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Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science* Ryan Light University of Oregon Colin Od
Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science* Ryan Light University of Oregon Colin Odden Ohio State University Ohio Colleges of Medicine This is a pre-copyedited, author-produced version of an article accepted for publication in Social Forces following peer review. The version of record is available online at: https://doi.org/10.1093/sf/sox055. *Please direct all correspondence to Ryan Light, [email protected]. The authors thank James Moody, Jill Ann Harrison, Matthew Norton, Brandon Stewart, Achim Edelmann, Clare Rosenfeld Evans, Jordan Besek, and Brian Ott for their helpful comments on earlier drafts of this paper. Managing the Boundaries of Taste: Culture, Valuation, and Computational Social Science Abstract The proliferation of cultural objects, such as music, books, film and websites, has created a new problem: How do consumers determine the value of cultural objects in an age of information glut? Crowd-sourcing – paralleling word-of-mouth recommendations – has taken center stage, yet expert opinion has also assumed renewed importance. Prior work on the valuation of artworks and other cultural artifacts identifies ways critics establish and maintain classificatory boundaries, such as genre. We extend this research by offering a theoretical approach emphasizing the dynamics of critics’ valuation and classification. Empirically, this analysis turns to Pitchfork.com, an influential music review website, to examine the relationship between classification and valuation. Using topic models of fourteen years of Pitchfork.com album reviews (n=14,495), we model the dynamics of valuation through genre and additional factors predictive of positive reviews and cultural consecration. We use gold record awards to study the relationship between valuation processes and commercial outcomes. -
Understanding the Value of Arts & Culture | the AHRC Cultural Value
Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska 2 Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska THE AHRC CULTURAL VALUE PROJECT CONTENTS Foreword 3 4. The engaged citizen: civic agency 58 & civic engagement Executive summary 6 Preconditions for political engagement 59 Civic space and civic engagement: three case studies 61 Part 1 Introduction Creative challenge: cultural industries, digging 63 and climate change 1. Rethinking the terms of the cultural 12 Culture, conflict and post-conflict: 66 value debate a double-edged sword? The Cultural Value Project 12 Culture and art: a brief intellectual history 14 5. Communities, Regeneration and Space 71 Cultural policy and the many lives of cultural value 16 Place, identity and public art 71 Beyond dichotomies: the view from 19 Urban regeneration 74 Cultural Value Project awards Creative places, creative quarters 77 Prioritising experience and methodological diversity 21 Community arts 81 Coda: arts, culture and rural communities 83 2. Cross-cutting themes 25 Modes of cultural engagement 25 6. Economy: impact, innovation and ecology 86 Arts and culture in an unequal society 29 The economic benefits of what? 87 Digital transformations 34 Ways of counting 89 Wellbeing and capabilities 37 Agglomeration and attractiveness 91 The innovation economy 92 Part 2 Components of Cultural Value Ecologies of culture 95 3. The reflective individual 42 7. Health, ageing and wellbeing 100 Cultural engagement and the self 43 Therapeutic, clinical and environmental 101 Case study: arts, culture and the criminal 47 interventions justice system Community-based arts and health 104 Cultural engagement and the other 49 Longer-term health benefits and subjective 106 Case study: professional and informal carers 51 wellbeing Culture and international influence 54 Ageing and dementia 108 Two cultures? 110 8. -
Pitchfork Tour 2016 Press Relea
FOR IMMEDIATE RELEASE July 21, 2016 Meeteetse Museums to Host Inaugural Pitchfork Ranch Tour July 30 Dr. Lenox Baker, owner of the Pitchfork Ranch near Meeteetse, will be leading the inaugural tour of the historic ranch on Saturday, July 30. The tour, organized by the Meeteetse Museums, leaves from the museum at 9 a.m. and begins on site at 10 a.m. The Meeteetse Museum is located at 1947 State Street. Participants should arrive at the museum no later than 8:30 a.m. to register. Those taking part are also asked to bring a picnic lunch and plenty of water. Guests may drive their own vehicles, but must travel with the organized group to the Pitchfork, which is private property. Carpooling is encouraged, but is not required. This tour will begin at the historic Red Barn and continue at the Bunk House. At the main ranch, tour participants will visit Pickett’s Cabin, the Stone House, and the Octagon House (which predated the Stone House). Current restoration and preservation efforts will also be discussed by Dr. Baker. In addition, there will be a visit to the former studio of photographer Charles Belden. Belden is well known for his images of the people and activities associated with the Pitchfork Ranch from 1914 until about 1940. The tour continues at the cemetery. Here, Dr. Baker will tell some very interesting stories associated with the site. If possible, the tour participants will also be allowed to visit the new black-footed ferret reintroduction site. The endangered ferrets are scheduled to be released on July 26 at the location of the 1981 discovery. -
CUB Wins Trojan Nuke Plant Lawsuit – Again
CUB Wine Trojan Nuke Plant .4 ..'- '- Laweuit A~ain '1 But it'9 not over yet Summer 1998 ince its founding, CUB has often service to the customer." been compared to David, because "The PUC interprets the law as saying s:~ S we're fighting Goliath corporations. that the prohibition only applies to facilities ..s:::.- We like the comparison -- because even that are not yet providing service, as 0 though we·have a tiny staff to pit against opposed to closed facilities, like Trojan, that "- ~ armies of lawyers, we often win. On June already have provided service," said CUB's ~ ~ 24th, we won again, in a lawsuit we filed Executive Director, Bob Jenks. "But the ~ against Portland General Electric (PGE). measure's language is very clear on this ~ It all started in 1993, when PGE closed point, and Trojan is obviously not 'presently <U .A its Trojan nuclear power plant, which had providing service' to PGE's customers." \Sl been plagued for years with malfunctions. When Marion County Circuit Court .-<U PGE asked the Oregon Public Utility agreed, PGE took the case to the Oregon .-~ Commission (PUC), the state utility Court of Appeals. In June, a 3-judge panel -.- regulator, for permission to charge agreed unanimously with CUB. "State ~ ~ ::::s customers for the cost of decommissioning law," they wrote, "does not allow public <U the plant and paying off its remaining debt. utilities to obtain a profit from ratepayers on ..s::: The problem came when PGE also their investments in II. ~ asked to charge customers for the facilities that are not <U \Sl estimated $250 million dollars in profits it used to serve ::::s would have made, had the plant ratepayers. -
Ellies 2018 Finalists Announced
Ellies 2018 Finalists Announced New York, The New Yorker top list of National Magazine Award nominees; CNN’s Don Lemon to host annual awards lunch on March 13 NEW YORK, NY (February 1, 2018)—The American Society of Magazine Editors today published the list of finalists for the 2018 National Magazine Awards for Print and Digital Media. For the fifth year, the finalists were first announced in a 90-minute Twittercast. ASME will celebrate the 53rd presentation of the Ellies when each of the 104 finalists is honored at the annual awards lunch. The 2018 winners will be announced during a lunchtime presentation on Tuesday, March 13, at Cipriani Wall Street in New York. The lunch will be hosted by Don Lemon, the anchor of “CNN Tonight With Don Lemon,” airing weeknights at 10. More than 500 magazine editors and publishers are expected to attend. The winners receive “Ellies,” the elephant-shaped statuettes that give the awards their name. The awards lunch will include the presentation of the Magazine Editors’ Hall of Fame Award to the founding editor of Metropolitan Home and Saveur, Dorothy Kalins. Danny Meyer, the chief executive officer of the Union Square Hospitality Group and founder of Shake Shack, will present the Hall of Fame Award to Kalins on behalf of ASME. The 2018 ASME Award for Fiction will also be presented to Michael Ray, the editor of Zoetrope: All-Story. The winners of the 2018 ASME Next Awards for Journalists Under 30 will be honored as well. This year 57 media organizations were nominated in 20 categories, including two new categories, Social Media and Digital Innovation. -
Portland City Council Agenda
CITY OF OFFICIAL PORTLAND, OREGON MINUTES A REGULAR MEETING OF THE COUNCIL OF THE CITY OF PORTLAND, OREGON WAS HELD THIS 13TH DAY OF JUNE, 2018 AT 9:30 A.M. THOSE PRESENT WERE: Mayor Wheeler, Presiding; Commissioners Eudaly, Fish, Fritz and Saltzman, 5. OFFICERS IN ATTENDANCE: Karla Moore-Love, Clerk of the Council; Karen Moynahan, Chief Deputy City Attorney; Heidi Brown, Senior Deputy City Attorney at 1:35 p.m.; and Nicholas Livingston and John Paolazzi, Sergeants at Arms. Item No. 633 was pulled for discussion and on a Y-5 roll call, the balance of the Consent Agenda was adopted. The meeting recessed at 12:23 p.m. and reconvened at 12:30 p.m. Disposition: COMMUNICATIONS 622 Request of Dee White to address Council regarding chronically dangerous levels of lead in our drinking water (Communication) PLACED ON FILE 623 Request of David Kif Davis to address Council regarding City sponsored political terrorism (Communication) PLACED ON FILE 624 Request of Kevin Fitts to address Council regarding elderly/disabled centered housing policies in low income housing (Communication) PLACED ON FILE 625 Request of Paul Watts, Graffiti Removal Services to address Council regarding progress report on graffiti removal program (Communication) PLACED ON FILE June 13-14, 2018 TIMES CERTAIN 626 TIME CERTAIN: 9:45 AM – Add a new per night fee assessed on Booking Agents or Transient Lodging Intermediaries for the privilege of facilitating a Short-Term Rental Occupancy (Ordinance introduced by Mayor Wheeler and Commissioner Fish; add Code Chapter 6.09) 45 minutes requested for items 626 and 627 PASSED TO Motion that the funds will go directly to the Housing SECOND READING Investment Fund and amend ordinance and impact statement AS AMENDED accordingly: Moved by Wheeler and seconded by Fish. -
New Work: Christopher Wool
[HRl�TOPHf R WOOl NEW WORK SAN FRANCISCO MUSEUM OF MODERN ART NEW WORK: CHRISTOPHER WOOL JULY 6 - SEPTEMBER 3, 1989 Although he has explored other art forms, including film,what Christopher Wool considers his mature work began with paintings he made in 1984. At that time, he was dissatisfied with the work he was producing (for example, a painting called Bigger Questions, which was simply a question mark on its side). Like many artists before him, he began to investigate the basic processes of painting itself, "strug gling to find some kind of meaningful imagery."1 A work he called Zen Exercise con sisted of three large, violent pours of paint. Looking back today he considers this work crucial because the pours were random, and he was "looking for location:• In the following year, with an enamel on plywood painting entitled Houdini, Wool continued his arbitrary paint application by dripping and spattering white paint onto a black surface. At first glance, Houdini looks like a Jackson Pollock achieved by recourse to the methods of John Cage: the evidently random drops of paint occasionally coalesce into larger, driplike patterns. One suspects that this adventitious painterliness was both too lush and too ambiguous for the artist, because for the next two years he produced paintings in which the application of paint was rigorously even. The result was paintings with allover compositions that although random were everywhere uniform, with no runs and only occasional larger dots of paint where one drop collided with another: Standing before such paintings for the first time is a curious experience. -
Overview and Catalog
Overview and Catalog 1 THE “CADILLAC” OF ORTON-BASED METHODS The Writing and Spelling Road to Reading and Thinking: A Neurolinguistic Approach to Cognitive Development and English Literacy BEGINS WITH PHONETICS, LETTER FORMATION, SPELLING AND COGNITIVE DEVELOPMENT, THEN INTEGRATES THESE LANGUAGE “STRANDS”… ...for READING • Complete Phonetics • Syllabication • Oral Vocabulary • Visual Discrimination • Comprehension • Phonemic/Graphemic Awareness ...for COMPOSITION • Listening– Phonemic/Graphemic Awareness • Handwriting-Complete Phonetics • Orthography Rules •Margins•Spacing•Spelling•Vocabulary•Grammar•Syntax•Punctuation•Capitalization The Riggs’ founder and author of the Writing and Spelling Road to Reading and Thinking Myrna McCulloch’s first experience with an Orton-based method, Spalding’s The Writing Road to Reading—as taught by Oma Riggs—took place in a private school in a low socioeconomic area of Omaha, Nebraska in 1977-1979. Based on the student’s results as shown in the line graph on the following page, the Riggs Institute’s “Great Expectations” and brain-based approach to English literacy now fully integrates and finely sequences all language arts strands (shown above) as auditory, visual, verbal and motor cognition are simultaneously established using multi-sensory, direct and Socratic instructional techniques. The Riggs Institute (a non-profit agency) 21106 479th Avenue, White, South Dakota 57276 2 Student results as shown in a line graph — Riggs Institute’s “GREAT EXPECTATIONS” This line graph represents composite class average improvements realized in the first 14 months. • 100 students; two grades per classroom. • Teachers were newly-trained by Oma Riggs. • Implemented the method under the direction of Myrna McCulloch. • Students were 1/2 Latino or Afro-Americans; balance were almost all of other ethnic backgrounds. -
The Oregonian
The Oregonian Right 2 Dream Too: Hoyt Street warehouse site, pushed by Mayor Charlie Hales, is dead By Andrew Theen Portland Mayor Charlie Hales is pulling the plug on the Old Town warehouse he pitched last month as a temporary home for Right 2 Dream Too. The cost of making the warehouse at 320 N.W. Hoyt Street suitable for the homeless community proved too high, according to Hales' staffers. Required improvements would have run $335,000, Hales' policy director Josh Alpert said Thursday. Alpert said Hales and Commissioner Amanda Fritz were in constant communication during the past month, and Fritz was part of the decision making. "We continue to look for a solution," Alpert said. Hales, Fritz and camp leaders are working to find other properties. A month ago, Hales took select members of the media on a tour of the Old Town warehouse. At the time, he said the city was prepared to sign a 15-month lease for R2D2, at a cost of $150,000. The homeless community has called a prominent street corner of West Burnside and Northwest Fourth Avenue home for more than two years. Last fall, Fritz brokered a deal to move the camp to a city-owned parking lot under a Broadway Bridge onramp. But at an October City Council hearing on the zoning decision authorizing the move, prominent Pearl District developers and neighborhood groups objected. Hales delayed a City Council decision so long as Homer Wiliams and Dike Dame, the developers, worked "in good faith" to find an alternative location. Officials with the Pearl group said they had worked day and night to find a suitable location. -
Architectonic Forms MAURIZIO ANZERI: Lay It on the Line
FOR IMMEDIATE RELEASE For all inquiries, please contact Irene Fung: [email protected] www.hainesgallery.com DARREN WATERSTON: Architectonic Forms MAURIZIO ANZERI: Lay it on the Line January 6 – February 25, 2017 Press Preview: Thursday, January 5, 5:00 pm Opening Reception: Thursday, January 12, 5:30 pm to 7:30 pm Haines Gallery is pleased to present two concurrent solo exhibitions, featuring new and recent works by Darren Waterston and Maurizio Anzeri. Architectonic Forms is New York-based artist Darren Waterston’s ninth solo exhibition with Haines Gallery, and follows his nationally touring installation Filthy Lucre, a reimagining of James McNeil Whistler’s eccentric masterwork of deco- rative art, the Peacock Room. Exhibited for the first time on the West Coast, Waterston’s newest body of work continues to explore the coalescence between painting and architecture in Western art history, while reflecting the artist’s sustained interest in the allegorical, alchemical and apocalyptic. In Architectonic Forms, Waterston draws directly from devotional architectural Darren Waterston, Triptych (twilight) and Predella, both 2014 structures such as Renaissance altarpieces, confessional screens and Gothic Oil on wood panel, 80 x 131 inches; 21.5 x 83.5 inches partitions, reinterpreting them as magnetic and even menacing painterly objects. Familiar religious iconography is transformed into apocalyptic land- scapes, gestural flourishes and paint-scarred surfaces characteristic of Waterston’s work. The centerpiece of the exhibition, Triptych (twilight), 2014, is based on Matthias Grünewald’s sixteenth century masterpiece, The Isenheim Altar, and casts a spectral halo from the back of its hinged panels. At once intriguing and foreboding, the works hint at something darker lurking beneath their surfaces and demonstrate paradoxical ideas of attraction and revulsion. -
February/March 2014
The PHOTO REVIEW NEWSLETTER February / March 2014 Robert Heinecken Cybill Shepherd/Phone Sex. 1992, dye bleach print on foamcore, 63"×17”. (The Robert Heinecken Trust, Chicago; courtesy Petzel Gallery, New York. © 2013 The Robert Heinecken Trust) At the Museum of Modern Art, New York Exhibitions PHILADELPHIA AREA Germán Gomez “Deconstructing Cities and Duos,” Bridgette Mayer Gallery, 709 Walnut St., Philadelphia, PA 19106, 215/413– Alien She Vox Populi, 319 N. 11th St., 3rd fl., Philadelphia, PA 8893, www.bridgettemayergallery.com, T–Sat 11–5:30 and by 19107, 215/23 8-1236, www.voxpopuligallery.org, T–Sun 12–6, appt., through February 22. March 7 – April 27. Includes photography. Graffiti, Murals, and Tattoos “Paired,” Bucks County Project Artists of a Certain Age Philadelphia Episcopal Cathedral, Gallery, 252 W. Ashland St., Doylestown, PA 18901, 267/247- 3723 Chestnut St., Philadelphia, PA 19104, 267/386-0234 x104, 6634, www.buckscountyprojectgallery.com, Th–F 12–4, F–Sat daily 10–4 and by appt., through February 28. Includes photogra- 1–5, March 8 – April 6. phy by William Brown and Arlene Love. David Graham “Thirty-Five Years / 35 Pictures,” Gallery 339, Donald E. Camp/Lydia Panas/Lori Waselchuk “Humankind,” 339 S. 21st St., Philadelphia, PA 19103, 215/731-1530, www.gal- Main Line Art Center, 746 Panmure Rd., Haverford, PA 19041, lery339.com, T–Sat 10–6, through March 15. 610/525-0272, www.mainlineart.org, M–Th 10–8, F–Sun 10–4, through March 20. Reception, Friday, February 21, 6–8 PM. Panel Jefferson Hayman Wexler Gallery, 201 N. 3rd St., Philadelphia, Discussion and Book Signing, Wednesday, March 19, 6–8 PM. -
Info Fair Resources
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