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An Abstract Painter Rooted in Palestine's Reality | the Electronic Intifada 7/3/13 8:08 PM
Hani Zurob: an abstract painter rooted in Palestine's reality | The Electronic Intifada 7/3/13 8:08 PM The Electronic Intifada ﺍﻻﻧﺘﻔﺎﺿﺔ ﺍﻹﻟﻜﺘﺮﻭﻧﻴﺔ Art, Music & Culture Hani Zurob: an abstract painter rooted in Palestine’s reality Sarah Irving The Electronic Intifada 17 June 2013 A Palestinian painter from Gaza, Hani Zurob may have only been practicing as a fine artist since the late 1990s, but he already has an enviable list of solo shows — twelve, spread between Qatar, France, Palestine and Morocco — and joint exhibitions. The latter have included shows in venues as prestigious as L’Institut du Monde Arabe in Paris, the national museums of Bahrain and Syria, and the Henry Moore Institute in the UK. And in January, he was listed as one of The Huffington Post’s “10 international artists to watch in 2013.” Zurob’s reputation and profile will be further enhanced by the publication of Between Exits, a monograph on his life and work. Despite his comparative youth (he is just 37), this collection of images, alongside a wide-ranging text by Kamal Boullata (probably best known for his monumental book Palestinian Art: From 1850 to the Present), shows just how versatile and energetic an artist Zurob is. Boullata’s text does not pull any punches in asserting Zurob’s place as an artist whose work deserves attention not because of his national origin or life story, but because of its artistic quality. http://electronicintifada.net/content/hani-zurob-abstract-painter-rooted-palestines-reality/12546 Page 1 of 6 Hani Zurob: an abstract painter rooted in Palestine's reality | The Electronic Intifada 7/3/13 8:08 PM The preface opens with this challenge: “In a homeland enduring over 40 years of military occupation, where art is saturated with nationalist clichés and tired iconographic images, how does a young and ambitious talent like Hani Zurob break away from the binds of the local mainstream to explore his own originality in painting?” “No boundaries” This doesn’t mean that Zurob seeks somehow to place himself “above” his Palestinian origins. -
CURRICULUM VITAE Teresa Hubbard 1St Contact Address
CURRICULUM VITAE Teresa Hubbard 1st Contact address William and Bettye Nowlin Endowed Professor Assistant Chair Studio Division University of Texas at Austin College of Fine Arts, Department of Art and Art History 2301 San Jacinto Blvd. Station D1300 Austin, TX 78712-1421 USA [email protected] 2nd Contact address 4707 Shoalwood Ave Austin, TX 78756 USA [email protected] www.hubbardbirchler.net mobile +512 925 2308 Contents 2 Education and Teaching 3–5 Selected Public Lectures and Visiting Artist Appointments 5–6 Selected Academic and Public Service 6–8 Selected Solo Exhibitions 8–14 Selected Group Exhibitions 14–20 Bibliography - Selected Exhibition Catalogues and Books 20–24 Bibliography - Selected Articles 24–28 Selected Awards, Commissions and Fellowships 28 Gallery Representation 28–29 Selected Public Collections Teresa Hubbard, Curriculum Vitae - 1 / 29 Teresa Hubbard American, Irish and Swiss Citizen, born 1965 in Dublin, Ireland Education 1990–1992 M.F.A., Nova Scotia College of Art and Design, Halifax, Canada 1988 Yale University School of Art, MFA Program, New Haven, Connecticut, USA 1987 Skowhegan School of Painting and Sculpture, Skowhegan, Maine, USA 1985–1988 University of Texas at Austin, BFA Degree, Austin, Texas, USA 1983–1985 Louisiana State University, Liberal Arts, Baton Rouge, USA Teaching 2015–present Faculty Member, European Graduate School, (EGS), Saas-Fee, Switzerland 2014–present William and Bettye Nowlin Endowed Professor, Department of Art and Art History, College of Fine Arts, University of Texas -
University of Bath PHD the Grief of Nations
University of Bath PHD The Grief of Nations: An analysis of how nations behave in the wake of loss: does it constitute grief? Malamah-Thomas, Ann Award date: 2011 Awarding institution: University of Bath Link to publication Alternative formats If you require this document in an alternative format, please contact: [email protected] General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 07. Oct. 2021 The Grief of Nations An Analysis of How Nations Behave in the Wake of Loss: Does it Constitute Grief? Ann Malamah-Thomas A thesis submitted for the degree of Doctor of Philosophy University of Bath Department of Social and Policy Sciences July 2011 COPYRIGHT Attention is drawn to the fact that copyright of this thesis rests with the author. A copy of this thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that they must not copy it or use material from it except as permitted by law or with the consent of the author. -
Gender Performance in Photography
PHOTOGRAPHY (A CI (A CI GENDER PERFORMANCE IN PHOTOGRAPHY (A a C/VFV4& (A a )^/VM)6e GENDER PERFORMANCE IN PHOTOGRAPHY JENNIFER BLESSING JUDITH HALBERSTAM LYLE ASHTON HARRIS NANCY SPECTOR CAROLE-ANNE TYLER SARAH WILSON GUGGENHEIM MUSEUM Rrose is a Rrose is a Rrose: front cover: Gender Performance in Photography Claude Cahun Organized by Jennifer Blessing Self- Portrait, ca. 1928 Gelatin-silver print, Solomon R. Guggenheim Museum, New York 11 'X. x 9>s inches (30 x 23.8 cm) January 17—April 27, 1997 Musee des Beaux Arts de Nantes This exhibition is supported in part by back cover: the National Endowment tor the Arts Nan Goldin Jimmy Paulettc and Tabboo! in the bathroom, NYC, 1991 €)1997 The Solomon R. Guggenheim Foundation, Cibachrome print, New York. All rights reserved. 30 x 40 inches (76.2 x 101.6 cm) Courtesy of the artist and ISBN 0-8109-6901-7 (hardcover) Matthew Marks Gallery, New York ISBN 0-89207-185-0 (softcover) Guggenheim Museum Publications 1071 Fifth Avenue New York, New York 10128 Hardcover edition distributed by Harry N. Abrams, Inc. 100 Fifth Avenue New York, New York 10011 Designed by Bethany Johns Design, New York Printed in Italy by Sfera Contents JENNIFER BLESSING xyVwMie is a c/\rose is a z/vxose Gender Performance in Photography JENNIFER BLESSING CAROLE-ANNE TYLER 134 id'emt nut files - KyMxUcuo&wuieS SARAH WILSON 156 c/erfoymuiq me c/jodt/ im me J970s NANCY SPECTOR 176 ^ne S$r/ of ~&e#idew Bathrooms, Butches, and the Aesthetics of Female Masculinity JUDITH HALBERSTAM 190 f//a« waclna LYLE ASHTON HARRIS 204 Stfrtists ' iyjtoqra/inies TRACEY BASHKOFF, SUSAN CROSS, VIVIEN GREENE, AND J. -
Art Basel 2019 Preview of Selected Works
ART BASEL 2019 PREVIEW OF SELECTED WORKS GALERIE THOMAS SCHULTE HALL 2.1, BOOTH M16 • Rebecca Horn, Between The Knives The Emptiness, 2014 (detail) Artists on view Also represented Contact Angela de la Cruz Dieter Appelt Galerie Thomas Schulte Hamish Fulton Alice Aycock Charlottenstraße 24 Rebecca Horn Richard Deacon 10117 Berlin Idris Khan David Hartt fon: +49 (0)30 2060 8990 Jonathan Lasker Julian Irlinger fax: +49 (0)30 2060 89910 Michael Müller Alfredo Jaar [email protected] Albrecht Schnider Paco Knöller www.galeriethomasschulte.de Pat Steir Allan McCollum Juan Uslé Iñigo Manglano-Ovalle Thomas Schulte Stephen Willats Robert Mapplethorpe PA Julia Ben Abdallah Fabian Marcaccio [email protected] Gordon Matta-Clark João Penalva Gonzalo Alarcón David Reed +49 (173) 66 46 623 Leunora Salihu [email protected] Iris Schomaker Katharina Sieverding Eike Dürrfeld Jonas Weichsel +49 (172) 30 89 074 Robert Wilson [email protected] Luigi Nerone +49 (172) 30 89 076 [email protected] Juliane Pönisch +49 (151) 22 22 02 70 [email protected] Galerie Thomas Schulte is very pleased to present at this year’s Art Basel recent works by Rebecca Horn, whose exhibition Body Fantasies will be on view at Basel’s Museum Tinguely during the time of the fair (until 22 September). Our booth will also feature works by Angela de la Cruz, Hamish Fulton, Idris Khan, Jonathan Lasker, Michael Müller, Albrecht Schnider, Pat Steir, Juan Uslé and Stephen Willats. This brochure represents a selection of the works at our booth. For further information and to learn more about works which are not shown here, please do not hesitate to contact us. -
Biographies Randy Chan Randy Chan Is an Award-Winning Architect
YEO WORKSHOP Gillman Barracks SG +65 67345168 [email protected] www.yeoworkshop.com 1 Lock Road, S (108932) Biographies Randy Chan Randy Chan is an award-winning architect and artist. Chan’s architectural and design experience crosses multiple fields and scales, all guided by the simple philosophy that architecture and aesthetics are part of the same impulse. Chan is the principal of Zarch Collaboratives - one of Singapore’s leading architectural studios established in 1999. The objective of the studio is to practice and fulfil architectural projects but also cross disciplines and approach the means of spatial design. They have worked on a series of exhibition spaces, stage set designs, art installations, world expositions and catered for private and public housing plans. Additionally, Chan is the creative director of Singapore: Inside Out, an international platform featuring a collection of multi-disciplinary experiences created by practicing artists. It is a platform with a global intention. It accommodates and presents the creative talents of Beijing, London, New York and Singapore. Artistically it combines the varying disciplines of architecture, design, fashion, film, food, music, performance and the visual arts. Hubertus von Amelunxen Professor Dr. Hubertus von Amelunxen was born in Hindelang, Germany in 1958. He lives in Berlin and Switzerland. After studies in French and German Literature and in Art History at the Philipps- Universität, Marburg and the École Normale Supérieure de Paris, he wrote his Ph.D. on Allegory and Photography: Inquiries into 19th Century French Literature. He was professor of Cultural Studies and the Founding Director of the Center for Interdisciplinary Research at the Muthesius Academy of Architecture, Design and Fine Arts in Kiel between 1995 and 2000. -
Hani Zurob: the Painting As Real
32 Profiles The Painting as Real: Hani Zurob By Adania Shibli References to photographs as a reflection or a Zurob continues to describe how he eventually found representation of the real, or even as hyperreal, are quite a refuge during these prolonged days of curfew in the common. Visual theorists, such as Martin Jay, explain furthest corner of their house which was full of his such references not only to photographs but also to father’s books and magazines, with several of them paintings that are a produce of perspectival gaze, by the containing drawings in them. These drawings, in their fact that the camera obscura model, assigns a place for turn, prompted the young Zurob to copy them using a viewer who is disconnected from the viewed scene; transparent paper; and as he got better and better, he for example, an objective viewer of the world. Other started adding his personal touch to them. It is this theorists, namely Norman Bryson, explain that such type personal touch then, one can hold accountable for the of images, generate this sense of resemblance to the real deformed bodies and faces, composed of thick dark world, based on the ratio of the depicted objects in the lines of bitumen piled in the centre of the frame. And frame. this personal touch is again nothing but a personal experience of a deformation, or to be more precise, a Still it never occurred to me that paintings, which are deliberate destruction of bodies in the real world of the not even generated based on perspectivalism, could also artist. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title The State of Architecture Permalink https://escholarship.org/uc/item/6s86b2s6 Author Fabbrini, Sebastiano Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The State of Architecture A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Architecture by Sebastiano Fabbrini 2018 © Copyright by Sebastiano Fabbrini 2018 ABSTRACT OF THE DISSERTATION The State of Architecture by Sebastiano Fabbrini Doctor of Philosophy in Architecture University of California, Los Angeles, 2018 Professor Sylvia Lavin, Chair Although architecture was historically considered the most public of the arts and the interdependence between building and the public realm was a key feature of the post-war discourse, the process of postmodernization undermined the traditional structures of power through which architecture operated. At the center of this shakeup was the modern structure par excellence : the State. This dissertation analyzes the dissolution of the bond between architecture and the State through a double lens. First, this study is framed by the workings of an architect, Aldo Rossi, whose practice mirrored this transformation in a unique way, going from Mussolini’s Italy to Reagan’s America, from the Communist Party to Disneyland. The second lens is provided by a set of technological apparatuses ii that, in this pre-digital world, impacted the reach of the State and the boundaries of architecture. Drawing on the multifaceted root of the term “State,” this dissertation sets out to explore a series of case studies that addressed the need to re-state architecture – both in the sense of relocating architecture within new landscapes of power and in the sense of finding ways to keep reproducing it in those uncharted territories. -
On Vilém Flusser's Towards a Philosophy Of
FLUSSER STUDIES 10 Photography and Beyond: On Vilém Flusser’s Towards a Philosophy of Photography The following short pictorial and textual contributions by Mark Amerika, Sean Cubitt, John Goto, Andreas Müller-Pohle, Michael Najjar, Simone Osthoff, Nancy Roth, Bernd-Alexander Stiegler, Geoffrey Winthrop-Young and Siegfried Zielinski explore the practical and theoretical relevance and actuality of Vilém Flusser‘s Towards a Philosophy of Photography, first published as Für eine Philosophie der Fotografie in 1983. It has been translated into more than 14 different languages. These observations are based on the following questions: What is the theoretical and practical relevance of Flusser‘s Towards a Philosophy of Photography, written more than 25 years ago and translated into many languages? What was the impact of Flusser‘s conception of photography on the artistic practice of photography and image-creation internationally? Beyond Flusser: What is the status of photography and images within the present context of digital cameras and 3-D film? What new theoretical parameters and models enliven the scholarly debates on and artistic engagements with photography and images? How do theories of the (technical) image promote interdisciplinary scholarship? Rainer Guldin and Anke Finger Lugano / Storrs, November 2010 1 FLUSSER STUDIES 10 Mark Amerika, Applied Flusser [email protected] Flusser, in Toward A Philosophy of Photography writes: ―The task of the philosophy of photography is to question photographers about freedom, to probe their practice in pursuit of freedom.‖ Here, the photographer is not just someone who uses a camera to take pictures, but is a kind of hybrid who is part science fiction philosopher and part data gleaner. -
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. -
Fondation Antoine De Galbert - from November 4Th 2005 to January 15Th 2006
la maison rouge - fondation antoine de galbert - from November 4th 2005 to January 15th 2006 It’s a narrow door, but for me it’s the only one. I know that history is not just dates, that it’s constantly in motion, slow and subterranean, but the fact is that I work on a property of photography, something only it has. This is its supposed lit- erality. Finally, there is the insignificance of my position. In the field, I do what I can, and that’s it. No omniscient vision, no dominant perspective… (…) Can you say something about this formalization? The words only come afterwards, after you’ve found… Being an artist is nothing, or at least, not enough; what you want is to be a poet. You are articulating sounds that are still form- less, inventing what looks like a possible route. And yet that view of the exhibition is the essence of the thing. All you’re ever doing is translat- ing an attitude and rationalizing an intuition, using first of Luc Delahaye all what is specific to photography. There is the refusal of Luc Delahaye has taken photographs for four years from places style and the refusal of style and the refusal of sentimental- newspapers report on every day: war zones, areas of conflicts ism, there is the measuring of the distance that separates me or power struggles, places where “History” is made, at the very from what I see. There is also the will to be like a servant of moment the events happen. His direct approach reminds one the image, of its rigorous demands: to take the camera where of a reporter. -