Empowering Healthy Futures
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Paulacoopergallery
P A U L A C O O P E R G A L L E R Y FOR IMMEDIATE RELEASE MARK DI SUVERO A public exhibition of Hugs (2011) 220 11th Avenue Opening October 6, 2018 NEW YORK—Paula Cooper Gallery in collaboration with the Moinian Group and Alex Brotmann Art Advisory are proud to announce the installation of Mark di Suvero’s monumental steel sculpture Hugs at 220 11th Avenue, New York. Organized on the occasion of the gallery’s fiftieth anniversary, the installation is located down the street from its new primary space at 524 W 26th Street. The presentation honors di Suvero’s long history with the gallery, having first collaborated with Cooper at Park Place Gallery (1965-67) and later at the Paula Cooper Gallery—including the second exhibition in 1968, and most recently in a one- person show in 2018. The sculpture will be on view from October 6, 2018, through winter 2019. Throughout his sixty-year career, di Suvero has created vibrant and dynamic works, which fuse vitality and improvisation with complex construction. Standing over fifty feet high, the pyramidal structure Hugs, is composed of steel I-beams whose three legs intersect in a central, curved form. Its expansive scale allows viewers to engage physically with the work, inducing a kinesthetic response as one walks under and around to perceive it from shifting vantages. Democratic accessibility and viewer participation have long been driving principles in di Suvero’s artistic practice: “When one is an artist, one wants to do art that is meaningful to a lot of people. -
View / Open Bratslavsky Oregon 0171A 10830
FROM EPHEMERAL TO LEGITIMATE: AN INQUIRY INTO TELEVISION’S MATERIAL TRACES IN ARCHIVAL SPACES, 1950s -1970s by LAUREN MICHELLE BRATSLAVSKY A DISSERTATION Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2013 DISSERTATION APPROVAL PAGE Student: Lauren Michelle Bratslavsky Title: From Ephemeral to Legitimate: An Inquiry into Television’s Material Traces in Archival Spaces, 1950s -1970s This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Journalism and Communication by: Dr. Janet Wasko Chairperson Dr. Carol Stabile Core Member Dr. Julianne Newton Core Member Dr. Daniel Pope Institutional Representative and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2013 ii © 2013 Lauren M. Bratslavsky This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs (United States) License. iii DISSERTATION ABSTRACT Lauren Michelle Bratslavsky Doctor of Philosophy School of Journalism and Communication September 2013 Title: From Ephemeral to Legitimate: An Inquiry into Television’s Material Traces in Archival Spaces, 1950s -1970s The dissertation offers a historical inquiry about how television’s material traces entered archival spaces. Material traces refer to both the moving image products and the assortment of documentation about the processes of television as industrial and creative endeavors. By identifying the development of television-specific archives and collecting areas in the 1950s to the 1970s, the dissertation contributes to television studies, specifically pointing out how television materials were conceived as cultural and historical materials “worthy” of preservation and academic study. -
Fall 201720172017
2017 2017 2017 2017 Fall Fall Fall Fall This content downloaded from 024.136.113.202 on December 13, 2017 10:53:41 AM All use subject to University of Chicago Press Terms and Conditions (http://www.journals.uchicago.edu/t-and-c). American Art SummerFall 2017 2017 • 31/3 • 31/2 University of Chicago Press $20 $20 $20 $20 USA USA USA USA 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T reform reform reform reform cameras cameras cameras cameras “prints” “prints” “prints” “prints” and and and and memory memory memory memory playground playground playground playground of of of Kent’s of Kent’s Kent’s Kent’s guns, guns, guns, guns, abolitionism abolitionism abolitionism abolitionism art art art art and and and and the the the the Rockwell literary Rockwell Rockwell literary literary Rockwell issue literary issue issue issue Group, and Group, and Group, and Group, and in in in in this this this this Homer—dogs, Homer—dogs, Homer—dogs, Place Homer—dogs, Place Place Place In In In In nostalgia Park nostalgia nostalgia Park Park nostalgia Park Duncanson’s Duncanson’s Duncanson’s Duncanson’s Christenberry the Christenberry S. Christenberry the S. the S. Christenberry the S. Winslow Winslow Winslow Winslow with with with with Robert Robert Robert Robert Suvero, Suvero, Suvero, Suvero, William William William William di di di Technological di Technological Technological Technological Hunting Hunting Hunting Hunting Mark Mark Mark Mark Kinetics of Liberation in Mark di Suvero’s Play Sculpture Melissa Ragain Let’s begin with a typical comparison of a wood construction by Mark di Suvero with one of Tony Smith’s solitary cubes (fgs. -
2017 Report to the Community
HERE AND Report to the Community | 2017 NOW LEADERSHIP CONTENTS MESSAGE Leadership Message 1 crucial neighborhood caregivers. When added Patient Care 2 to our longstanding partnerships with local schools, homeless shelters and other community Research 16 organizations, we are doing more than ever to It all began with the spark of an idea. In aid all those who need quality healthcare. Community 1902, a growing Los Angeles community was Outreach 30 struggling to get quality healthcare, so a group Meanwhile, locally and throughout the nation, of civic leaders came together to create the consumers, payers and employers are asking for Education 38 the forerunner of Cedars-Sinai, the 12-bed better coordination of care to help people get Kaspare Cohn Hospital in the Angelino Heights and stay healthy, ensure that patients always The Campaign neighborhood east of downtown Los Angeles. get the right amount of care and help keep for Cedars-Sinai 44 healthcare affordable for all. You will see many Much has changed in medicine and healthcare examples in this report of how Cedars-Sinai is The Numbers 52 over the past 115 years, yet Cedars-Sinai is still pioneering new ways to provide healthcare that driven every day by the same fundamental is not only of the highest quality, but also has Where We Are 54 question: “What does the community need?” the value and efficiency that the public wants. Leadership 2016 56 One of our top priorities today is to respond Throughout these pages, you also will see to the demand for more accessible, convenient how our pioneering biomedical research and healthcare. -
“Life” — Sam Rein Solo Exhibition at Barrett Art Center by RAYMOND J
Inside: Raleigh on Film; Bethune on Theatre; Behrens on Music; Marvel’s ‘Art Byte’; th Critique: Sam Rein at Barrett Art Center; Year! Seckel on the Cultural Scene; Jeanne Heiberg & John Coyne ‘Speak Out’; Our 25 New Art Books; Short Fiction & Poetry; Extensive Calendar of Events…and more! ART TIMES Vol. 25 No. 6 Jan/Feb 2009 “Life” — Sam Rein Solo Exhibition at Barrett Art Center By RAYMOND J. STEINER IT’S ALWAYS A distinct pleasure sional surface alive not only to the for this viewer to come across a eye, but also to the spirit and soul. working artist from the “old school” A humanist with wit, perception, — you know, someone who can draw, and sensitivity, Sam Rein could not manipulate a paint-laden brush, have chosen a more fitting title for compose a motif, vary a ‘signature’, this solo exhibition* since “Life” so avoid a hackneyed formula that aptly reveals his long love affair with “sells”…in brief, bring a two-dimen- the pathos and bathos of the human River View Watercolor condition. This is an artist who not imagery (“Track Three”; “Table Talk only loves his craft, but who also is Al Fresco” — a charming genre piece in sympathy with the nature of be- of three oldsters conversing around ing — whether it be person, object, an outdoor table) is compelling, in- or landscape. viting the viewer to enter, to partici- Some thirty-seven works — pate in whatever is unfolding before charcoals, pastels, watercolors, the eye. Especially “present” in their gouaches, acrylics and even a pencil “thereness” — what the early Ger- drawing (“Reclining Nude, Head on man aestheticians referred to as the Hand”) — make up this show, more ding an sich (the thing in itself) — than enough to showcase Rein’s ver- are his studies of the female figure, satility in motif, genre, and in style. -
Landmarks, the Public Art Program of the University of Texas at Austin, Acquires Major Works by Marc Quinn and Ann Hamilton
Contact: Maria May, Resnicow and Associates (214) 207-6082, [email protected] Date: 7 July 2016 May Wijaya, Resnicow and Associates (212) 671-5167, [email protected] Landmarks, the public art program of The University of Texas at Austin, acquires major works by Marc Quinn and Ann Hamilton Landmarks' collection expands with the acquisition of a monumental sculpture by Marc Quinn and a newly commissioned project by Ann Hamilton AUSTIN, Texas — Landmarks, The University of Texas at Austin’s public art program, today announced two significant additions: the recent acquisition of Marc Quinn’s 2013 sculpture, Spiral of the Galaxy, to be unveiled in September 2016; and the commission of O N E E V E R Y O N E, a community-based photography project by Ann Hamilton (January 2017). Both works will be installed at the university’s Dell Medical School and are funded through a percent-for-art allocation that sets aside one-to-two percent of capital improvement projects for the acquisition of public art. The two acquisitions were initiated by Landmarks, one of the most important public art programs to emerge at an American university. On view throughout Austin’s 433-acre main campus, the collection includes works by Michael Ray Charles, Mark di Suvero, David Ellis, Sol LeWitt, Ben Rubin, Nancy Rubins, and James Turrell. Landmarks’ public art collection is broadly accessible and free to all, providing opportunities for students and visitors to engage with great works of art. “Adding Marc Quinn and Ann Hamilton to the diverse roster of artists represented by Landmarks is an honor,” said Andrée Bober, the founding director of the program. -
HIRSHHORN MUSEUM and SCULPTURE GARDEN LIBRARY VIDEO COLLECTION Recordings May Not Be Usable in Current Format
HIRSHHORN MUSEUM AND SCULPTURE GARDEN LIBRARY VIDEO COLLECTION Recordings may not be usable in current format. Check with Library staff. Video materials are not circulated. (updated August 26, 2008) VHS TAPES 1. 41-10 Mr. & Mrs. Chagall, daughter, son-in-law 2. 74-60 HMSG Opening Ceremonies 3. 74-90 Visit of architect Gordon Bunshaft 4. 74-210 Hirshhorn Museum dedication ceremony 5. 75-00 Hirshhorn: Man and Museum-Camera 3 6. 76-20 A life of its own, v-1 7. 79-50 John Baldessari 8. 87-20 Mark Di Suvero: Storm King 9. 88-20 “Cornered” video Installation (Adrian piper piece) 10. 89-20 Buster Simpson (HMSG) 11. 90-30 Scenes and Songs from Boyd Webb (video documentary) 12. 92-80 Robert Irwin- In response 13. 93-20 Paul Reed Catalog #9-1936-1992 (artists’ work) 14. 93-30 Collection that Became a Museum (Smithsonian Film Transfer) 15. 93-30 Collection that Became a Museum (copy) 16. 93-50 A life of its own 17. 93-50 A life of its own 1976 18. 96-20 Thomas Eakins and the Swimming Picture 19. 96-60 Beverly Semmes 20. 97-10 Judith Zilczer interview on De Kooning 21. 97-80 Jeff Wall segment 22. 97-100 Willem De Kooning 23. 98-10 George Segal (HMSG) 24. 98-20 George Segal-Dialogue (HMSG) 25. 00-30 The Ephemeral is Eternal (De Stijl play) 26. 00-40 Gary Hill- Dig 27. 00-60 Willem De Kooning 28. 00-100 The collection that became a Museum-Ron J. Cavalier (HMSG) 29. 1974 Visit of Architect Bunshaft (HMSG) 30. -
VENICE FAMILY CLINIC: Improving Capacity and Managing Patient Lead Times
CASE STUDY, 4/2012 VENICE FAMILY CLINIC: Improving capacity and managing patient lead times PREPARED BY Professor Kumar Rajaram, UCLA Anderson School of Management Karen Conner, MD, UCLA David Geffen School of Medicine A case by the Johnson & Johnson/UCLA Health Care Executive Program and the UCLA Anderson School of Management Dr. Susan Fleishman, Medical Director at the Venice Family Clinic (VFC) returned to the clinic after her early morning meeting with CEO, Elizabeth Forer. It was a typically warm and sunny Southern California day as she approached the front door of the clinic. She walked past a line of six to eight people waiting to check in at security and then proceeded upstairs to the waiting room. Almost every seat was taken. The room was full of elderly people, homeless men and women, young mothers, babies, toddlers with runny noses, school-aged children watching TV and adult men and women dressed for work. Some clutched papers indicating they had been seen by either registration or a provider, but most were holding only their color-coded cards given to them as they passed through security. As she headed towards the patient rooms, she noticed two resident doctors holding charts and chatting about their upcoming ski trips, one attending physician talking to a medical assistant about lab work and another on the telephone impatiently waiting on hold. A quick walk by the patient rooms showed that despite the crowd in the waiting room, only about half of the rooms had patients in them. She knew that many of the patients seen by the clinic spent hours there each visit, and that most of that time was spent waiting. -
Venice Family Clinic 2012 Audit Report
VENICE FAMILY CLINIC (A NONPROFIT ORGANIZATION) CONSOLIDATED FINANCIAL STATEMENTS FOR THE YEAR ENDED JUNE 30, 2012 AND SUPPLEMENTAL SCHEDULES REQUIRED BY OMB CIRCULAR A-133 AND THE STATE OF CALIFORNIA DEPARTMENT OF EDUCATION FOR THE YEAR ENDED JUNE 30, 2012 VENICE FAMILY CLINIC (A NONPROFIT ORGANIZATION) CONTENTS June 30, 2012 Page INDEPENDENT AUDITOR’S REPORT 1 -- 2 FINANCIAL STATEMENTS Consolidated Statement of Financial Position 3 Consolidated Statement of Activities 4 Consolidated Statement of Functional Expenses 5 Consolidated Statement of Cash Flows 6 Notes to the Consolidated Financial Statements 7 – 32 SUPPLEMENTAL INFORMATION – CONSOLIDATING SCHEDULES Consolidating Statement of Financial Position by Entity 33 Consolidating Statement of Activities by Entity 34 SUPPLEMENTAL INFORMATION – OMB CIRCULAR A-133 Independent Auditor’s Report on Internal Control over Financial Reporting and on Compliance and Other Matters Based on an Audit of Financial Statements Performed in Accordance with Government Auditing Standards 35 – 36 Independent Auditor’s Report on Compliance with Requirements That Could Have a Direct and Material Effect on Each Major Program and Internal Control Over Compliance in Accordance with OMB Circular A-133 37 – 38 Schedule of Expenditures of Federal and State Awards 39 – 40 Notes to Schedule of Expenditures of Federal and State Awards 41 Schedule of Findings and Questioned Costs 42 – 43 Schedule of Prior Year Audit Findings 44 VENICE FAMILY CLINIC (A NONPROFIT ORGANIZATION) CONTENTS June 30, 2012 Page SUPPLEMENTAL -
Applying a Rhizomatic Lens to Television Genres
A THOUSAND TV SHOWS: APPLYING A RHIZOMATIC LENS TO TELEVISION GENRES _______________________________________ A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by NETTIE BROCK Dr. Ben Warner, Dissertation Supervisor May 2018 The undersigned, appointed by the dean of the Graduate School, have examined the Dissertation entitled A Thousand TV Shows: Applying A Rhizomatic Lens To Television Genres presented by Nettie Brock A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. ________________________________________________________ Ben Warner ________________________________________________________ Elizabeth Behm-Morawitz ________________________________________________________ Stephen Klien ________________________________________________________ Cristina Mislan ________________________________________________________ Julie Elman ACKNOWLEDGEMENTS Someone recently asked me what High School Nettie would think about having written a 300+ page document about television shows. I responded quite honestly: “High School Nettie wouldn’t have been surprised. She knew where we were heading.” She absolutely did. I have always been pretty sure I would end up with an advanced degree and I have always known what that would involve. The only question was one of how I was going to get here, but my favorite thing has always been watching television and movies. Once I learned that a job existed where I could watch television and, more or less, get paid for it, I threw myself wholeheartedly into pursuing that job. I get to watch television and talk to other people about it. That’s simply heaven for me. A lot of people helped me get here. -
2005 Youngarts Winners
2005 YoungArts Winners FINALISTS Cinematic Arts Turner Caldwell Clay Montgomery County High School | Mount Sterling, KY John Alexander Eckhouse Oakwood School | Sherman Oaks, CA Micah Benjamin Levin Crossroads School for the Arts and Sciences | Los Angeles, CA Jeffrey Lynn Ray Duncanville High School | Duncanville, TX Dalton James Rose Woodinville High School | Snohomish, WA Dance Charlie Allen Andersen | Ballet Glendora High School | Glendora, CA Bryan Dell Campbell | Modern Waterford High School | Waterford, CT Samuel Alan Chester | Ballet Home School | Simpsonville, SC Andrew Green | Modern High School for the Performing and Visual Arts | Pearland, TX Catherine Ann Hamer | Ballet Pacific Coast High School | Santa Ana, CA 2005 YOUNGARTS WINNERS FINALISTS Kristina Ann Hanna | Modern Interlochen Arts Academy | West Bloomfield, MI Andrea Hernandez-Gonzales | Flamenco North East School of the Arts | San Antonio, TX Amy L. Mcclendon | Modern Douglas Anderson School of the Arts | Jacksonville, FL Trenard Latwane Mobley | Modern New World School of the Arts College/graduate of Miami Northwestern Senior High School | Miramar, FL Ananya Mukhopadhyay | Classical Indian Dance Mayo High School | Rochester, MN Rashundra Latrice Patterson | African Dance Booker T. Washington High School for the Performing & Visual Arts | Cedar Hill, TX Marla Rose Phelan | Modern New World School of the Arts | Miami Beach, FL Malaiyka Amiyna Reid | Modern Brooklyn Technical High School | Brooklyn, NY Kyle Richard Robinson | Modern Duxbury High School | Duxbury, MA -
Citing Sources in MLA Style the Modern Language Association Citation Style Is Among the Most Widely Used in Academic Institutions
Citing Sources in MLA Style The Modern Language Association citation style is among the most widely used in academic institutions. For a research paper in literature, arts or any other discipline in humanities, MLA style will be the right choice for citing sources. Information below is taken from the following MLA style manual: MLA Handbook, 8th edition. The Modern Language Association of America, 2016, and reflects the changes brought by this new edition. The manual is located in the reference section of the library. Call number: REF Z253.G53 2016. MLA citation format is based on these core elements, common to most works: Fig. 1. MLA core elements in their specific order, from: https://style.mla.org/whats-new/ Researchers are advised to follow these elements and their order as much as possible. The image above also provides the appropriate punctuation for each element. Please note: container (element 3) is a space where a source is found. For example, an online article is found inside a journal and a library database. For updates on citation formats consult MLA website: http://www.mla.org Updated 08/2017 Works Cited List The Works Cited list is located at the end of research paper and contains complete citations of all the works mentioned by the researcher. To make works on the list easier to find, all entries are arranged in alphabetical order by the last name of the author/ editor/translator or the title of the source. The list should be double-spaced, with a hanging indent, which means that the first line of each entry is made flush left with the margin.