2018-2019 Annual Report
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Proceedings 2012
TABLE OF CONTENTS Introduction iv Beacon 2012 Sponsors v Conference Program vi Outstanding Papers by Panel 1 SESSION I POLITICAL SCIENCE 2 Alison Conrad “Negative Political Advertising and the American Electorate” Mentor: Prof. Elaine Torda Orange County Community College EDUCATION 10 Michele Granitz “Non-Traditional Women of a Local Community College” Mentor: Dr. Bahar Diken Reading Area Community College INTERDISCIPLINARY STUDIES 18 Brogan Murphy “The Missing Link in the Puzzling Autism Epidemic: The Effect of the Internet on the Social Impact Equation” Mentor: Prof. Shweta Sen Montgomery College HISTORY 31 Megan G. Willmes “The People’s History vs. Company Profit: Mine Wars in West Virginia, the Battle of Blair Mountain, and the Ongoing Fight for Historical Preservation” Mentor: Dr. Joyce Brotton Northern Virginia Community College COMMUNICATIONS I: POPULAR CULTURE 37 Cristiana Lombardo “Parent-Child Relationships in the Wicked Child Sub-Genre of Horror Movies” Mentor: Dr. Mira Sakrajda Westchester Community College ALLIED HEALTH AND NURSING 46 Ana Sicilia “Alpha 1 Anti-Trypsin Deficiency Lung Disease Awareness and Latest Treatments” Mentor: Dr. Amy Ceconi Bergen Community College i TABLE OF CONTENTS (CONTINUED) SESSION II PSYCHOLOGY 50 Stacy Beaty “The Effect of Education and Stress Reduction Programs on Feelings of Control and Positive Lifestyle Changes in Cancer Patients and Survivors” Mentor: Dr. Gina Turner and Dr. Sharon Lee-Bond Northampton Community College THE ARTS 60 Angelica Klein “The Art of Remembering: War Memorials Past and Present” Mentor: Prof. Robert Bunkin Borough of Manhattan Community College NATURAL AND PHYSICAL SCIENCES 76 Fiorella Villar “Characterization of the Tissue Distribution of the Three Splicing Variants of LAMP-2” Mentor: Prof. -
Rickey, George CV 08 08 19
Marlborough GEORGE RICKEY 1907— Born in South Bend, Indiana 2002— Died in Saint Paul, Minnesota on July 17, 2002 EDUCATION 1929— BA, Modern History, Balliol College, Oxford, England Académie L’hôte and Académie Moderne, Paris, France (through 1930) 1941— MA, Modern History, Balliol College, Oxford, England 1945— Institute of Fine Arts, New York University, New York, New York (through 1946) 1947— Studied etching under Mauricio Lasansky, University of Iowa, Iowa City, Iowa 1948— Institute of Design, Chicago, Illinois (through 1950) SOLO EXHIBITIONS 2017— George Rickey: Sculpture from the Estate, Marlborough Fine Art, London, United Kingdom 2016— George Rickey: Selected Works from the Estate 1954-2000, Marlborough Gallery, New York, New York 2015— George Rickey: Esculturas, Galeria Marlborough, Barcelona, Spain 2013— George Rickey - Sculpture from the Estate, Marlborough Gallery, New York, New York 2012— George Rickey, Galerie Michael Haas, Berlin, Germany 2011— The Art of a Kinetic Sculptor, Sculpture in the Streets, Albany, New York (through 2012) George RickeyGalerie Michael Haas, Berlin, Germany Marlborough George Rickey Indoor/Outdoor, Maxwell Davidson Gallery, New York, NY 2010— George Rickey: Important Works from the Estate, Marlborough Chelsea, New York, New York 2009— George Rickey: An Evolution, Arts Council, Cultural Development Commission and the City of Indianapolis, Indianapolis, Indiana A Life in Art: Works by George Rickey, Indianapolis Art Center, Indianapolis, Indiana Innovation: George Rickey Kinetic Sculpture, a series -
06.04.2019–11.08.2019, ZKM Atrium 1+2 Negative Space Trajectories Of
06.04.2019–11.08.2019, ZKM Atrium 1+2 Negative Space Trajectories of Sculpture February 2019 Negative Space The last exhibition, which dealt comprehensively with the question Trajectories of Sculpture “What is modern sculpture?”, took place in 1986 at the Centre Georges Pompidou in Paris under the title »”Qu'est-ce que la sculp- Duration of exhibition ture moderne?”. The exhibition Negative Space at ZKM | Karlsruhe 06.04.–11.08.2019 picks up the spear where the Centre Pompidou dropped it. Location ZKM Atrium 1+2 Since antiquity, the history of Western sculpture has been closely Press preview linked to the idea of the body. Whether carved, modeled or cast, Thur, 04.04.2019, 11 am statues have been designed for centuries as solid monoliths – as Opening Fri, 05.04.2019, 7 pm., ZKM Foyer substantial and self-contained entities, as more or less powerful and weighty positive formations in space. Our expectations con- Press contact cerning modern or contemporary sculpture are still essentially driv- Regina Hock en by the concept of body sculpture, which is formally based on Press officer Tel: 0721 / 8100 – 1821 the three essential categories of mass, unbroken volume, and grav- ity. Whether body-related like Auguste Rodin's or abstract like E-Mail: [email protected] www.zkm.de/presse Richard Serra's, sculpture is still and foremost mass, volume, and gravity. ZKM | Center for Art and Media Karlsruhe Lorenzstraße 19 76135 Karlsruhe The exhibition Negative Space endeavors to change the dominat- ing view of modern and contemporary sculpture by telling a differ- Founders of the ZKM ent story. -
The Use of the Arthurian Legend by the Pre-Raphaelites
University of Colorado, Boulder CU Scholar University Libraries Digitized Theses 189x-20xx University Libraries Summer 6-1-1905 The seU of the Arthurian Legend Matilda Krebs University of Colorado Boulder Follow this and additional works at: http://scholar.colorado.edu/print_theses Recommended Citation Krebs, Matilda, "The sU e of the Arthurian Legend" (1905). University Libraries Digitized Theses 189x-20xx. 2. http://scholar.colorado.edu/print_theses/2 This Dissertation is brought to you for free and open access by University Libraries at CU Scholar. It has been accepted for inclusion in University Libraries Digitized Theses 189x-20xx by an authorized administrator of CU Scholar. For more information, please contact [email protected]. University Archives THE USE OF THE ARTHURIAN LEGEND BY THE PRE-RAPHAELITES A THESIS PRESENTED TO THE FACULTY OF THE UNIVERSITY OF COLORADO BY MATILDA KREBS A Candidate for the Degree of Master of Arts BOULDER, COLORADO JUNE, 1905 PREFACE. The following pages are the result of many happy hours spent in the library, in an earnest endeavor to become better acquainted with Truth and Beauty. The author does not pose as a critic for she has little knowledge of literary art either theoretical or practical, and none of pic- torial. Should this self-imposed task prove to be of even the slightest benefit to other students, the pleasure to the writer would be multiplied many fold. M ATILDA KREBS. OUTLINE OF THESIS. I. The Arthuriad. 1. The origin of the Arthuriad. 2. Development of the Arthuriad. 3. Use of the Arthuriad by early writers. 4. Revival of interest in the Arthuriad through Rossetti's “ King Arthur's Tomb.” II. -
Adventuring with Books: a Booklist for Pre-K-Grade 6. the NCTE Booklist
DOCUMENT RESUME ED 311 453 CS 212 097 AUTHOR Jett-Simpson, Mary, Ed. TITLE Adventuring with Books: A Booklist for Pre-K-Grade 6. Ninth Edition. The NCTE Booklist Series. INSTITUTION National Council of Teachers of English, Urbana, Ill. REPORT NO ISBN-0-8141-0078-3 PUB DATE 89 NOTE 570p.; Prepared by the Committee on the Elementary School Booklist of the National Council of Teachers of English. For earlier edition, see ED 264 588. AVAILABLE FROMNational Council of Teachers of English, 1111 Kenyon Rd., Urbana, IL 61801 (Stock No. 00783-3020; $12.95 member, $16.50 nonmember). PUB TYPE Books (010) -- Reference Materials - Bibliographies (131) EDRS PRICE MF02/PC23 Plus Postage. DESCRIPTORS Annotated Bibliographies; Art; Athletics; Biographies; *Books; *Childress Literature; Elementary Education; Fantasy; Fiction; Nonfiction; Poetry; Preschool Education; *Reading Materials; Recreational Reading; Sciences; Social Studies IDENTIFIERS Historical Fiction; *Trade Books ABSTRACT Intended to provide teachers with a list of recently published books recommended for children, this annotated booklist cites titles of children's trade books selected for their literary and artistic quality. The annotations in the booklist include a critical statement about each book as well as a brief description of the content, and--where appropriate--information about quality and composition of illustrations. Some 1,800 titles are included in this publication; they were selected from approximately 8,000 children's books published in the United States between 1985 and 1989 and are divided into the following categories: (1) books for babies and toddlers, (2) basic concept books, (3) wordless picture books, (4) language and reading, (5) poetry. (6) classics, (7) traditional literature, (8) fantasy,(9) science fiction, (10) contemporary realistic fiction, (11) historical fiction, (12) biography, (13) social studies, (14) science and mathematics, (15) fine arts, (16) crafts and hobbies, (17) sports and games, and (18) holidays. -
Oral History Interview with George Rickey, 1965 July 17
Oral history interview with George Rickey, 1965 July 17 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with George Rickey on July 17, 1965. The interview took place in East Chatham, NY, and was conducted by Joseph Trovato for the Archives of American Art, Smithsonian Institution. Interview JOSEPH TROVATO: This interview with Mr. George Rickey is taking place at his house in East Chatham, New York July 17, 1965. Before going into the subject of the post office mural which you did on the Project and your experiences of the thirties, I want us to have on this record a resume of your background, so I'll ask you first of all, Mr. Rickey, where were you born? GEORGE RICKEY: I was born in South Bend, Indiana in 1907. JOSEPH TROVATO: Now we know of your considerable accomplishment in the field on kinetic sculpture and so I would like to ask you how did you prepare yourself for all of this? Where did you study? GEORGE RICKEY: Of course I didn't prepare myself for the kind of thing I do now with any anticipation of it because the sculpture that I make now was undreamed of when I was a student. I was taken to Europe when I was only five years old and grew up there. -
20 Recent Sculptures Will Be Shipped to England
/(To THE MUSEUM OF MODERN ART 11 WEST 53 STREET. NEW YORK 19. N. Y. & g^ TELEPHONE: CIRCLE 5-8900 Thursday, April h, I963 Twenty recent sculptures selected by the Museum of Modern Art, New York, will be shipped to England on April 12 at the request of the London County Council for the famovs open-air exhibition in Battersea Park, The invitation from the London County Council marks the first time that another country has been invited to participate on such a large scale in this official municipal show which has been held every three years since 19^8. The exhibition will be on view from the middle of May through the summer. The United States representation is being sent under the auspices of the International Council of the Museum of Modern Art. As only works suitable for outdoor exhibition could be chosen, the selection is not a complete survey. The great variety of new forms, new techniques and materials and range of expression which characterizes recent American sculpture is, however, clearly indicated. Work ranges from a life-size bronze cast of a man by Leonard Baekin to a sculpture of welded auto metal by Jason Seley and includes carved wood by Raoul Hague, fired clay by Peter Voulkos, a sheet steel stabile by Alexander Calder and a kinetic or moving sculpture by George Rickey. With the exception of a 1^9 copper sculpture by Jose" de Rivera, all the work dates from the 60s. Reuben Nakian i9 represented by a seven foot high bronze, Herbert Ferberrs copper sculpture is almost eight feet high and David Smith's steel piece is almost flina feet high* Other artists whose work is being sent are: Seymour Lipton, Peter Agostini, Harry Bertoia, John Chamberlain, Joseph Goto, Dimitri Hadzi, Philip Pavia, James Rosati, Julius Schmidt and Richard Stankiewicz. -
Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915
Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915 Kimberly E. Hereford A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: Susan Casteras, Chair Paul Berger Stuart Lingo Program Authorized to Offer Degree: Art History ©Copyright 2015 Kimberly E. Hereford ii University of Washington Abstract Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915 Kimberly E. Hereford Chair of the Supervisory Committee: Professor Susan Casteras Art History This dissertation examines representations in art of the Victorian woman in “altered states.” Though characterized in Victorian art in a number of ways, women are most commonly stereotyped as physically listless and mentally vacuous. The images examined show the Victorian female in a languid and at times reclining or supine pose in these representations. In addition, her demeanor implies both emotional and physical depletion, and there is both a pronounced abandonment of the physical and a collapsing effect, as if all mental faculties are withdrawing inward. Each chapter is dedicated to examining one of these distinct but interrelated types of femininity that flourished throughout British and American art from c. 1850 to c. 1910. The chapters for this dissertation are organized sequentially to demonstrate a selected progression of various states of consciousness, from the most obvious (the sleeping woman) to iii the more nuanced (the female Aesthete and the female medium). In each chapter, there is the visual perception of the Victorian woman as having access to otherworldly conditions of one form or another. -
Richard Kostelanetz
Other Works by Richard Kostelanetz Fifty Untitled Constructivst Fictions (1991); Constructs Five (1991); Books Authored Flipping (1991); Constructs Six (1991); Two Intervals (1991); Parallel Intervals (1991) The Theatre of Mixed Means (1968); Master Minds (1969); Visual Lan guage (1970); In the Beginning (1971); The End of Intelligent Writing (1974); I Articulations/Short Fictions (1974); Recyclings, Volume One (1974); Openings & Closings (1975); Portraits from Memory (1975); Audiotapes Constructs (1975); Numbers: Poems & Stories (1975); Modulations/ Extrapolate/Come Here (1975); Illuminations (1977); One Night Stood Experimental Prose (1976); Openings & Closings (1976); Foreshortenings (1977); Word sand (1978); ConstructsTwo (1978); “The End” Appendix/ & Other Stories (1977); Praying to the Lord (1977, 1981); Asdescent/ “The End” Essentials (1979); Twenties in the Sixties (1979); And So Forth Anacatabasis (1978); Invocations (1981); Seductions (1981); The Gos (1979); More Short Fictions (1980); Metamorphosis in the Arts (1980); pels/Die Evangelien (1982); Relationships (1983); The Eight Nights of The Old Poetries and the New (19 81); Reincarnations (1981); Autobiogra Hanukah (1983);Two German Horspiel (1983);New York City (1984); phies (1981); Arenas/Fields/Pitches/Turfs (1982); Epiphanies (1983); ASpecial Time (1985); Le Bateau Ivre/The Drunken Boat (1986); Resume American Imaginations (1983); Recyclings (1984); Autobiographicn New (1988); Onomatopoeia (1988); Carnival of the Animals (1988); Ameri York Berlin (1986); The Old Fictions -
David Smith's Equivalence Michael Schreyach Trinity University, [email protected]
Trinity University Digital Commons @ Trinity Art and Art History Faculty Research Art and Art History Department 2007 David Smith's Equivalence Michael Schreyach Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/art_faculty Part of the History of Art, Architecture, and Archaeology Commons Repository Citation Michael Schreyach, “David Smith’s Equivalence” in The Frederick R. Weisman Art Foundation Collection (Los Angeles, 2007): 212-13. This Contribution to Book is brought to you for free and open access by the Art and Art History Department at Digital Commons @ Trinity. It has been accepted for inclusion in Art and Art History Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. David Smith Ame1ican, 1906-1965 Attists of David Smith's generation often sought to produce artworks that challenged the conven tions of artistic "expression" and the expectations-technical, formal, psychological, interpreta tive-that accompanied them. Smith (like his contempormies Stumt Davis, Willem de Kooning, and Arshile Gorky) was one of a group of artists whose formal innovations were guided both by a desire to align themselves with avant-garde art and by a pressing need to distance themselves from European affiliation.In Barnett Newman's words, these aitists wanted to liberate themselves from "the impediments ... of Western European painting" in order to "create images whose reality is self-evident and which are devoid of the props and crutches" of European culture.1 A technical innovator, among other things, Smith would eventually become one of the first American mtists to use welding as an art form in the 1930s. -
British Canvas, Stretcher and Panel Suppliers' Marks. Part 8, Charles
British canvas, stretcher and panel suppliers’ marks. Part 8, Charles Roberson & Co This resource surveys suppliers’ marks on the reverse of picture supports. This part is devoted to Charles Roberson, a business founded in 1819 and which grew to become one of the leading companies as Charles Roberson & Co from 1855 and Charles Roberson & Co Ltd from 1908 until 1987. The business was a significant supplier of canvas from about the 1820s until the 1980s. For further information, see British artists' suppliers, 1650-1950 - R on this website. The Roberson archive is housed at the Hamilton Kerr Institute, University of Cambridge. Measurements of marks, given where known, are approximate and may vary according to the stretching or later conservation treatment of a canvas or the trimming of a label. Links are given to institutional websites where dimensions of works can be found. Business dates and addresses are usually accurate to within a year. Square brackets are used to indicate indistinct or missing lettering in transcripts, with readings sometimes based on other examples. Compiled by Jacob Simon, September 2017, updated March 2020, and based on the pioneering work of Cathy Proudlove and the suppliers’ database created by Jacob Simon. With thanks to Dr Joyce Townsend for providing information on paintings in Tate, to Nicola Costaras at the Victoria and Albert Museum, to John Payne, National Gallery of Victoria, Melbourne, and to Sally Woodcock at the Hamilton Kerr Institute, University of Cambridge. Arranged in twelve numbered sections according to address, business designation and type of mark, with two appendices. Work details Mark transcripts Product marks (not to uniform scale) 1. -
Le Portrait Dela Femme Fatale Dans L'œuvre De Frederick Sandys
L’Atelier 8.2 (2016) La séduction de l’image 1 L E PORTRAIT DE LA FEMME FATALE DANS L ' ŒUVRE DE F REDERICK SANDYS : ENTRE SÉDUCTION ET SIDÉRATION VIRGINIE THOMAS Lycée Champollion (CPGE) 1. Au XIXe siècle, la société victorienne fut caractérisée par une approche dichotomique de la fé- minité symbolisée, par exemple, par l’opposition entre « The True and the False », qui fut le pre- mier titre donné à Idylls of the King (1859-1885) du poète lauréat Lord Alfred Tennyson. Cette ap- proche dichotomique fut un moyen pour la société victorienne d’essayer de catégoriser un être ca- pable à la fois d’incarner la pureté maternelle mais également la tentation de la chair. À cette époque, de nombreux peintres se concentrèrent sur la représentation du corps féminin et de son pou- voir de séduction, une thématique qui inspira tout particulièrement Frederick Sandys, au même titre que d’autres peintres plus célèbres de l’époque tel Dante Gabriel Rossetti1. 2. Frederick Sandys naquit en 1829 à Norwich. Avant de faire ses armes à la Norwich School of Design, il reçut de son père, qui était lui-même portraitiste, ses premiers rudiments en peinture. Dans les années 1850, Sandys décida de partir pour Londres. En mai 1857, il exposa une toile inti- tulée The Nightmare, qui était une parodie d’un tableau réalisé par John Everett Millais, un membre de la Confrérie Préraphaélite. Cette œuvre attira l’attention des Préraphaélites qui acceptèrent San- dys comme membre associé au début des années 1860. En 1868, une de ses toiles, Medea fut rejetée par la Royal Academy car elle fut jugée beaucoup trop choquante pour les mœurs victoriennes.