josephine Swanson on March 27, 1899, in Chicago, the only child of Joseph Theodore and Adelaide Klanowsky Swanson. Her father's position as a civilian supply officer with the army took the family to Key West, FL and San Juan, Puerto Rico, but the majority of Swanson's childhood was spent in Chicago. It was in Chicago at Essanay Studios in 1914 that she began her lifelong association with the motion picture industry. She moved to California where she worked for Sennett/Keystone Studios before rising to stardom at Paramount in such Cecil B. -
PUNKS! TOPICALITY and the 1950S GANGSTER BIO-PIC CYCLE
cHAPTER 6 PUnKs! TOPIcALItY AnD tHe 1950s gANGSTER BIo-PIc cYcLe ------------------------------- PeteR stAnfield “This is a re-creation of an era. An era of jazz Jalopies Prohibition And Trigger-Happy Punks.” — Baby Face Nelson this essay examines a distinctive and coherent cycle of films, pro- duced in the late 1950s and early 1960s, which exploited the notoriety of Prohibition-era gangsters such as Baby Face Nelson, Al Capone, Bonnie Parker, Ma Barker, Mad Dog Coll, Pretty Boy Floyd, Machine Gun Kelly, John Dillinger, and Legs Diamond. Despite the historical specificity of the gangsters portrayed in these “bio-pics,” the films each display a marked interest in relating their exploits to contemporary topical con- cerns. Not the least of these was a desire to exploit headline-grabbing, sensational stories of delinquent youth in the 1950s and to link these to equally sensational stories of punk hoodlums from 1920s and 1930s. In the following pages, some of the crossovers and overlaps between cycles of juvenile delinquency films and gangster bio-pics will be critically eval- uated. At the centre of analysis is the manner in which many of the films in the 1950s bio-pic gangster cycle present only a passing interest in pe- riod verisimilitude; producing a display of complex alignments between the historical and the contemporary. 185 peter stanfield DeLInQUENTS, gANGSTERs, AnD PUnKs In the 1950s, the representation of gangsters and of juvenile delinquents shared a common concern with explaining deviancy in terms of a rudi- mentary psychology, -
From Its Humble Beginnings to the Pomp and Circumstance of Today, UR's Commencement Ceremony Has Evolved Into a Modern Celebrati
CampusSATURDAY, MAY 18, 2013 / COMMENCEMENT ISSUE Times SERVING THE UNIVERSITY OF ROCHESTER COMMUNITY SINCE 1873 / campustimes.org ��� From its humble beginnings to the pomp and circumstance of today, UR's commencement ceremony has evolved into a ��� modern celebration still rich with UR tradition. ���� SEE COMMENCEMENT PAGE 7 Design by: Photos courtesy of rochester.edu and Antoinette Esce / Editor!in!Chief University of Rochester Archives PAGE 2 / campustimes.org NEWS / SATURDAY, MAY 18, 2013 COMMEN C EMENT CEREMONIES THE SCHOOL OF NURSING THE COLLEGE OF ARTS, SCIENCES & ENGINEERING FRIDAY, MAY 17, 1 P.M. THE scHOOL OF MEDICINE & DENTISTRY SUNDAY, MAY 19, 9 A.M. KODAK HALL, EASTMAN SCHOOL OF MUSIC MASter’S DEGREE EASTMAN QUADRANGLE, RIVER CAMPUS SATURDAY, MAY 18, 12:15 P.M. KILBOURN HALL, EASTMAN SCHOOL OF MUSIC THE EASTMAN SCHOOL OF MUSIC THE SCHOOL OF MEDICINE & DENTISTRY SUNDAY, MAY 19, 11:15 A.M. FRIDAY, MAY 17, 4 P.M. KODAK HALL, EASTMAN SCHOOL OF MUSIC KODAK HALL, EASTMAN SCHOOL OF MUSIC THE MARGARET WARNER SCHOOL OF EDUCATION & HUMAN DEVELOPMENT SATURDAY, MAY 18, 2:30 P.M. THE WILLIAM E. SIMON SCHOOL DOCTORAL DEGREE CEREMONY KODAK HALL, EASTMAN SCHOOL OF MUSIC OF BUSINESS ADMINISTRATION SATURDAY, MAY 18, 9:30 A.M. SUNDAY, JUNE 9, 10 A.M. KODAK HALL, EASTMAN SCHOOL OF MUSIC KODAK HALL, EASTMAN SCHOOL OF MUSIC COLLEGE DIPLOMA CEREMONIES DEPARTMENT LOCATION TIME (SUNDAY) African American Studies Room 321, Morey Hall 2 P.M. American Sign Language Lander Auditorium, Hutchison Hall 1:15 P.M. Anthropology Lander Auditorium, Hutchison Hall 11:15 A.M. Archaeology, Technology & Historical Structures Sloan Auditorium 11:15 A.M. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Education 2014 Virginia Commonwealth University, MFA
Erika Diamond 66 Panorama Dr., Asheville, NC 28806, 704.575.1493, [email protected] Education 2014 Virginia Commonwealth University, MFA Fiber 2000 Rhode Island School of Design, BFA Sculpture 1998 Edinburgh College of Art, The University of Edinburgh, Independent Study/Exchange Residencies 2019 UNC Asheville STEAM Studio, Asheville, NC 2018 Studio Two Three, Richmond, VA 2018 Platte Forum, Denver, CO 2016 ABK Weaving Center, Milwaukee, WI 2016 STARworks Center for Creative Enterprise, Star, NC 2014 Black Iris Gallery, Richmond, VA 2011 McColl Center for Visual Art, Charlotte, NC 2006-10 Little Italy Peninsula Arts Center, Mount Holly, NC 2006 McColl Center for Visual Art, Charlotte, NC Awards and Grants 2020 Artist Support Grant, Haywood County Arts Council, Waynesville, NC Artist Relief Grant, United States Artists, Chicago, IL Special Project Grant, Fiber Art Now, East Freetown, MA Mecklenburg Creatives Resiliency Grant, Arts & Science Council, NC 2019 American Craft Council, Conference Equity Award, Philadelphia, PA 2017 Adjunct Faculty Grant, VCU, School of the Arts, Richmond, VA 2016 American Craft Council, Conference Scholarship, Omaha, NE 2015 Regional Artist Project Grant, Arts & Science Council, Charlotte, NC 2014 VCU Arts Graduate Research Grant, VCU, Richmond, VA 2013 Graduate Assistantship Award, VCU, School of the Arts, Richmond, VA 2012 Graduate Assistantship Award, VCU, School of the Arts, Richmond, VA 2008 Cultural Project Grant, Arts & Science Council, Charlotte, NC 1996-20 RISD Alumni Scholarship, RISD, Providence, RI 1998-19 Leslie Herman Young Scholarship, RISD Sculpture Department, Providence, RI Exhibitions 2021 Armor, Center for Visual Art, Denver, CO (forthcoming) Amplify, Virginia Museum of Contemporary Art, Virginia Beach, VA (forthcoming) Summer Workshop Faculty Exhibition, Appalachian Center for Craft, Smithville, TN Imminent Peril – Queer Collection (Solo), Iridian Gallery, Richmond, VA Family Room, Form & Concept Gallery, Santa Fe, NM Queer Threads, Katzen Art Center, American University, Washington, D.C. -
Photography and Britishness
international conference Photography and Britishness November 4–5, 2016 Yale Center for British Art, New Haven, CT This conference is co-organized by the Yale Center for British Art, New Haven; the Paul Mellon Centre for Studies in British Art, London; and The Huntington Library, Art Collections, and Botanical Gardens, San Marino friday, november 4, 2016 The leveling aesthetic of photography—its capacity to draw heterogeneous peoples into what Christopher Pinney has termed a “common epistemological space”—meant that it could serve as a visual register for the elusive conn- session 1 | 11 am–12:30 pm ective tissue of imperial subjecthood, effectively reifying a useful political abstraction. Yet, as much as British sovereign authority could be embodied Imperial Britishness by this visual logic, British identity could simultaneously be dissolved by the homogenizing grammar of the medium. This paper therefore examines how colonials grappled with photography’s technical and formal possibilities in chair Martina Droth, Yale Center for British Art ways that attempted to forge a viable imperial polity while preserving a sense martina droth is Deputy Director of Research and Curator of Sculpture of privileged Britishness. Looking in particular at the palliative, diplomatic role at the Yale Center for British Art, and co-editor of British Art Studies, an played by the photographic portraiture of Dr. John Nicholas Tresidder in the open-access online journal jointly published by Center and the Paul Mellon immediate aftermath of the Indian Rebellion (1857–58), this paper assesses Centre for Studies in British Art. Her work as an art historian and curator how the new visual technology inflected imperial Britishness in complex and focuses on sculpture and questions about interdisciplinary approaches to unpredictable ways.