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Search results “SUGGESTED CURATORS” for the 2011
AIR INSIGHTS: Curating
 
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Helen Jones (exhibitions curator at New Art Gallery Walsall) discusses curating with Rosalind Davis (artist and member of the AIR Council. Hosted by Surface Gallery, Nottingham. Video and communications by Jack Hutchinson. *PLEASE NOTE* Due to the echoey nature of the event venue it is suggested you watch this video with captions enabled. Just click on 'CC' to enable this function.
Views: 488 AIRartists
Collectors' Roundtable with Robert Lehrman "Secrets of the Art World"
 
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Collectors' Roundtable with Robert Lehrman This annual series provides insight and invaluable advice on collecting art from museum directors, curators, collectors, art dealers, and consultants. This evening, collector Robert Lehrman (Washington, D.C.) presents "Secrets of the Art World." Robert Lehrman, since 1979, has been collecting works by contemporary American and European artists, including William Christenberry, Damien Hirst, Agnes Martin, Gerhard Richter, and Andy Warhol. He also has one of the most comprehensive private collections of works by Joseph Cornell. Lehrman is founder and president of the not-for-profit Voyager Foundation and has lectured on contemporary art appreciation at museums, universities, and art schools across America. He believes that in addition to being personally rewarding, collecting art and supporting art organizations and their related activities is an important civic responsibility. He is on the Board of Trustees of the Hirshhorn Museum and Sculpture Garden, where he served as chairman from 1998 to 2003.
JAPAN: The New Art [trailer]
 
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JAPAN The New Art a film by Christian & Michael Blackwood (1970/2008 (re-release), 27 minutes, color) Website: http://www.michaelblackwoodproductions.com/arts_japan.php With the participation of: Gutai, Nobuo Sekine, Ufan Lee, Jiro Takamatsu, Shingo Honda, Susumu Koshimizu, Keiji Yabe, Katsuhiko Narita In January 1970 we went to Japan to make a documentary about the remarkable economic boom in that country, as symbolized by the EXPO 70 in Osaka. At the same time we began work on a documentation of Japanese avant-garde art and artists. To find the right artists, New York artist Isamu Noguchi suggested that we seek the advice of Shuzo Takiguchi, a much respected senior art historian and critic, who was also a close friend of Marcel Duchamp. Takiguchi in turn recommended three younger critics. They would each introduce us to exceptional young artists. The three were Yoshiaki Tono, Yusuke Nakahara and Ichiro Haryu. Yoshiaki Tono when asked about contemporary Japanese art, replied: "There is no longer Japanese art, only Japanese artists. In the 1950s one could find Japanese qualities in the work of our abstract painters, but with Pop Art young artists felt liberated from the past and in the reality of the actual world. I am interested in the new generation of artists." We filmed with ten artists and selected five for "JAPAN The New Art". One was the Gutai group. It was one of the most important art movements and artist groups in postwar Japan. The Gutai, which means 'concreteness', was founded by Jiro Yoshihara, in Ashiya City in 1954. Yoshihara promoted a bold and spirited anti-academicism by encouraging Gutai members to "create what has never existed before." In his manifesto of Gutai art, he has written: "Gutai Art does not alter the material. Gutai Art gives life to the material. Gutai Art does not distort the material. In Gutai Art, the human spirit and the material shake hands but keep being in conflict with each other. The material never assimilates itself into the spirit. The spirit never subordinates the material. When the material exposes its characteristics remaining intact, it starts telling a story and even screaming out. To make the fullest use of the material is to make use of the spirit. To enhance the spirit is to lead the material to the high sphere of the spirit." Jiro Takamatsu, a conceptual artist, has also hugely influenced Japanese contemporary art after the 1960s. Takamatsu proclaimed himself "anti-artist", and engaged in wide-range art forms including painting, sculpture, photography, film, installation and happening-performance. Takamatsu explored the conceptual gap between perception and existence. In the late 60s a new art movement emerged, "Mono-ha" ('object school'). Rejecting the 'Anti-art' attitudes of the Gutai and other avant-garde movements in Japan, Mono-ha artists tried to create a new Japanese art by shutting out all illusion from the means of artistic expression and returning to objects per se. Mono-ha artists chose stones, wood, sheets of paper and iron plates as their materials, and juxtaposed them to create new relationships between each object or between objects and the spaces surrounding them. The theories of "Mono-ha" were conceptualized and developed by Nobuo Sekine and Ufan Lee. Katuhiko Narita, sculptor, who is sometimes categorized as a Mono-ha artist, was renowned for his work using Sumi, Japanese charcoal. In addition to the materiality, he was interested in Sumi itself, seeing it as ruins of prosperity. By eliminating the act of creation, he emphasized the materiality and physicality of the material. In the film, Tono also introduces three young artists, Shingo Honda, Susumu Koshimizu, and Keiji Yabe, who belong to a newer generation of Japanese contemporary art at the time. Their main interest was in the transformative process of things or the existence of things per se, rather than artistic self-expression through materials. In the film they showed experimental work using stones and a sheet of paper on the riverside. Although Japanese artists were much influenced by European and American art and philosophy, and these movements shared some similarities with foreign art movements such as Minimalist Art and Process Art in the United States, these artists were challenged to create a unique Japanese art without following the developments in European and American avant-garde art. © Michael Blackwood Productions 2011 All Rights Reserved
Martin Creed Work No. 1059, 2011, New Commission for The Scotsman Steps, Edinburgh
 
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Martin Creed's Work No. 1059 was commissioned by The Fruitmarket Gallery as part of Creed's solo exhibition Down Over Up which was presented at The Fruitmarket Gallery in the summer of 2010 and was one of the most popular exhibitions in the Gallery's history. The exhibition brought together works united by the idea of stacking and progression in size, height and tone. There were graded lines of nails and cactus plants; stacks of chairs, tables, lego, planks and boxes; a recorded choir singing up and down the scale as the gallery lift rose and fell; and the central staircase was transformed into a synthesiser, with each tread sounding a different musical note. This last piece made manifest the extent to which the rest of the work in the exhibition was about going up and down steps. Creed talked about the exhibition as a whole in terms of a picture of growth; showing process, progress and things in movement. Throughout its preparation, he was planning Work No. 1059. This piece, installed almost a year after the exhibition opened, speaks very clearly to it. The Scotsman Steps are an important part of Edinburgh's cityscape: they link the Old and 
New Towns and have historically been considered as a road. Before restoration by Edinburgh World Heritage and Edinburgh City Council, they were extremely dilapidated, and vulnerable to misuse. The Fruitmarket Gallery suggested commissioning a public artwork for the Steps as part of the renovation, to help change the public perception of them, and to fulfill the Gallery's mission to make contemporary art freely accessible, bringing it out of the gallery to engage people where they are. Martin Creed, with his smart response to public space, his ability to engage with materials and their surroundings, and his understanding of the creative possibilities embedded in the act of going up and down steps, seemed an obvious choice for the commission. From the beginning, he considered the Steps as a thoroughfare, proposing to resurface them with different and contrasting marbles from all over the world, each
step and landing a different colour. The idea turns around a familiar material (though not one
normally associated with Edinburgh) used in a familiar way. It acts as a sampler, introducing 104 different marbles, putting the material as well as the visitor through its paces. Creed himself has described the work as a microcosm of the whole world -- stepping on the different marble steps is like walking through the world. Work No. 1059, like the works shown in Down Over Up, is an exercise in adding and
subtracting by degrees. To make it, Creed started from nothing, and added something. The process of addition, though immensely complicated, involving architects, planners, engineers, stone cutters, builders etc, results in an intervention whose deceptive simplicity seems almost to take the addition away (though extravagantly marble and chromatically beautiful, the steps are still only steps, after all). Creed is a musician as much as an artist, and talks about his process more in terms of music
than of art. He sees himself as the composer of his work, writing a score to which others -- curators, technicians, viewers -- bring their own interpretations. Music is an art form that makes
itself as you listen to it, and this is important for Creed -- there is often the sense that his work is making itself in front of you rather than letting you in on the tail end of a process mostly achieved in the studio. Work No. 1059, though architecturally a complex piece of stone work and engineering
that took two years to plan and achieve, is an artwork that is made and remade every time a viewer walks up or down it. Commissioned by The Fruitmarket Gallery Supported by the Scottish Government's Edinburgh Festivals Expo Fund for the Edinburgh Art Festival, Bloomberg, The Hope Scott Trust and the following generous individuals: Elizabeth Cowling, Sophie Crichton Stuart, Alistair and Susan Duff, Werner Keschner and Catherine Muirden, Jaap van Liere, George and Jacqui Morris, Barry Rosen in memory of Bruce Lentini and Dorothy Rosen, Robert and Nicky Wilson, Iwan and Manuela Wirth, The Zachs-Adam Family And The Fruitmarket Gallery Board of Directors Work No. 1059 was commissioned by The Fruitmarket Gallery as part of a refurbishment of the Scotsman Steps by the City of Edinburgh Council and the Edinburgh World Heritage Trust
Views: 6700 fruitmarketgallery
PhosphoSitePlus® Training Tutorial
 
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PhosphoSitePlus, PhosphoSite for short, is a powerful bioinformatics resource that provides powerful adjunct information for your research related to the structure and function of protein modifications in health and disease. Maintained by scientists at Cell Signaling Technology (CST) with grants from the National Institute of Health, PhosphoSite is continuously updated and has information from over ten thousand literature publications and thousands of previously unpublished mass spectrometry experiments mostly performed at Cell Signaling Technology. In this video, we take you through an overview of the structure and content of PhosphoSite. We’ll then describe how to perform a simple search for a protein or substrates of a specific protein kinase of interest. Finally, we’ll review how to use the powerful advanced search and browse interfaces and review the information you’ll get from a search. At the end of this tutorial, you’ll be able to effectively gain access to all the information available using PhosphoSite.
Davos Annual Meeting 2011 - The Global Economic Outlook
 
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http://www.weforum.org/ 29.01.2011 What is the outlook for the global economy in 2011? The following dimensions will be addressed: - Macroeconomic imbalances - Currency instability - Global governance (G20) - International financial system • Montek Singh Ahluwalia, Deputy Chairman, Planning Commission, India • Robert E. Diamond Jr, Chief Executive, Barclays, United Kingdom • Christine Lagarde, Minister of Economy, Finance and Industry of France; Member of the Foundation Board of the World Economic Forum • George Osborne, Chancellor of the Exchequer of the United Kingdom • Wolfgang Schäuble, Federal Minister of Finance of Germany • Yu Yongding, Senior Fellow, Institute of World Economics and Politics, Chinese Academy of Social Sciences (CASS), People's Republic of China; Global Agenda Council on the International Monetary System • Robert B. Zoellick, President, The World Bank Group, Washington DC Chaired by • Martin Wolf, Associate Editor and Chief Economics Commentator, Financial Times, United Kingdom
Views: 8877 World Economic Forum
Perspectives on the Digital Public Library of America
 
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Perspectives on the Digital Public Library of America Speakers from a number of fields, backgrounds, and approaches will share their visions for the DPLA and discuss the potential the DPLA has for their communities Moderator: Maureen Sullivan, American Library Association John Palfrey, Chair of the DPLA Steering Committee Peggy Rudd, Texas State Library and Archives Commission Brewster Kahle, Internet Archive Amanda French, Center for History and New Media Jill Cousins, Europeana Carl Malamud, Public.Resource.org More info on this event here: http://blogs.law.harvard.edu/dplaalpha/get-involved/events/oct2011plenary/agenda/
Secondary or Incidental Findings from Exome Sequence Data - Jennifer Johnston
 
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September 28, 2011. Next-Gen 101: Video Tutorial on Conducting Whole-Exome Sequencing Research More: http://www.genome.gov/27545880

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