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Journal articles on the topic 'Furman University. Visual Arts Center'

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Published: 25 July 2024

Last updated: 31 July 2024

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1

Siry, Joseph M. "Roche and Dinkeloo's Center for the Arts at Wesleyan University." Journal of the Society of Architectural Historians 75, no. 3 (September 1, 2016): 339–65. http://dx.doi.org/10.1525/jsah.2016.75.3.339.

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From 1965 to 1973, Kevin Roche and John Dinkeloo created the Center for the Arts at Wesleyan University in Middletown, Connecticut. The center appears to be an essay in mid-twentieth-century modernism, directly expressing its varied interior programs in cubic volumes of limestone walls and reinforced concrete spans for floors and roofs. As Joseph M. Siry demonstrates in Roche and Dinkeloo's Center for the Arts at Wesleyan University: Classical, Vernacular, and Modernist Architecture in the 1960s, the Wesleyan Center for the Arts is a condensation of ideas from its context, including the seventeenth-century regional vernacular and the local Greek revival and contemporaneous modern architecture, including works of Le Corbusier, Ludwig Mies van der Rohe, and Louis Kahn. This article broadens both our understanding of the creative process as an integration of multiple sources and our view of modernism's potential to innovate while fittingly engaging with earlier periods without duplicating their historical vocabularies.

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2

Marble, Scott, and Karen Fairbanks. "Toni Stabile Student Center, Columbia University Graduate School of Journalism - Marble Fairbanks." Architectural Design 79, no. 2 (March 2009): 106–9. http://dx.doi.org/10.1002/ad.863.

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3

Miller, Melissa. "British Theatre Collections in the Harry Ransom Humanities Research Center." Theatre Survey 39, no. 1 (May 1998): 63–72. http://dx.doi.org/10.1017/s0040557400003021.

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The Harry Ransom Humanities Research Center at the University of Texas at Austin has become, since the 1950s, well-known for its holdings in twentieth century literature. I offer here a brief description of the holdings in British theatre in the Theatre Arts Collection and the Manuscripts and Archives division of the Ransom Center. My secondary purpose is to suggest: and encourage corollary research in other Ransom Center holdings, such as its Art Collection and Photography and Film Collection. A listing of selected holdings follows this overview below, together with information on fellowships for researchers.

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4

James, Stephen. "The Menil Connection: Louis Kahn and the Rice University Art Center." Journal of the Society of Architectural Historians 69, no. 4 (December 1, 2010): 556–77. http://dx.doi.org/10.1525/jsah.2010.69.4.556.

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Stephen James tells the story of a great unrealized project in The Menil Connection: Louis Kahn and the Rice University Art Center. Kahn, Rice, and the art collectors John and Dominique de Menil collaborated in this unusual venture, which, among other things, would have housed the de Menil art collection on the Rice campus. The project embodied Kahn's approach to designing an institutional landscape, interwoven with the smaller spaces that he judged were essential for teaching and learning. Its abandonment was the genesis of the independent Menil Collection, for which Kahn also prepared a design, but which was ultimately built by Renzo Piano.

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5

Hawkins, Kat. "A Guide to a Somatic Movement Practice: The Anatomy of Center, Nancy Topf and Hetty King (2022)." Journal of Dance & Somatic Practices 15, no. 2 (December 1, 2023): 265–68. http://dx.doi.org/10.1386/jdsp_00113_5.

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6

Tanzer, Kim, and Caroline Constant. "Center for Women's Studies and Gender Research, University of Florida, 1994–2000." Journal of Architectural Education 55, no. 2 (November 2001): 81–89. http://dx.doi.org/10.1162/104648801753199509.

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7

Clouse, Carey. "Fayetteville 2030: Food City Scenario University of Arkansas Community Design Center, 2014." Journal of Architectural Education 71, no. 1 (January 2, 2017): 128–30. http://dx.doi.org/10.1080/10464883.2017.1260966.

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8

Bannova, Olga, and Sandra Häuplik‐Meusburger. "Learning, Teaching, Coexisting, Thriving: The Evolution of Space Architecture in the Posthuman Era." Architectural Design 94, no. 1 (January 2024): 94–99. http://dx.doi.org/10.1002/ad.3019.

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AbstractOlga Bannova directs the Sasakawa International Center for Space Architecture (SICSA) at the University of Houston, Texas, and Sandra Häuplik‐ Meusburger directs the Space Architecture EMBA at Vienna University of Technology (TU Wien). Here they present the notion of viewing humanity as not superior to other beings and entities, allowing the possibility of the much more inclusive coexistence that will be necessary as our posthuman future pushes us deeper into Space.

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9

Boddy, William. "Statement by William Boddy, Baruch College and Graduate Center, City University of New York." Historical Journal of Film, Radio and Television 16, no. 3 (August 1996): 393–96. http://dx.doi.org/10.1080/01439689600260411.

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10

Maxwell, Ian. "Parallel Evolution: Performance Studies at the University of Sydney." TDR/The Drama Review 50, no. 1 (March 2006): 33–45. http://dx.doi.org/10.1162/dram.2006.50.1.33.

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Performance studies at the University of Sydney has developed in relative isolation from the “main-stream” of performance studies in both North America and Europe, gathering itself around and in the context of a range of local constraints, concerns, and possibilities, with theatre at its center.

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11

Budhiraja, Geeta. "A Glimpse of Canada in India." Canadian Theatre Review 105 (January 2001): 24–26. http://dx.doi.org/10.3138/ctr.105.005.

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M.S. University Baroda, in the state of Gujarat, has the distinction of having produced two Canadian plays, Sharon Pollock’s Generations and George F. Walker’s Love and Anger. These productions were sponsored by the Indian Association of Canadian Studies (IACS), which has, from its inception, organized seminars and workshops on different aspects of Canadian studies, including multiculturalism, interdisciplinarity and postcolonialism. Comparative studies on Indian-Canadian works have also been popular themes because they facilitate establishing cultural and social similarities between the two countries. In the winter of 1994, the Center for Canadian Studies, M.S. University, organized a month-long workshop on drama. Professor Robert Fothergill (Department of Theatre, York University, Toronto) conducted a workshop in conjunction with directing a production of Sharon Pollock’s Generations that ran only for a single performance, on the last day of the workshop.

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12

Davis, Natalie Zemon. "Shelby Cullom Davis Center for Historical Studies Princeton University: Proof and Persuasion." Renaissance Quarterly 44, no. 1 (1991): 183. http://dx.doi.org/10.2307/2862439.

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13

Hamburger, Esther Império, Cecília Mello, and Giuliana Bruno. "Interview with Giuliana Bruno." Significação: Revista de Cultura Audiovisual 50 (December 6, 2023): 1–31. http://dx.doi.org/10.11606/issn.2316-7114.sig.2023.219151.

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Giuliana Bruno is Emmet Blakeney Gleason Professor of Visual and Environmental Studies at Harvard University, situated in the Carpenter Center for Visual Arts. For over three decades, her critical thinking has been characterized by sophistication, rigor and originality, placing her among the leading world academics exploring intersections between visual arts, art history, architecture, film, and visual culture studies. Bruno's interdisciplinary approach has fostered connections between these fields, enriching our understanding of visual culture. Her work anticipated the field of ‘media archaeology’, uncovering and analyzing historical layers and traces embedded in visual artifacts for deeper contextual insights. She has also contributed significantly to spatial theory, particularly in relation to the intersection of architecture, art, and film, exploring how spaces and places shape our experiences and perceptions. In anticipation of her visit to São Paulo in December 2023, Significação: Revista de Cultura Audiovisual conducted a two-hour online interview with Bruno, focusing on Atmospheres of Projection and her other groundbreaking contributions.

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14

Fei, Faye Chunfang. "Huang Zuolin: Michael Chekhov’s Link to China’s Modern Theatre." New Theatre Quarterly 22, no. 3 (July 11, 2006): 235–48. http://dx.doi.org/10.1017/s0266464x06000443.

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The folllowing article is a revised and edited version of a keynote address given by Faye Chunfang Fei at the Michael Chekhov Symposium, ‘Theatre of the Future?’, in November 2005 – held at Dartington Hall, where the actor and director Huang Zuolin worked under Chekhov’s guidance in 1936, an experience which helped to shape his lifelong work in uniting the best in western theatrical traditions with those of his native China. Faye Chunfang Fei traces this formative influence, along with those of Stanislavsky, of Brechtian Epic Theatre, and of traditional and modern Chinese forms, in shaping some of the major productions of probably the most influential figure in the Chinese theatre of the later twentieth century. Faye Chunfang Fei received her doctorate in Theatre Studies from the Graduate Center of City University of New York in 1991, and taught theatre in the United States for nine years before taking her present position of Professor of English and Drama at East China Normal University, Shanghai. Her publications include Chinese Theories of Theatre and Performance from Confucius to the Present (University of Michigan Press, 1999), and she is also an internationally produced playwright.

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Rossman, Jae Jennifer. "Build It and S/He Will Come: A Reflection on Five Years in a Purpose-Built Special Collections Space." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 14, no. 2 (September 1, 2013): 111–20. http://dx.doi.org/10.5860/rbm.14.2.405.

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The Special Collections of the Robert B . Haas Family Arts Library at Yale University have existed in their current state only since the fall of 2008, when the physically separate components of the Arts Library moved into a renovated space that bridges two conjoined buildings, Paul Rudolph Hall1 and the new Loria Center, both projects by Gwathmey Siegel & Associates. The Arts Library itself was only ten years old at that point, formed from the Art+Architecture Library, the Drama Library, the Classics Library, the Arts of the Book Collection, and the Visual Resources Collection. These smaller units banded together . . .

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16

Wu, Guanda. "Worldly Stage: Theatricality in Seventeenth-Century China. By Sophie Volpp. Cambridge, MA: Harvard University Asia Center, 2011; pp. xii + 371. $44.95 cloth." Theatre Survey 55, no. 2 (April 11, 2014): 279–81. http://dx.doi.org/10.1017/s0040557414000209.

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17

Langley, Julia. "ARTS AND HUMANITIES BRIDGING ACROSS CONTINUUM OF CARE: CASE STUDY, GEORGETOWN LOMBARDI COMPREHENSIVE CENTER." Innovation in Aging 3, Supplement_1 (November 2019): S29—S30. http://dx.doi.org/10.1093/geroni/igz038.114.

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Abstract How does a hospital-based arts and humanities program build towards a better healthcare system for older patients, caregivers and medical professionals? The Georgetown Lombardi Arts and Humanities Program (AHP) supports the continuum of care by encouraging a creative and constructive response to illness through the use of music, dance, expressive writing and visual arts. Artists-in-residence at MedStar Georgetown University Hospital work throughout the hospital, with in-patients and out-patients, in waiting rooms, intensive care units, and clinics. At the same time, the AHP recognizes the need to introduce the next generation of physicians, nurses, and medical professionals to the benefits of interacting with the arts to improve skills of observation, communication, empathy, and perspective-taking to serve all populations, especially older patients living with chronic illness. The AHP’s educational programs at the National Gallery of Art, and the IONA Senior Day Center will be highlighted along with their supporting evidence base

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18

Giersdorf, Jens Richard. "Dance, Politics & Co-Immunity." Dance Research Journal 47, no. 3 (December 2015): 106–9. http://dx.doi.org/10.1017/s0149767715000388.

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Dance, Politics & Co-Immunity developed out of a symposium organized by the Master in Choreography and Performance at the Justus-Liebig-University Giessen, Germany, which was held with a joint symposium Thinking—Resisting—Reading the Political organized by the Graduate Center for the Study of Culture at the same university in 2010. Whereas the cultural studies symposium asked, “What specific perspectives and methodological consequences arise for the study of culture that are informed by recent deliberations on the relationship of the political and the aesthetic?” (2010), the dance symposium invited participants and contributors to the anthology “to think about the multiple connections between politics, community, dance, and globalization from the perspective of Dance and Theatre Studies, History, Philosophy, and Sociology” (13). As indicated by the title of the cultural studies symposium and some of the key speakers, including Jacques Rancière, Chantal Mouffe, and Judith Butler, the term political is not used as broadly as it might be used in U.S.-based dance studies discourse. Rather, the political is predominantly investigated by both symposia for its resistive potential and from a liberal or post-Marxist stance.

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19

Zubrzycki, Anna, and Grzegorz Bral. "Song of the Goat Theatre: Finding Flow and Connection." New Theatre Quarterly 26, no. 3 (August 2010): 248–60. http://dx.doi.org/10.1017/s0266464x10000448.

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Anna Zubrzycki and Grzegorz Bral worked for a number of years with Gardzienice before founding Teatr Pieéń Kozła – Song of the Goat Theatre – in Wrocław in 1996. The conversation that follows took place on 22 June 2009, during Song of the Goat's run of Macbeth, their most recent production. Created in tandem with the Year of Grotowski theatre festival, the ‘World as a Place of Truth’ held in Wrocław on 13–30 June 2009, it was one of a series of meetings, presentations, and performances organized by Joanna Klass of Arden 2 for the US Artists Initiative, a project established in partnership with the Grotowski Institute and the Center for International Theatre Development. Macbeth will be performed at the Barbican Centre in London as part of Song of the Goat's two-month-long British tour of this production in October and November 2010, accompanied by workshops and demonstrations. Its itinerary is Eastleigh (4–9 October), Birmingham (11–15 October), Cambridge (18–23 October), Manchester Metropolitan University (25–30 October), London (3–20 November), and Brighton (21–26 November). This conversation about some of the principles of the company's work was led by Maria Shevtsova, Professor of Drama and Theatre Arts at Goldsmiths, University of London, and co-editor of New Theatre Quarterly.

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20

Akalaitis, JoAnne. "Releasing the ‘Profound Physicality of Performance’." New Theatre Quarterly 13, no. 52 (November 1997): 329–38. http://dx.doi.org/10.1017/s0266464x00011453.

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In the following interview, JoAnne Akalaitis discusses her experiences as an actress and director with the Mabou Mines company; her artistic encounters with Beckett, Brecht, and Genet; her thoughts about the relationship between art and politics; and her belief in the connection between the physical and the emotional in performance. Deborah Saivetz is a director and performer who teaches in the Department of Visual and Performing Arts at the Newark Campus of Rutgers University, New Jersey. She assisted JoAnne Akalaitis on her production of John Ford's Jacobean tragedy Tis Pity She's aWhore at the Goodman Theatre in Chicago, and performed in Akalaitis's workshop production of The Mormon Project at the Atlantic Center for the Arts in New Smyrna Beach, Florida. She had several opportunities to talk at length with Akalaitis during the months that they worked together.

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21

Kwei-Armah, Kwame. "‘Know Whence You Came’: Dramatic Art and Black British Identity." New Theatre Quarterly 23, no. 3 (August 2007): 253–63. http://dx.doi.org/10.1017/s0266464x07000152.

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Kwame Kwei-Armah's play Elmina's Kitchen was a landmark in British theatre history as the first drama by an indigenous black writer to be staged in London's commercial West End. The play's success since its premiere at the Royal National Theatre included a national tour and a season at Center Stage, Baltimore, directed by August Wilson's director Marion McClinton. In this interview with Deirdre Osborne, Kwei-Armah testifies to Wilson's considerable influence and the inspiration he derives from Wilson's project to account for the history of black people's experience in every decade of the twentieth century. Deirdre Osborne is a lecturer in drama at Goldsmiths College, University of London, and has published essays on the work of black British dramatists and poets including Kwame Kwei-Armah, Dona Daley, debbie tucker green, Lemn Sissay, SuAndi, and Roy Williams.

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22

Tarantino, Mary. "UNCOVERING GEMS: THEATRICAL DESIGN COLLECTIONS AT THE WISCONSIN HISTORICAL SOCIETY." Theatre Survey 50, no. 2 (November 2009): 327–35. http://dx.doi.org/10.1017/s004055740999010x.

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The Wisconsin Center for Film and Theater Research (WCFTR), which is housed at the Wisconsin Historical Society in Madison, Wisconsin, and partners the historical society with the University of Wisconsin's Department of Communication Arts, was formed in 1960. It maintains a diverse collection of entertainment media, including collections of papers, audio and/or visual materials, and other creative documents such as scripts and designs. The majority of the WCFTR's collections feature film, radio, and television productions and various photographs and promotional material. The smaller theatre collections include papers related to notable actors and playwrights such as Alfred Lunt, Lynn Fontanne, Moss Hart, Langston Hughes, and George S. Kaufman; lyricists and composers such as Marc Blitzstein and Stephen Sondheim; and designers for film and theatre. This article examines the WCFTR collections of three twentieth-century theatrical designers: Wolfgang Roth, Jean Rosenthal, and Gilbert Hemsley.

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23

Hughes, Holly. "Left Wanting." TDR/The Drama Review 58, no. 4 (December 2014): 120–25. http://dx.doi.org/10.1162/dram_a_00403.

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In Spring of 2013, a group of students from the University of Michigan participated in the restaging of The Well of Horniness at the Graduate Center of the City of New York. Remounting the production in NYC some 30 years after its first production answered questions regarding the longevity of the play, but more importantly, generated a whole new set of questions.

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24

Punt, Michael. "Toward a Science of Consciousness Tucson Convention Center, Tucson, Arizona, 8–12 April 2002. Sponsored by the Center for Consciousness Studies, University of Arizona." Leonardo 36, no. 1 (February 2003): 89–90. http://dx.doi.org/10.1162/leon.2003.36.1.89.

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25

Roach, Joseph. "The History of the Future." Theatre Survey 45, no. 2 (November 2004): 275–78. http://dx.doi.org/10.1017/s0040557404000250.

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The future of our field is obsolete. It has been accumulating for decades, and now we are stuck with it. Surveying the panorama of North America with a view framed by a Manhattan street ending at the Hudson, as in the old New Yorker cover, we might ask: Where is theatre research located? Can we find it on the map? It is not invisible, as some might complain. On the contrary, theatre research appears prominently as an array of widely planted scene houses, boxy protuberances rising above college and university performing-arts complexes, often located at the physical center of their campuses but rarely, if ever, close to their hearts. Set in concrete, they constitute what Harold Clurman, speaking at Murphy Hall for the Performing Arts at Kansas University in 1965, called “the Edifice Complex.” Our future, like fate, lies before us, but it was settled at our birth, when the buildings went up and acquired legions of technical specialists to service them. That's where the money went, and that's where it must go. Greater in number than the theatre scholars, well-intentioned but mostly vapid practitioners, acting with more or less skill, with more or less tenure, fill “slots” in largely indistinguishable seasons, block-booking their houses like mall multiplexes, from coast to coast. The reason that they are so visible on the map is that they stand isolated from everything else, in and out of the academy.

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26

Wood, Gerald C. "Orphans' Home: The Voice and Vision of Horton Foote. By Laurin Porter. Baton Rouge: Louisiana State University Press, 2003; pp. 233. $49.95 cloth, $22.95 paper." Theatre Survey 45, no. 2 (November 2004): 286–88. http://dx.doi.org/10.1017/s0040557404240261.

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Horton Foote has won many distinguished awards, including two Academy Awards for screenwriting, the Pulitzer Prize for drama, the Lucille Lortel Award, an Emmy, the William Inge Award, lifetime awards from the Academy of Arts and Letters and the Writer's Guild of America, an Outer Critics Circle Award, the Master American Dramatist Award of the PEN American Center, and the National Medal of the Arts. Yet there has been relatively little written about this important American—and southern—writer. Partly that is because he has written in various media, including theatre, film, and television, gaining substantial but limited fame in each, and much of his work is either produced regionally or staged for a small circle of aficionados in New York, where seemingly simple, understated dramas about coastal southeast Texas are never the rage. This tendency is exacerbated by the production history of the nine plays in The Orphans' Home, the subject of Laurin Porter's book. Staged over twenty years, from readings of the first plays in 1977 to the premiere of the final one, The Death of Papa, at Chapel Hill, North Carolina, in February of 1997, the plays have never been staged together.

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27

Tian, Min. "Worldly Stage: Theatricality in Seventeenth-Century China. By Sophie Volpp. Cambridge, MA: Harvard University Asia Center, Distributed by Harvard University Press, 2011. Pp. xi + 371. $44.95 Hb." Theatre Research International 38, no. 2 (May 31, 2013): 172–73. http://dx.doi.org/10.1017/s0307883313000163.

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28

Allen, Peter. "The End of Modernism?" Journal of the Society of Architectural Historians 70, no. 3 (September 1, 2011): 354–74. http://dx.doi.org/10.1525/jsah.2011.70.3.354.

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The making of People's Park in Berkeley, California, in 1969 was accompanied by some of the most violent student protests of its era. While these events can be seen as an episode in the movement of student radicalism that focused on the Vietnam War, Peter Allen suggests that conflicting visions of architecture and urban space stood at the center of the People's Park violence. The End of Modernism? People's Park, Urban Renewal, and Community Design argues that the movement to create the park was a reaction to a university program of campus expansion, which had razed existing older housing to build modernist high-rise residential towers, and the urban renewal scheme jointly supported by the city and the university. The events drew on new paradigms in planning and architecture, as People's Park attracted the support of many design professors and students. For them, it was a test case for theories of community-based development in architecture and planning, and their story provides a glimpse into profound divisions in the design professions in the late 1960s.

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29

Mulligan, John, Matthew Wettergreen, Ying Jin, Benjamin Rasich, and Isaac Phillips. "The Electronic Vesalius: Embodying Anatomy Atlases." Leonardo 52, no. 1 (February 2019): 62–63. http://dx.doi.org/10.1162/leon_a_01700.

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A multidisciplinary team at Rice University transformed the Texas Medical Center (TMC) Library’s collection of rare anatomy atlases into a physical-digital, human-sized atlas-of-atlases. The Electronic Vesalius installation gives these old books new life, informed by contemporary media theory and the centuries of medical and aesthetic criticism provoked by these multimedia image-texts.

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Bond, Chrystelle Trump. "Southern Dance Traditions—Communities in Motion (Center for Appalachian Studies and Services, Tennessee Humanities Council, and Congress on Research in Dance; East Tennessee State University, 1–3 March 1990)." Dance Research Journal 22, no. 2 (1990): 45–47. http://dx.doi.org/10.1017/s0149767700002631.

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31

Köth, Anke. "Verortung in der Zeit." Architectura 46, no. 2 (July 11, 2019): 176–89. http://dx.doi.org/10.1515/atc-2016-2003.

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AbstractThe article discusses the question, if the past as a legitimation for collegiate architecture becomes obsolete after the change from historical styles to modern architecture in 20th century America. On the one hand, the example of Walter Gropius’ Harvard Graduate Center (1948) shows that traditions like the Harvard’s yard are still used on a very abstract level to fit a new building group into the university. On the other hand, the ambition of past decades to define future through architecture or a masterplan seems to be inappropriate after deep changes in society caused by the depression and by World War II later. As a consequence, Ludwig Mies van der Rohe tries to make changes possible for the new Campus of the Illinois Institute of Technology (after 1938): his grid allows to add new building parts easily, and to give them more or less a shape for changing functions.

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32

Lizondo-Sevilla, Laura, Zaida García-Requejo, and Jos´e Santatecla-Fayos. "Exposición de arquitectura de Ludwig Miës van der Rohe. Art Institute of Chicago, 1938-1939." EGA Revista de Expresión Gráfica Arquitectónica 28, no. 48 (July 24, 2023): 86–99. http://dx.doi.org/10.4995/ega.2023.18901.

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La primera monografía sobre Mies van der Rohe fue publicada en 1947 con motivo de la exposición que Philip Johnson comisarió en el MoMA de Nueva York. Aunque esta exposición ha sido considerada por la crítica como la primera que presentó en exclusividad la obra de Mies, nuevos documentos revelan que en diciembre de 1938 se inauguró en el Art Institute of Chicago (AIC) la “Exhibition of Architecture by Miës van der Rohe”, que incluyó dibujos, fotografías y maquetas de su etapa europea. Este artículo quiere dar a conocer esta exposición monográfica, analizando gráficamente el material hasta hoy inédito: siete fotografías conservadas en los archivos de la University of Michigan y una nota de prensa custodiada en el AIC Archives Research Center. El levantamiento tridimensional aportado detalla la arquitectura expuesta y la relaciona comparativamente con las exposiciones que le precedieron y procedieron (1932 y 1947), ambas organizadas por el MoMA.

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33

Brown, Lorraine A. "Pointing to the Future." Theatre Survey 36, no. 2 (November 1995): 83–87. http://dx.doi.org/10.1017/s0040557400001216.

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As many historians of American theater and culture know, the Fenwick Library of George Mason University (GMU) became the home in 1974 to a major collection of Federal Theatre Project (FTP) materials. As many researchers also know, some FTP material was removed from GMU to the Library of Congress in the fall of 1994. In this essay, I will bring Theatre Survey's readers up to date on the status of the FTP collection, which, because of its continuing development over two decades, houses not only a considerable body of FTP material but also early records of the American National Theatre and Academy (ANTA). ANTA in its earliest days was a worthy successor to the FTP in the drive to have a national theater in the United States. Since 1980, all of these holdings have been an integral part of the Center for Government, Society and the Arts (CGSA) at GMU. CGSA has been the site of many activities exploring the relationship between our government and the arts, ranging from conferences on theater and cultural studies to our own theatrical productions of FTP materials, some of which I will outline here.

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34

Gluck, Robert J. "Electric Circus, Electric Ear and the Intermedia Center in Late-1960s New York." Leonardo 45, no. 1 (February 2012): 50–56. http://dx.doi.org/10.1162/leon_a_00325.

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Composer Morton Subotnick moved to New York in 1966 for a brief but productive stay, establishing a small but notable electronic music studio affiliated with New York University. It was built around an early Buchla system and became Subotnick's personal workspace and a creative home for a cluster of emerging young composers. Subotnick also provided artistic direction for a new multimedia discoteque, the Electric Circus, an outgrowth of ideas he formulated earlier at the San Francisco Tape Music Center. A Monday evening series at the Circus, Electric Ear, helped spawn a cluster of venues for new music and multimedia. While the NYU studio and Electric Ear represent examples of centers operating outside commercial forces, the Electric Circus was entrepreneurial in nature, which ultimately compromised its artistic values.

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35

Lee, Younseon. "A Study of Plans to Supplement the Operations of Curricular and Extracurricular Writing Programs in University: Focusing on Writing Center in University." Korean Society of Culture and Convergence 44, no. 11 (November 30, 2022): 243–55. http://dx.doi.org/10.33645/cnc.2022.11.44.11.243.

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The purpose of this study is to explore the directions of writing education in University with a focus on the roles of a writing center. The researcher believes that it is necessary to reinforce writing education further to help college students cultivate their communicative or writing abilities. Here, the management of a writing center will be essential which serves as a pivot to take full charge of writing education and promote its operation in each college and university. It is critical to ensure integrated management of writing curriculums and extra-curriculums to reinforce the cross-curricular nature of writing education and establish a beginning point of a continuous writing curriculum. It is also needed to introduce education on writing across the curriculum(WAC) to improve student's communicative abilities and help them transfer their writing abilities to their fields of specialization through writing education. In addition, there is a need to vitalize an online writing feedback system to guarantee the easiness of education and offer the continuity of writing education to students.

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Hadjinicolaou, Nicos. "Art Centers and Peripheral Art [A Lecture at the University of Hamburg, October 15, 1982]." ARTMargins 9, no. 2 (June 2020): 119–40. http://dx.doi.org/10.1162/artm_a_00267.

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Change in the history of art has many causes, but one often overlooked by art historical institutions is the complex, unequal set of relationships that subsist between art centers and peripheries. These take many forms, from powerful penetration of peripheral art by the subjects, styles and modes of the relevant center, through accommodation to this penetration to various degrees and kinds of resistance to it. Mapping these relationships should be a major task for art historians, especially those committed to tracing the reception of works of art and the dissemination of ideas about art. This lecture, delivered by Nicos Hadjinicolaou in 1982, outlines a “political art geography” approach to these challenges, and demonstrates it by exploring four settings: the commissioning of paintings commemorating key battles during the Greek War of Independence; the changes in Diego Rivera's style on his return to Mexico from Paris in the 1920s; the impact on certain Mexican artists in the 1960s of “hard edge” painting from the United States; and the differences between Socialist Realism in Moscow and in the Soviet Republics of Asia during the mid-twentieth century. The lecture is here translated into English for the first time and is introduced by Terry Smith, who relates it to its author's long-term art historical quest, as previously pursued in his book Art History and Class Struggle (1973).

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Nasir, Evleen. "Staging Fashion, 1880–1920: Jane Hading, Lily Elsie, Billie Burke. Edited by Michele Majer. Exh. cat. Bard Graduate Center, 2012. Distributed by Yale University Press; pp. 208, 168 illustrations. $40 paper." Theatre Survey 55, no. 1 (December 16, 2013): 128–30. http://dx.doi.org/10.1017/s0040557413000653.

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Bhattacharjee, Partha, and Priyanka Tripathi. "Interview with Argha Manna." Studies in Comics 11, no. 2 (November 1, 2020): 405–21. http://dx.doi.org/10.1386/stic_00038_7.

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Argha Manna is a cancer-researcher-turned cartoonist. He worked as a research fellow at Bose Institute, India. After leaving academic research, he joined a media-house and started operating as an independent comics artist. He loves to tell stories from the history of science, social history and lab-based science through visual narratives. His blog, Drawing History of Science (<uri xlink:href="https://drawinghistoryofscience.wordpress.com">https://drawinghistoryofscience.wordpress.com</uri>), has been featured by Nature India. Argha has been collaborating with various scientific institutes and science communicator groups from India and abroad. His collaborators are from National Centre for Biological Science (NCBS, Bangalore), Centre for Cellular and Molecular Biology (CCMB, Hyderabad), Jadavpur University (Kolkata), Heidelberg Center for Transcultural Studies (University of Heidelberg, Germany) and a few others. Last year, he received STEMPeers Fellowship for creating comics on the history of vaccination and other aspects of medical histories, published in Club SciWri, a digital publication wing of STEMPeers Group. Currently, Argha is collaborating in a project, ‘Famine Tales from India and Britain’ as a graphic artist. This is a UK-based project, funded by the Arts and Humanities Research Council, led by Dr Ayesha Mukherjee, University of Exeter. In this interview, Partha Bhattacharjee and Priyanka Tripathi speak with Indian ‘alternative’ cartoonist Argha Manna to trace his journey from a cancer researcher to a cartoonist. Manna is a storyteller of history of science, in visuals. Recently, his works reflect social problems under the light of historical and scientific theories. Bhattacharjee and Tripathi trace Manna’s shift from a science-storyteller in a visual medium to a medical-cartoonist who is working on issues related to a global pandemic, its impact on life and literature vis-à-vis social intervention. They also focus on Manna’s latest comics on COVID-19.

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Emeljanow, Victor. "Pleasure Gardens. Performing Arts Resources, vol. 21. Edited by Stephen M. Vallillo and Maryann Chach. New York: Theatre Library Association, 1998; pp. 105. $30 cloth; Their Championship Seasons: Acquiring, Processing, and Using Performing Arts Archives. Performing Arts Resources, vol. 22. Edited by Kevin Winkler. New York: Theatre Library Association, 2001; pp. 142. $30 cloth." Theatre Survey 45, no. 1 (May 2004): 133–35. http://dx.doi.org/10.1017/s0040557404290081.

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The annual publication of the Theatre Library Association is designed “to gather and disseminate scholarly articles dealing with the location of resource materials” relating to all media as well as popular entertainments, the evaluation of those resources, and to include as well “monographs of previously unpublished original material.” The volumes are slim ones, so we should not expect coverage of the many theatre collections available to scholars and practitioners, but rather a highly selective series of essays reflecting the priorities of the Association or of the individual volume editors. This certainly appears to be the case here: the 1998 volume concerns itself with eighteenth- and nineteenth-century American pleasure gardens, whereas, after a publication hiatus of three years, the 2001 volume is focused around the acquisition, scope, and use of four major archives—those of the Joseph Papp/New York Shakespeare Festival and of Lucille Lortel in the New York Public Library of the Performing Arts, the Lawrence and Lee Theatre Research Institute at Ohio State University, and the holdings of the Weill—Lenya Research Center in New York. As a consequence, the tones of the two volumes are very different, as is their utility. The first volume appears to be directed toward a disinterested readership; the second addresses those who might actually use the particular collections.

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Samchuk, Taras. "Fine art in the St. Vladimir University students‘ everyday life in the context of artistic life of Kyiv and nearby region (1834-1863)." Text and Image: Essential Problems in Art History, no. 2 (2018): 84–97. http://dx.doi.org/10.17721/2519-4801.2018.2.05.

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Research works devoted to the students of St. Vladimir University usually highlight either specific features of the educational process or some aspects of their everyday life. Student‘s artistic interest has been studied to the lesser extent. The article depicts the place of fine arts in the life of the St. Vladimir University students in the years 1834-1863. The author points out that the students’ interest in fine arts developed under the influence of the region’s artistic tradition. Therefore, specifics of the artistic life in Ukraine is analyzed in the article as well. Special attention is paid to Kyiv as the center of artistic life of the region. Kyiv Сontract Fair which took place annually in the second half of January was the main event for the regional art market. Famous local artists worked in Kyiv and in the region as drawing teachers in various educational institutions. Other artists came to Kyiv to make drawings of its views and historical monuments. St. Vladimir University played an important role in artistic life of the city during the years 1834-1863. The University’s collection of fine arts, which included a lot of pieces of the Western European art, was designed to promote aesthetic and artistic development of the St. Vladimir University students. The University allowed students to attend elective drawing lessons provided by experienced artists and teachers. Nevertheless, only a few students attended these lessons. Scientific illustration as a component of visual art played important role in students‘ education, especially for medical students, botanists, zoologists etc. In many cases illustration was the main source of visual information for students. The author admits that a lot of students were skilled drawers themselves because drawing was the easiest way to visualize the results of their research work. Some students gathered their own small collections of art works. The fact that the students were familiar with the works of fine art affirms their high cultural level and belonging to the social elite.

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Wolner, Edward W. "Art: Architecture. Joint Conference Sponsored by the Wexner Center for the Visual Arts. The Ohio State University Department of Architecture and the ACSA East Central Region, Fall 1990." Journal of Architectural Education (1984-) 44, no. 4 (August 1991): 248. http://dx.doi.org/10.2307/1425151.

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Ione, Amy. "A Different Kind of Animal: How Culture Transformed Our Species by Robert Boyd. Princeton University Press, 2017. The University Center for Human Values Series. 248 pp. Trade. ISBN: 978-0691177732; 978-0691177731." Leonardo 53, no. 1 (February 2020): 103–6. http://dx.doi.org/10.1162/leon_r_01845.

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Jagielska-Burduk, Alicja. "Alicja Jagielska-Burduk talks with Patty Gerstenblith, professor of law at DePaul University and director of its Center for Art, Museum & Cultural Heritage Law." Santander Art and Culture Law Review 9, no. 1 (September 27, 2023): 9–12. http://dx.doi.org/10.4467/2450050xsnr.23.001.18113.

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Minton, Gretchen E., and Mikey Gray. "The Ecological Resonance of Imogen’s Journey in Montana’s Parks." New Theatre Quarterly 38, no. 4 (October 18, 2022): 299–318. http://dx.doi.org/10.1017/s0266464x22000227.

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In this article Gretchen Minton and Mikey Gray discuss an adaptation of Shakespeare’s tragicomedy Cymbeline that toured Montana and surrounding states in the summer of 2021. Minton’s sections describe the eco-feminist aims of this production, which was part of an international project called ‘Cymbeline in the Anthropocene’, showing how the costumes, set design, and especially the emphasis upon the female characters created generative ways of thinking about the relationship between the human and the more-than-human worlds. Gray’s first-person narrative at the end of each section reflects upon her role of Imogen as she participated in an extensive summer tour across the Intermountain West and engaged with audience members about their own relationship to both theatre and the natural world. This is a story of transformation through environmentally inflected Shakespeare performance during the time of a global pandemic.Gretchen E. Minton is Professor of English at Montana State University, Bozeman, and editor of several early modern plays, including Timon of Athens, Troilus and Cressida, Twelfth Night, and The Revenger’s Tragedy. She is the dramaturg and script adaptor for Montana Shakespeare in the Parks and the co-founder of Montana InSite Theatre. Her directorial projects include A Doll’s House, Timon of Anaconda (see NTQ 145, February 2021), Shakespeare’s Walking Story, and Shakespeare for the Birds. Mikey Gray received her BA in Theatre and Performance from Bard College, New York, with a conservatory semester at NIDA (National Institute of Dramatic Art) in Sydney. She has performed in four productions with Montana Shakespeare in the Parks, while other actor engagements include Chicago Shakespeare Theater, American Conservatory Theater, Strawdog Theater Company, The Passage Theatre, and McCarter Theatre Center.

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Sham, James, Patrick Killoran, Neil Rubens, and Brian A. Korgel. "Patent-Bot." Leonardo 52, no. 3 (June 2019): 290–91. http://dx.doi.org/10.1162/leon_a_01719.

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Patent-Bot is an artificial intelligence (AI) software program that learns language from the patent database to write original patents for submission to the United States Patent Office (USPTO). The program creates thousands of new patent summaries per second. Patent-Bot is itself a piece of intellectual property, which in turn exists to generate more intellectual property. Patent-Bot also invents new words in relation to its future concepts, which appear to test the current linguistic limits of innovation and communication. Patent-Bot was debuted as an interactive art installation in the Omnibus Filing exhibition at the Visual Arts Center, University of Texas at Austin. Omnibus Filing showcased artworks, inventions, prototypes and cross-disciplinary research projects undertaken by teams of scientists, artists and engineers. Patent-Bot has since exhibited at Piksel 17: A festival for Elektronisk Kunst og fri Teknologi, in Lydgalleriet, Bergen, Norway. The project is an ongoing collaboration between the authors spanning a variety of exhibition formats and modes of display.

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Perkins, Kathy A. "Center Stage: An Anthology of Twenty-One Contemporary Black-American Plays. Edited by Eileen Joyce Ostrow. Champaign: University of Illinois Press, 1991. Pp. 328 + illus. $19.95." Theatre Research International 18, no. 1 (1993): 76. http://dx.doi.org/10.1017/s0307883300017788.

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Quatember, Ursula. "The Bouleuterion and its environs in Early Imperial Aphrodisias." Journal of Roman Archaeology 32 (2019): 516–28. http://dx.doi.org/10.1017/s104775941900028x.

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Research on the remains of the monumental city center of Aphrodisias has been ongoing for over a century. After an Italian mission began here in 1937,1 work was intensified from 1961 under the direction of K. T. Erim of New York University and has continued since 1990 under R. R. R. Smith.2 While many of the projects have yielded results for the High Imperial, late-antique and Byzantine periods, our knowledge of the Late Hellenistic and Early Imperial monuments outside the temple area remains scant. The layout of urban spaces such as the Agora or the “South Pool Complex” is owed to the Early Imperial period and mostly saw only minor changes.3 But while the general urban plan persisted, the Late Hellenistic and Early Imperial buildings were often replaced or remodelled as the urban space was transformed. This is particularly true for the area north of the Agora and south of the Temple of Aphrodite (fig. 1). This paper intends to re-assess our evidence for the function of this space in the Early Imperial period.

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Goossaert, Vincent. "Franciscus Verellen, Imperiled Destinies. The Daoist Quest for Deliverance in Medieval China, Cambridge (Mass.), Harvard University Asia Center (Harvard-Yenching Institute Monograph Series, 118), 2019." Cahiers de civilisation médiévale, no. 260 (December 1, 2022): 439–41. http://dx.doi.org/10.4000/ccm.10705.

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Goossaert, Vincent. "Franciscus Verellen, Imperiled Destinies. The Daoist Quest for Deliverance in Medieval China, Cambridge (Mass.), Harvard University Asia Center (Harvard-Yenching Institute Monograph Series, 118), 2019." Cahiers de civilisation médiévale 260, no. 4 (June 19, 2023): 439–41. http://dx.doi.org/10.3917/ccm.260.0439.

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Best, Makeda. "Margaret Sartor and Alex Harris, eds., with a foreword by Deborah Willis. Where We Find Ourselves: The Photographs of Hugh Mangum, 1897–1922. Durham: University of North Carolina Press and the Center for Documentary Studies, 2019. Books of the Center for Documentary Studies. xiv+166 pp.; 118 color illustrations, notes, afterword, bibliography. $45.00." Winterthur Portfolio 55, no. 2-3 (June 1, 2021): 202–3. http://dx.doi.org/10.1086/717148.

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