DOCSLIB.ORG

THE D.A.P. INTERNATIONAL CATALOGUE SPRING 2021 MATTHEW WONG: MOBY-DICK​ POSTCARDS​ ISBN 9781949172430 ISBN 9781949172508 Hbk, U.S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE D.A.P. INTERNATIONAL CATALOGUE SPRING 2021 MATTHEW WONG: MOBY-DICK​ POSTCARDS​ ISBN 9781949172430 ISBN 9781949172508 Hbk, U.S THE D.A.P. INTERNATIONAL CATALOGUE SPRING 2021 MATTHEW WONG: MOBY-DICK POSTCARDS ISBN 9781949172430 ISBN 9781949172508 Hbk, U.S. $35.00 GBP £30.00 Clth, U.S. $35.00 GBP £30.00 Karma Books, New York Karma Books, New York Territory: WORLD Territory: WORLD ON EDWARD HICKS THE MAYOR OF LEIPZIG Installation shot from the exhibition Pastel, curated by Nicolas Party. Photograph by Hilary Pecis. ISBN 9781646570065 ISBN 9781949172478 From Pastel, published by The FLAG Art Foundation, New York. See page 124. Hbk, U.S. $35.00 GBP £30.00 Recent Releases Hbk, U.S. $20.00 GBP £17.50 Lucia|Marquand Karma Books, New York Territory: WORLD from D.A.P. Territory: WORLD Featured Releases 2 Spring Highlights 36 Photography 38 CATALOG EDITOR Thomas Evans Art 42 Design 59 DESIGNER Architecture 62 Martha Ormiston COPYWRITING Specialty Books 66 Arthur Cañedo, Thomas Evans, Emilia Copeland Titus, Madeline Weisburg Art 68 IMAGE PRODUCTION Photography 78 Joey Gonnella PRINTING Backlist Highlights 79 Short Run Press Limited TANTRA SONG ISBN 9780979956270 DANNY LYON: Hbk, U.S. $39.95 GBP £35.00 AMERICAN BLOOD Siglio ISBN 9781949172454 FRONT COVER: Emil Bisttram, Creative Forces, 1936. Oil on canvas, 36 x 27". Private collection, Courtesy Aaron Payne Fine Art, Santa Fe. From Another World: The Transcendental Painting Group, published by DelMonico Books/Crocker Art Museum. See page 4. BACK COVER: Flores & Prats, cross-section through lightwells, Cultural Centre Casal Balaguer, Palma de Mallorca. Territory: WORLD Hbk, U.S. $35.00 GBP £30.00 From Thought by Hand: The Architecture of Flores & Prats, published by Arquine. See page 62. PAGE 2: Georgia O’Keeffe, Series I—No. 3, 1918. Oil on board, 20 × 16”. Milwaukee Art Museum. Karma Books, New York Gift of Jane Bradley Pettit Foundation and the Georgia O’Keeffe Foundation. PAGE 3: Georgia O’Keeffe, Black Mesa Landscape, New Mexico / Out Back of Marie’s II, 1930. Oil on canvas. 24.5 x Territory: WORLD 36”. Georgia O’Keeffe Museum, Gift of the Burnett Foundation. PAGE 4: (Upper) Emil Bisttram, Creative Forces, 1936. Oil on canvas, 36 x 27”. Private collection, Courtesy Aaron Payne Fine Art, Santa Fe. (Lower) Raymond Jonson, Casein Tempera No. 1, 1939. Casein on canvas, 22 x 35”. Albuquerque Museum, gift of Rose Silva and Evelyn Gutierrez. PAGE 5: (Upper) The Sun, c. 1955. Oil on board, 6.2 × 5.5”. Private collection. © Estate of Leonora Carrington. PAGE 6: (Upper left) Hayao Miyazaki, [Woman] imageboard, Nausicaä of the Valley of the Wind (1984). © Studio Ghibli. (Upper right) Hayao Miyazaki, [Castle in the Sky] imageboard, Castle in the Sky (1986). © Studio Ghibli. (Lower left) [house with pink flowers] background,The Wind Rises (2013). © Studio Ghibli. (Lower right) Hayao Miyazaki, [two girls] imageboard, My Neighbor Totoro (1988). © Studio Ghibli. PAGE 7: [Large image with trees] background, Princess Mononoke (1997). © Studio Ghibli. PAGE 10: (Upper) Barbara Kruger, Untitled (Forever), 2017. Installation view in Forever. © Sprüth Magers, Berlin, 2017–18. (Lower) Barbara Kruger, photograph by Timo Ohler, courtesy of the artist THE SLEEVE SHOULD MCARTHUR BINION: and Sprüth Magers. PAGE 12: Arthur Jafa, stills from Love Is the Message, the Message Is Death, 2016. Video (color, sound), 7 minutes, 25 seconds. Courtesy the artist and Gladstone Gallery, BE ILLEGAL DNA New York and Brussels. PAGE 21: Pablo Picasso, The Blue Room, 1901. Oil on canvas, 19.8 x 24.25”. The Phillips Collection, Washington, DC. Acquired 1927. © Picasso Estate / SOCAN (2020). PAGE 22: Vittore Carpaccio (attr.), Supper at Emmaus, 1513. Oil on canvas, 107.5 x 140”. PAGE 23: Giovanni Bellini, Virgin and Child enthroned with Saints and Angels (San Giobbe altarpiece), ISBN 9781942884828 ISBN 9781942884798 c. 1480. PAGE 25: From top: installation view, Robert Morris, Green Gallery, New York, 1964. © 2020 The Estate of Robert Morris/Artists Rights Society (ARS), New York. Photo: Ugo Mulas © Hbk, U.S. $29.95 GBP £27.00 Hbk, U.S. $60.00 GBP £53.00 Ugo Mulas Heirs. All rights reserved. Dan Flavin, 1 24 64 / 1 30 64, 1964. © 2020 Stephen Flavin/Artists Rights Society (ARS), New York. Photo: Courtesy the Estate of Dan Flavin. Donald Judd, DelMonico Books/The Frick Collection DelMonico Books untitled, 1974. © 2020 Judd Foundation/Artists Rights Society (ARS), New York. Photo: David Heald, Solomon R. Guggenheim Foundation, New York. PAGE 42: (Top) Barbara Rossi, Lady Waiting Territory: WORLD Territory: WORLD for Dinner, 1983. Acrylic on masonite, 45 x 36”. Indianapolis Museum of Art at Newfields. Promised Gift of Michael J. Robertson and Christopher A. Slapak. (Bottom) Art Green,Gloveboxes , 1969. Oil on canvas, 38 x 34”. Indianapolis Museum of Art at Newfields. Promised Gift of Michael J. Robertson and Christopher A. Slapak. Georgia O’Keeffe Text by Catherine Millet, Marta Ruiz del Árbol, Ariel Plotek, Didier Ottinger. Contributions by Dale Kronkright, Susana Pérez, Andrés Sánchez Ledesma, Ubaldo Sedano, Marta Palao, Anna Hiddleston-Galloni. A visual feast of flowers, abstractions, cityscapes and landscapes from American modernism’s most iconic painter Offering a complete survey of Georgia O’Keeffe’s illustrious career, this magnificent new book ranges from the works produced between 1910 and 1920 that made her a pioneer of abstraction to her celebrated flower paintings and views of New York, which led to her recognition as one of the key figures in modern American art, and culminating with her paintings of New Mexico. The selection of color plates is accompanied by quotes from O’Keeffe on her art and additional photographic material pertaining to the paintings. The sense of reverence for the world and its forms emerges vividly through O’Keeffe’s words. “The unexplainable thing in nature that makes me feel the world is big far beyond my understanding—to understand maybe by trying to put it into form,” she writes. “To find the feeling of infinity on the horizon line or just over the next hill.” Also featured are a biography and texts by contributing curators from the venues to which the show travels, by scholars at the Georgia O’Keeffe Museum in Santa Fe and by acclaimed French art writer Catherine Millet. Georgia O’Keeffe (1887–1986) began her art training at the School of the Art Institute of Chicago and the Art Students League of New York. She moved to New York in 1918, and in 1924 married Alfred Stieglitz. From 1929, O'Keeffe began spending part of the year in the Southwest, which served as inspiration for her paintings of New Mexico landscapes. After Stieglitz's death, she lived EXHIBITION SCHEDULE: Madrid, Spain: Museo Nacional Thyssen-Bornemisza, permanently in New Mexico, in Abiquiú, later moving to Santa Fe. 04/20/21–08/08/21 D.A.P./MUSEO NACIONAL THYSSEN-BORNEMISZA Paris, France: Centre Pompidou, 09/08/21–12/06/21 ISBN 9788417173494 U.S. $65.00 GBP £57.00 Basel, Switzerland: Fondation Beyeler, Hbk, 8.75 x 11 in. / 240 pgs / 140 color / 20 b&w. 01/23/22–05/22/22 May/Art Territory: WORLD Except Spain 2 artbook.com artbook.com 3 The Tarot of Leonora Carrington Introduction by Gabriel Weisz Carrington. Text by Susan Another World: Aberth, Tere Arcq. The Transcendental Painting Group Edited with text by Michael Duncan. Text by Scott Shields, MaLin An oracular Surrealism: the debut presentation Wilson Powell, Catherine Whitney, Ilene Susan Fort, Dane Rudhyar. of Leonora Carrington’s recently discovered tarot deck Abstract painting meets theosophical spirituality in 1930s New Mexico: the first book The British-born artist Leonora Carrington is one of the more on a radical, astonishingly prescient episode in fascinating figures to emerge from the Surrealist movement. American modernism As both a writer and painter, she was championed early by André Breton and joined the exiled Surrealists in New York, before settling in Mexico in 1943. The magical themes Founded in Santa Fe and Taos, New Mexico, in 1938, at a time of Carrington’s otherworldly paintings are well known, but when social realism reigned in American art, the Transcendental the recent discovery of a suite of tarot designs she created Painting Group (TPG) sought to promote abstract art that for the Major Arcana was a revelation for scholars and fans pursued enlightenment and spiritual illumination. The nine of Carrington alike. Drawing inspiration from the Tarot of original members of the Transcendental Painting Group were Marseille and the popular Waite-Smith deck, Carrington Emil Bisttram, Robert Gribbroek, Lawren Harris, Raymond brings her own approach and style to this timeless subject, Jonson, William Lumpkins, Florence Miller Pierce, Agnes creating a series of iconic images. Executed on thick board, Pelton, Horace Towner Pierce and Stuart Walker. They were brightly colored and squarish in format, Carrington’s Major later joined by Ed Garman. Despite the quality of their works, Arcana shines with gold and silver leaf, exploring tarot these Southwest artists have been neglected in most surveys themes through what Gabriel Weisz Carrington describes of American art, their paintings rarely exhibited outside of New as a “surrealist object.” This tantalizing discovery, made by Mexico. Faced with the double disadvantage of being an openly the curator Tere Arcq and scholar Susan Aberth, has placed spiritual movement from the wrong side of the Mississippi, the greater emphasis upon the role of the tarot in Carrington’s TPG has remained a secret mostly known only to cognoscenti. creative life and has led to fresh research in this area. Another World: The Transcendental Painting Group aims to The Tarot of Leonora Carrington is the first book dedicated address this slight, claiming the group’s artists as crucial to this important aspect of the artist’s work. It includes a contributors to an alternative through-line in 20th-century full-size facsimile of her newly discovered Major Arcana; an abstraction, one with renewed relevance today.
Load more

Recommended publications
  • Music Video As Black Art
    IN FOCUS: Modes of Black Liquidity: Music Video as Black Art The Unruly Archives of Black Music Videos by ALESSANDRA RAENGO and LAUREN MCLEOD CRAMER, editors idway through Kahlil Joseph’s short fi lm Music Is My Mis- tress (2017), the cellist and singer Kelsey Lu turns to Ishmael Butler, a rapper and member of the hip-hop duo Shabazz Palaces, to ask a question. The dialogue is inaudible, but an intertitle appears on screen: “HER: Who is your favorite fi lm- Mmaker?” “HIM: Miles Davis.” This moment of Black audiovisual appreciation anticipates a conversation between Black popular cul- ture scholars Uri McMillan and Mark Anthony Neal that inspires the subtitle for this In Focus dossier: “Music Video as Black Art.”1 McMillan and Neal interpret the complexity of contemporary Black music video production as a “return” to its status as “art”— and specifi cally as Black art—that self-consciously uses visual and sonic citations from various realms of Black expressive culture in- cluding the visual and performing arts, fashion, design, and, obvi- ously, the rich history of Black music and Black music production. McMillan and Neal implicitly refer to an earlier, more recogniz- able moment in Black music video history, the mid-1990s and early 2000s, when Hype Williams defi ned music video aesthetics as one of the single most important innovators of the form. Although it is rarely addressed in the literature on music videos, the glare of the prolifi c fi lmmaker’s infl uence extends beyond his signature lumi- nous visual style; Williams distinguished the Black music video as a creative laboratory for a new generation of artists such as Arthur Jafa, Kahlil Joseph, Bradford Young, and Jenn Nkiru.
    [Show full text]
  • Echofluxx 11
    Contributors to ECHOFLUXX 12. – 16. Červenec 2011, /July 12th – 16th, 2011 via Kickstarter.com Trafačka Arena, Praha 9, Česká republika/Czech Republic Shining Star of Echofluxx Michael Karman Bright Light of Echofluxx ECHOFLUXX Eliane G. Burnett Festival experimentální hudby a nových médií Experimental music and new media festival Angel of Echofluxx Carol Senn Ruffin Denise Senn Benefactor of Echofluxx Úterý/Tuesday, 19.00 David Drexler Phill Niblock (US), William Estes Katherine Liberovskaya (CA) and Al Margolis (US) Mike Wood Středa/Wednesday, 19.00 Stanislav Abrahám (CZ), Patron of Echofluxx Michal Rataj (CZ) and Ivan Boreš (CZ), Camilla Hoitenga Peter Szely (AT) Stephan Moore Mike Martin Čtvrtek/Thursday, 19.00 Chris Frye Martin Janíček (CZ) and Petr Ferenc (CZ), Martin Blažíček (CZ) and Krystof Topolski (PL) Friends of Echofluxx Petra Vlachynská Pátek/Friday, 19.00 Anja Kaufmann (CH) and Frances Sanders (UK), Marcia A. Mueller George Cremaschi (US), Bonnie Miksch Hana Železná (CZ) Josh Payne Mary Wright Sobota/Saturday, 19.00 Nick Senn Petra Dubach and Mario van Horrik (NL), Christian Andrew Senn Hearn Gadbois (US/CZ) 8 1 BIOGRAPHIES Phill Niblock (US) is a New York-based minimalist composer and multi-media musician Petra Dubach & Mario van Horrik (NL) have been working together artistically since 1994. and director of Experimental Intermedia, a foundation born in the flames of 1968's The starting point for their work is the idea that movement and sound are identical and barricade-hopping. He has been a maverick presence on the fringes of the avant garde without movement (vibration) nothing can be heard. This idea is worked in every thinkable ever since.
    [Show full text]
  • Pdf (Acceso El
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by EPrints Complutense UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA TESIS DOCTORAL Intertextualidad, dialogismo y poética cognitiva en la novela contemporánea: Bernardo Carvalho, Eduardo Lago y Mario Bellatín MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Daniel Arrieta Domínguez Director Antonio Garrido Domínguez Madrid, 2015 © Daniel Arrieta Domínguez, 2015 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA DOCTORADO EN ESTUDIOS LITERARIOS INTERTEXTUALIDAD, DIALOGISMO Y POÉTICA COGNITIVA EN LA NOVE LA CONTEMPORÁNEA: BERNARDO CARVALHO, E DUARDO LAGO Y MARIO BELLATÍN DANIEL ARRIETA DOMÍNGUEZ TESIS DE DOCTORADO DIRIGIDA POR EL PROFE SOR DOCTOR ANTONIO GARRIDO DOMÍNGUEZ 2 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA PHD. PROGRAM IN LITERARY STUDIES INTERTEXTUALITY , DIALOGISM AND COGNIT IVE POETICS IN THE CONTEMPORARY NOVEL: BERNARDO CARVALHO, E DUARDO LAGO AND MARIO BELLATÍN DANIEL ARRIETA DOMÍNGUEZ PHD DISSERTATION ADVISED BY PROFESSOR ANTONIO GARRIDO DOMÍNGUEZ 3 4 A mis padres 5 6 ÍNDICE Página SUMMARY (English)…………………………………………………..………… 11 I. INTRODUCCIÓN………………………………………………………... 15 1. DEL PROCESO Y AGRADECIMIENTOS…………………………………… 17 2. HIPÓTESIS DE PARTIDA Y OBJETIVOS…………………………………… 20 3. METODOLOGÍA Y ORGANIZACIÓN……………………………………… 23 4. AUTORES, CAMPOS LITERARIOS Y ESTADO DE LA CUESTIÓN…………… 27 4.1. Bernardo Carvalho…………………………………………….. 27 4.2. Eduardo Lago………………………………………………….. 37 4.3. Mario Bellatín…………………………………………………. 44 II. MODELO TEÓRICO…………………………………………………….. 49 1. EL DIALOGISMO BAJTINIANO COMO PRECURSOR DEL CONCEPTO DE INTERTEXTUALIDAD…………………………………………………… 51 2. DE LAS INFLUENCIAS Y REPERTORIOS LITERARIOS A LA TRANSTEXTUALIDAD………………………………………………….. 58 3. POÉTICA COGNITIVA, GÉNEROS LITERARIOS E INTERTEXTUALIDAD…… 69 7 III. O SOL SE PÕE EM SÃO PAULO: DIÁLOGOS INTERTEXTUALES ENTRE ANTÍPODAS GEOGRÁFICAS Y CULTURALES…………… 85 1.
    [Show full text]
  • Drone Music from Wikipedia, the Free Encyclopedia
    Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice,
    [Show full text]
  • RIRKRIT TIRAVANIJA Palm Pavilion
    kurimanzutto t/f (5255) 5256.2408 tel (5255) 5286.3059 [email protected] kurimanzutto presents RIRKRIT TIRAVANIJA Palm Pavilion opening thursday september 4th, 8 – 10 p.m. Reading of passages from Empresas y Tribulaciones de Maqroll el Gaviero by Alvaro Mutis, Pablo Soler Frost | 9 p.m. september 5 – october 5, 2008 juan de la barrera # 116, condesa, 06140, mexico city open from thursday to saturday 10 a.m. - 3 p.m. y 4 - 6 p.m. kurimanzutto presents the first solo show in Mexico of the Thai artist Rirkrit Tiravanija: Palm Pavilion, an installation created for the 27th Sao Paulo Bienal ‘How to Live Together’ (2006). In 1949, the French architect Jean Prouvé (1901-1984) was commissioned to design a type of housing for the bureaucrats and traders traveling to the African colonies, who suffered from the high temperatures of their new hometowns. Prouvé designed the Tropical House, a small portable building, constructed with steel panels (produced in France). These panels could be exported and assembled easily and fast in different types of terrain. The building is suspended over a base, a few centimetres above from the ground in order to control the absorption of humidity and heath. The sliding doors permit the circulation of air and make the space more flexible. A central chimney expels the hot air produced inside the house, and the exterior is composed of several metallic blind-like structures that reflect the sunrays instead of absorbing them. The prototype of the Tropical House was first installed in 1951 at Brazzaville, Congo, and it remained there until 1999.
    [Show full text]
  • Why Video Is the Art Form of the Moment
    Jesper JUST Why Video Is the Art Form of the Moment November 2019 1/1 “Why Video Is the Art Form of the Moment” Alina Cohen November 27, 2019 Why Video Is the Art Form of the Moment Alina Cohen Nov 27, 2019 3:37pm Jesper Just, Interpassitivies, at the Royal Danish Theater, 2017. Courtesy of Perrotin. At the 2019 edition of the Venice Biennale, video reigned. Arthur Jafa, who began his career as a cinematographer for commercial directors including Spike Lee and Stanley Kubrick, won the prestigious Golden Lion award for his film The White Album (2018). Meanwhile, one of his frequent collaborators, Kahlil Joseph, who seamlessly crosses between the worlds of music videos and art museums, presented BLKNWS (2019– present), an experimental news media channel aimed at black audiences. Artists including Alex Da Corte, Ian Cheng, Kaari Upson, Ed Atkins, Korakrit Arunanondchai, Stan Douglas , and Hito Steyerl all integrated the medium into dynamic installations. “Video art”—which now encompasses traditional film and digital video as well as a wide range of new media and technology, including virtual reality, video games, and phone apps—represents some of today’s most exciting contemporary work. For further evidence of the medium’s art-world domination, one might examine the artists who were shortlisted for the Turner Prize in 2018 and 2019. All eight—Lawrence Abu “Why Video Is the Art Form of the Moment” Alina Cohen November 27, 2019 Hamdan, Helen Cammock, Oscar Murillo, Tai Shani, Charlotte Prodger, Forensic Architecture, Naeem Mohaiemen, and Luke Willis Thompson—work in video. This video art renaissance derives from an ever-growing range of exhibition methods, improvements in technology, wider institutional acceptance, and artists’ growing ambitions.
    [Show full text]
  • Untitled (Forever), 2017
    PUBLISHERS DISTRIBUTED BY D.A.P. SP21 CATALOG CAPTIONS PAGE 6: Georgia O’Keeffe, Series I—No. 3, 1918. Oil on Actes Sud | Archive of Modern Conflict | Arquine | Art / Books | Art Gallery of York board, 20 × 16”. Milwaukee Art Museum. Gift of Jane University | Art Insights | Art Issues Press | Artspace Books | Aspen Art Museum | Atelier Bradley Pettit Foundation and the Georgia O’Keeffe Foundation. PAGE 7: Georgia O’Keeffe, Black Mesa Éditions | Atlas Press | August Editions | Badlands Unlimited | Berkeley Art Museum | Landscape, New Mexico / Out Back of Marie’s II, 1930. Oil on canvas. 24.5 x 36”. Georgia O’Keeffe Museum, Gift Blank Forms | Bokförlaget Stolpe | Bywater Bros. Editions | Cabinet | Cahiers d’Art of the Burnett Foundation. PAGE 8: (Upper) Emil Bisttram, | Canada | Candela Books | Carnegie Museum Of Art | Carpenter Center | Center For Creative Forces, 1936. Oil on canvas, 36 x 27”. Private collection, Courtesy Aaron Payne Fine Art, Santa Fe. Art, Design and Visual Culture, UMBC | Chris Boot | Circle Books | Contemporary Art (Lower) Raymond Jonson, Casein Tempera No. 1, 1939. Casein on canvas, 22 x 35”. Albuquerque Museum, gift Museum, Houston | Contemporary Art Museum, St Louis | Cooper-Hewitt | Corraini of Rose Silva and Evelyn Gutierrez. PAGE 9: (Upper) The Editions | DABA Press | Damiani | Dancing Foxes Press | Deitch Projects Archive | Sun, c. 1955. Oil on board, 6.2 × 5.5”. Private collection. © Estate of Leonora Carrington. PAGE 10: (Upper left) DelMonico Books | Design Museum | Deste Foundation for Contemporary Art | Dia Hayao Miyazaki, [Woman] imageboard, Nausicaä of the Valley of the Wind (1984). © Studio Ghibli. (Upper right) Center For The Arts | Dis Voir, Editions | Drawing Center | Dumont | Dung Beetle | Hayao Miyazaki, [Castle in the Sky] imageboard, Castle Dust to Digital | Eakins Press | Ediciones Poligrafa | Edition Patrick Frey | Editions in the Sky (1986).
    [Show full text]
  • ARTH 175-01Linden
    Syllabus: ARTH275/ARTH175 San José State University Department of Art and Art History ARTH275 / ARTH175, Section 01 Seminar in Twentieth Century Art: WORLD OF PHOTOGRAPHY AND CINEMA Fall Semester 2020 Course and Contact Information Instructor: Dr. Liz Linden Office Location: *on Zoom* Telephone: (408) 924-4715 (N/A Fall 2020) Email: [email protected] Office Hours: Mondays, 12:00pm-1:15pm Class Days/Time: Mondays & Wednesdays, 10:30am-11:45am Classroom: *on Zoom* Prerequisites: Units: 3 Additional Contact Information * E-mail is generally the best method of contact during non-office hours. * Please allow 48-hours for an e-mail response. * Emergency: 911 Campus Escort: 42222 * Individuals with disabilities may contact the Disability Resource Center (DRC), Administrative Building 110, 408/ 924-6000, for a variety of formats such as Braille, large print, sign interpreters, assistive listening devices, audio tape and accommodations for physical accessibility. Course Format This course will consist of lectures, interspersed with student presentations, group activities, reading labs, peer- review exercizes, screenings, and class discussions. This semester class will be conducted synchronously, on Zoom. Faculty Web Page and MYSJSU Messaging (Optional) Course materials such as syllabus, handouts, assignment instructions, etc. can be found on Canvas Learning Management System course login website at http://sjsu.instructure.com. You are responsible for regularly checking with the messaging system through MySJSU at http://my.sjsu.edu (or other communication system as indicated by the instructor) to learn of any updates. Course Description This course, “The World of Photography and Cinema,” is a seminar on 20th and 21st century art, focusing on the act of looking and being looked at in the context of contemporary art and art writing.
    [Show full text]
  • Cuadernos De Viaje: Contemporary Mexican Travel-Chronicles
    2807563983 Cuadernos de Viaje: Contemporary Mexican Travel - Chronicles Thea Pitman, Doctoral Thesis University College London, 1999 ProQuest Number: U643485 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U643485 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT This thesis aims to prove the existence of contemporary Mexican travel-chronicling. Section 2 concentrates on two recent series of travel-chronicles commissioned by Alianza Editorial Mexicana and the Consejo Nacional para la Cultura y las Artes (1989-1997). The purpose of this section is to examine the variety of contemporary, and possibly postmodern, approaches to this stubbornly realist and traditional genre. Authors studied in detail are: Juan Villoro and Francisco Hinojosa (an ironic approach to the effects of postmodemity and postmodernism on Mexican life and the practice of travel-chronicling); Rafael Ramirez Heredia and Orlando Ortiz (the commonplaces of the contemporary travel- chronicle); Hector Perea and Alvaro Ruiz Abreu (an increasingly speculative, metaphorical approach); Fernando Solana Olivares and Hugo Diego Blanco (a move towards ‘archival fictions’ (Gonzalez Echevarria) which use previous travel-chronicles as an ‘archive’, rather than as models for form and content).
    [Show full text]
  • MEGAN MARISSA STEINMAN [email protected] (917) 721 4558
    www.megansteinman.com MEGAN MARISSA STEINMAN [email protected] (917) 721 4558 EDUCATION 2011 MPAS (Master of Public Art Studies), Roski School of Fine Arts, University of Southern California, Los Angeles, CA 2002 BA, New School University, New York, NY 1996 AA, Fashion Institute of Design and Merchandising, San Francisco, CA PROFESSIONAL EXPERIENCE 2015-now Director, The Underground Museum, Los Angeles, CA Founding Director of an artist-led non-profit museum who serves across all areas of the organization, including Governance: works closely with Board of Trustees and Advisory Board to implement The UM’s vision and strategic objectives. Leadership and Staff Management: responsible for sourcing, hiring, and managing all museum staff and freelance consultants; provides consistent mentorship and paths for career growth. Curating: member of the curatorial/programming council for all exhibitions, performances, workshops, and lecture series; oversees exhibition design and installation; liaison for artists and collaborators. Communications: serves as spokesperson for museum in press and at external events and symposia; leads museum tours for major funding groups. Finance: prepares and manages the organization’s annual operating budget with oversight of monthly cash flow and expenditures; ensures that sound financial controls, reporting, payroll and bookkeeping practices are maintained; liaison to museum’s accountant firm and Board Treasurer; manages audit process. Development: cultivates individual, corporate and institutional donors; all grant writing, implementation, budget and program reporting; conceptualizes and executes fundraising events; manages Board’s fundraising subcommittee. Community Engagement: audience development; nurtures and maintains relationships with cultural partners, schools, neighboring businesses, and local community organizations. Building Operations: manages architect consultants, contractors, gardeners and all teams responsible for building care; landlord liaison.
    [Show full text]
  • Arthur Jafa Press Release
    Galerie Rudolfinum Presents Arthur Jafa’s First Exhibition in the Czech Republic ARTHUR JAFA: A Series of Utterly Improbable, Yet Extraordinary Renditions (featuring Ming Smith; Frida Orupabo and Missylanyus) 17. 1. – 31. 3. 2019 Galerie Rudolfinum Opening: 16 January 2018 at 6 pm in the Rudolfinum foyer Exhibition curated by Hans Ulrich Obrist and Amira Gad. Presented by the Serpentine Galleries (London) and Galerie Rudolfinum (Prague). Curator in Prague: Petr Nedoma Admission free thanks to J&T Banka. How do we imagine things that are lost? What kind of legacy can we imagine despite that loss and despite the absence of things that never were? Arthur Jafa Galerie Rudolfinum presents the first exhibition by the acclaimed American filmmaker, cinematographer and artist Arthur Jafa in the Czech Republic. Arthur Jafa was taken with the space of the Galerie Rudolfinum, and he decided to do his exhibition in Prague as an original artist’s installation based on his exhibition in London at the Serpentine Galleries curated by Hans Ulrich Obrist and Amira Gad in 2017. Arthur Jafa’s exhibition in Prague is presented as part of his European tour; after London, the exhibition was held at the Julia Stoschek Collection in Berlin in the summer 2018, and after Prague, it continues to Moderna Museet Stockholm in early April. “I am excited that we managed to get Jafa’s key works to be shown in Prague: the eight-minute video APEX, a quick sequence of hundreds of images of objects, people and events, and especially the one minute shorter Love is the Message, The Message is Death.
    [Show full text]
  • Boletín De Sumarios
    BOLETÍN DE SUMARIOS Esta nueva entrega del Boletín de Sumarios recoge 131 nuevos números, correspondientes a 52 títulos distintos, recibidos en la Biblioteca durante los meses de octubre, noviembre, y diciembre de 2015. Ordenados alfabéticamente, los títulos van seguidos de los números recibidos que, mediante enlaces, permiten acceder a los sumarios correspondientes. Si desea consultar alguna de estas revistas, puede hacerlo en la Sala de Lectura de la Biblioteca de Cultura. La mayoría de ellas se encuentra también en la Biblioteca Nacional. Si usted se encuentra fuera de Madrid, puede dirigirse a la Red de Bibliotecas de su Comunidad. Confiamos en que la información que ofrecen estos boletines sea de utilidad y rogamos remitan cualquier sugerencia sobre este servicio al buzón [email protected] Secretaría General Técnica Subdirección General de Documentación y Publicaciones Ábaco. Vol. 1/2: núms. 83-84 (2015) ADE Teatro. Núms. 157, 158 (2015) Arquitectura viva. Núms. 178.10, 179.11 (2015) Arte y parte. Núms. 119, 120 (2015) AV Monografías. Núm. 180 (2015) AV Proyectos. Núms. 70, 71 (2015) BJC: Boletín de Jurisprudencia Constitucional. Núms. 400, 401, 402, 403, 404, 405 (2015) Boletín de ANABAD. Vol. LXV: núm. 2 (2015) Clarín. Núm. 119 (2015) Claves de Razón Práctica. Núms. 241, 243 (2015) Creative Industries Journal. Vol. 8: núms. 1, 2 (2015) Cuadernos Hispanoamericanos. Núms. 778, 779, 784, 785, 786 (2015) Cultural Trends. Vol. 24: núm. 4 (2015) Dirigido. Núms. 459, 460, 461 (2015) El Ciervo. Núm. 754 (2015) El Croquis. Núms. 176, 177/178, 179/180, 181 (2015) EPI: El profesional de la información. Vol.
    [Show full text]