DOCSLIB.ORG

The Critic As Artist: Peter Schjeldahl on Oscar Wilde

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Critic As Artist: Peter Schjeldahl on Oscar Wilde ARTPULSEARTPULSE NO. 21 | VOL. 6 | 2015 WWW.ARTPULSEMAGAZINE.COM Kendall Buster Artists as Educators: Enrique Marty The Legacy of 1950’s Bay Area Figurative Painters Craig Drennen Jorge Perianes Angel Abreu on Tim Rollins and K.O.S. Art Fairs and Thought-Space arte_FIST FOUNDATION Buildering: Misbehaving the City The Critic As Artist: Peter Schjeldahl on Oscar Wilde 1 Publication: Publication: LaPlacaCohen 212-675-4106 Insertion date: Insertion date: Size: ARTPULSE JAN Douglas x 11.875" 9.125" 201 5 Coupland 4C MAG everywhere is anywhere is anything is everything PRESENTED BY One of Canada’s most provocative cultural thinkers and artists questions what our future holds ONE EXHIBITION. TWO VENUES. ROM: January 31 – April 26, 2015 MOCCA: January 31 – April 19, 2015 couplandto.ca #COUPLANDTO SUPPORTING SPONSOR ORGANIZED BY Douglas Coupland: everywhere is anywhere is anything is everything is organized and circulated by the Vancouver Art Gallery and curated by Daina Augaitis, Chief Curator/Associate Director. The exhibition is presented in Toronto by the Royal Ontario Museum and the Museum of Contemporary Canadian Art and is being held concurrently at both institutions. This exhibition was made possible with the generous support of The Keg Steakhouse + Bar, and The Artworkers Retirement Society. Images: Top: Douglas Coupland, Brilliant Information Overload Pop Head, 2010, acrylic and epoxy on pigment print, Collection of Lucia Haugen Lundin. Bottom: Douglas Coupland, Towers, 2014, Lego, 50 components, Courtesy of the Artist and Daniel Faria Gallery. Photos: Rachel Topham, Vancouver Art Gallery. The ROM is an agency of the Government of Ontario. 2 ARTPULSE l www.artpulsemagazine.com ROM-0038a-DouglasCoupland_Artpulse_9.125x11.875_Jan2015_v2_forMOCCA.indd 1 11/20/14 4:08 PM 1 REUVEN ISRAEL MULTIPOLARITY Nov 7 - Dec 20, 2014 FRIDMAN GALLERY 287 Spring Street, NYC Dec 3 - 7, 2014 UNTITLED. Miami Beach Ocean Drive and 12th Street 2 ARTPULSE l www.artpulsemagazine.com FRIDMAN GALLERY 3 4 ARTPULSE l www.artpulsemagazine.com MIXED GREENS KEITH LEMLEY February 19 – March 21, 2015 JOSEPH SMOLINSKI JULIANNE SWARTZ March 26 – April 25, 2015 February 19 – March 21, 2015 >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> 5 MIXED GREENS >>> 531 W 26TH ST, 1ST FL, NEW YORK, NY, 10001 >>> TEL: 212 331 8888 >>>>>> WWW.MIXEDGREENS.COM >> Lorenza Panero | Untitled I & II | Luminography mounted on dibond with plexiglass 4213 PONCE DE LEON BLVD. CORAL GABLES, FLORIDA 33146 305.446.5578 www.americascollection.com 6 ARTPULSE l www.artpulsemagazine.com AMERICAS COLLECTION AD JANUARY 2014.indd 1 11/19/2014 1:39:05 PM 7 8 ARTPULSE l www.artpulsemagazine.com 9 10 ARTPULSE l www.artpulsemagazine.com 11 12 ARTPULSE l www.artpulsemagazine.com Anuncio - Art Pulse.pdf 1 11/18/14 7:45 PM C M Y CM MY CY CMY K 13 14 ARTPULSE l www.artpulsemagazine.com 15 16 ARTPULSE l www.artpulsemagazine.com 17 Rising Above the Predictable ARTPULSE EDITOR IN CHIEF In our postmodern firmament “hope” may not be the sexiest idea, but it is Raisa Clavijo timely as we focus this issue on such topics as doing things better in our little SENIOR EDITOR niches of the art world. Stephen Knudsen Jon Seals’ essay, A Common Core, centers on the 1950’s Bay Area Figurative CONSULTING EDITOR painters, and delivers a mantra that is the heart of this issue: “The best artist/ James Lough educators, like rip currents, pull everyone in their path far past the shore’s safety CONTRIBUTING EDITORS and into the unknown expanse of the ocean.” Paco Barragán Owen Duffy Scott Thorp Jennie Klein To enlighten this idea Scott Thorp interviews Kids of Survival (K.O.S.) artist Michele Robecchi Colleen Asper Angel Abreu. Thirty years ago, when Angel was eleven, a rip current named Tim Peter Schjeldahl Jeff Edwards Rollins arrived at a hell-bent school in the Bronx and took Angel and his at-risk Jon Seals Irina Leyva-Pérez cohorts on the ride of their lives. With decades of museum shows to their credit, CONTRIBUTING WRITERS K.O.S. and Abreu continue to pull school kids into professional collaboration. Megan Abrahams Laura Burton Christina Schmid Jeriah Hildwine Then Peter Schjeldahl, art critic of The New Yorker, joins us with his essay, Othiana Roffiel Janet Batet The Critic as Artist, reminding us that when we pull others from the safety of Jill Thayer Carla Acevedo-Yates Taliesin Thomas Tori Bush the shore, we take ourselves into the unknown as well. I wish we could have Peter Drake Emilia Quiñones-Otal more art criticism like Schjeldahl’s. I am hopeful we can. Anelys Alvarez-Muñoz Schjeldahl’s timely advice offers an alternative to the common brand of art LEGAL CONTRIBUTOR criticism built on dry description and predictable arguments: “We grope for a Octavio Robles sentence that advances the argument we’re making; reads well; and, we hope, EDITORIAL ASSISTANT surprises us. We live to be surprised.” Diana Lee In Art (Without) Criticism Paco Barragán reminds us that critics still have COPY EDITOR power in “passionate, honest, and direct” writing that unhitches itself from Gregg Lasky art criticism’s identity crisis. Practicing a little forgetfulness concerning market Jim Janson Brian Bixler supremacy goes a long way here. Don’t count the underdog out. And on that note, Colleen Asper interviews Craig Drennen, a painter who TRANSLATORS Diana Scholtz Israel “inhabits” cultural artifacts that are iconic for their very obscurity. Imagine five Félix Lizárraga years of work based on the 1984 movie Supergirl, “a spinoff largely regarded as CONSULTING ART DIRECTOR a failure and left out of the Superman canon.” Eddy López Into the mix we add the artist, educator and writer Kendall Buster. She and I talked about her popular text (co-authored with Paula Crawford) The Critique GRAPHIC DESIGNEr Hugo Kerckhoffs Hand Book: The Art Student’s Sourcebook and Survival Guide. Her advice can make us all better at letting artwork reveal itself by, basically, slowing down: “I PHOTO EDITOR Gady Alroy typically begin critiques with writing. It slows everyone down to really look at the work and get in touch with their responses before beginning the very differ- PHOTOGRAPHY ent dynamic of verbal discussion.” Mariano Costa-Peuser - Charles A. Shaw Owen Duffy dovetails into this theme with his essay Art Fairs and Thought- ADVERTISING ASSOCIATES Space, where he cautions us about the limitations of the razzle dazzle, high- Carl Sutton Amy Beaumont speed experiences at the art fair. While the art fair creates under-one-roof con- venience “it denies us the possibility of what art historian and cultural critic ADVERTISING [email protected] Aby Warburg called ‘thought-space’ (Denkraum), the sense of distance from our environment needed for contemplation.” Bet on Jean Baudrillard being DIRECTOR José López-Niggemann brought into the discussion here. The issue reminds us that—thankfully—there are real art worlds beyond the tent. ARTPULSE is published four times per year Jeff Edwards interviews Carolina Stubbe, founder of arte FIST FOUNDATION a SUBSCRIPTIONS ARE: non-profit in Puerto Rico that facilitates site-specific land art public projects. Then $30 USA / $50 Mexico & Canada / $60 International Irina Leyva-Pérez interviews Jorge Perianes, a Spanish artist known for evoking EDITORIAL INQUIRIES thought space through absurd nature-based installations that mull over our inability [email protected] to understand our very existence. Then Jennie Klein’s essay, Buildering: Misbehav- GENERAL INQUIRIES ing the City shows us art that finds its currency in swinging on, climbing—and even [email protected] jumping from—urban structures. Then, Michele Robecchi contextualizes the 2013 SUBSCRIBE ONLINE work of Sharon Hayes: video interviews investigating sexual orientation of students www.artpulsemagazine.com at a women’s college in Massachusetts. PUBLISHER And to book-end this summary, Paco Barragán interviews artist Enrique ARTPULSE LLC Marty, an artist whose view on irony and sarcasm should be pulled into the P.O. Box 960008 Miami, Fl. 33296 conversation: “Sarcasm ... is something I try to avoid (it even repels me). I’m 1-786-274-3236 solely interested in irony, and always as a beginning point, never for its own ARTPULSE LLC, is not responsible for and does sake. Sarcasm and cynicism are like salt on grass.” not necessarily share the opinions expressed by its contributors, nor does it assume any responsibility for They are corrosive to hope. unsolicited materials or contents of advertisements. Stephen Knudsen No portion of ARTPULSE may be used or reproduced in any form without the express written Senior Editor permission of the publisher. All rights reserved. 18 ARTPULSE l www.artpulsemagazine.com CONTRIBUTORS Stephen Knudsen is the senior editor of Paco Barragán is an independent curator and ARTPULSE. He is an artist and professor arts writer based in Madrid. He recently cu- of painting at the Savannah College of Art rated “Erwin Olaf: The Empire of Illusion” and Design and a contributing writer to The (MAC, Santiago de Chile, 2014) and “En- Huffington Post, Hyperallergic and other rique Marty: Group Therapy, Act of Faith, publications. He is an active visiting lec- Dark Room” (DA2 Salamanca, Spain, 2014). turer at universities and museums, and his He is also a Ph.D. candidate in advanced forthcoming anthology is titled The ART studies in art history at the Universidad de of Critique/Re-imagining Professional Art Salamanca, Spain. Barragán is co-editor of Criticism and the Art School Critique. When a Painting Moves... Something Must be Rotten! (2011) and author of The Art Fair Age (2008), both published by CHARTA. Scott Thorp is an artist and professor at Colleen Asper is an artist whose work has the Savannah College of Art and Design. been shown internationally and reviewed in Specializing in creativity, his book, A Cu- publications such as Artforum, The New York rious Path: Creativity in an Age of Abun- Times and The New Yorker.
Load more

Recommended publications
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • Taking Intellectual Property Into Their Own Hands
    Taking Intellectual Property into Their Own Hands Amy Adler* & Jeanne C. Fromer** When we think about people seeking relief for infringement of their intellectual property rights under copyright and trademark laws, we typically assume they will operate within an overtly legal scheme. By contrast, creators of works that lie outside the subject matter, or at least outside the heartland, of intellectual property law often remedy copying of their works by asserting extralegal norms within their own tight-knit communities. In recent years, however, there has been a growing third category of relief-seekers: those taking intellectual property into their own hands, seeking relief outside the legal system for copying of works that fall well within the heartland of copyright or trademark laws, such as visual art, music, and fashion. They exercise intellectual property self-help in a constellation of ways. Most frequently, they use shaming, principally through social media or a similar platform, to call out perceived misappropriations. Other times, they reappropriate perceived misappropriations, therein generating new creative works. This Article identifies, illustrates, and analyzes this phenomenon using a diverse array of recent examples. Aggrieved creators can use self-help of the sorts we describe to accomplish much of what they hope to derive from successful infringement litigation: collect monetary damages, stop the appropriation, insist on attribution of their work, and correct potential misattributions of a misappropriation. We evaluate the benefits and demerits of intellectual property self-help as compared with more traditional intellectual property enforcement. DOI: https://doi.org/10.15779/Z38KP7TR8W Copyright © 2019 California Law Review, Inc. California Law Review, Inc.
    [Show full text]
  • The New Yorker April 05, 2021 Issue
    PRICE $8.99 APRIL 5, 2021 APRIL 5, 2021 4 GOINGS ON ABOUT TOWN 11 THE TALK OF THE TOWN Jonathan Blitzer on Biden and the border; from war to the writers’ room; so far no sofas; still Trump country; cooking up hits. FEED HOPE. ANNALS OF ASTRONOMY Daniel Alarcón 16 The Collapse at Arecibo FEED LOVE. Puerto Rico loses its iconic telescope. SHOUTS & MURMURS Michael Ian Black 21 My Application Essay to Brown (Rejected) DEPT. OF SCIENCE Kathryn Schulz 22 Where the Wild Things Go The navigational feats of animals. PROFILES Rachel Aviv 28 Past Imperfect A psychologist’s theory of memory. COMIC STRIP Emily Flake 37 “Visions of the Post-Pandemic Future” OUR LOCAL CORRESPONDENTS Ian Frazier 40 Guns Down How to keep weapons out of the hands of kids. FICTION Sterling HolyWhiteMountain 48 “Featherweight” THE CRITICS BOOKS Jerome Groopman 55 Assessing the threat of a new pandemic. 58 Briefly Noted Madeleine Schwartz 60 The peripatetic life of Sybille Bedford. PODCAST DEPT. Hua Hsu 63 The athletes taking over the studio. THE ART WORLD Peter Schjeldahl 66 Niki de Saint Phalle’s feminist force. ON TELEVISION Doreen St. Félix 68 “Waffles + Mochi,” “City of Ghosts.” POEMS Craig Morgan Teicher 35 “Peers” Kaveh Akbar 52 “My Empire” COVER R. Kikuo Johnson “Delayed” DRAWINGS Johnny DiNapoli, Tom Chitty, P. C. Vey, Mick Stevens, Zoe Si, Tom Toro, Adam Douglas Thompson, Suerynn Lee, Roz Chast, Bruce Eric Kaplan, Victoria Roberts, Will McPhail SPOTS André da Loba CONTRIBUTORS Caring for the earth. ©2020 KENDAL Rachel Aviv (“Past Imperfect,” p. 28) is a Ian Frazier (“Guns Down,” p.
    [Show full text]
  • My Back Pages #13 Rich Lynch
    My Back Pages #13 Rich Lynch My Back Pages #13 articles and essays by Rich Lynch I’m resigned that this 13th issue will inevitably lead me to the topic of triskaidekaphobia, so I might as well get it over with now. The number 13 as a bad omen dates all the back to the time of the Vikings where the mischievous Loki was the 13th god in the Norse pantheon and even before that, back to the time of the Roman Empire when the disciple Judas was the 13th person to sit at the table of The Last Supper. Throughout the ages the number 13 has been associated with all kinds of terrible events. Relatively recent cases in point are the 13th Apollo mission to the moon in 1970 which nearly met disaster, and the death of Princess Diana in 1997 in a car crash at the 13th pillar of the Pont de l’Alma tunnel in Paris. And for a brief time in 2004, it was believed that the newly-discovered asteroid Apophis had a very real chance of smashing into the Earth in 2029 on the 13th of April. I can assure you there’s nothing nearly so ominous about this #13, but what I’m really leading up to is that the number 13 being a portent is mostly a western civilization phenomenon. As you will see in the first essay of this issue, on a trip to Korea earlier this year I was surprised to learn that a different number is considered a cultural bane.
    [Show full text]
  • BA THESIS Alex Lorenzů
    Charles University in Prague Faculty of Arts Department of Anglophone Literatures and Cultures BA THESIS Alex Lorenzů Literary, Cultural and Historical Influences in the Works and Beliefs of Oscar Wilde Literární, kulturní a historické vlivy v díle a přesvědčeních Oscara Wildea Prague 2012 Supervisor: PhDr. Zdeněk Beran Acknowledgements I would like to thank PhDr. Zdeněk Beran for his thorough consultation of the ideas behind my thesis and the approaches to them, as well as for his support during the writing process. Prohlášení Prohlašuji, že jsem tuto bakalářskou práci vypracoval samostatně, že jsem řádně citoval všechny použité prameny a literaturu a že práce nebyla využita v rámci jiného vysokoškolského studia či k získání jiného či stejného titulu. V Praze dne 15. 8. 2012 …....................................... Alex Lorenzů Souhlasím se zapůjčením bakalářské práce ke studijním účelům. Abstract The thesis deals with the cultural and literary influences that can be traced in the works of Oscar Wilde. Its aim is to map out and elucidate some of the important motifs of the author's work and aesthetics in their own context as well as in the wider cultural-historical one. The methods used will be comparison of relevant materials, analysis of certain expressions typical of the author with their connotations, explaining the intertextual allusions in Wilde's work, and historical sources. The requisite attention will also be paid to Wilde as a representative of a subversive element of Victorian society and how this relates to his sexuality; that is to say, exploring the issue of the tabooing of non-heterosexuality, which may have been a decisive factor in Wilde's criticism of the conventions of his era and to his search of positive role-models in the ancient tradition both for his art and for his personal philosophy.
    [Show full text]
  • New Digital Art Space Revealed in the Santa Fe Railyard Art Vault at the Thoma Foundation Opens April 30 •••••••••••••••••••••••••••••••••••••••• •
    FOR IMMEDIATE RELEASE: April 21, 2021 Media Contact: Nicole Danti [email protected] New Digital Art Space Revealed in the Santa Fe Railyard Art Vault at the Thoma Foundation opens April 30 •••••••••••••••••••••••••••••••••••••••• • Santa Fe, New Mexico: The Carl & Marilynn Thoma Foundation announces the opening of a new 3,500 square-foot space for experiencing contemporary art in the Santa Fe Railyard District. Art Vault is dedicated to sharing the Foundation’s world-class collection of digital, electronic, virtual, and new media artworks, curated in thematic exhibitions. Art Vault at 540 South Guadalupe Street is the only digital art collection open to the public in the Southwest, and one of very few in the United States. Artworks from the Thoma Foundation collection are on view year-round, rotating seasonally. There is no admission fee, and school and group tours are available by appointment. Featured exhibitions will include emerging and mid-career artists alongside internationally renowned pioneers of video sculpture, self-taught computer artists, and influential digital time- based media artists. Large-scale digital and video installations invite viewers to broaden their understanding of technology with innovative perspectives on the human experience. Art Vault will take the place of The Thoma Foundation’s Art House, at 231 Delgado Street in Santa Fe, which will transition to the Foundation’s main office location. Founder Carl Thoma’s vision to bring larger, more accessible works of digital and media art to the international art hub of Santa Fe has been realized. “We are thrilled to increase our cultural contribution to the vibrant visual arts scene in Santa Fe.
    [Show full text]
  • Meeting Planner's Guide 2019
    AN ADVERTISING SUPPLEMENT TO CRAin’S NEW YORK BUSINESS MEETING Planner’S GUIDE 2019 YOUR RESOURCE FOR SUCCESSFUL MEETINGS AND EVENTS IF YOU ARE A MEETING or event hotels in the New York City area. than other channels. A lot of that a trend toward “bleisure,” the walk the line between creating planner you are part of an elite, Our goal is to keep you ahead value comes from networking in combining of business travel and experiences that resonate with multi-talented group. Being a of the curve and one up on the person. One-on-one meetings leisure. Today’s event attendees the whole audience, as well as planner calls for a wide range of competition in 2019. have become a hot commodity; expect event planners to be equal with individual attendees. expert skills and qualifications, To that end, here are some research has shown that, after parts manager and travel agent. such as managing, budgeting and of the meeting and event trends content, networking is the sec- Everything from programming to GIVE THEM execution, knowledge of tech- to consider when planning ond biggest motivator for event catering is likely to reference the A SHOW nology, creative talent—not to this year: attendees today. And the term locality and culture of the desti- 2019 also sees a trend for the mention leadership, adaptability, “networking” covers everything nation both on-site and off. “festivalization” of meetings and people skills, patience and energy IN YOUR FACE from spontaneous conversations events. A growing number of (to name just a few). When you “Face time” is the buzzword to huddle rooms and meet-and- TAKE IT PERSONAlly gatherings are adding perfor- possess all of these qualities you in meetings and events for greets.
    [Show full text]
  • Marian Penner Bancroft Rca Studies 1965
    MARIAN PENNER BANCROFT RCA STUDIES 1965-67 UNIVERSITY OF BRITISH COLUMBIA, Arts & Science 1967-69 THE VANCOUVER SCHOOL OF ART (Emily Carr University of Art + Design) 1970-71 RYERSON POLYTECHNICAL UNIVERSITY, Toronto, Advanced Graduate Diploma 1989 SIMON FRASER UNIVERSITY, Visual Arts Summer Intensive with Mary Kelly 1990 VANCOUVER ART GALLERY, short course with Griselda Pollock SOLO EXHIBITIONS 2019 REPUBLIC GALLERY, Vancouver, upcoming in May 2019 WINDWEAVEWAVE, Burnaby, BC, video installation, upcoming in May 2018 HIGASHIKAWA INTERNATIONAL PHOTOGRAPHY FESTIVAL GALLERY, Higashikawa, Hokkaido, Japan, Overseas Photography Award exhibition, Aki Kusumoto, curator 2017 REPUBLIC GALLERY, Vancouver, RADIAL SYSTEMS photos, text and video installation 2014 THE REACH GALLERY & MUSEUM, Abbotsford, BC, By Land & Sea (prospect & refuge) 2013 REPUBLIC GALLERY, Vancouver, HYDROLOGIC: drawing up the clouds, photos, video and soundtape installation 2012 VANCOUVER ART GALLERY, SPIRITLANDS t/Here, Grant Arnold, curator 2009 REPUBLIC GALLERY, Vancouver, CHORUS, photos, video, text, sound 2008 REPUBLIC GALLERY, Vancouver, HUMAN NATURE: Alberta, Friesland, Suffolk, photos, text installation 2001 CATRIONA JEFFRIES GALLERY, Vancouver THE MENDEL GALLERY, Saskatoon SOUTHERN ALBERTA ART GALLERY, Lethbridge, Alberta, By Land and Sea (prospect and refuge) 2000 GALERIE DE L'UQAM, Montreal, By Land and Sea (prospect and refuge) CATRIONA JEFFRIES GALLERY, Vancouver, VISIT 1999 PRESENTATION HOUSE GALLERY, North Vancouver, By Land and Sea (prospect and refuge) UNIVERSITY
    [Show full text]
  • Savage Winter #Bamnextwave No Intermission LOCATION: RUN TIME: DATES: Pittsburgh Opera Approx 1Hr15mins BAM Fisher (Fishman Space) NOV 7—10At7:30Pm
    Brooklyn Academy of Music Adam E. Max, Chairman of the Board William I. Campbell, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Savage Winter Executive Producer American Opera Projects and Pittsburgh Opera Music by Douglas J. Cuomo Directed by Jonathan Moore DATES: NOV 7—10 at 7:30pm Season Sponsor: LOCATION: BAM Fisher (Fishman Space) Leadership support for music programs at BAM RUN TIME: Approx 1hr 15mins provided by the Baisley Powell Elebash Fund. no intermission #BAMNextWave BAM Fisher Savage Winter Written and Composed by Music Director This project is supported in part by an Douglas J. Cuomo Alan Johnson award from the National Endowment for the Arts, and funding from The Andrew Text based on the poem Winterreise by Production Manager W. Mellon Foundation. Significant project Wilhelm Müller Robert Signom III support was provided by the following: Ms. Michele Fabrizi, Dr. Freddie and Directed by Production Coordinator Hilda Fu, The James E. and Sharon C. Jonathan Moore Scott H. Schneider Rohr Foundation, Steve & Gail Mosites, David & Gabriela Porges, Fund for New Performers Technical Director and Innovative Programming and The Protagonist: Tony Boutté (tenor) Sean E. West Productions, Dr. Lisa Cibik and Bernie Guitar/Electronics: Douglas J. Cuomo Kobosky, Michele & Pat Atkins, James Conductor/Piano: Alan Johnson Stage Manager & Judith Matheny, Diana Reid & Marc Trumpet: Sir Frank London Melissa Robilotta Chazaud, Francois Bitz, Mr. & Mrs. John E. Traina, Mr. & Mrs. Demetrios Patrinos, Scenery and properties design Assistant Director Heinz Endowments, R.K. Mellon Brandon McNeel Liz Power Foundation, Mr. & Mrs. William F. Benter, Amy & David Michaliszyn, The Estate of Video design Assistant Stage Manager Jane E.
    [Show full text]
  • Perspectives on Fiction in the Nineteenth-Century Novel
    FROM THE PENS OF THE CONTRIVERS: PERSPECTIVES ON FICTION IN THE NINETEENTH-CENTURY NOVEL LAURA CAPPELLO BROMLING B.A.(Hons.), University of Alberta, 2000 A Thesis Submitted to the School of Graduate Studies of the University of Lethbridge in Partial Fulfilment of the Requirements for the Degree Master of Arts Department of English University of Lethbridge LETHBRIDGE, ALBERTA. CANADA © Laura Cappello Bromling, 2003 Abstract This thesis investigates the way that moral and aesthetic concerns about the relationship between fiction and reality are manifested in the work of particular novelists writing at different periods in the nineteenth century. Chapter One examines an early- century subgenre of the novel that features deluded female readers who fail to differentiate between fantasy and reality, and who consequently attempt to live their lives according to foolish precepts learned from novels. The second chapter deals with the realist aesthetic of W. M. Thackeray, focusing on the techniques by which his fiction marks its own relationship both to less realistic fiction and to reality itself. The final chapter discusses Oscar Wilde's critical stance that art is meaningful and intellectually satisfying, while reality and realism are aesthetically worthless: it then goes on to explore how these ideas play out in his novel. The Picture of Dorian Gray. 111 Table of Contents I. Introduction 1 II. Fiction and the Female Quixote 8 III. Truth and Fiction in Thackeray 47 IV. The Shifting Truths of Oscar Wilde 81 V. Conclusion Ill Works Cited 115 iv 1. Introduction "What is your opinion of novels? An't they all love and nonsense and the most impossible lies possible." "They are fictions, certainly," said he.
    [Show full text]
  • The Voices of NPR
    Episode 11 – Michael Goldfarb – All Along the Watchtower The Voices of NPR And now a personal word, Michael Goldfarb has the voice of a journalist who has witnessed important events. He speaks with weariness and authority. His voice evokes a chorus of NPR announcers who report from near and distant places. Writer Dierdre Mask noted in an article in the Atlantic magazine, “We can’t see NPR reporters, so we have to picture them. And because they are with us in our most private moments—alone in the car, half-asleep in bed—we start to think we know them.” And we do think we know them. Their voices are iconic: distinct, informative, comforting, familiar. Their voices are the sounds of our better selves when we are bright and learned and engaged in the affairs of the world. No matter the day’s events, they give us hope that in a crazy world, sense and sensibility will prevail. Here are a few names I grew up with: Susan Stamberg, Bob Edwards, Carl Kasell, Noah Adams, Linda Wertheimer, Robert Siegel, Scott Simon, Cokie Roberts, and Bob Mondello. Each name evokes a voice, a style, a beat, that is the news soundtrack of our lives and shared imagination. We hear their stories as they report from bureaus from foreign capitals: Eleanor Beardsley, Paris; Rob Gifford, London; Ofiebea Quist-Arcton, Dakar; and, of course, Sylvia Poggioli, Rome. We hear war correspondents in the thick of battle: Michael Golfarb in Northern Ireland and Bosnia; Kelly McEvers in the midst of death and kidnapping in the Arab Spring, Tom Bowman among the fire and mortars of Helmand Province, and David Gilkey ambushed and killed by the Taliban.
    [Show full text]
  • THE ARTERY News from the Britannia Art Gallery February 1, 2017 Vol
    THE ARTERY News from the Britannia Art Gallery February 1, 2017 Vol. 44 Issue 97 While the Artery is providing this newsletter as a courtesy service, every effort is made to ensure that information listed below is timely and accurate. However we are unable to guarantee the accuracy of information and functioning of all links. INDEX # ON AT THE GALLERY: Exhibition My Vintage Rubble and Fish & Moose series 1 Mini-retrospective by Ken Gerberick Opening Reception: Wednesday, Feb 1, 6:30 pm EVENTS AROUND TOWN EVENTS 2-6 EXHIBITIONS 7-24 THEATRE 25/26 WORKSHOPS 27-30 CALLS FOR SUBMISSIONS LOCAL EXHIBITIONS 31 GRANTS 32 MISCELLANEOUS 33 PUBLIC ART 34 CALLS FOR SUBMISSIONS NATIONAL AWARDS 35 EXHIBITIONS 36-44 FAIR 45/46 FESTIVAL 47-49 JOB CALL 50-56 CALL FOR PARTICPATION 57 PERFORMANCE 58 CONFERENCE 59 PUBLIC ART 60-63 RESIDENCY 64-69 CALLS FOR SUBMISSIONS INTERNATIONAL WEBSITE 70 BY COUNTRY ARGENTINA RESIDENCY 71 AUSTRIA PRIZE 72 BRAZIL RESIDENCY 73/74 CANADA RESIDENCY 75-79 FRANCE RESIDENCY 80/81 GERMANY RESIDENCY 82 ICELAND PERFORMERS 83 INDIA RESIDENCY 84 IRELAND FESTIVAL 85 ITALY FAIR 86 RESIDENCY 87-89 MACEDONIA RESIDENCY 90 MEXICO RESIDENCY 91/92 MOROCCO RESIDENCY 93 NORWAY RESIDENCY 94 PANAMA RESIDENCY 95 SPAIN RESIDENCY 96 RETREAT 97 UK RESIDENCY 98/99 USA COMPETITION 100 EXHIBITION 101 FELLOWSHIP 102 RESIDENCY 103-07 BRITANNIA ART GALLERY: ACKNOWLEDGEMENTS: 108 SUBMISSIONS TO THE ARTERY E-NEWSLETTER 109 VOLUNTEER RECOGNITION 110 GALLERY CONTACT INFORMATION 111 ON AT BRITANNIA ART GALLERY 1 EXHIBITIONS: February 1 - 24 My Vintage Rubble, Fish and Moose series – Ken Gerberick Opening Reception: Wed.
    [Show full text]