CREAM News Issue 22 / Winter 2015
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Awai, Nicole CV (Opens New Window)
https://www.lesleyheller.com/artists/nicole-awai EDUCATION Master of Fine Arts, Multi-media Art, University of South Florida, Tampa, FL (1996) Bachelor of Arts, University of South Florida, Tampa, FL (1991) ACADEMIC APPOINTMENTS & RELATED EXPERIENCE 08/15- Assistant Professor, Painting & Drawing, University of Texas at Austin, Department of Art & Art History, Austin, TX 12/14 Visiting Artist/ Critic, Tyler School of Art, Temple University 9/09-5/15 Critic, Yale School of Art, Department of Painting and Printmaking, New Haven, CT 1/14-5/14 Visiting Assistant Professor, Yale School of Art, Department of Painting and Printmaking, New Haven, CT 9/12-12/12 Visiting Assistant Professor, Cooper Union, School of Art, NY 11/12 Visiting Artist/ Critic, University of Kentucky, College of Fine Arts 04/12 Visiting Artist/ Critic, Parsons, The New School, Art and Design History and Theory, Fine Arts (MFA) 1/11-5/11 Visiting Assistant Professor, Yale School of Art, Department of Painting and Printmaking, New Haven, CT 6/10 Artist/ Instructor, Norfolk Residency Program, Yale School of Art 8/18/08-5/15/09 Visiting Assistant Professor, University of Illinois at Chicago, School of Art and Art History, College of Architecture, Design and the Arts, Chicago, IL 1/08-5/08 Critic, Yale School of Art, Department of Painting and Printmaking, New Haven, CT 9/07 Visiting Artist/ Artist Talk, Parsons, The New School, Art and Design, Fine Art 1/07- 5/08 Visiting Assistant Professor, Pratt Institute, School of Art and Design, Brooklyn, NY 1/07-5/08 Adjunct Instructor, Stern College for Women, NY 8/05-5/15 Adjunct Assistant Professor, York College CUNY, Department of Performing and Fine Arts, Jamaica, Queens, NY 2/02-8/05 Artist/Educator, Whitney Museum of American Art, New York, NY Created and implemented art education programs for students (grades 3-12) based on exhibitions at the museum. -
WOMEN and MIGRATION Women and Migration: Responses in Art and History
WOMEN AND MIGRATION Women and Migration: Responses in Art and History Edited by Deborah Willis, Ellyn Toscano and Kalia Brooks Nelson https://www.openbookpublishers.com © 2019 Deborah Willis, Ellyn Toscano and Kalia Brooks Nelson Copyright of individual chapters is maintained by the chapters’ authors. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Deborah Willis, Ellyn Toscano and Kalia Brooks Nelson (eds.), Women and Migration: Responses in Art and History. Cambridge, UK: Open Book Publishers, 2019, https://doi. org/10.11647/OBP.0153 In order to access detailed and updated information on the license, please visit, https:// www.openbookpublishers.com/product/840#copyright Further details about CC BY licenses are available at https://creativecommons.org/ licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/840#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. ISBN Paperback: 978-1-78374-565-4 ISBN Hardback: 978-1-78374-566-1 ISBN Digital (PDF): 978-1-78374-567-8 ISBN Digital ebook (epub): 978-1-78374-568-5 ISBN Digital ebook (mobi): 978-1-78374-569-2 ISBN Digital (XML): 978-1-78374-674-3 DOI: 10.11647/OBP.0153 Cover image: Sama Alshaibi, Sabkhat al-Milḥ (Salt Flats) 2014, from the ‘Silsila’ series, Chromogenic print mounted on Diasec, 47' diameter. -
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PHOTO LONDON ANNOUNCES 2019 TALKS PROGRAMME Photo London has announced details of the Talks Programme for the fifth edition of the Fair, which will take place from 15 - 19 May 2019 at Somerset House. The Programme will showcase the rich and diverse history of photography up until the present day, and explore the current and future direction of the medium in a dynamic format. It will feature talks, debates and discussions with some of the world’s most important and innovative photographers, artists, curators, critics and authors. As well as featuring many celebrated practitioners including Erwin Olaf, Susan Meiselas, Ralph Gibson, Hannah Starkey, Tim Walker, Maja Daniels, Ed Templeton and Vanessa Winship, the Talks Programme includes: • The Photo London Master of Photography 2019 Stephen Shore in conversation with curator David Campany • Martin Parr discusses British identity in his work with historian and broadcaster Dominic Sandbrook • The acclaimed biographer Ann Marks in conversation with the author Anna Sparham on the legacy of Vivian Maier • Gavin Turk discusses his Photo London project Portrait of an Egg with Matthew Collings • Zackary Drucker discusses her work on transgender identities in photography with Chris Boot, Executive Director of Aperture Foundation • Contemporary portrait photographer Martin Schoeller in conversation with publisher Gerhard Steidl • Liz Johnson Artur in conversation with Hans Ulrich Obrist • Photographer, electronic music producer and DJ, Eamonn Doyle discusses his special Photo London installation Made in Dublin with collaborators David Donohoe and Niall Sweeney • Panel discussions on subjects such as representations of the body; collecting photography; the future of photography curation and the legacy of the pioneering early photographer Roger Fenton • Tickets on sale now at photolondon.org/tickets – Fair tickets are not required to attend talks The Photo London Talks Programme is curated by William A. -
Defining Women Subjects: Photographs in Trinidad (1860S–1960S)
1 The University of the West Indies Institute for Gender and Development Studies Issue 7 – 2013 Defining Women Subjects: Photographs in Trinidad (1860s–1960s) Roshini Kempadoo ___________________________________________________________________ Abstract This article proposes research methodologies for use in analysing photographs that represent and visualise women subjects of colonial Trinidad. Methodology has been developed on the basis of research undertaken into photographic material of the period in Trinidad from the 1860s to 1960s. The researcher encounters the historical photographs in the present, thus providing insight into the ways in which photographic technologies have visualised Trinidadian women and explores how these practices persist in contemporary visual culture. Photography emerged as a mode of communication for ‘a developing capitalist world order’. No previous economy of visual technologies constituted a world order in the same sense, and it is from within this wider context that we may consider the complex creation, production and circulation of colonial photographs representing the woman figure. Photographic practice at the turn of the twentieth century was a contributive part of the imperial attempt to ‘unify the globe’ and equally became associated with the ‘myth’ of a universality of photographic language (Sekula 1981). Photographic practice contributed to a shift in the continuity of European ideas and thinking about the visualisation of the Other. Colonial photography determined the gendered construction of the colonial woman as subjected to heightened, fetishised, visual scrutiny. Kempadoo, Roshini. 2013. Defining Women Subjects: Photographs in Trinidad (1860s–1960s). CRGS, no. 7, ed. Kamala Kempadoo, Halimah DeShong, and Charmaine Crawford, pp. 1-14. 2 Introduction This article explores techniques and methods of the research process that are considered cornerstones to the analysis of colonial photographs of women. -
A Rare Glimpse of Tahereh's Face in Through the Olive Trees
A rare glimpse of Tahereh’s face in Through the Olive Trees (Zire darakhatan zeyton) (dir. Abbas Kiarostami, France/ Iran, 1994). Courtesy Artifi cial Eye Women in a Widening Frame: (Cross-)Cultural Projection, Spectatorship, and Iranian Cinema Lindsey Moore This article addresses the entwined issues of gendered and cul- tural representation in contemporary Iranian cinema. One of the remarkable features of recent Iranian film is its allegorical use of gendered tropes, in particular the (in)visibility and (im)mobility of women in social space. The female body, which has been defined in historically charged and culturally assertive terms, is constantly reinvested thematically and technically. In Iran, as in more conventionally “postcolonial” sites of knowledge produc- tion,1 the relationship between vision and embodied, gendered objects is both culturally specificand informed by cross-cultural encounter. This article urges continued attention to the import of female representation in relation to a film’s reception both within and outside of the national viewing context. I assess the implications of verisimilitude in three films: Abbas Kiarostami’s Through the Olive Trees (Zire darakhatan zeyton) (France/Iran, 1994), Samira Makhmalbaf’s The Apple (Sib) (Iran/ France, 1998), and Kim Longinotto and Ziba Mir-Hosseini’s Copyright © 2005 by Camera Obscura Camera Obscura 59, Volume 20, Number 2 Published by Duke University Press 1 2 • Camera Obscura Divorce Iranian Style (UK, 1998). The difficulty in generically categorizing these films, particularly the latter two, rests on the exploitation in each case of the hinge between documentary and dramatic technique. It is my intention not only to contextualize this strategy in relation to postrevolutionary Iranian cultural politics, but to investigate the effects of generically hybrid texts that enter the international sphere. -
The Open Image: Poetic Realism and the New Iranian Cinema
Downloaded from The open image: poetic realism and the New Iranian Cinema http://screen.oxfordjournals.org/ SHOHINI CHAUDHURI and HOWARD FINN When Mohsen Makhmalbaf's Safar e Ghandehar/Kandahar was screened at London's Institute for Contemporary Arts in Autumn at Senate House Library, University of London on December 4, 2015 2001 it drew sell-out audiences, as it did in other European and North American cities. The film's success, partly due to its timely release, also reflects an enthusiasm internationally for Iranian films which has been gathering momentum in recent years. This essay focuses on one characteristic of 'New Iranian Cinema' which has evidently intrigued both critics and audiences, namely the foregrounding of a certain type of ambiguous, epiphanic image. We attempt to explore these images, which we have chosen - very simply - to call 'open images". One might read these images directly in terms of the political and cultural climate of the Islamic Republic which engendered them, as part of the broader ongoing critical debate on the relationship of these films to contemporary Iranian social reality Our intention, however, is primarily to draw structural and aesthetic comparisons across different national cinemas, to show, among other things, how a repressed political dimension returns within the ostensibly apolitical aesthetic form of the open image. The term "image' encompasses shot, frame and scene, and includes sound components - open images may deploy any of these elements. Open images are not necessarily extraordinary images, they often belong to the order of the everyday. While watching a film one may meet them with some resistance - yet they have the property of producing virtual after-images in the mind. -
Summer 2016 British Sculpture Abroad
British Art Studies Issue 3 – Summer 2016 British Sculpture Abroad, 1945 – 2000 British Art Studies Issue 3, published 4 July 2016 British Sculpture Abroad, 1945 – 2000 Special issue edited by Penelope Curtis and Martina Droth www.britishartstudies.ac.uk Cover image: Simon Starling, Project for a Masquerade (Hiroshima) (film still), 2010–11. 16 mm film transferred to digital (25 minutes, 45 seconds), wooden masks, cast bronze masks, bowler hat, metals stands, suspended mirror, suspended screen, HD projector, media player, and speakers. Dimensions variable. Digital image courtesy of the artist PDF produced on 9 Sep 2016 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. These unique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA http://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut http://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: http://www.britishartstudies.ac.uk Editorial team: http://www.britishartstudies.ac.uk/about/editorial-team Advisory board: http://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. Britishness, Identity, and the Three-Dimensional: British Sculpture Abroad in the 1990s Essay by Courtney J. -
Cultural Frontiers: Women Directors in Post-Revolutionary New Wave Iranian Cinema
CULTURAL FRONTIERS: WOMEN DIRECTORS IN POST-REVOLUTIONARY NEW WAVE IRANIAN CINEMA by Amanda Chan B-Phil International and Area Studies, University of Pittsburgh, 2016 Submitted to the Faculty of The University Honors College in partial fulfillment of the requirements for the degree of Bachelors of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This thesis was presented by Amanda Chan It was defended on April 8th, 2016 and approved by Dr. Alison Patterson, Lecturer, Department of English and Film Studies Dr. Ellen Bishop, Lecturer, Department of English and Film Studies Dr. Sarah MacMillen, Associate Professor, Departmental of Sociology Thesis Advisor: Dr. Frayda Cohen, Senior Lecturer, Department of Gender, Sexuality, and Women’s Studies ii CULTURAL FRONTIERS: WOMEN DIRECTORS IN POST-REVOLUTIONARY NEW WAVE IRANIAN CINEMA Amanda Chan University of Pittsburgh, 2016 Copyright © by Amanda Chan 2016 iii CULTURAL FRONTIERS: WOMEN DIRECTORS IN POST-REVOLUTIONARY NEW WAVE IRANIAN CINEMA Amanda Chan University of Pittsburgh, 2016 Iranian New Wave Cinema (1969 to present) has risen to international fame, especially in post-revolutionary years, for its social realist themes and contribution to national identity. This film movement boasts a number of successful women directors, whose films have impressed audiences and film festivals worldwide. This study examines the works of three Iranian women directors, Rakhshan Bani-Etemad, Tamineh Milani, and Samira Makhmalbaf, for their films’ social, political, and cultural themes and commentary while also investigating the directors’ techniques in managing censorship codes that regulate their production and content. Importantly, these women directors must also navigate the Islamic Republic’s Ministry of Culture and Islamic Guidance’s censorship laws, which dictate that challenging the government’s law or Islamic law is illegal and punishable. -
1 Introducción El Presente Proyecto De Grado Pertenece a La Categoría De
Introducción El presente proyecto de grado pertenece a la categoría de ensayo que se enmarca en la temática historia y tendencia, pues analiza desde una mirada crítica el cine de Irán, indagando sobre la condición de la mujer como precursora de un nuevo cine realizado en situaciones adversas, en un país islámico, desde sus inicios hasta la actualidad, pasando por sus estructuras sociológicas, culturales y religiosas. El ensayo busca analizar como las cineastas mujeres logran sobrevivir a las conductas de una sociedad como la iraní, comenzando por la posición de la mujer y su condición de género, al estar afectada por la religión y la transformación de la misma, pues las leyes del Corán la defienden y le dan una posición no discriminatoria ni excluyente como la que vive en su cotidianeidad. Asimismo, es clave agregar que la población de Irán en un 65 % son mujeres, las cuales van a la universidad en su mayoría, lo que indica que serían una gran potencia que no está incluida en el sistema. Por otro lado, existen mujeres que son precursoras en el cine y renombradas directoras. Estas son reconocidas en diferentes festivales como Cannes, Berlín, Venecia y Canadá, por expresar una visión personal de la realidad de su pueblo. Cabe aclarar, que el caso de Irán como país islámico es muy distinto a la mayoría de los países musulmanes, pues son descendientes de los persas con una influencia arábica, una combinación de culturas muy arraigadas desde milenios atrás. Estas características les dan a estas directoras la sensibilidad que plasman en sus films. -
7.10 Nov 2019 Grand Palais
PRESS KIT COURTESY OF THE ARTIST, YANCEY RICHARDSON, NEW YORK, AND STEVENSON CAPE TOWN/JOHANNESBURG CAPE AND STEVENSON NEW YORK, RICHARDSON, YANCEY OF THE ARTIST, COURTESY © ZANELE MUHOLI. © ZANELE 7.10 NOV 2019 GRAND PALAIS Official Partners With the patronage of the Ministry of Culture Under the High Patronage of Mr Emmanuel MACRON President of the French Republic [email protected] - London: Katie Campbell +44 (0) 7392 871272 - Paris: Pierre-Édouard MOUTIN +33 (0)6 26 25 51 57 Marina DAVID +33 (0)6 86 72 24 21 Andréa AZÉMA +33 (0)7 76 80 75 03 Reed Expositions France 52-54 quai de Dion-Bouton 92806 Puteaux cedex [email protected] / www.parisphoto.com - Tel. +33 (0)1 47 56 64 69 www.parisphoto.com Press information of images available to the press are regularly updated at press.parisphoto.com Press kit – Paris Photo 2019 – 31.10.2019 INTRODUCTION - FAIR DIRECTORS FLORENCE BOURGEOIS, DIRECTOR CHRISTOPH WIESNER, ARTISTIC DIRECTOR - OFFICIAL FAIR IMAGE EXHIBITORS - GALERIES (SECTORS PRINCIPAL/PRISMES/CURIOSA/FILM) - PUBLISHERS/ART BOOK DEALERS (BOOK SECTOR) - KEY FIGURES EXHIBITOR PROJECTS - PRINCIPAL SECTOR - SOLO & DUO SHOWS - GROUP SHOWS - PRISMES SECTOR - CURIOSA SECTOR - FILM SECTEUR - BOOK SECTOR : BOOK SIGNING PROGRAM PUBLIC PROGRAMMING – EXHIBITIONS / AWARDS FONDATION A STICHTING – BRUSSELS – PRIVATE COLLECTION EXHIBITION PARIS PHOTO – APERTURE FOUNDATION PHOTOBOOKS AWARDS CARTE BLANCHE STUDENTS 2019 – A PLATFORM FOR EMERGING PHOTOGRAPHY IN EUROPE ROBERT FRANK TRIBUTE JPMORGAN CHASE ART COLLECTION - COLLECTIVE IDENTITY -
The World Bank Art Program
Lead sponsor and organizer: The World Bank Art Program To celebrate the role that artists play in the economic and social development of Latin America and the Caribbean region, the World Bank Art Program conceived About Change, a program of exhibitions of contemporary visual arts organized in collaboration with the Cultural Center of the Inter-American Development Bank (IADB) and the Art Museum of the Americas, Organization of American States (OAS). The exhibitions include artworks selected during an open Call for Entries (January- CONTENTS April 2010) as well as a small selection from the permanent collections of the partners. Works chosen during the open Call for Entries are by contemporary Lead sponsor and organizer: The World Bank Art Program visual artists from all member states in the region. The exhibitions provide a comprehensive overview of current artistic spheres and specialties. The categories of visual art for About Change are the following: fine arts (painting, sculpture, drawing, video, printmaking, photography, mixed media, video art, experimental film and digital animation); decorative arts, including design (product design, graphic design, textile and fashion design); and folk art (popular art, indigenous art and craft). The Project Committee, appointed and led by the World Bank Art Program, was in charge of the Call for Entries and the curatorial decisions related to the individual exhibitions. Wrestling with the Image is part of the About Change program. Project Committee members: Marina Galvani (The World Bank Art Program, Manager and Curator; Chair of the Curatorial Committee) Felix Angel (IADB Cultural Center, General Coordinator and Curator, Washington DC) Clara Astiasarán (Independent Curator, Costa Rica) Christopher Cozier (Artist and Independent Curator, Trinidad and Tobago) Evangelina Elizondo (The World Bank Art Program, Artist / Assistant Curator) Edgar Endress (Artist and Independent Curator, Chile) Tatiana Flores Ph.D. -
Sensation Code
NICOLE AWAI SOLO EXHIBITIONS 2019 Nicole Awai: Envisioning the Liquid Land, Lesley Heller Gallery, New York, NY, 10/2019 2017 Nicole Awai: Vistas, Lesley Heller Gallery, New York, NY Nicole Awai: Material Re-Pose, Courtyard Gallery, AT&T Executive Education and Conference Center, The University of Texas at Austin 2016 Nicole Awai: Notes for Material Re-Pose, Critical Practices/ 21st Projects, NY 2013 Asphaltum Glance, Alice Yard, Port of Spain, Trinidad 2012 Mi Papi, Dream On – Happy Ending…, Washington Windows, 80wse Galleries, New York University 2011 Almost Undone, The Vilcek Foundation, New York, NY 2009 Backward and Forward, Akus Gallery, University of Eastern Connecticut 2005 Nicole Awai: Local Ephemera, Jamaica Center for Arts & Learning, Queens, NY SELECTED GROUP EXHIBITIONS 2019 Identity Measures, Contemporary Arts Center, New Orleans, LA Figuring the Floral, Wave Hill, Bronx, NY Summer Affairs, Barbara Davis Gallery, Houston, TX New Monuments for New Cities, The High Line Network, Houston, Austin, Chicago, Toronto and New York City Relational Undercurrents: Contemporary Art of the Caribbean Archipelago -Portland Museum of Art, Spring 2019 -Delaware Art Museum, 06/22-09/08/2019 2018 Relational Undercurrents: Contemporary Art of the Caribbean Archipelago, Patricia & Philip Frost Art Museum, Florida International Museum, Miami FL, 10/12/2018-1/19/2019 Alchemy, BRIC House, BRIC Media Arts, Brooklyn, NY Said by Her, Lesley Heller Gallery, NY, NY PRIZM, Art Fair 2018, Miami Relational Undercurrents: Contemporary Art of the Caribbean