CATALOG 2 Counterculture, Collections, Etc
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2018–2019 Annual Report the Center for the Humanities
The Center for the Humanities for The Center The Center for the Humanities The Center for the The Graduate Center, CUNY 365 5th Ave., Room 5103 New York, NY 10016 Humanities 2018-2019 2018–2019 Annual Report 2 3 4 Letter from the Director 6 Letter from the Staff 11 Student Engagement 29 Faculty Engagement 51 Public Engagement 75 Statistics 80 About the Center Front cover: Rachel Mazique presents at "Publishing American Sign Language Poetry," 2018. Participants at "Listening with Radical Empathy," 2018. Top: Hawwaa Ibrahim presents the keynote at the Y.E.S. Youth Summit, 2018. for the Humanities Bottom: Installation view of Ellen Rothenberg, "ISO 6346: ineluctable immigrant," 2019. 4 5 Letter from the Director The Center for the Humanities has been serving its various constit- uencies for a quarter century, and to commemorate our milestone year, we have chosen to arrange this annual report by celebrating the people we work with, demonstrating the variety of ways we collaborate with researchers—from individual students, faculty members, and visitors to community groups and global organizations. Over the last academic year, the Center for the Humanities has concentrated its energies on initiating, developing, and promoting sustained bodies of research over time. These discrete projects comprise an increasing part of our work. Moving away from delivering one-off events and conferences and toward supporting integrated multidisciplinary research, the Center has initiated collaborations with an increasingly diverse range of partner organizations across the city and internationally. Where core themes constructively overlap, we look to amplify such Director Keith Wilson in conversation with Harry Blain, Jacob Clary, Eileen Clancy, Christian Lewis, Dilara O’Neil, and artist crossover with bold public programming, as well as organize events that Mariam Ghani at screening of Dis-Ease, 2019. -
Unobtainium-Vol-1.Pdf
Unobtainium [noun] - that which cannot be obtained through the usual channels of commerce Boo-Hooray is proud to present Unobtainium, Vol. 1. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We invite you to our space in Manhattan’s Chinatown, where we encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections by appointment or chance. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Please contact us for complete inventories for any and all collections. The Flash, 5 Issues Charles Gatewood, ed. New York and Woodstock: The Flash, 1976-1979. Sizes vary slightly, all at or under 11 ¼ x 16 in. folio. Unpaginated. Each issue in very good condition, minor edgewear. Issues include Vol. 1 no. 1 [not numbered], Vol. 1 no. 4 [not numbered], Vol. 1 Issue 5, Vol. 2 no. 1. and Vol. 2 no. 2. Five issues of underground photographer and artist Charles Gatewood’s irregularly published photography paper. Issues feature work by the Lower East Side counterculture crowd Gatewood associated with, including George W. Gardner, Elaine Mayes, Ramon Muxter, Marcia Resnick, Toby Old, tattooist Spider Webb, author Marco Vassi, and more. -
Lorne Bair :: Catalog 21
LORNE BAIR :: CATALOG 21 1 Lorne Bair Rare Books, ABAA PART 1: AFRICAN-AMERICAN HISTORY & LITERATURE 2621 Daniel Terrace Winchester, Virginia USA 22601 (540) 665-0855 Email: [email protected] Website: www.lornebair.com TERMS All items are offered subject to prior sale. Unless prior arrangements have been made, payment is expected with order and may be made by check, money order, credit card (Visa, MasterCard, Discover, American Express), or direct transfer of funds (wire transfer or Paypal). Institutions may be billed. Returns will be accepted for any reason within ten days of receipt. ALL ITEMS are guaranteed to be as described. Any restorations, sophistications, or alterations have been noted. Autograph and manuscript material is guaranteed without conditions or restrictions, and may be returned at any time if shown not to be authentic. DOMESTIC SHIPPING is by USPS Priority Mail at the rate of $9.50 for the first item and $3 for each additional item. Overseas shipping will vary depending upon destination and weight; quotations can be supplied. Alternative carriers may be arranged. WE ARE MEMBERS of the ABAA (Antiquarian Bookseller’s Association of America) and ILAB (International League of Antiquarian Book- sellers) and adhere to those organizations’ standards of professionalism and ethics. PART ONE African American History & Literature ITEMS 1-54 PART TWO Radical, Social, & Proletarian Literature ITEMS 55-92 PART THREE Graphics, Posters & Original Art ITEMS 93-150 PART FOUR Social Movements & Radical History ITEMS 151-194 2 PART 1: AFRICAN-AMERICAN HISTORY & LITERATURE 1. CUNARD, Nancy (ed.) Negro Anthology Made by Nancy Cunard 1931-1933. London: Nancy Cunard at Wishart & Co., 1934. -
The Box As Meeting Place Artistic Encounters in Aspen Magazine (1965-1971)
The Box as Meeting Place Artistic Encounters in Aspen Magazine (1965-1971) 129 Maarten van Gageldonk Aspen was a multimedia magazine, each issue presented as a box full of surpri- ses by artists, writers, thinkers, and unknowns. What kept contributors as diverse as John Lennon, Yoko Ono, J.G. Ballard, and David Hockney together? In 1965 New York magazine editor Phyllis dia revolution. Aspen would return the func- Johnson travelled to Aspen, Colorado, to tion of the magazine to ‘the original meaning partake in the International Design Confe- of the word, as “a storehouse, a cache, a ship rence Aspen (IDCA) and returned home asking laden with stores”’, and in doing so it would herself how the traditional magazine could be liberate it from its linearity and two-dimen- adapted for the modern age. Later that year sionality, as well as from the dominance of she launched her answer: Aspen Magazine, printed matter.1 Accordingly, throughout the the multimedia magazine in a box. Between years Aspen’s slim boxes and folders contained 1965 and 1971 ten issues of Aspen appeared, posters, flip books, newspapers, stamps, a each put together by a different guest editor kite, a miniature sculpture, flexi discs with and devoted to a different theme, ranging music and audio recordings, and in 1967 even from Pop Art and Minimalism to psychedelic a reel of Super 8 film – a first for any magazine. art and Asian culture. Opening one of Aspen’s To its subscribers the contents of each issue boxes now is like unearthing a time capsule came as a surprise and connecting the various and its contributor list reads like a sample items demanded a non-trivial amount of activ- sheet of the 1960s, including work by William ity on the account of the ‘reader’. -
Jonestown FBI Files
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Nyuprogram.Pdf
NEW YORK UNIVERSiTY SCHOOL OF CONTINUING EDUCATION 1970-71 SPECIAL EVENTS SERIES OCTOBER 25, 1970 LA MONTE YOUNG MARIAN ZAZEELA SOUND AND LIGHT P R 0 G R A M Ornamental Lightyears Tracery Design & Projection, Marian Zaz--ela 12 1 64 first twelve+) Sunday Morning Blues La Monte Young - Sopranino Saxophone Marian Zaze--la - Voice Drone Angus MacLise - Hand Drums Tony Conrad. - Bowed Guitar 1, 2, Plucked Mandola 3 John Cale - Viola 20 X 63 day of the autumn feast-0 Sunday Morning Blues La Monte Young Sppranino Saxophone Marian Zaz--ela Voice Drone AngusC=) MacLise Hand Drums Tony Conrad. Bowed Guitax John Cale Viola 23 1 70 7 :35 - 8 :40PM Houston from Map of 49's Dream Th-eTwo Systems of 01-evenSat s of Galactic Intervals Ornamental Lightyears Tracery La, Monte Young - Voice & Sine Waves generated by Moog Synthesizer Maxian Zazeela - Voicea Drift Study 16 X 70 Pt' StockEolm frrm 5 V 67 6 :38 PM NYC Christer Hennix Realization Audio Engineer - Rob-~=rt Adler Michael Commons -Psychoacoustician The names of these days as written in the the original version of calendar YEAR by the pcet and. drummer Angus MacLise . NO PHOTOGRAPHS OR SOUND RECORDINGS PERMITTED . P R 0 G R A M N 0 T E S Ornamental Lightyears Tracery The Projections form part of a series of light works designed for live Performance on three or more slide projectors . The series contains numerous black and white negative and positive photographs of modular sections of several closely related designs . Each slide mount holds a photograph and a combination of colored gals . -
Mandy Diss Post-Defense Word
Silencing the Cell Block: The Making of Modern Prison Policy in North Carolina and the Nation by Amanda Bell Hughett Department of History Duke University Date: July 7, 2017 Approved: ___________________________ Nancy MacLean, Supervisor ___________________________ Laura F. Edwards ___________________________ Edward Balleisen ___________________________ Christopher W. Schmidt ___________________________ Heather Ann Thompson Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of Duke University 2017 ABSTRACT Silencing the Cell Block: The Making of Modern Prison Policy in North Carolina and the Nation by Amanda Bell Hughett Department of History Duke University Date: July 7, 2017 Approved: ___________________________ Nancy MacLean, Supervisor ___________________________ Laura F. Edwards ___________________________ Edward Balleisen ___________________________ Christopher W. Schmidt ___________________________ Heather Ann Thompson An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of Duke University 2017 Copyright by Amanda Bell Hughett 2017 Abstract “Silencing the Cell Block” examines the relationship between imprisoned activists and civil liberties lawyers from the 1960s to the present in order to solve a puzzle central to the United States’ peculiar criminal justice system: Why do American prisons, despite affording -
Naked Racism,’ Kwanzaa: Port N.C
www.mississippilink.com Vol. 19, No. 11 JaNuary 3 - 9, 2013 50¢ Citing ‘naked racism,’ Kwanzaa: Port N.C. Governor Bev Perdue Gibson celebrates pardons Wilmington Ten in grand style by Cash Michaels Special to the NNPA RALEIGH, N.C. - In what civil rights leaders across the nation are calling a significant moment in the civil rights movement, North Carolina Gov. Beverly Perdue has granted individual pardons of ac- tual innocence to all members of the Wilmington Ten. “I have decided to grant these pardons because the more facts I have learned about the Wilm- ington Ten, the more appalled I have become about the manner in which their convictions were obtained,” Perdue said in her Dec. 31 statement. A Democrat, Perdue will leave office Jan. 5. “Justice demands that this stain finally be removed. The process in which this case was tried was fundamentally flawed. Therefore, North Carolina Gov. beverly Perdue signing Wilmington Ten pardons as governor, I am issuing these pardons of innocence to right this At the Port Gibson Kwanzaa celebration were (L-R) Dr. Demitri Mar- longstanding wrong.” shall, Jackson City Councilman Chokwe Lumumba, Norrell and Dr. The Wilmington Ten - nine Anderson and daughter. PHOTO by J. K. DOMATOb black males and one white fe- male - were activists who, along by Dr. Jerry Komia Domatob NIA which means purpose. Our with hundreds of black students in Contributing Writer collective purpose must be total the New Hanover County Public liberation of our people and the School System, protested rampant Unlike some communities liberation of the world,” he said. -
The Berkeley Poetry Conference
THE BERKELEY POETRY CONFERENCE ENTRY FROM WIKIPEDIA: http://en.wikipedia.org/wiki/Berkeley_Poetry_Conference Leaders of what had at this time had been termed a revolution in poetry presented their views and the poems in seminars, lectures, individual readings, and group readings at California Hall on the Berkeley Campus of the University of California during July 12-24, 1965. The conference was organized through the University of California Extension Programs. The advisory committee consisted of Thomas Parkinson, Professor of English at U.C. Berkeley, Donald M. Allen, West Coast Editor of Grove Press, Robert Duncan, Poet, and Richard Baker, Program Coordinator. The roster of scheduled poets consisted of: Robin Blaser, Robert Creeley, Richard Durerden, Robert Duncan, Allen Ginsberg, Leroi Jones (Amiri Baraka), Joanne Kyger, Ron Lowewinson, Charles Olson, Gary Snyder, Jack Spicer, George Stanley, Lew Welch, and John Wieners. Leroi Jones (Amiri Baraka) did not participate; Ed Dorn was pressed into service. Seminars: Gary Snyder, July 12-16; Robert Duncan, July 12-16; LeRoi Jones (scheduled), July 19-23; Charles Olson, July 19-23. Readings (8-9:30 pm) New Poets, July 12; Gary Snyder, July 13; John Wieners, July14; Jack Spicer, July 15; Robert Duncan, July 16; Robin Blaser, George Stanley and Richard Duerden, July 17 New Poets, July 19; Robert Creeley, July 20; Allen Ginsberg, July 21; LeRoi Jones, July 22; Charles Olson, July 23; Ron Loewinsohn, Joanne Kyger and Lew Welch, July 24 Lectures: July 13, Robert Duncan, “Psyche-Myth and the Moment of Truth” July 14, Jack Spicer, “Poetry and Politics” July 16, Gary Snyder, “Poetry and the Primitive” July 20, Charles Olson, “Causal Mythology” July 21, Ed Dorn, “The Poet, the People, the Spirit” July 22, Allen Ginsberg, “What's Happening on Earth” July 23, Robert Creeley, “Sense of Measure” Readings: Gary Snyder, July 13, introduced by Thomas Parkinson. -
Kunsthalle Bern Is Jutta Koether's First Major Solo Exhibition in Switzerland, Showing an Extensive Selection of Her Work Since the Mid-Eighties for the First Time
Jutta Koether Änderungen aller Art 20 January – 11 March 2007 press release Jutta Koether is one of the central figures in contemporary painting. Yet she is more than just a painter. She is also a performance artist, musician, writer and theoretician. Her role as an artist was long reduced to being regarded as a feminist response to the Cologne scene of the late 1980s. With her translucent color fields, the gestural brush stroke, drawings of female bodies and the lyrical appropriation of poetry and art history, she frequently seems to assume positions in contrast to artists such as Martin Kippenberger, Sigmar Polke and Albert Oehlen. As critic and editor of the music and pop culture magazine Spex and as performance artist and musician, however, Koether did not fit the typical image of the art scene of that time. Since the start of her artistic career Jutta Koether has sought to make expansion her program. At the same time, it has always been important to her not to take an unequivocal role as an artist, but always to work from several positions. Since coming to New York in the 1990s, she moves in an expanded field of experiment and improvisation, literature and theory in the New York scene. Cooperation with musicians like Tom Verlaine (Television) or Kim Gordon (Sonic Youth) often provides her with more important inspiration than the work of other visual artists. It is specifically through these apparent detours and alternative forms of energy that she has created a kind of free space for herself, which enables a reevaluation of the medium of painting and its potential that is so urgently needed in today's situation. -
Peoples Temple Miscellany, 1951-2013, MS 4126
http://oac.cdlib.org/findaid/ark:/13030/kt9j49s3fd No online items Finding aid to Peoples Temple miscellany, 1951-2013, MS 4126 Finding aid prepared by Frances Wratten Kaplan California Historical Society 2011 678 Mission Street San Francisco, CA 94105 [email protected] URL: http://californiahistoricalsociety.org/ Finding aid to Peoples Temple MS 4126 1 miscellany, 1951-2013, MS 4126 Contributing Institution: California Historical Society Title: Peoples Temple miscellany Identifier/Call Number: MS 4126 Physical Description: 17.0 boxes Date (inclusive): 1951-2013 Collection is stored onsite. Language of Material: Collection materials are in English. Abstract: Peoples Temple miscellany consists of miscellaneous materials about Peoples Temple arranged by California Historical Society staff into a single, ongoing collection. Acquired at different times from a variety of donors, materials in the collection include correspondence, notes, scrapbooks, journals, clippings, publications, audio recordings, realia and television documentaries about Peoples Temple and Jonestown, its agricultural mission in Guyana. Access Collection is open for research. Publication Rights All requests to reproduce, publish, quote from or otherwise use collection materials must be submitted in writing to the Director of the Library and Archives, North Baker Research Library, California Historical Society, 678 Mission Street, San Francisco, CA 94105. Consent is given on behalf of the California Historical Society as the owner of the physical items and is not intended to include or imply permission from the copyright owner. Such permission must be obtained from the copyright owner. Restrictions also apply to digital representations of the original materials. Use of digital files is restricted to research and educational purposes. Preferred Citation [Identification of item], Peoples Temple miscellany, MS 4126, California Historical Society Separated Materials Photographs have been removed and transferred to Photographs from Peoples Temple miscellany, 1966-1978, MSP 4126. -
James S. Jaffe Rare Books Llc
JAMES S. JAFFE RARE BOOKS LLC P. O. Box 930 Deep River, CT 06417 Tel: 212-988-8042 Email: [email protected] Website: www.jamesjaffe.com Member Antiquarian Booksellers Association of America / International League of Antiquarian Booksellers All items are offered subject to prior sale. Libraries will be billed to suit their budgets. Digital images are available upon request. [ANTHOLOGY] JOYCE, James. Contact Collection of Contemporary Writers. (Edited by Robert McAlmon). 8vo, original printed wrappers. (Paris: Contact Editions Three Mountains Press, 1925). First edition, published jointly by McAlmon’s Contact Editions and William Bird’s Three Mountains Press. One of 300 copies printed in Dijon by Darantiere, who printed Joyce’s Ulysses. Slocum & Cahoon B7. With contributions by Djuna Barnes, Bryher, Mary Butts, Norman Douglas, Havelock Ellis, Ford Madox Ford, Wallace Gould, Ernest Hemingway, Marsden Hartley, H. D., John Herrman, Joyce, Mina Loy, Robert McAlmon, Ezra Pound, Dorothy Richardson, May Sinclair, Edith Sitwell, Gertrude Stein and William Carlos Williams. Includes Joyce’s “Work In Progress” from Finnegans Wake; Hemingway’s “Soldiers Home”, which first appeared in the American edition of In Our Time, Hanneman B3; and William Carlos Williams’ essay on Marianne Moore, Wallace B8. Front outer hinge cleanly split half- way up the book, not affecting integrity of the binding; bottom of spine slightly chipped, otherwise a bright clean copy. $2,250.00 BERRIGAN, Ted. The Sonnets. 4to, original pictorial wrappers, rebound in navy blue cloth with a red plastic title-label on spine. N. Y.: Published by Lorenz & Ellen Gude, 1964. First edition. Limited to 300 copies. A curious copy, one of Berrigan’s retained copies, presumably bound at his direction, and originally intended for Berrigan’s close friend and editor of this book, the poet Ron Padgett.