Belin Lecture Looks at Cultural Exploitation
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Oral History Interview with Rachel Rosenthal
Oral history interview with Rachel Rosenthal Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Rachel Rosenthal AAA.rosent89 Collection Overview Repository: Archives of American Art Title: Oral history interview with Rachel Rosenthal Identifier: AAA.rosent89 Date: 1989 September 2-3 Creator: Rosenthal, Rachel, 1926- (Interviewee) Roth, Moira (Interviewer) Women in the -
Partial Artist List: Nancy Angelo Jerri Allyn Leslie Belt Rita Mae Brown Kathleen Burg Elizabeth Canelake Velene Campbell Carol Chen Judy Chicago Clsuf Michelle T
Doin’ It in Public: Feminism and Art at the Woman’s Building October 1, 2011 – January 28, 2012 Ben Maltz Gallery, Otis College of Art and Design This exhibition presents artwork, graphic design, ephemera, and documentation of work by the artist collectives and individual artists/designers who participated in collaborative projects at the Woman’s Building in Los Angeles between 1973-1991. Artist Collectives/Projects: Ariadne: A Social Network, Feminist Art Workers, Incest Awareness Project, Lesbian Art Project, Mother Art, Natalie Barney Collective, Sisters of Survival, The Waitresses, Chrysalis: A magazine of Women’s Culture, and more. Partial artist list: Nancy Angelo Jerri Allyn Leslie Belt Rita Mae Brown Kathleen Burg Elizabeth Canelake Velene Campbell Carol Chen Judy Chicago Clsuf Michelle T. Clinton Hyunsook Cho Yreina Cervantez Candace Compton Jan Cook Juanita Cynthia Sheila Levrant de Bretteville Johanna Demetrakas Nelvatha Dunbar Mary Beth Edelson Marguerite Elliot Donna Farnsworth Anne Finger Audrey Flack As of 9-27-11 Amani Fliers Nancy Fried Patricia Gaines Josephina Gallardo Diane Gamboa Cristina Gannon Anne Gauldin Cheri Gaulke Anita Green Vanalyne Green Mary Bruns Gonenthal Kirsten Grimstad Chutney Gunderson Berry Brook Hallock Hella Hammid Harmony Hammond Gloria Hajduk Eloise Klein Healy Mary Linn Hughes Annette Hunt Sharon Immergluck Ruth E. Iskin Cyndi Kahn Maria Karras Susan E. King Laurel Klick Deborah Krall Christie Kruse Sheila Levrant de Bretteville Suzanne Lacy Leslie Labowitz-Starus Lili Lakich Linda Lopez Bia -
Transdenominational MA in Jewish Music Program, Preparing
THIS IS THE INSIDE FRONT COVER EDITOR: Joseph A. Levine ASSOCIATE EDITOR: Richard Berlin EDITORIAL BOARD Rona Black, Shoshana Brown, Geoffrey Goldberg, Charles Heller, Kimberly Komrad, Sheldon Levin, Laurence Loeb, Judy Meyersberg, Ruth Ross, Neil Schwartz, Anita Schubert, Sam Weiss, Yossi Zucker TheJournal of Synagogue Music is published annually by the Cantors As- sembly. It offers articles and music of broad interest to theh azzan and other Jewish professionals. Submissions of any length from 1,000 to 10,000 words will be consid ered. GUIDELINES FOR SUBMITTING MATERIAL All contributions and communications should be sent to the Editor, Dr. Joseph A. Levine—[email protected]—as a Word docu- ment, with a brief biography of the author appended. Musical and/or graphic material should be formatted and inserted within the Word document. Footnotes are used rather than endnotes, and should conform to the fol- lowing style: A - Abraham Idelsohn, Jewish Liturgy (New York: Henry Holt), 1932: 244. B - Samuel Rosenbaum, “Congregational Singing”; Proceedings of the Cantors Assembly Convention (New York: Jewish Theological Seminary), February 22, 1949: 9-11. Layout by Prose & Con Spirito, Inc., Cover design and Printing by Replica. © Copyright 2009 by the Cantors Assembly. ISSN 0449-5128 ii FROM THE EDITOR: The Issue of Niggunim in Worship: Too Much of a Good Thing? ..................................................4 THE NEO-HASIDIC REVIVAL AT 50 Music as a Spiritual Process in the Teachings of Rav Nahman of Bratslav Chani Haran Smith. 8 The Hasidic Niggun: Ethos and Melos of a Folk Liturgy Hanoch Avenary . 48 Carlebach, Neo-Hasidic Music and Liturgical Practice Sam Weiss. -
Una Chaudhuri CV
UNA CHAUDHURI Updated July 2021 Collegiate Professor Professor, Departments of English, Drama, and Environmental Studies Core Faculty, NYU’s Animal Studies Initiative Director, XE: Experimental Humanities and Social Engagement New York University 14 University Place 305 West 98th Street, 3AS New York, NY 10003 New York, NY 10025 (212) 998-8815 (212) 260-1670 E-Mail: [email protected] ACADEMIC EXPERIENCE 1982-Present NEW YORK UNIVERSITY Professor, Department of Environmental Studies (2010-present) Director, XE: Experimental Humanities and Social Engagement, Fall 2018- Affiliated Faculty, NYU-Abu Dhabi, Fall 2010-Present Acting Chair, Department of English (2011-2012; 2004-2005). Chair, Department of Drama, Tisch School of the Arts (1995-2001) Professor, Department of Drama (2001-Present) Professor, Department of English (1997-Present) Associate Professor (with tenure), Department of English (1990-1997) Director of Undergraduate Studies, Department of Dramatic Literature, Theatre History and Cinema (1988-1995) Director of Undergraduate Studies, Department of English and Department of Dramatic Literature, Theatre History and Cinema (1988-90) Assistant Professor, Department of English (1982-90) 1978.82 LAFAYETTE COLLEGE Visiting Instructor, Department of English (1978-82) 1977.78 COLUMBIA UNIVERSITY Teaching Assistant, Department of English (1977-78) EDUCATION COLUMBIA UNIVERSITY, English and Comparative Literature, Ph.D. (1982), M.Phil. (1977), M.A. (1975) DELHI UNIVERSITY, English Literature, M.A. (1973) INDRAPRASTHA COLLEGE OF DELHI UNIVERSITY, -
OTIS Ben Maltz Gallery WB Exhibition Checklist 1 | Page of 58 (2012 Jan 23)
OTIS Ben Maltz Gallery WB Exhibition Checklist 1 | Page of 58 (2012_Jan_23) GUIDE TO THE EXHIBITION Doin’ It in Public: Feminism and Art at the Woman’s Building October 1, 2011–January 28, 2012 Ben Maltz Gallery, Otis College of Art and Design Introduction “Doin’ It in Public” documents a radical and fruitful period of art made by women at the Woman’s Building—a place described by Sondra Hale as “the first independent feminist cultural institution in the world.” The exhibition, two‐volume publication, website, video herstories, timeline, bibliography, performances, and educational programming offer accounts of the collaborations, performances, and courses conceived and conducted at the Woman’s Building (WB) and reflect on the nonprofit organization’s significant impact on the development of art and literature in Los Angeles between 1973 and 1991. The WB was founded in downtown Los Angeles in fall 1973 by artist Judy Chicago, art historian Arlene Raven, and designer Sheila Levrant de Bretteville as a public center for women’s culture with art galleries, classrooms, workshops, performance spaces, bookstore, travel agency, and café. At the time, it was described in promotional materials as “a special place where women can learn, work, explore, develop their own point of view and share it with everyone. Women of every age, race, economic group, lifestyle and sexuality are welcome. Women are invited to express themselves freely both verbally and visually to other women and the whole community.” When we first conceived of “Doin’ It in Public,” we wanted to incorporate the principles of feminist art education into our process. -
San Francisco Cinematheque Program Notes
fnurfffH San Francisco Cinematheque program notes 1993 From the collection of the f d n z m o Prelinger a v liAJibrary p San Francisco, California 2007 San Francisco Cinematheque 1993 Program Notes Production and Layout: David Gerstein Albert Kilchesty Cover: Michael De Vries Written and Researched by: Steve Anker Lana Bernberg Chris Bishop Elizabeth Dee Susanne Fairfax David Gerstein Lissa Gibbs Albert Kilchesty Gina Lehmann Colby Luckenbill Ariel O'Donnell Michael Roth Michelle Sabol E. S. Theise © Copyright 1994 by the San Francisco Cinematheque. No material may be reproduced without written permission from the publisher. All individual essays © to the individual authors. San Francisco Cinematheque, Sept. 1993—Aug. 1994: Staff Steve Anker, Artistic Director David Gerstein, Executive Director Albert Kilchesty, Administrative Manager (Sept. 93—June 94) Irina Leimbacher, Office Manager (June-Aug. 94) Board of Directors Charles Boone Linda Gibson Lynn Hershman Ariel O'Donnell Lynne Sachs (through Feb. 94) Scott Taylor Eric S. Theise (through Apr. 94) Michael Wallin Table of Contents 1993 Program Notes silt: EROSIONS AND ACCRETIONS Artists Christian Farrell & Jeff Warrin in person February 4, 1993 utter Silt: a word which when you it, letting the air slip thinly between your teeth, invokes a slow, sly insinuating agency. Silt: which shapes and undermines continents; which demolishes as it builds, which is simultaneous accretion and erosion; neither progress nor decay. —Graham Swift silt is a three-member San Francisco-based collaborative film group (Keith Evans, Christian Farrell, and Jeff Warrin) which has been working in Super-8mm since 1990. All films Super-8mm, color/b&w, silent w/sound-on-cassette Grapefruitfilm (1990, 2.5 minutes) Our first experiment! We crammed found footage inside a grapefruit and left it to rot for a month before rephotographing it. -
Oral History Interview with Rachel Rosenthal, 1989 September 2-3
Oral history interview with Rachel Rosenthal, 1989 September 2-3 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Rachel Rosenthal on September 2, 1989. The interview took place in Los Angeles, and was conducted by Moira Roth for the Archives of American Art, Smithsonian Institution. Interview [Tape 1, side A; 45-minute tape sides] MOIRA ROTH: This is a recording with Rachel Rosenthal in Los Angeles at her house, and it’s a recording for the Archives of American Art for the Oral History Program, September 2, 1989. If we could begin with your birth, where you were born, when, and a context. RACHEL ROSENTHAL: I was born in Paris in 1926, and my parents were both Russian Jews. My father was twenty years older than my mother. He was an emigré at age fourteen, which means that if he was born in 1874 he arrived in Paris in 1888, right? And went through “La Belle Epoque” [referring to Paris in the 1890s and turn of the century—RR] in Paris as a young man. He came penniless, and by the age of twenty-five he was a multi- millionaire. He had made a fortune in precious stones and Oriental pearls and became a wholesaler importer. The House, the business—was called Rosenthal et Frères, was himself and his brothers, and operated out of Paris; he sent his brothers all over the world to pick up these objects and bring them back to Paris where he prepared them for retail. -
Getty Research Institute Acquires Archive of Performance Artist Rachel Rosenthal
DATE: May 14, 2020 FOR IMMEDIATE RELASE GETTY RESEARCH INSTITUTE ACQUIRES ARCHIVE OF PERFORMANCE ARTIST RACHEL ROSENTHAL Portrait of Rachel Rosenthal, ca. 1990, Photo by Steven Arnold. Image Courtesy of The Steven Arnold Museum and Archives. LOS ANGELES – The Getty Research Institute has acquired the archive of American performance artist Rachel Rosenthal (1926-2015). The archive documents her entire career as a pioneer of performance art and feminist art. “One of the key figures in the development of theater, performance and feminist art in Los Angeles, Rachel Rosenthal has left an indelible mark on Southern California art and on the art of performance theater more broadly,” said Mary Miller, director of the Getty Research Institute (GRI). “Rosenthal’s archive amplifies the GRI’s collections in performance art, feminist art, and the history of art in Southern California and is a significant addition to our resources.” The Rachel Rosenthal papers, ca 1920s – 2015, cover every phase of Rosenthal's career, including early years in Paris and New York, her formative time in the artistic scene surrounding Robert Rauschenberg and Jasper Johns in the late 1940s and early 1950s, her development of the experimental theater company Instant Theatre in the 1950s and 60s, her awakening into the feminist movement in the 1970s and her mature performance and theater pieces. The collection includes many diaries and sketchbooks, extensive correspondence, and photographs and audiovisual documentation of Rosenthal’s major projects. “Save for the notable exception of Moira Roth’s 1997 edited volume, Rachel Rosenthal, the artist’s career has yet to be seriously studied. -
Summer Stock Finale—Now with More Uptown
Newsroom - Milken Archive of Jewish Music - Summer Stock Finale—Now with More Uptown The Archive Newsroom About Us Resources Milken Archive > Newsroom > Summer Stock Finale—Now with More Uptown July 16, 2014 Summer Stock Finale—Now with More Uptown While Second Avenue was a tenement haven for Jewish immigrants and the Catskills replaced the dachas of the old world, for many artists of Yiddish theater it was still the “uptown” allure of Broadway and Carnegie Hall that were the pinnacle of their American dream. In our “finale” installment of the Summer Stock streaming series, we spotlight Joseph Rumshinsky, the last of the Big Four composers. While the other three were content to entertain their core audience and occasionally cross over to the “uptown” world, Rumshinsky wanted to take all of Yiddish theater along. Rumshinsky wasn’t alone in his quest. In fact, he was so closely associated with Molly Picon and her husband Jacob Kalich, that they were known as The Three Musketeers of the East Side. Whether Rumshinsky, his colleagues and successors brought Second Avenue to the mainstream or the mainstream down to Second Avenue might be fodder for dissertations, but their lasting impact on theater, music and film is undeniable. Join us for one last session in the Catskills to learn more about Rumshinsky, stream some of his beautiful, ambitious songs (one of which Picon wrote the lyrics for) and watch Cantor Benzion Miller sing Rumshinsky and Tomashefsky’s version of Sh’ma Yisro’el. And if you missed any of the installments on Abraham Ellstein, Sholom Secunda, or Alexander Olshanetsky, you’ll find links for those, too. -
Class Presentation
UNIT 3 DI YIDDISHE AMERIKE: YIDDISH AS A REFLECTION OF THE AMERICAN JEWISH EXPERIENCE A PROGRAM OF THE LOWELL MILKEN FUND FOR AMERICAN JEWISH MUSIC AT THE UCLA HERB ALPERT SCHOOL OF MUSIC Who in your family history immigrated to the United States, when, and from where? Why did they choose to leave their homeland and come to the U.S.? UNIT 3: DI YIDDISHE AMERIKE 2 TIMELINE OF AMERICAN JEWISH HISTORY: LIBRARY OF CONGRESS UNIT 3: DI YIDDISHE AMERIKE 3 TIMELINE OF AMERICAN JEWISH HISTORY: LIBRARY OF CONGRESS “For happily the government of the United States, which gives to bigotr y no sanction, to persecution no assistance, requires only that they who live under its protection should demean themselves as good citizens…” George Washington, Letter to Moses Seixas, August 17, 1790 UNIT 3: DI YIDDISHE AMERIKE 4 TIMELINE OF AMERICAN JEWISH HISTORY: LIBRARY OF CONGRESS UNIT 3: DI YIDDISHE AMERIKE 5 TIMELINE OF AMERICAN JEWISH HISTORY: LIBRARY OF CONGRESS UNIT 3: DI YIDDISHE AMERIKE 6 TIMELINE OF AMERICAN JEWISH HISTORY: LIBRARY OF CONGRESS UNIT 3: DI YIDDISHE AMERIKE 7 TIMELINE OF AMERICAN JEWISH HISTORY: LIBRARY OF CONGRESS UNIT 3: DI YIDDISHE AMERIKE 8 TIMELINE OF AMERICAN JEWISH HISTORY: LIBRARY OF CONGRESS UNIT 3: DI YIDDISHE AMERIKE 9 IRVING BERLIN (ISRAEL BEILIN) • Born May 23, 1888 in Tolochin, Vitebsk Governorate, Russian Empire (presumed) • Died September 2 2, 1989 in New York City • Immigrated to U.S. in 1893, age 5 "Ir ving Berlin has no place in American music—he is American music." (zamir.org) Jerome Kern, composer UNIT 3: DI YIDDISHE AMERIKE 10 “JAKE , JAKE THE YIDDISHER BALL PL AYER” (1913) UNIT 3: DI YIDDISHE AMERIKE 11 ALBERT VON TIL ZER • Born Albert Gumm, March 29, 1878 in Indianapolis, IN • Died on October 1, 1956 in Los Angeles • Top Tin Pan Alley tune writer and composer for films in the 1920's and 30's. -
WAR PRESS Kitfinal
!WOMEN ART REVOLUTION (!W.A.R.) Directed by Lynn Hershman Leeson Theatrical Booking Contact: Clemence Taillandier, Zeitgeist Films 212-274-1989 x18 • [email protected] Festival Booking & Marketing Contact: Nadja Tennstedt, Zeitgeist Films 212-274-1989 x15 • [email protected] A ZEITGEIST FILMS RELEASE !WOMEN ART REVOLUTION (!W.A.R.) SHORT SYNOPSIS An entertaining and revelatory “secret history” of Feminist Art, !Women Art Revolution deftly illuminates this under-explored movement through conversations, observations, archival footage and works of visionary artists, historians, curators and critics. Starting from its roots in 1960s antiwar and civil rights protests, the film details major developments in womenʼs art through the 1970s and explores how the tenacity and courage of these pioneering artists resulted in what is now widely regarded as the most significant art movement of the late 20th century. For more than forty years, filmmaker and artist Lynn Hershman Leeson (Teknolust, Strange Culture) has collected a plethora of interviews with her contemporaries—and shaped them into an intimate portrayal of their fight to break down barriers facing women both in the art world and society at large. With a rousing score by Sleater-Kinneyʼs Carrie Brownstein, !W.A.R. features Miranda July, The Guerilla Girls, Yvonne Rainer, Judy Chicago, Marina Abramovic, Yoko Ono, Cindy Sherman, Barbara Kruger, B. Ruby Rich, Ingrid Sischy, Carolee Schneemann, Miriam Schapiro, Marcia Tucker and countless other groundbreaking figures. !WOMEN ART REVOLUTION (!W.A.R.) LONG SYNOPSIS Artist and filmmaker Lynn Hershman Leesonʼs documentary is more than four decades in the making. !Women Art Revolution (!W.A.R.) draws from hundreds of hours of in-the- moment interviews with her contemporaries—visionary artists, historians, curators and critics—to present an intimate portrayal of their fight to break down barriers facing women both in the art world and society at large. -
*Melk Prod. / Tanzplantation / Marco Berrettini My Soul Is My Visa
*Melk Prod. / Tanzplantation / Marco Berrettini My soul is my Visa Creation 2018 Tutu Production CH-1211 Genève 8 [email protected] tel +41 22 310 07 62 www.tutuproduction.ch Photo © If, instead of drawing the universe which surrounds us, starting with the portion of reality given access by our sight, we would deduce the structure of the world on the bases of our musical experience, we would have to describe the world as something which is not composed by objects but by a flux which penetrates us and which we penetrate, a flux of vague, variable intensity and in perpetual movement. Emanuelle Coccia The life of plants My soul is my Visa Length 70’ Idea and choreography Egg Marco Berrettini Claire Mayet Dancers Technical Director Nathalie Broizat, Sébastien Chatellier, Bruno Faucher Ruth Childs, Anne Delahaye alternating with Caroline Breton, Samuel Pajand Musique (live piano) Tom Johnson, Nils Frahm, Meredith Monk, Set-design and Lights Olafur Arnalds, Bill Fay, Nina Simone, Erik Bruno Faucher Satie, and tracks from Beth Gibbons and Curtis Mayfield Costumes Olivier Mulin Management and Touring Tutu Production – Pauline Coppée Production *MELK PROD. (CH) / Tanzplantation (F) Coproduction Charleroi Danse, Centre Chorégraphique de Wallonie-Bruxelles ; Arsenic, centre d’art scénique contemporain ; ICI-CCN de Montpellier, Pôle Sud-CDCN à Strasbourg Accueil studio POLE-SUD - Centre de Développement Chorégraphique National – Strasbourg, ICI-CCN de Montpellier Supports Ville de Genève, Loterie romande, Pro Helvetia, Stanley Thomas Johnson Foundation, Fondation Ernst Goehner, Charleroi Danse – Centre Chorégraphique de Wallonie-Bruxelles, Fondation Suisse des Artistes Interprètes, Direction Régionale des Affaires Culturelles d’Ile-de- France– Ministère de la culture et de la communication.