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Mapping Robert Storr
Mapping Robert Storr Author Storr, Robert Date 1994 Publisher The Museum of Modern Art: Distributed by H.N. Abrams ISBN 0870701215, 0810961407 Exhibition URL www.moma.org/calendar/exhibitions/436 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art bk 99 £ 05?'^ £ t***>rij tuin .' tTTTTl.l-H7—1 gm*: \KN^ ( Ciji rsjn rr &n^ u *Trr» 4 ^ 4 figS w A £ MoMA Mapping Robert Storr THE MUSEUM OF MODERN ART, NEW YORK DISTRIBUTED BY HARRY N. ABRAMS, INC., NEW YORK (4 refuse Published in conjunction with the exhibition Mappingat The Museum of Modern Art, New York, October 6— tfoti h December 20, 1994, organized by Robert Storr, Curator, Department of Painting and Sculpture The exhibition is supported by AT&TNEW ART/NEW VISIONS. Additional funding is provided by the Contemporary Exhibition Fund of The Museum of Modern Art, established with gifts from Lily Auchincloss, Agnes Gund and Daniel Shapiro, and Mr. and Mrs. Ronald S. Lauder. This publication is supported in part by a grant from The Junior Associates of The Museum of Modern Art. Produced by the Department of Publications The Museum of Modern Art, New York Osa Brown, Director of Publications Edited by Alexandra Bonfante-Warren Designed by Jean Garrett Production by Marc Sapir Printed by Hull Printing Bound by Mueller Trade Bindery Copyright © 1994 by The Museum of Modern Art, New York Certain illustrations are covered by claims to copyright cited in the Photograph Credits. -
Radical Empiricist Poetics in the New York School and Beyond by Maude
Radical Empiricist Poetics in the New York School and Beyond by Maude Chanson Emerson A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Charles Altieri, Chair Professor Eric Falci Professor John Campbell Spring 2017 ! Abstract Radical Empiricist Poetics in the New York School and Beyond by Maude Chanson Emerson Doctor of Philosophy in English University of California, Berkeley Professor Charles Altieri, Chair This dissertation contends that the first-generation New York School poets—especially John Ashbery, Frank O’Hara, and James Schuyler—develop the aesthetic possibilities of the philosophical stance that William James called “radical empiricism.” James followed the British empiricists in granting priority to parts, individuals, and unanalyzed sensations, but he radicalized the empiricist perspective by holding experiences of cohesion and relation to be as real as those of disjunction and discrete sensation. Schuyler, Ashbery, and O’Hara each practice an empiricist poetics: a poetics of the everyday, the felt, and the miscellaneous. At the same time, their poetries pose challenges to the conceptions of experience on which empiricism historically has been based, from the presumption of a unified experiencing subject to the relegation of sensation and abstraction to separate orders of reality. I argue that these challenges should not be seen as a denial of experience, as some postmodernist readings of New York School poetry allege, but as part of a careful and critical commitment to experience. As radical empiricists, these poets understand experience not as an inward phenomenon but as a field in which inner and outer are merely potential and constantly shifting divisions. -
Radical Empiricist Poetics in the New York School and Beyond
Radical Empiricist Poetics in the New York School and Beyond by Maude Chanson Emerson A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Charles Altieri, Chair Professor Eric Falci Professor John Campbell Spring 2017 ! Abstract Radical Empiricist Poetics in the New York School and Beyond by Maude Chanson Emerson Doctor of Philosophy in English University of California, Berkeley Professor Charles Altieri, Chair This dissertation contends that the first-generation New York School poets—especially John Ashbery, Frank O’Hara, and James Schuyler—develop the aesthetic possibilities of the philosophical stance that William James called “radical empiricism.” James followed the British empiricists in granting priority to parts, individuals, and unanalyzed sensations, but he radicalized the empiricist perspective by holding experiences of cohesion and relation to be as real as those of disjunction and discrete sensation. Schuyler, Ashbery, and O’Hara each practice an empiricist poetics: a poetics of the everyday, the felt, and the miscellaneous. At the same time, their poetries pose challenges to the conceptions of experience on which empiricism historically has been based, from the presumption of a unified experiencing subject to the relegation of sensation and abstraction to separate orders of reality. I argue that these challenges should not be seen as a denial of experience, as some postmodernist readings of New York School poetry allege, but as part of a careful and critical commitment to experience. As radical empiricists, these poets understand experience not as an inward phenomenon but as a field in which inner and outer are merely potential and constantly shifting divisions. -
New and Old Forms in the Aspern Papers by Henry James
found that-Miss 'tHiI- (for such the name of this high tre1T5O little are';~,omen 'to be count it as a triumph, but only for Ihe"editor, (in the ·~ous ,spinster pr?ved somewhat incongruously to be) ha~ i a despondent view of il.1lysisl, not for the man, who had <1ot the tradition of, IOsatlable appetlte for them, When I speak of my SUit I pretended to have the,l conquest. When I went back on the morrow the little: won I mean that before I left her she had promised that sl that r had a distinct pre":rvant conducted me strai~ht thrNlgh the long sala: would refer the question to her aunt. I inquired who h Upon this Mrs. PresLned there as befqre in perfect puspective and was ,aunt m.ight be and she answered, "Why. Miss Borderearnur head! You fancy you now which I thought a good omen) into the apart ed with an air of surprise, as if I might have Deen expected 3. quarter of an hour thaLom ';"'hich the recipient of my form0r visit had em.erg know, There were contradictions like this in Tita Bordereican be denended upon lOt oc('asion. It was a large shabby oar!our, with a 'fine' which, as I observed later, contributed to make her an o(~in)I<:)U'lI count it as a nted ceiling and a strange figure ~itting alone at one, and affecting person, It was the study of the two ladies t('the idea into mv h'~f the windows, They come back to me now almost with the' live so that the world should not ,t~uch them. -
Sol Rising Issue
December 2008 FREE Sol Rising is a free publi- SOL RISING cation of the Friends of the Merril Collection sup- ported by your donations. The Newsletter of The Friends of the Merril Collection of Science Fiction, Speculation Want to donate? Check and Fantasy out the back page for more information. SOL RISING “Knot after Knot” – Friends of the Merril Collection Andreas Eschbach Reads Number 39, December 2008 Inside from The Carpet Makers Articles 1 “Knot after Knot” - Andreas Eschbach Reads from The Carpet Makers 2 The World Fantasy Convention in Calgary 5 Les Klinger at the Merril 6 Another Exciting Year of Events at the Merril 8 Notable Acquisitions at the Merril Collection in 2008 9 In Memorium: Michael Crichton 11 Selling Fleas (Well, Not Really) at TRL Info Bits 3 Donations 3 Merril Events and German author Andreas Eschbach made a rare North American appearance in Volunteering September at a reading sponsored jointly by the Goethe-Institut Toronto, the 12 Membership and Renewal Friends of the Merril Collection and Toronto Public Library. Photo courtesy of Marianne Eschbach By Mary Armstrong Reach Us Friends of the Merril Collection, ndreas Eschbach, acclaimed author of The Carpet Makers, gave a reading c/o Lillian H.Smith Branch, TPL, at the Beeton Auditorium of the Toronto Reference Library in the 239 College St. 3rd Floor, Toronto, evening of September 26, 2008. The Carpet Makers, his first published Ontario, M5T 1R5 A http://www.torontopubliclibrary.ca/ - continued on page 4 uni_spe_mer_index.jsp www.friendsofmerril.org/ Call for Submissions! Contact Sabrina ([email protected]) if you wish to submit articles, essays or art pieces. -
“Just What Was It That Made U.S. Art So Different, So Appealing?”
“JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig. -
CRIT 150 (Spring 2018) Histories of Art, Design, and Visual Culture
CRIT 150 (Spring 2018) Histories of Art, Design, and Visual Culture MW 4:00-5:20 Andy Campbell [email protected] 213.743.1858 Office Hours: W 1:00-3:00pm TA: Allison Littrell ([email protected]) and by appointment IFT 113F This course is a thematic and issues-based, loosely chronological survey of art, visual culture, design, and critical theory from the early modern period through Modernism (roughly 1300 – 1959). We will privilege the interrelationship between these diverse fields, as well as interrogate the formation of these histories as “canon.” This course’s argument is that “Art” and “Design” are categories of production and experience deeply informed (and created) by the colonial and imperial projects of the Global West and North. We will bounce between lecture and discussion formats, as we seek to understand the Western canon of art and design, while also interrogating and expanding upon its limits. Every two weeks or so students will take an open-note quiz comprised of identifications and short essays to assess their progress in the course. Throughout the semester students will be introduced to the process of academic research. The two major assignments in this class focus on research (finding, synthesizing, citing). Rather than a means of arriving at a uniform output (e.g. an end-of-year paper), the goal is to deepen and improve basic research and writing skills, giving equal weight to digital and analogue methods of research— browsing both databases and shelves. This course’s content has been partially constructed by former students; for the final assignment, you will propose a course session for potential inclusion in a future version of this course. -
Dissertation (Einreichen)
DISSERTATION Titel der Dissertation Towards an Encyclopaedia as a Web of Knowledge. A Systematic Analysis of Paradigmatic Classes, Continuities, and Unifying Forces in the Work of Peter Greenaway Verfasser Mag. phil. Marc Orel angestrebter akademischer Grad Doktor der Philosophie (Dr. phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin: Ao. Univ.-Prof. Mag. Dr. Monika Seidl To my parents… TABLE OF CONTENTS Acknowledgements __________________________________________________ VI List of Abbreviations and Short Titles _____________________________________ VII Preface _________________________________________________________ VIII 1. PROLOGUE ________________________________________________ 1 1.1. Peter Greenaway: A Brief Retrospective _______________________________ 1 1.2. Classifying Greenaway’s Work _____________________________________ 17 1.3. Introducing an Encyclopaedic Approach ______________________________ 25 2. THE ENCYCLOPAEDIA ______________________________________ 62 A 62 Literature 214 Air 62 M 214 Alphabet 70 Maps 214 Anatomy 81 Mathematics 225 Animals 92 Medicine 225 Architecture 92 Myth/ology 225 B 105 N 235 Biography 105 Nudity 235 Birds 112 Numbers 246 Body 112 O 258 Books 122 Ornithology 258 C 134 P 266 Cartography 134 Plants 266 Characters 134 Pornography 266 Conspiracy 147 R 267 D 158 Religion 267 Death 158 S 279 Dissection 168 Science 279 Drowning 168 Sex/uality 279 F 169 Stories 289 Flight 169 T 290 Food 169 Taboo 290 G 181 Theology 299 Games -
Abbey, Cherie D., Ed. Biography Today: Author Series. Profil
DOCUMENT RESUME ED 434 064 SO 031 051 AUTHOR Harris, Laurie Lanzen, Ed.; Abbey, Cherie D., Ed. TITLE Biography Today: Author Series. Profiles of People of Interest to Young Readers. Volume 5, 1999. ISBN ISBN-0-7808-0372-8 PUB DATE 1999-00-00 NOTE 194p. AVAILABLE FROM Omnigraphics, Inc., 2500 Penobscot Building, Detroit, MI 48226; Tel: 800-234-1340 (Toll Free). PUB TYPE Books (010) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS *Adolescent Literature; *Authors; Biographies; Childrens Literature; Elementary Secondary Education; Language Arts; *Popular Culture; Profiles; Reading Interests; Recreational Reading; Social Studies; Student Interests; *Supplementary Reading Materials IDENTIFIERS *Biodata; *Illustrators; Writing for Children ABSTRACT As with the regular issues of "Biography Today," this special subject volume on "Authors" was created to appeal to young readers in a format they can enjoy reading and readily understand. Each volume contains alphabetically-arranged sketches. Each entry in the volume provides at least one picture of the individual profiled, and bold-faced rubrics lead readers to information on birth, youth, early memories, education, hobbies, and honors and awards. Each entry ends with a list of easily accessible sources designed to lead the student to further reading on the individual and a current address. Obituary entries are also included and clearly marked in both the table of contents and at the beginning of the entry. Ten authors are profiled in this volume:(1) Sharon Creech;(2) Michael Crichton;(3) Karen Cushman;(4) Tomie dePaola;(5) Lorraine Hansberry;(6) Karen Hesse; (7) Brian Jacques;(8) Gary Soto;(9) Richard Wright; and (10) Laurence Yep. A series of general, places of birth, and birthday indexes is included. -
Five Men and a Bride the Birth of Art “Post-Modern”
Five Men and a Bride The Birth of Art “Post-Modern” Kay Larson I erhaps all the arts are “dances” of interconnection, but the word seems especially apt when applied to the world-altering exchange between the five Partists in Dancing around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp. The Philadelphia Museum of Art organized this unusually beautiful and memorable exhibition, which opened in Cage’s centenary year (October 30, 2012–January 21, 2013); the next stop is the Barbican Art Gallery, London. The joy of watching these five creative geniuses trading insights is reward enough in itself, but in addition, this elegant grouping of carefully curated work, afloat with great conversation, has a momentous subtext, packed with questions (and some answers) as to who originated the world of the arts “post-Modern.” I think it was John Cage, for reasons I will explore here. But first a pause for clarification. I mean the term“post-Modern” to be strictly chronological. It signifies“after the Modern,” that is, after the visual art (and the discourse around it) that arose in a Western cultural context circa 1850–1950. After 1950 “Modern” began to lose its power position, a diminishment fully in effect by the mid-1960s. Since then, the term “postmodern” has been enveloped in philosophical, textual, structuralist, and other intellectual and interpretive strategies. When I refer to the “postmodern” I mean to invoke all the baggage that goes along with it. The “post- Modern” phrase is useful in a different way. It describes a factual watershed between past and present: between European and American art pre-1950, and a post-1950s internationalism that includes performance art, Fluxus, Pop Art, installation art, and a host of exotic forms unimaginable in the 1940s. -
Wallsjasper Johns and Roy Lichtenstein
WALLSJASPER JOHNS AND ROY LICHTENSTEIN 1 2 JASPER JOHNS AND ROY LICHTENSTEIN WALLSAPRIL 25 – JUNE 27 2014 CASTELLI Kenneth E. Silver WALLS: Johns, Lichtenstein, trompe l’oeil, and Art History Big abstract paintings turn out to be astonishingly easy to live with. Representational, illusionistic pictures of the same size, though presumably opening up the walls behind them, would eat up a lot more of the surrounding space; their contents have a way of coming forward as well as receding. Abstract painting, especially of the postwar American variety, tends to hold the wall more the way that Far Eastern painting does. Clement Greenberg, “A Famous Art Critic’s Collection,” Vogue (15 January 1964) In memory of Bob Rosenblum The spring before I began graduate school in art history, in 1973, I was more or less forced into a confrontation with Clement Greenberg. It took place at a party in painter Kenneth Noland’s huge loft building on the Bowery. Although I knew Ken Noland a bit through a mutual friend, Margo Greene, I had never met Greenberg. Ken and I, and one or two other people, as well as the esteemed critic, were standing in Ken’s bedroom, looking at a long horizontal stripe painting by him on the wall over the bed. “Hey Clem, did I tell you that Ken Silver’s a big Warhol fan,” Ken Noland asserted provocatively, knowing that this would ruffle his friend’s feathers and wanting to see how I would respond. “Oh yeah? You are? Tell me, then,” Greenberg asked me, “whom do you expect to care about Andy Warhol when everyone’s forgotten who Marilyn -
The Andromeda Strain
The Andromeda Strain by Michael Crichton - MonkeyNotes by PinkMonkey.com The full study guide is available for download at: http://monkeynote.stores.yahoo.net/ PinkMonkey Literature Notes on . For the complete study guide, visit: http://monkeynote.stores.yahoo.net/ Sample MonkeyNotes Note: this sample contains only excerpts and does not represent the full contents of the booknote. This will give you an idea of the format and content. The Andromeda Strain by Michael Crichton 1969 MonkeyNotes Study Guide by Shane Strate http://monkeynote.stores.yahoo.net/ Reprinted with permission from TheBestNotes.com Copyright © 2003, All Rights Reserved Distribution without the written consent of TheBestNotes.com is strictly prohibited. 1 TheBestNotes.com Copyright © 2003, All Rights Reserved. No further distribution without written consent. The Andromeda Strain by Michael Crichton - MonkeyNotes by PinkMonkey.com The full study guide is available for download at: http://monkeynote.stores.yahoo.net/ KEY LITERARY ELEMENTS SETTING The action starts out in the small town of Piedmont Arizona, which has been decimated by an unknown bacterium. Afterwards, the scene shifts to an underground government laboratory in Flat rock Nevada. The rest of the story takes place here as scientists try to unlock the mystery of the Andromeda strain. Because…… LIST OF CHARACTERS Major Characters Dr. Jeremy Stone - Dr. Stone is a Nobel prize-winning scientist and the acknowledged leader of the Project Wildfire team. In 1963, Stone wrote a letter to the President concerning the possibility of alien bacteria infecting earth aboard returning American satellites. Based on his ideas, the government organized a protocol for disinfecting all men and equipment returning from space.