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Toy Story: How Pixar Reinvented the Animated Feature
Brown, Noel. " An Interview with Steve Segal." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 197–214. Bloomsbury Collections. Web. 2 Oct. 2021. <http:// dx.doi.org/10.5040/9781501324949.ch-013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 2 October 2021, 03:24 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 97 Chapter 13 A N INTERVIEW WITH STEVE SEGAL N o e l B r o w n Production histories of Toy Story tend to focus on ‘big names’ such as John Lasseter and Pete Docter. In this book, we also want to convey a sense of the animator’s place in the making of the fi lm and their perspective on what hap- pened, along with their professional journey leading up to that point. Steve Segal was born in Richmond, Virginia, in 1949. He made his fi rst animated fi lms as a high school student before studying Art at Virginia Commonwealth University, where he continued to produce award- winning, independent ani- mated shorts. Aft er graduating, Segal opened a traditional animation studio in Richmond, making commercials and educational fi lms for ten years. Aft er completing the cult animated fi lm Futuropolis (1984), which he co- directed with Phil Trumbo, Segal moved to Hollywood and became interested in com- puter animation. -
Karen Moss Curriculum Vitae Page 1
KAREN MOSS CURRICULUM VITAE PAGE 1 PROFESSIONAL EXPERIENCE OTIS COLLEGE OF ART AND DESIGN Ø Interim Director of Exhibitions anD Galleries (as of July 2014) Overseeing operations and programs for the Ben Maltz Gallery including Jorge and Lucy Orta’s Art / Life / Water exhibition and artists’ residency, Talking to Action: Decolonizing Experiments in Art from the Americas, an exhibition/symposium for the Getty’s PST Los Angeles/Latin America and other upcoming projects. Ø Senior Lecturer (2008 - Present) Teach courses in the Graduate Public Practice MFA program including Histories and Strategies of Public Art and Production Studio Critique Seminars. Conduct regular studio visits and advise on final MFA exhibition. While Chair Suzanne Lacy was on sabbatical, served as Acting Chair for the GPP MFA program. ORANGE COUNTY MUSEUM OF ART, 2003 - 2012 Ø Adjunct Curator (August 2010 - December 2012) Curated State of Mind: New California Art Circa 1970, an exhibition of conceptual art and other new genres in conjunction with the Getty’s Pacific Standard Time Initiative. Wrote successful proposals for a $175,000 research grant and a $225,000 implementation grant for presentations of the exhibition at Orange County Museum of Art and the UC Berkeley Art Museum and Pacific Film Archive, 2011-2012, followed by a 2-year tour to the Belkin Art Gallery, University of British Columbia, Vancouver; SITE Santa Fe; Bronx Museum of the Arts and the Smart Museum of Art, University of Chicago. The accompanying fully illustrated scholarly book was published by the University of California Press. Also curated 50 Years Forward, a photographic exhibition of OCMA’s institutional, exhibition and collection history in conjunction with the museum’s 50th anniversary. -
James Casebere B.1953 Lansing, Michigan, USA
James Casebere b.1953 Lansing, Michigan, USA Education 1979 MFA, ‘Post Studio,’ California Institute of Arts, Valencia, CA USA 1977 Independent Study Program, Whitney Museum of American Art, New York, NY, USA 1976 BFA, ‘Inter-media,’ Minneapolis College of Art and Design, MN, USA 1971-73 Michigan State University, East Lansing, MI, USA Awards 1999 Shortlisted for the Citibank Private Bank Photography Prize 1995 John Simon Guggenheim Memorial Foundation Grant 1994 New York Foundation for the Arts Fellowship 1990 National Endowment for the Arts, Visual Arts Fellowship 1989 New York Foundation for the Arts Fellowship 1986 National Endowment for the Arts, Visual Arts Fellowship 1985 New York Foundation for the Arts Fellowship 1982 New York State Council on the Arts: Visual Artists Sponsored Project Grant 1982 National Endowment for the Arts, Visual Arts Fellowship Selected Solo Exhibitions 2011 James Casebere: House, Galerie Daniel Templon, Paris, FR James Casebere: Credit, Faith, Trust, Lisson Gallery, London, UK James Casebere: Tunnels, Galleria Marabini, Bologna, IT James Casebere: Enter Into, Galerie Pfriem, Savannah College of Art and Design, Lacoste, FR James Casebere: Photographies, Collegiale Notre Dame de Riberac, Riberac, FR 2010 James Casebere, Galeria Helga de Alvear, Madrid, ES James Casebere: House, Sean Kelly Gallery, New York, NY, USA 2008 James Casebere, Galerie Daniel Templon, Paris, FR James Casebere, Galleria Marabini, Bologna & Milan, IT James Casebere, Gallery Ihn, Seoul, KR (cat.) James Casebere, Jensen Gallery, Auckland, NZ 2007 James Casebere: The Levant, Sean Kelly, New York, NY, USA James Casebere: The Levant, Gallery Marabini, Bologna, IT 2005 James Casebere, Galeria Helga de Alvear, Madrid, ES James Casebere, Galerie Daniel Templon, Paris, FR 2004 James Casebere: New Works, Mark Selwyn Fine Art, New York, NY, USA James Casebere: mutable, Jensen Gallery, Auckland, NZ 2002 -2003 Lisson Gallery, London, UK Picture Show: James Casebere, SECCA, Winston Salem, NC, USA. -
The Early Works of Maria Nordman by Laura Margaret
In Situ and On Location: The Early Works of Maria Nordman by Laura Margaret Richard A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Associate Professor Julia Bryan-Wilson, Chair Professor Whitney Davis Professor Shannon Jackson Associate Professor Jeffrey Skoller Summer 2015 Abstract In Situ and On Location: The Early Works of Maria Nordman by Laura Margaret Richard Doctor of Philosophy in History of Art and the Designated Emphasis in Film Studies University of California, Berkeley Associate Professor Julia Bryan-Wilson, Chair This dissertation begins with Maria Nordman’s early forays into capturing time and space through photography, film, and performance and it arrives at the dozen important room works she constructed between 1969 and 1979. For these spaces in Southern California, the San Francisco Bay Area, Italy, and Germany, the artist manipulated architecture to train sunshine into specific spatial effects. Hard to describe and even harder to illustrate, Nordman’s works elude definition and definitiveness, yet they remain very specific in their conception and depend on precision for their execution. Many of these rooms were constructed within museums, but just as many took place in her studio and in other storefronts in the working-class neighborhoods of Los Angeles, San Francisco, Milan, Genoa, Kassel, and Düsseldorf. If not truly outside of the art system then at least on its fringes, these works were premised physically and conceptually on their location in the city. -
From Squatting to Tactical Media Art in the Netherlands, 1979–1993
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2019 Between the Cracks: From Squatting to Tactical Media Art in the Netherlands, 1979–1993 Amanda S. Wasielewski The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3125 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] BETWEEN THE CRACKS: FROM SQUATTING TO TACTICAL MEDIA ART IN THE NETHERLANDS, 1979–1993 by AMANDA WASIELEWSKI A dissertation submitted to the Graduate Faculty in Art History in partiaL fulfiLLment of the requirements for the degree of Doctor of PhiLosophy, The City University of New York 2019 © 2019 AMANDA WASIELEWSKI ALL Rights Reserved ii Between the Cracks: From Squatting to TacticaL Media Art in the Netherlands, 1979–1993 by Amanda WasieLewski This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of PhiLosophy. Date David JoseLit Chair of Examining Committee Date RacheL Kousser Executive Officer Supervisory Committee: Marta Gutman Lev Manovich Marga van MecheLen THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Between the Cracks: From Squatting to TacticaL Media Art in the Netherlands, 1979–1993 by Amanda WasieLewski Advisor: David JoseLit In the early 1980s, Amsterdam was a battLeground. During this time, conflicts between squatters, property owners, and the police frequentLy escaLated into fulL-scaLe riots. -
Issue 37 / May 2018 Notes on Curating Contributions by Birgit Bosold, Brian Curtin, Julia Friedrich, Vera Ho
Issue 37 / May 2018 Notes on Curating www.oncurating.org Queer Curating Edited by Contributions by Jonathan Katz, Isabel Hufschmidt, and Änne Söll Birgit Bosold, Brian Curtin, Julia Friedrich, Vera Hofmann, Simon Martin, Fiona McGovern, Maura Reilly, Patrik Steorn, Ladislav Zikmund-Lender Challenging Hetero-centrism and Lesbo-/Homo-phobia: A History of LGBTQ exhibitions in the U.S. Queer Curating Challenging Hetero-centrism and Lesbo-/Homo-phobia: A History of LGBTQ exhibitions in the U.S. Maura Reily In this essay, I trace the historiography of LGBTQ exhibitions in the U.S. from the late 1970s to the present. Some of the key issues explored will include the concept of an artistic “sensibility” specific to sexual orientation, the curatorial “outing” of closeted artists or objects, the prevalence of lesbo- and trans-phobia, and the importance of museological interventions as “curatorial correctives.” The material outlined here is much more extensively analyzed in my book, Curatorial Activism: Towards an Ethics of Curating (Thames & Hudson), which is both an examination of mainstream contempo- rary curatorial practice—understood at its core as a sexist, racist and Eurocentric practice—as well as a historiography of paradigm-shifting exhibitions that have countered that discrimination, such as Magiciens de la terre, Elles, Global Feminisms, Ars Homo Erotica, En Todas Partes, Hide/Seek, Documenta 11, among many others. I begin my analysis in 1978, when the US artist and writer Harmony Hammond organized an exhibition entitled A Lesbian Show -
Oct | Nov | Dec | 2019
oct | nov | dec | 2019 s a n t a b a r b a r a m u s e u m o f a r t from the director Dear Members, As another calendar year comes to a close, the Museum looks forward to the year 2020! This issue represents the “less than a year to go” mark to re-opening the galleries with the completion of Stages 1 and 2 of the renovation project. In addition, at this very time next year, SBMA will be preparing for the opening of the monumental Through Vincent’s Eyes: Van Gogh and His Sources exhibition on October 11, 2020, featuring major works by Van Gogh alongside more than 100 pieces of art by those artists he most admired and emulated. In the meantime, SBMA has a compelling line-up of exhibitions and programming to keep Members and visitors coming back to the galleries. The Observable Universe: Visualizing the Cosmos in Art just recently opened and offers viewers a wide range of artistic representations of the cosmos by important contemporary artists such as Vija Celmins, Russell Crotty, Michelle Stuart, and Fred Tomaselli. In addition, the very popular Salt & Silver: Early Photography, 1840 –1860 exhibition continues through December 8—the final venue of a tour that included the Yale Center for British Art and the Ruth Chandler Williamson Gallery at Scripps College, Claremont, CA. Alfredo Ramos Martínez: On Paper opens October 27 and features an intimate display of powerfully moving works from SBMA’s permanent collection by this prolific artist, comprising six drawings, as well as two serigraphs created by Ramos Martínez’s wife after his death. -
Worldbuilding Voices in the Soundscapes of Role-Playing Video Games
University of Huddersfield Repository Jennifer, Smith Worldbuilding Voices in the Soundscapes of Role Playing Video Games Original Citation Jennifer, Smith (2020) Worldbuilding Voices in the Soundscapes of Role Playing Video Games. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35389/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Worldbuilding Voices in the Soundscapes of Role-Playing Video Games Jennifer Caron Smith A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield October 2020 1 Copyright Statement i. The author of this thesis (including any appendices and/ or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. -
The Animated Movie Guide
THE ANIMATED MOVIE GUIDE Jerry Beck Contributing Writers Martin Goodman Andrew Leal W. R. Miller Fred Patten An A Cappella Book Library of Congress Cataloging-in-Publication Data Beck, Jerry. The animated movie guide / Jerry Beck.— 1st ed. p. cm. “An A Cappella book.” Includes index. ISBN 1-55652-591-5 1. Animated films—Catalogs. I. Title. NC1765.B367 2005 016.79143’75—dc22 2005008629 Front cover design: Leslie Cabarga Interior design: Rattray Design All images courtesy of Cartoon Research Inc. Front cover images (clockwise from top left): Photograph from the motion picture Shrek ™ & © 2001 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Photograph from the motion picture Ghost in the Shell 2 ™ & © 2004 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Mutant Aliens © Bill Plympton; Gulliver’s Travels. Back cover images (left to right): Johnny the Giant Killer, Gulliver’s Travels, The Snow Queen © 2005 by Jerry Beck All rights reserved First edition Published by A Cappella Books An Imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 1-55652-591-5 Printed in the United States of America 5 4 3 2 1 For Marea Contents Acknowledgments vii Introduction ix About the Author and Contributors’ Biographies xiii Chronological List of Animated Features xv Alphabetical Entries 1 Appendix 1: Limited Release Animated Features 325 Appendix 2: Top 60 Animated Features Never Theatrically Released in the United States 327 Appendix 3: Top 20 Live-Action Films Featuring Great Animation 333 Index 335 Acknowledgments his book would not be as complete, as accurate, or as fun without the help of my ded- icated friends and enthusiastic colleagues. -
The Art of Jeff Wall
CINEMATIC PHOTOGRAPHY, THEATRICALITY, SPECTACLE: THE ART OF JEFF WALL Sharla Sava B.A., University of Toronto 1 992 M.A., University of British Columbia I996 DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in the School of Communication O Sharla Sava 2005 SIMON FRASER UNIVERSITY Fa11 2005 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL NAME Sharla Sava DEGREE PhD TITLE OF DISSERTATION: Cinematic Photography, Theatricality, Spectacle: The Art of Jeff Wall EXAMINING COMMITTEE: CHAIR: Dr. Robert Anderson Dr. Richard Gruneau Senior Supervisor Professor, School of Communication Dr. Zoe Druick Supervisor Assistant Professor, School of Communication Dr. Jerry Zaslove Supervisor Professor Emeritus, Humanities Dr. Jeff Derksen Internal Examiner Assistant Professor, Department of English Dr. Will Straw External Examiner Associate Professor, Department of Art History and Communications Studies, McGill University DATE: SIMONu~~v~wrnl FRASER ibra ry DECLARATION OF PARTIAL COPYRIGHT LICENCE The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection, and, without changing the content, to translate the thesislproject or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. -
James Casebere CV
James Casebere Lives and works in New York, NY, USA 1979 MFA Post Studio, California Institute of Arts, Valencia, CA, USA 1977 Independent Study Program, Whitney Museum of American Art, New York, NY, USA 1976 BFA Inter-media, Minneapolis College of Art and Design, MN, USA 1971–73 BA, Michigan State University, East Lansing, MI, USA 1953 Born in Lansing, Michigan, USA Selected Solo Exhibitions 2017 ‘Emotional Architecture’, Sean Kelly Gallery, New York 2016 ‘James Casebere: Fugitive’, Haus der Kunst, Munich, Germany ‘After Scale Model: Dwelling in the Work of James Casebere’, BOZAR Centre for Fine Arts, Brussels, Belgium ‘Immersion’, Images Vevey, Switzerland 2015 ‘James Casebere’, Lisson Gallery, Milan, Italy 2014 Galerie Daniel Templon, Brussels, Belgium 2013 ‘1995–2005’, Sean Kelly Gallery, New York, NY, USA 2011 ‘House’, Galerie Daniel Templon, Paris, France ’Credit, Faith, Trust’, Lisson Gallery, London, UK ’Tunnels’, Galleria Marabini, Bologna, Italy ’Enter Into’, Galerie Pfriem, Savannah College of Art and Design, Lacoste, France ’Photographies’, Collegiale Notre Dame de Riberac, Riberac, France 2010 Galeria Helga de Alvear, Madrid, Spain ’House’, Sean Kelly Gallery, New York, NY, USA 2008 Galerie Daniel Templon, Paris, France Galleria Marabini, Bologna, Italy Gallery Ihn, Seoul, South Korea Jensen Gallery, Auckland, New Zealand 2007 ‘The Levant’, Sean Kelly Gallery, New York, NY, USA ‘The Levant’, Galleria Marabini, Bologna, Italy 2005 Galeria Helga de Alvear, Madrid, Spain Galerie Daniel Templon, Paris, France 2004 ‘New Works’, -
The Experimental Impulse
November 18, 2011–January 15, 2012 The Experimental Impulse November 18, 2011–January 15, 2012 Opening reception: Saturday, November 19, 6-9pm Co-organized by Thomas Lawson and Aram Moshayedi and participants in “The Experimental Impulse” seminars at CalArts Exhibition design: Contributions: Research: Jessica Fleischmann Fiona Connor Orlando Tirado Amador Martin Kersels Benjamin Tong Krista Buecking Thomas Lawson Andrew Cameron Amy Howden-Chapman Larissa Brantner James Yogi Proctor Ariane Roesch In conjunction with The Experimental Impulse at REDCAT, East of Borneo hosts Lenders to the exhibition: a selection of commissioned essays, documentation, interviews and research Jacki Apple, Skip Arnold, John Baldessari, Linda Burnham, California Institute of the Arts, materials that explores the pivotal role of experimentation in Los Angeles in the Robert Covington, Dorit Cypis, Charles Gaines, Raul Guerrero, Mary Kelly, Marc Kreisel, Chip Lord, years immediately following the city’s emergence as a vital artistic center. Edited Los Angeles Contemporary Exhibitions, Los Angeles Free Music Society, Paul McCarthy, by Stacey Allan, this archival component to the exhibition offers an alternative, Stephen Nowlin, Jack and Joan Quinn, Allen Ruppersberg, Timothy Silverlake, Rena Small, immaterial approach to the role of the exhibition catalogue, as a site where Robert Smith, Stuart and Judy Spence, James Welling, Robert Wilhite, and Diana Zlotnick. the ideas initiated by the exhibition can continue to develop and be explored. Available at http://www.eastofborneo.org/topics/the-experimental-impulse