DOCSLIB.ORG

Artist's Proposal

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Cavalieri Artist’s Proposal 14th Street Roundabout Page 220 of 1673 Cavalieri City of Sarasota, Landmark Sculpture - 14th Street and US 41 Roundabout SCULPTURAL PROPOSAL SIGMOIDEA-PIPELINE Alberto Cavalieri. Description • Author: Alberto Cavalieri • Title: SIGMOIDEA-PIPELINE, (a sigmoid is a mathematical function having a characteristic "S"-shaped curve). • Dimensions: 7.7 x 15.8 x 6.6 ft. • Media: Corten Steel (Corten steel, is a group of steel alloys which were developed to eliminate the need for painting, and form a stable rust-like appearance after several years exposure to weather, The name COR-TEN refers to the two distinguishing properties of this type of steel: corrosion resistance and tensile strength. Weathering steel is popularly used in outdoor sculptures for its rustic antique appearance. One example is the large Chicago Picasso sculpture, which stands in the plaza of the Daley Center Courthouse in Chicago, which is also constructed of weathering steel. Other examples include numerous works by Richard Serra; the "Alamo" sculpture in Manhattan, NY; the Barclays Center, Brooklyn, New York; The Angel of the North, Gates head; and Broadcasting Tower at Leeds Beckett University. It is also used in bridge and other large structural applications such as the New River Gorge Bridge, the second span of the Newburgh– Beacon Bridge (1980), and the creation of the Australian Centre for Contemporary Art (ACCA) and MONA. It is very widely used in marine transportation, in the construction of intermodal containers. • Fabrication process: The sculpture will be constructed by the assembling of 19 modular bodies made of welded sheets of 1/8” thickness of Cor-Ten Steel. (see fabrication process images) • Weight: 1,950 lb. 14th Street Roundabout Page 221 of 1673 Cavalieri Criteria: • The sculpture will be made in Corten-Steel and will not require maintenance. • The sculpture was designed self-balance and free standing. • The sculpture will be anchored to a calculated concrete slab with high strength anchor rods. • The sculpture is an original design. • The sculpture is not interactive, kinetical or with any optical effects. • The matte finish color of the sculpture will not distract the drivers. • This sculpture as others outdoor sculptures that I have installed before, perfectly resist winds of 150 MPH. • The sculpture have a cicle knoty form, Knots are one of the abstract forms I use, their multiple symbolisms enrich my work and increase its scope and resonance. Knots imply human activity; they have different symbolic connotations in terms of how they are used to the point that the connotations could be contradictory and/or ambivalent. Man makes knots to resolve countless functional situations; indeed, knots are a metaphor for life. 14th Street Roundabout Page 222 of 1673 Cavalieri Sigmoidea-Pipeline / view 1 14th Street Roundabout Page 223 of 1673 Cavalieri Sigmoidea-Pipeline/ view 2 14th Street Roundabout Page 224 of 1673 Cavalieri Sigmoidea-Pipeline/ General Dimensions 14th Street Roundabout Page 225 of 1673 Cavalieri Sigmoidea-Pipeline / Perspective top view 14th Street Roundabout Page 226 of 1673 Cavalieri Sculpture and roundabout render 14th Street Roundabout Page 227 of 1673 Cavalieri Sculpture and roundabout Photomontage 14th Street Roundabout Page 228 of 1673 Cavalieri Stainless steel maquette of the proposed sculpture, the final sculpture will be fabricated in Corten-SteeL 14th Street Roundabout Page 229 of 1673 Cavalieri Images of fabrication process 14th Street Roundabout Page 230 of 1673 Cavalieri Artist’s Previous Works 14th Street Roundabout Page 231 of 1673 Cavalieri Photos of previous artist sculptures Ignea Magna, 2018 Stainless steel 16.6 x 8.8 x 5.9 ft. Private collection, Miami 14th Street Roundabout Page 232 of 1673 Cavalieri Hefesto Magno, 2016 Stainless steel 12.99 x 13.81 x 6.6 ft 14th Street Roundabout Page 233 of 1673 Cavalieri Catalina, 2016 Stainless steel 144 x 39 x 39 in 14th Street Roundabout Page 234 of 1673 Cavalieri Apeliotes, 2014 Welded and painted steel 38.2 x 34.4 x 13.8 ft. National Institute of Land Transit Collection, Caracas 14th Street Roundabout Page 235 of 1673 Cavalieri Levitant, 2006 Welded and painted steel 25 x 18.3 x 13 ft. Private collection 14th Street Roundabout Page 236 of 1673 Cavalieri Hebe Magno, 2015 Stainless steel 11.67 x 16.46 x 7.5 ft. Private collection 14th Street Roundabout Page 237 of 1673 Cavalieri Structural Knot IPN-30, 2002 Forged steel 10.82 x 6.56 x 6.56 ft. 14th Street Roundabout Page 238 of 1673 Cavalieri Shout, 1995 Welded steel 7.9 x 7.7 x 5.2 ft. Museum of Contemporary Art of Caracas Collection 14th Street Roundabout Page 239 of 1673 Call ID:Cavalieri 1603587 Artist ID: 289522 Status: Received Alberto Cavalieri Contact Partner Contact via Cell Phone Email [email protected] Phone 786 2576074 Cell 786 2576074 Web Site www.albertocavalieri.com Mailing Address 425 NE 22 St, UNIT 1103 Miami FL USA 33137 Custom Answers Please complete and submit the Disclosure Statement located in Appendix B of the Appendices A through C document. APPENDIX-B,-SIGMOIDEA.jpg Please upload a written description and up to 8 illustrations of your proposed artwork for the 14th Street/US 41 Roundabout - include title, type of media, weight, and fabrication information. PROJECT SIGMOIDEA-PIPELINE.pdf Please upload a PDF or JPEG file displaying examples of previous works of art.  For each example, please provide an image, title, type of media, dimensions, and year of completion. PREVIOUS SCULPTURES.pdf Professional References: Please provide 3 or more professional references. 1-Susan Ackley, Miami Shores Fine Arts Commission. Ph. 305 4394509 2-Rafael Mendible, HOSPITALITY DORAL LLC. Developer of Hotel Double Tree by Hilton Doral. Ph. 305 7987067 3-Jorge Ortiz, Developer. Ph.305 6072944 Please include a proposed budget estimate for this project consisting of estimates for fabrication and materials, design and engineering (including foundation), lighting, transportation, installation, artist fee, and other associated costs. The estimate budget of this project with all associated costs is 145.000$ Please provide a brief current resume emphasizing art experience, public collections, and public art commissions.  Please be sure to include contact information including telephone number and email address.You can type in your experience or copy and paste from an existing resume document.  Text is limited to 5,000 characters. Alberto Cavalieri Curriculum Vitae Alberto Cavalieri (Miami-based from 2016) I was born in Caracas in 1969. I am visual artist who, throughout my career, have achieved Latin-American renown for my monumental sculptures and public works integrated into architectural forms. I have been working in visual arts, and particularly in sculpture, since 1994 when I completed my studies in industrial design, mechanical engineering and art, which I carried out in Caracas from 1986 to 1994. My career as an artist has been prolific and my work has been exhibited both in Venezuela and abroad. Ever since I began making art I have been interested in the physical and mechanical aspects of objects as well as the three-dimensional forms they take on. In designing my sculptures, I am mainly interested in challenging our physical laws and altering our sense of logic, bending and transforming materials to create the impression that the works are not man-made. I create sinuous, contorting steel forms that outline spaces in an organic way, which knot together easily, can integrate with the architecture, and that appear to be levitating. I like my works to engage with the spaces they inhabit and create out-of-place rhythms that contrast to the horizontal and vertical ways we order our Cartesian conception of space. To create the sculptures I have had to develop my own techniques and tools and try out different processes that range from hi-tech, numerical control to old-fashioned and elementary steelwork. Utilizing metal allows me to create an overriding paradox between form and matter. Its use enables me to create sinuous forms that are full of life and movement and yet contrast diametrically to the rigidity and structure of the steel itself. Knots are one of the abstract forms I use and their multiple symbolisms enrich my work and increase its scope and resonance. Knots imply human activity; they have different symbolic connotations in terms of how they are used to the point that the connotations could be contradictory and/or ambivalent. Man makes knots to resolve countless functional situations; indeed, knots are a metaphor for life. 14th Street Roundabout Page 240 of 1673 Call ID:Cavalieri 1603587 Artist ID: 289522 Status: Received Alberto Cavalieri (Continued) Selected Solo Exhibitions 2018 Solid Knots Miami Shores Village Sculpture Garden, Miami Pipe-Lines Art Nouveau Gallery, Miami 2017 Con-Ductos (Pipe-Lines) Galería Viloria Blanco, Maracaibo, Venezuela Alberto Cavalieri Brockay Memorial Library, Miami Large Scales Spacetime Projects, Miami 2014 Inoxidables (Stainless) Espacio Monitor, Caracas Transfiguraciones (Transfigurations) Galería Viloria Blanco, Maracaibo, Venezuela 2012 Fragmented Knot Art Nouveau Gallery, Miami 2009 Hierros y Epifanías (Iron and Epiphanies) Galería Freites, Caracas 2004 Descontenciones (Discontentions) Galería D'Museo, Caracas 2003 Estructurales IPN (IPN Structurals) Outdoor Exhibition, Isabel La Católica Square, Caracas 2000 Nada en Concreto (Nothing in Concrete) Galería D'Museo, Caracas 1996 Psique + Acero (Psyche + Steel) Galería
Recommended publications
  • Desarrollo Embrionario Y Larval De Lytechinus Variegatus (Echinoidea: Toxopneustidae) En Condiciones De Laboratorio En La Isla De Margarita-Venezuela

    Desarrollo Embrionario Y Larval De Lytechinus Variegatus (Echinoidea: Toxopneustidae) En Condiciones De Laboratorio En La Isla De Margarita-Venezuela

    Desarrollo embrionario y larval de Lytechinus variegatus (Echinoidea: Toxopneustidae) en condiciones de laboratorio en la Isla de Margarita-Venezuela Olga Gómez M.1 & Alfredo Gómez G.2 1 Instituto de Investigaciones Científicas de la Universidad de Oriente, Boca del Río - Nueva Esparta, Venezuela; Telefax: 0295 2913150; [email protected] 2 Museo Marino de Margarita; Telefax: 0295 2913132; [email protected] Recibido 14-VI-2004. Corregido 09-XII-2004. Aceptado 17-V-2005. Abstract: Embrionary and larval development of Lytechinus variegatus (Echinoidea: Toxopneustidae) in laboratory conditions at Isla de Margarita-Venezuela. The sea urchin Lytechinus variegatus is a promissory species for aquaculture activities in tropical countries. In Venezuela, this species has some economical impor- tance but their embryonic and larval development had not been studied. We collected specimens from seagrass beds in Margarita Island (Venezuela) and kept them in the laboratory, where they spawned naturally. With filtered sea water (temperature 28ºC, salinity 37 psu) and moderate aeration, the eggs and sperm were mixed (relation 1:100) and reached a 90% fertilization rate. The fertilization envelope was observed after two minutes, the first cellular division after 45 minutes and the prism larval stage after 13 hours. The echinopluteus larval stage was reached after 17 hours and metamorphosis after 18 days of planktonic life, when the larvae start their benthic phase. Rev. Biol. Trop. 53(Suppl. 3): 313-318. Epub 2006 Jan 30. Key words: Sea urchins, Lytechinus variegatus, larvae, larval development, culture, echinoid, echinoderms. Los erizos tienen gran importancia econó- ha ocurrido en otros países. La especie tiene mica porque sus gónadas se consideran exqui- un rápido crecimiento, madura sus gónadas siteces y son altamente apreciadas en algunos en corto periodo de tiempo y por la facilidad países europeos, en América del Sur y Asia.
  • 26. the Pearl Fishery of Venezuela

    26. the Pearl Fishery of Venezuela

    THE PEARL FISHERY OF VENEZUELA Marine Biological Lafi'ir-toiy X.I B K. A. R TT JUN 2 41950 WOODS HOLE, MASS. SPECIAL SCIENTIFIC REPORT: FISHERIES No. 26 UNITED STATES DEPARTMENT OF THE INTERIOR FISH AND WILDLIFE SERVICE Explanatory Ifote The series embodies restilts of investigations, usiially of restricted scope, intended to aid or direct management or utilization practices and as guides for adminl- str.itive or legislative action. It is issued in limited auantities for the official use of Federal, State or cooperating agencies and in processed form for econony and to avoid del.oy in publication. Washington, 0. C. May 1950 United States Department of the Interior Oscar L. Chapman, Secretary Pish and Wildlife Service Albert M. Day, Director Special Scientific Report - Fisheries Ho. 26 THE PEARL FISHERY OF VENEZUELA Paul S. Galtsoff Fishery Research Biologist COMTEHTS Page Introduction 2 Brief history of the pearl fishery 2 Present condition of pearl fishery »•.. ••*............ 7 1. Location of pearl oyster banks 7 2. Method of fishing 10 3« Season of fishing ............ 10 U, Shucking of oysters ^... 11 5. Division of the proceeds ,. 12 6. Selling of pearls ..... ........... 13 7. Market for pearls , 1^ 8. Economic importance of pearl fishery I7 Biology fud conservation of pearl oyster I9 Sugf^ested plan of biological sttidies 20 Bibliography 23 lETEODUCTION At the invitation of the Venezuelan Governnent the euthor had an opportimity to visit in March-April I9U8 the principal pecxl oyster gro-unds in the vicinity of Margarita Island. Ihjring this trip it was possible to inspect in detail the methods of fishing, to observe the a-onraisal and sale of pearls in Porlamar, and to obtain an understanding of the ver:-' efficient system of government management of the fishery by the Ministerio de Agricul- tura y Crfa.
  • Redalyc.Dinámica Del Espacio Geográfico Margariteño En El Siglo

    Redalyc.Dinámica Del Espacio Geográfico Margariteño En El Siglo

    Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Sistema de Información Científica Antonio R. Boadas Dinámica del espacio geográfico margariteño en el siglo XX. (Trabajo Preliminar) Terra Nueva Etapa, vol. XXIII, núm. 33, 2007, pp. 99-126, Universidad Central de Venezuela Venezuela Disponible en: http://www.redalyc.org/articulo.oa?id=72103305 Terra Nueva Etapa, ISSN (Versión impresa): 1012-7089 [email protected] Universidad Central de Venezuela Venezuela ¿Cómo citar? Fascículo completo Más información del artículo Página de la revista www.redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Dinámica del espacio geográfico margariteño en el siglo XX. (Trabajo preliminar) 99 Terra. Vol. XXIII, No. 33, 2007, pp. 99-126 DINÁMICA DEL ESPACIO GEOGRÁFICO MARGARITEÑO EN EL SIGLO XX* (Trabajo Preliminar) Margarita Island’s Geographical Space Dynamics in the Twentieth Century (Preliminary Work) Antonio R. Boadas RESUMEN: En el siglo XX se produjeron grandes transformaciones en el espacio geográfico margariteño. En este trabajo, previo a un análisis posterior, se señalan factores y agentes de acontecimientos que han concurrido y favorecido tales transformaciones. Entre otros se anotan movimientos demográficos de entrada y salida de población, dotación de infraestructuras y medios para transporte, comercio y servicios, y valorización de la isla como destino turístico y recreacional. Estos acontecimientos y las transformaciones generadas ocurrieron mayoritariamente en la segunda mitad del siglo, y se tradujeron en cambios en la utilización del territorio, que son evidentes en las expansiones urbanas, la aparición de nuevos espacios urbanizados y la conformación de zonas de aprovechamiento turístico y comercial.
  • ANALISIS 1Ecrono-SEDIMENTARIO DE LA FORMACION PAMPATAR (EOCENO MEDIO), ISLA DE MARGARITA, VENEZUELA 1

    ANALISIS 1Ecrono-SEDIMENTARIO DE LA FORMACION PAMPATAR (EOCENO MEDIO), ISLA DE MARGARITA, VENEZUELA 1

    Asoc. Paleont. Arg., PubJ. Espec. N° 3 ISSN 0328-347X PALEOGENO DE AMERICA DEL SUR: 27-33. Buenos Aires, 1995. IU S UNES O I 301 ANALISIS 1ECroNO-SEDIMENTARIO DE LA FORMACION PAMPATAR (EOCENO MEDIO), ISLA DE MARGARITA, VENEZUELA 1 Jhonny E. CASAS B. 2, Joselys MORENO V. 3 Y Franklin YORIS V. 4 ABSTRACf: TECTONIC AND SED¡MENTARY ANALYS¡S OF THE PAMPATAR FORMATlON (MIDDLE EOCENE), MAR- GARITA ¡SLAND, VENEZUELA. The Pampatar Fonnation (Eocene) of Margarita Island, Venezuela, consists mainly of inter- bedded sandstones and shales, with some conglomerates. These sediments are interpreted as turbidites deposited in submarine canyons and fans. The conglomerates represent canyon and inner-fan-channel deposits. The rest of the succession represents the entire range of fan environments, from inner to outer fan. Triangular diagrams of sandstone composition (100 samples) elucidate the tectonic setting. Most samples plot in the "recycled orogenic" field of the Q-F-L triangle, while the Qm-F-Lt diagram shows a wider dispersion, including "transitional recycled", "rnixed zone", and "magmatic are". This association is interpreted in tenns of uplift and erosion of a subduction-accretion complex, which supplied most of the sediments to the Pampatar Fonnation (recycled orogen component), with an additional, minor contributions from a dissected and transitional magmatic are, KEy WORDS:Margarita Island, Pampatar Fonnation, Eocene, Turbidites, Sedimentary petrography, Triangular diagrams. PALABRASCLAVE: Isla de Margarita, Formación Parnpatar, Eoceno, Turbiditas, Petrografía sedimentaria, Diagramas trian- gulares. INTRODUCCION TRABAJOS PREVIOS El objetivo principal de esta investigación es rela- Rutten (1940) publica el primer trabajo científico cionar la composición de las areniscas de la Formación referente a la geología de la isla de Margarita, donde Pampatar con su ambiente de sedimentación y ubicación discute brevemente sus rocas sedimentarias atribuyén- geotectónica dentro del cuadro evolutivo del margen sur dolas al Eoceno, basado en la presencia de orbitoides.
  • 01A-Front Page

    01A-Front Page

    July 2005 Volume 36, Issue 3 Court Rules: Historic Designation of Coronado Belt Line Unlawfully Set Aside by City Council SUSAN BRANDT HAWLEY The San Diego Historical Resources Board has declared after careful review that the portion of the Coronado Belt Line railway located in San Diego is a historic site. At the request of the MTDB and Councilmember Ralph Inzunza, the City Council overturned the Board’s desig- nation in 2004 against the recommendations of City staff and the City Manager, with Councilmember Donna Frye as the sole dissenting vote. Save Our Heritage Organisa- tion (SOHO) sued the City because, as City staff pointed out, there was no legal basis to overturn the historic status. (San Diego Superior Court Case GIC837743.) On July 15th, San Diego Superior Court Judge Ronald S. Prager ruled in favor of SOHO, agreeing that the City acted unlawfully and granting a peremptory writ requir- ing the City to set aside its action. (See ruling at www.sandiego.courts.ca.gov.) Photo/Bruce Coons The Coronado Belt Line looped around the San Diego coastline and up the Silver Strand to Coronado as part of the Spreckels railroad empire, contributing to San Diego’s growth and vitality as it linked the City with the harbor and South Bay communities. From 1888 until the mid-20th century, the Belt Line regularly transported residents, visitors, World War I and II military shipments, agricultural products, building materials, and commer- cial and industrial wares through the region. SOHO Executive Director Bruce Coons said, “This is an important precedent proving that the City Council can not arbitrarily overturn historic designations just because they want to approve some ill-advised development scheme.
  • 5X the Impact

    5X the Impact

    5X THE IMPACT 5X THE AMENITIES 5X THE VIEWS EMBLEMATIC FLAGSHIP OPPORTUNITY FOR A BRAND CROWN LOOKING TO ESTABLISH ITS PRESENCE AT THE MOST ROBUST CROSSROADS BLADE IN NEW YORK CITY OFFICE LOBBY STREET LEVEL FACADE TIMES THE TIMES THE TIMES THE IMPACT POSSIBILITIES EXPERIENCE 1. Over 18,500 sf of high- 1. One million square feet of first- 1. Design will include concourse impact signage and branding class, state-of-the-art office, level subway access allowing for opportunities retail, and hospitality space with a seamless commute from train brand new capital improvements to desk 2. Top of building illuminated underway including first- signage with prominent midtown class arrival sequence, fully 2. Ability to build open and airy visibility redeveloped lobby and best-in- spaces with double and triple class operating efficiencies height ceilings which foster 3. 85ft high-profile blade signage collaboration and innovation visible to high-density pedestrian 2. Flexibility to create multiple and vehicle traffic distinct points of entry 3. Multi-purpose environments to host tenant and public 4. New digital signage interface 3. Fully redesigned and redeveloped programming in order to create along 42nd Street and 7th signage podium, conducive to community across user groups Avenue generating 600,000 streamlined high-impact brand impressions per week experience 4. Proposed rotating art programs to keep spaces engaging, 5. Ultra high-profile corner signage 4. Brand new direct MTA access to spurring inspiration and stretching 75 ft in height N, Q, R, W, S, 1, 2, 3, 7 lines - as conversation well as close walking proximity to Port Authority and additional 5.
  • THE MARINE COMMUNITIES of MARGARITA ISLAND, VENEZUELA Gilberta RODRIGUEZ Fundaci6n Venezolana Para El a Vance De La Ciencia Caracas, 'Venezuela

    THE MARINE COMMUNITIES of MARGARITA ISLAND, VENEZUELA Gilberta RODRIGUEZ Fundaci6n Venezolana Para El a Vance De La Ciencia Caracas, 'Venezuela

    BULLETIN OF MARINE SCIENCE OF THE GULF AND CARIBBEAN VOLUME 9 1959 NUMBER 3 THE MARINE COMMUNITIES OF MARGARITA ISLAND, VENEZUELA GILBERTa RODRIGUEZ Fundaci6n Venezolana para el A vance de la Ciencia Caracas, 'Venezuela ABSTRACT The communities of rocky, sandy and muddy shores are analyzed and the dominant species are recorded. The effect of some physical factors as exposure to wave action is correlated with the composition of the most conspicuous communities. The applicability of Stephenson's general scheme of zonation is discussed. From the results of this analysis an attempt is made to characterize and delimit the biogeographical province of the West Indies. At the end, a summary of the most common forms of marine plants and invertebrates of the area is given. INTRODUCTION Margarita is the largest of the islands in the Caribbean Sea off the north coast of Venezuela that are actually a part of the east-west trending Caribbean or Coast Range. It lies 30 kilometers north of the mainland in 11ON lat. and 64 oW long. It is composed of two mountain peaks joined together by two sand spits, between which is a large lagoon, Laguna de Restinga, open to the sea. The mountains average 800 meters high. The area to the east of Laguna Restinga, which al- most separates the two parts of the island, is nearly twice as large as the western part, which is locally called Macanao. The total area of Margarita is 1,150 square kilometers, its greatest length being 75 kilometers (Fig. 1). Southward, between Margarita and the mainland, there are two small islands, Cache and Cubagua.
  • Collecting Haudenosaunee Art from the Modern Era

    Collecting Haudenosaunee Art from the Modern Era

    arts Article Collecting Haudenosaunee Art from the Modern Era Scott Manning Stevens Native American and Indigenous Studies Program, Syracuse University, Syracuse, NY 13244, USA; [email protected] Received: 18 October 2019; Accepted: 15 March 2020; Published: 29 April 2020 Abstract: My essay considers the history of collecting the art of Haudenosaunee (Iroquois) artists in the twentieth century. For decades Native visual and material culture was viewed under the guise of ‘crafts.’ I look back to the work of Lewis Henry Morgan on Haudenosaunee material culture. His writings helped establish a specific notion of Haudenosaunee material culture within the scholarly field of anthropology in the nineteenth century. At that point two-dimensional arts did not play a substantial role in Haudenosaunee visual culture, even though both Tuscarora and Seneca artists had produced drawings and paintings then. I investigate the turn toward collecting two-dimensional Haudenosaunee representational art, where before there was only craft. I locate this turn at the beginning of Franklin Delano Roosevelt’s administration in the 1930s. It was at this point that Seneca anthropologist Arthur C. Parker recruited Native crafts people and painters working in two-dimensional art forms to participate in a Works Progress Administration-sponsored project known as the Seneca Arts Program. Thereafter, museum collectors began purchasing and displaying paintings by the artists: Jesse Cornplanter, Sanford Plummer, and Ernest Smith. I argue that their representation in museum collections opened the door for the contemporary Haudenosaunee to follow. Keywords: Haudenosaunee; Seneca arts program; crafts; authenticity; cultural specificity What are the parameters of Native American art in relationship to modern or contemporary art? Do tribal and regional idioms fall away? Do formalist concerns prevail? Can art be individualistic rather than communitarian in its subjects? All these are questions are asked by scholars and viewers alike.
  • Climate Changing: on Artists, Institutions, and the Social Environment

    Climate Changing: on Artists, Institutions, and the Social Environment

    i CLIMATE CHANGING CLIMATE WHY CAN’T YOU TELL ME SCORE WHAT YOU NEED Somewhere our body needs party favors attending sick and resting temperatures times hot unevens twice I ask myself all the time too ward draw pop left under right Just try and squeeze me. Pause. What would you do? Fall down off my feet and try waking tired ex muses Like, you either know I can and work on it with me Or know I can’t and wouldn’t want your baby to go through what I have to go through Over prepared for three nights. Over it all scared for three nights. Tell me the unwell of never been better. Are we still good? Are we still good? TABLE OF CONTENTS Director’s Foreword 4 Johanna Burton A Climate for Changing 6 Lucy I. Zimmerman On Chris Burden’s Wexner Castle 10 Lucy I. Zimmerman Notes on Chris Burden’s Through the Night Softly 15 Pope.L WE LEFT THEM NOTHING 17 Demian DinéYazhi´ Untitled 21 Jibade-Khalil Huffman Scores 1, 3, 13, 23, 27, 50 Park McArthur and Constantina Zavitsanos Questioning Access 25 Advisory Committee Roundtable Discussion Artists in the Exhibition 29 Acknowledgments 47 3 BLANKET (STATEMENT) SCORE Why can’t you just tell me what you need DIRECTOR’S FOREWORD 4 Johanna Burton, Executive Director Opening in the first month of 2021 (or at least set to committee’s roundtable discussion further explores, open then at the time of this writing), Climate Changing: the exhibition intends not to inventory nor propose On Artists, Institutions, and the Social Environment solutions for these considerable challenges, but rather comes at a time of great uncertainty for cultural or- to provide artists a forum for bringing the issues into ganizations.
  • New Year's Eve 2012

    New Year's Eve 2012

    New Year’s Eve 2012 A guide what to do and all the hottest places to go! As 2012, the New Year, is quickly approaching, many of you probably want to get a head start on planning your night out in NYC. Spending your New Year's Eve in New York is more than just as celebration or a party, it's a longstanding tradition that links you with the million plus people who come to celebrate New Year's Eve in the City That Never Sleeps. Schedule of Events in Time Square On New Years Eve 4:00 p.m. The Revelers Revelers start arriving late in the afternoon on New Year's Eve. By approximately 4:00 p.m., the Bow Tie of Times Square (42nd to 47th Sts. between Broadway & 7th Ave.) is fully closed to traffic. Revelers are directed by the NYPD to gather in separate viewing sections. As one section fills up, the revelers are directed by police to the next viewing section. As the evening progresses, revelers continue to fill the Times Square neighborhood along Broadway and Seventh Avenue moving uptown from 43rd Street to as far as Central Park. 6:00 p.m. to 6:03 p.m. Opening Ceremonies - Lighting and Raising the Times Square New Year’s Eve Ball The celebration begins with the lighting and raising of the New Year’s Eve Ball atop One Times Square. The Event Organizers, Tim Tompkins and Jeffrey Straus will be joined by representatives of the Philips Lighting Company to flip the giant switch which lights the New Year’s Eve Ball and begins its ascent accompanied by special pyrotechnic effects atop One Times Square.
  • Washington Square Park: Struggles and Debates Over Urban Public Space

    Washington Square Park: Struggles and Debates Over Urban Public Space

    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2017 Washington Square Park: Struggles and Debates over Urban Public Space Anna Rascovar 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/2019 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] WASHINGTON SQUARE PARK: STRUGGLES AND DEBATES OVER URBAN PUBLIC SPACE by ANNA RASCOVAR A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2017 © 2017 ANNA RASCOVAR All Rights Reserved ii Washington Square Park: Struggles and Debates over Urban Public Space by Anna Rascovar This manuscript has been read and accepted for the Graduate Faculty Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date David Humphries Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Washington Square Park: Struggles and Debates over Urban Public Space by Anna Rascovar Advisor: David Humphries Public space is often perceived as a space that is open to everyone and is meant for gatherings and interaction; however, there is often a great competition over the use and control of public places in contemporary cities. This master’s thesis uses as an example Washington Square Park, which has become a center of contention due to the interplay of public and private interests.
  • LOWERY STOKES SIMS De Koon Ing and Jackson Pollock

    LOWERY STOKES SIMS De Koon Ing and Jackson Pollock

    © 2008 National Museum of the American Ind ian, Smithsonian Library of Congress Control Number: 2011922190 Institution. Compilation © 2008 NMAI, Sm ithsonian Institution. ISBN 978-3-7913-5111-7 (trade hardcover) © 2008 Prestel Verlag. All rights reserved under internationa l copy­ ISBN 978-3-7913-6340-o (museum paperback) right conventions. No part of the publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, British Lib rary Cataloguing-in-Publica tion Data: a catalog including photography, recordi ng, or any information storage and for this book is ava ilab le from the British Lib rary. The Oeu ret rieval system without written permission from the publisher. Bibli othek ho lds a record of this publication in th e Deu sc albibliografie; detailed bibliographical data can be found Seco nd printing 2011 http://dnb .ddb.de. Artworks by Fritz Scholder © Estate of Fritz Scholder The paper used in this publication meets the minimum re me n ts of the American National Standard fo r Permanenci fo r Pri nted Library Materials 239.48-1984. Published in conjunction with the exhibition Fritz Scholder: Indian/Not Indian, open ing concurrently at the Smithsonian's Nationa l Museum of the American Indian in Washington, D.C. , The National Museum of the American Indian, Smithsonia and at t he George Gustav Heye Center in New York City in tion, is dedicated to working in collaboration with the ind November 2008. peoples of the Americas to foster and protect Native cultl throughout the Western Hemi sphere. The museum's pub gram seeks to augment awareness of Native American be Nat ional Museum of the American Indian lifeways and to educate the public about the history and Project Director: Terence Winch, Head of Publications of Native cu ltures.