Search results for [Born to Read Project.] at NC Cardinal

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James Ernest Crenshaw, Sr. : United States Navy (transcript) [kit] / by Crenshaw, James Ernest Sr.; Crenshaw, James Ernest Sr.;

Editing assistant, Robert Davie.Interviewer, Bryan T. Smithey.

Subjects: Military;

Available copies: 1 / Total copies: 1

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William K. Delbridge: United States Army (transcript) [kit] / by Delbridge, William.; Delbridge, William K.;

Editing assistant, Robert Davie.Interviewer, Bryan T. Smithey

Subjects: Military;

Available copies: 1 / Total copies: 1

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Willie Johnson King : United States Army (transcript) [kit] / by King, Willie Johnson.; King, Willie Johnson.;

Editing assistant, Robert Davie.Interviewer, Bryan T. Smithey.

Subjects: Military;

Available copies: 1 / Total copies: 1

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Arthur J. Williams: United States Army Air Force (transcript) [kit] / by Williams, Arthur J.; Williams, Arthur J.;

Editing assistant, Robert Davie.Interviewer, Bryan T. Smithey

Subjects: Military; World War, 1939-1945;

Available copies: 1 / Total copies: 1

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Walter Brodie Burwell: United States Navy Reserve (transcript) [kit] / by Burwell, Walter Brodie.; Burwell, Walter Brodie.;

Editing assistant, Robert Davie.Interviewer, Bryan T. Smithey.

Subjects: Military; World War, 1939-1945;

Available copies: 1 / Total copies: 1

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Félix González-Torres, Roni Horn / by González-Torres, Félix,1957-1996,artist.(CARDINAL)217534; Ault, Julie,writer of added commentary.(CARDINAL)269961; Horn, Roni,1955-artist.(CARDINAL)161155; Bourse de commerce-Pinault collection,host institution.(CARDINAL)883579; Group Material (Firm : New York, N.Y.),associated name.(CARDINAL)883014; Steidl Verlag,publisher.(CARDINAL)835949;

"In 1990, Félix González-Torres encountered an artwork by Roni Horn called Gold Field (1980/82), a simple sheet of gold foil placed on the floor of the Los Angeles Museum of Contemporary Art. González-Torres was deeply moved and wrote to Horn, beginning an exchange between the artists that would last until González-Torres' passing in 1996. 'Félix González-Torres Roni Horn' was created as a photographic essay with the intention of sharing the experiential qualities of the artists' work and the profound relationships underlying it. It explores four iconic works (among others) - Untitled (For Stockholm) (1992) and Untitled (Blood) (1992) by González-Torres, and Well and Truly (2009-10) and a.k.a. (2008-09) by Horn - and emphasizes notions of doubling, duality, repetition, and identity. Images of these pieces, taken on the occasion of a 2022 exhibition at the Bourse de Commerce-Pinault Collection in Paris, reveal both artists' radical visual vocabularies, as well their shared passion for language, writing and poetry. Their intention emerges as two-fold: to create a tension between artist, viewer and object; and to grasp the inexpressible, the immeasurable." - From publisher.This exhibition highlights the principles of duplication, duality, complexity in repetition and identity at work in the respective practices of the artists Félix González-Torres and Roni Horn. It retraces the artistic conversation that began between them in 1991 and continued until González-Torres's death in 1996."Felix Gonzalez-Torres was born in Guáimaro, Cuba, in 1957. He earned a BFA in photography from Pratt Institute in Brooklyn, New York, in 1983. Printed Matter, Inc. in New York hosted his first solo exhibition the following year. After obtaining an MFA from the International Center of Photography and New York University in 1987, he worked as an adjunct art instructor at New York University until 1989. Throughout his career, Gonzalez-Torres's involvement in social and political causes as an openly gay man fueled his interest in the overlap of private and public life. From 1987 to 1991, he was part of Group Material, a New York-based art collective whose members worked collaboratively to initiate community education and cultural activism. His aesthetic project was, according to some scholars, related to Bertolt Brecht's theory of epic theater, in which creative expression transforms the spectator from an inert receiver to an active, reflective observer and motivates social action. Employing simple, everyday materials (stacks of paper, puzzles, candy, strings of lights, beads) and a reduced aesthetic vocabulary reminiscent of both Minimalism and Conceptual art to address themes such as love and loss, sickness and rejuvenation, gender and sexuality, Gonzalez-Torres asked viewers to participate in establishing meaning in his works. In his "dateline" pieces, begun in 1987, Gonzalez-Torres assembled lists of various dates in random order interspersed with the names of social and political figures and references to cultural artifacts or world events, many of which related to political and cultural history. Printed in white type on black sheets of paper, these lists of seeming non sequiturs prompted viewers to consider the relationships and gaps between the diverse references as well the construction of individual and collective identities and memories. Gonzalez-Torres also produced dateline "portraits," consisting of similar lists of dates and events related to the subjects' lives. In Untitled (Portrait of Jennifer Flay) (1992), for example, "A New Dress 1971" lies next to "Vote for Women, NZ 1893." Gonzalez-Torres invited physical as well as intellectual engagement from viewers. His sculptures of wrapped candies spilled in corners or spread on floors like carpets, such as "Untitled" (Public Opinion) (1991), defy the convention of art's otherworldly preciousness, as viewers are asked to touch and consume the work. Beginning in 1989, he fashioned sculptures of stacks of paper, often printed with photographs or texts, and encouraged viewers to take the sheets. The impermanence of these works, which slowly disappear over time unless they are replenished, symbolizes the fragility of life. While in appearance they sometimes echo the work of Donald Judd, these pieces also belie the Minimalist tenet of aesthetic autonomy: viewers complete the works by depleting them and directly engaging with their material. The artist always wanted the viewer to use the sheets from the stacks--as posters, drawing paper, or however they desired. In 1991 Gonzalez-Torres began producing sculptures consisting of strands of plastic beads strung on metal rods, like curtains in a disco. Titles such as Untitled (Chemo) (1991) and Untitled (Blood) (1992) undercut their festive associations, calling to mind illness and disease. In 1992 he commenced a series of strands of white low-watt lightbulbs, which could be shown in any configuration--strung along walls, from ceilings, or coiled on the floor. Alluding to celebratory décor--in the vein of the charms of outdoor cafés at night--these delicate garlands are also a campy commentary on the phallic underpinnings of numerous Minimalist creations, particularly Dan Flavin's rigid light sculptures. Also in 1992, Untitled (1991), a sensual black-and-white photograph of Gonzalez-Torres's empty, unmade bed with traces of two absent bodies, was installed on 24 billboards throughout the city of New York. This enigmatic image was both a celebration of coupling and a memorial to the artist's lover, who had recently died of AIDS. Its installation as a melancholic civic-scaled monument problematized public scrutiny of private behavior. Gonzalez-Torres received fellowships from the National Endowment for the Arts in 1989 and 1993. He participated in hundreds of group shows during his lifetime, including early presentations at Artists Space and White Columns in New York (1987 and 1988, respectively), the Whitney Biennial (1991), the Venice Biennale (1993), SITE Santa Fe (1995), and the Sydney Biennial (1996). Comprehensive retrospective exhibitions of his work have been organized by the Museum of Contemporary Art Los Angeles (1994); Solomon R. Guggenheim Museum (1995); Sprengel Museum Hannover, Germany (1997); and Biblioteca Luis-Angel Arango, Bogotá (2000). Other exhibitions have been held at the Hamburger Bahnhof-Museum für Gegenwart, Berlin (2006-07); PLATEAU, Seoul (2012); and Leeum, Samsung Museum of Art, Seoul (2012). A survey of his work, Specific Objects without Specific Form, was organized by WIELS, Centre d'Art Contemporain, Brussels (2010), and then traveled to the Fondation Beyeler, Basel (2010), and the Museum für Moderne Kunst Frankfurt am Main (2011). In 2007, Gonzalez-Torres was selected to represent the United States at the Venice Biennale in the exhibition Felix Gonzalez-Torres: America. He died in Miami on January 9, 1996." - Full biographies available on:"Roni Horn's work consistently generates uncertainty to thwart closure in her work. Important across her oeuvre is her longstanding interest to the protean nature of identity, meaning, and perception, as well as the notion of doubling; issues which continue to propel Horn's practice. Since the mid-1990s, Horn has been producing cast-glass sculptures. For these works, colored molten glass assumes the shape and qualities of a mold as it gradually anneals over several months. The sides and bottom of the resulting sculpture are left with the rough translucent impression of the mold in which it was cast. By stark contrast, the top surface is fire-polished and slightly bows like liquid under tension. The seductively glossy surface invites the viewer to gaze into the optically pristine interior of the sculpture, as if looking down on a body of water through an aqueous oculus. Exposed to the reflections from the sun or to the shadows of an overcast day, Horn's glass sculpture relies upon natural elements like the weather to manifest her binary experimentations in color, weight and lightness, solidity and fluidity. The endless subtle shifts in the work's appearance place it in an eternal state of mutability, as it refuses a fixed visual identity. Begetting solidity and singularity, the changing appearance of her sculptures is where one discovers meaning and connects her work to the concept of identity. For Horn, drawing is a primary activity that underpins her wider practice. Her intricate works on paper examine recurring themes of interpretation, mirroring and textual play, which coalesce to explore the materiality of color and the sculptural potential of drawing. Horn's preoccupation with language also permeates these works; her scattered words read as a stream of consciousness spiralling across the paper. In her 'Hack Wit' series, Horn reconfigures idiomatic turns of phrase and proverbs to engender nonsensical, jumbled expressions. The themes of pairing and mirroring emerge as she intertwines not only the phrases themselves but also the paper they are inscribed on, so that her process reflects the content of the drawings. Words are her images and she paints them expressionistically, which--combined with her method--causes letters to appear indeterminate, as if they are being viewed underwater.Notions of identity and mutability are also explored within Horn's photography, which tends to consist of multiple pieces and installed as a surround which unfolds within the gallery space. Examples include her series 'The Selected Gifts, (1974 - 2015),' photographed with a deceptively affectless approach that belies sentimental value. Here, Horn's collected treasures float against pristine white backdrops in the artist's signature serial style, telling a story of the self as mediated through both objects and others--what the artist calls 'a vicarious self-portrait.' This series, alongside her other photographic projects, build upon her explorations into the effects of multiplicity on perception and memory, and the implications of repetition and doubling, which remain central to her work."- Artist statement from:"The art practice of Julie Ault encompasses many roles not typically associated with the visual artist, including that of archivist, curator, editor, and theorist. Invited to assemble a "show within a show" for the 2014 Biennial, Ault selected as points of entry works by David Wojnarowicz (1954-1992) and Martin Wong (1946- 1999) from the Whitney's permanent collection, exhibiting them alongside artifacts from these artists' personal archives, held by the Downtown Collection at New York University's Fales Library. Both Wojnarowicz and Wong were active in New York during the 1980s and early '90s, when Ault was a member of the influential artists' collaborative Group Material. Ault has since maintained her commitment to a practice defined by collaboration, exchange, community and research, tracing vital links between art and politics. Departing from the dominant narratives that have sought to represent the era of Wong and Wojnarowicz as a period marked primarily by the AIDS crisis and the culture wars, Afterlife: a constellation recontextualizes their work in this atmospheric installation, whose geographical compass extends from downtown New York to the Sierra Nevada. A range of voices, energies, artworks, artifacts, and texts, all displayed as equal participants, invoke themes of disappearance and regeneration and the notion that subjectivity is an integral dimension of archiving and historical representation. The works on view in the Biennial include a photograph related to the Donner Party migration; entryway mirrors inspired by the ones that adorned Liberace's mansion in Las Vegas; copies by James Benning of a ledger drawing by Black Hawk (1832-1890?) alongside a hand-lettered sign by Jesse Howard (1885-1983); a book by Martin Beck about David Mancuso's "The Loft" communal dance parties; a slide show by Matt Wolf that explores Wojnarowicz's personal archive of ephemera; a heliogravure by Danh Vo of the newspaper announcement of the marriage of Barbara Bush (née Pierce); a poetic misfile as sculpture by Robert Kinmont; an interview with the founder of the Downtown Collection, Marvin Taylor; and textual elements written and compiled by Ault." - From:

Subjects: Exhibition catalogs.; González-Torres, Félix, 1957-1996; Horn, Roni, 1955-; Art, Modern; Artistic collaboration; Gay artists.; Lesbian artists.; Gay art.; Lesbian art.; LGBTQ+ artists.; LGBTQ+ arts.; Queer (Verb); Queer art.; Queer artists.; Gay artists.; Lesbian artists.;

Available copies: 1 / Total copies: 1

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Every man for himself and God against all : a memoir / by Herzog, Werner,1942-author.(CARDINAL)881726; Hofmann, Michael,1970-translator.(CARDINAL)878635;

Includes filmography (pages 341-351) and a list of the opera productions directed by the author (pages 353-355).Stars, the sea -- El Alamein -- Mythical figures -- Flying -- Fabius Maximus and Siegel Hans -- Along the border -- Ella and Rudolf -- Elisabeth and Dietrich -- Munich -- Second meeting with God -- Caves -- The valley of the ten thousand windmills -- Congo -- Dr. Fu Manchu -- John Okello -- Peru -- Privilegium Maius, Pittsburgh -- NASA, Mexico -- Pura vida -- Dance on the wire -- Menhirs and the vanishing area paradox -- The ballad of the little solider -- Chatwin's rucksack -- Arlscharte -- Wives, children -- Waiting for the barbarians -- Unrealized projects -- The truth of the ocean -- Hypnosis -- Villains -- The transformation of the world into music -- On reading minds -- Slow reader, long sleeper -- Friends -- My old mother -- The end of images."Legendary filmmaker and celebrated author Werner Herzog tells in his inimitable voice the story of his epic artistic career in a long-awaited memoir that is as inventive and daring as anything he has done before. Werner Herzog was born in September 1942 in Munich, Germany, at a turning point in the Second World War. Soon Germany would be defeated and a new world would have to be made out the rubble and horrors of the war. Fleeing the Allied bombing raids, Herzog's mother took him and his older brother to a remote, rustic part of Bavaria where he would spend much of his childhood hungry, without running water, in deep poverty. It was there, as the new postwar order was emerging, that one of the most visionary filmmakers of the next seven decades was formed. Herzog made his first film in 1961 at age 19, and the wildly productive working life that followed--spanning the seven continents and encompassing both documentary and fiction--was an adventure as grand and otherworldly as any depicted in his many classic films, from early features Aguirre and Nosferatu, to Fitzcarraldo and later documentaries such as Grizzly Man and Cave of Forgotten Dreams. Every Man for Himself and God Against All is at once a firsthand personal record of one of the great and self-invented lives of our time, and a singular literary masterpiece that will enthrall fans old and new alike. In a hypnotic swirl of memory, Herzog untangles and relives his most important experiences and inspirations, telling the full story of his life for the first and only time"--

Subjects: Autobiographies.; Herzog, Werner, 1942-; Motion picture producers and directors;

Available copies: 11 / Total copies: 16

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Revise the Psalm : work celebrating the writing of Gwendolyn Brooks / by Lansana, Quraysh Ali,editor.(CARDINAL)704100; Jackson-Opoku, Sandra,editor.(CARDINAL)642698;

Includes bibliographical references.Essays, poetry, and art included in this anthology celebrate the one-hundredth birthday of the late poet and cultural icon Gwendolyn Brooks.Introduction: Of memory and revision / Quraysh Ali Lansana & Sandra Jackson-Opoku -- Foreword / Marita Golden -- Part I. Child-free / Joan Wiese Johannes ; Barbed wire / Jodi Joanclair ; I, too, am the mother / Georgia A. Popoff ; The unmother / Angela Jackson ; Dialogue between two women at the clinic / Jeanne Towns ; Motherhood / Emily Hooper Lansana ; First journey / Diane Glancy ; Daystar / Rita Dove ; My mother's clothes / Chirskira Caillouet ; Washer woman / Kimberly A. Collins ; Tax deadline / Akua Lezli Hope ; Fixing face / Akua Lezli Hope ; [Untitled] / Kimberly Dixon-Mays ; Milk bath / Zoe Lynn Nyman -- Part 2. Horse and carriage on the plaza / Natasha Ria El-Scari ; A slip into history / Crystal Simone Smith ; My face / Aries Hines ; blk(s) / Avery R. Young ; The night after you have been fired from your job / Natasha Ria El-Scari ; A burning lesson / Kimberly A. Collins ; She was my first / Kalisha Buckhanon ; Poem for Gwendolyn Brooks on her centennial birthday / Jessica Care Moore --Part 3. Sister Flossie's jam / Qiana Towns ; Recipe / L.D. Barnes ; Radio / Malaika Favorite ; For the lover who eats my poems... / Jaki Shelton Green ; To be in love / CM Burroughs ; To be / Keith Wilson ; Knife in the wall / Mike Puican ; Chalk / Keith Wilson ; When your silence will not save you / Randall Horton ; Fine art school / Crystal Simone Smith ; Combatives / David Bublitz ; Stay / Jericho Brown ; Abracadabra / Randall Horton ; Psalm 23 at 15 / Wayne-Daniel Berard ; Visitation one / David Bublitz ; Dog in a deadman's house / Adrienne Christian ; Babes / Mary Catherine Loving ; On Spring / Keith Wilson ; Bitter winter / Dasha Kelly ; Suicide one / David Bublitz ; Lovely love / Elise Paschen ; Sweet stalk / Lana Hechtman Ayers ; Genetic codes / Jodi Joanclair ; The Samaritan woman / John C. Mannone -- Part 4. Look behind / Sandra Jackson-Opoku ; Deuce and a quarter / Calvin Forbes ; Convenience / Monique Hayes ; Anacostia suite / Tony Medina ; Sold to the man with the mouth / Adrian Matejka ; Kenny's friend / Judy Dozier ; Run Johnny run / Calvin Forbes ; Foun(d) poem / Avery R. Young ; Silly stories / Tony Lindsay ; Dying of laughter / Anastacia Renee Tolbert ; Sleep smoking / David Bublitz ; Five belly buttons / Rohan Preston ; Yaakov's jackets / Mel Goldberg ; The hammers / Jericho Brown ; Mama Gwendolyn kiss (is) Uncle Ruckus on de forehead / Avery R. Young ; Civility / Quraysh Ali Lansana ; Tribal differences / Reggie Scott Young ; Players online dating service / Calvin Forbes ; Mr. Oscar Brown Jr. goes to heaven / Quraysh Ali Lansana ; Looking for Venture Smith / Jacqueline Johnson ; Sonnet For Gordon Parks / Carolyn Joyner ; Oriki for John Oliver Killens / Jacqueline Johnson --Part 5. Remembering Gwendolyn Brooks / Sam Hamill ; Quatrain for Emmett Till/Trayvon Martin/Michael Brown/LaQuan McDonald / Regina Taylor ; Many sons, many mothers / Tara Betts ; A depraved indifference 2 human life / Khari B. ; The short answer / Roger Bonair-Agard ; A neighborhood boy / Devorah Major ; Rite of passag / Anastacia Renee Tolbert ; We real / Kevin Coval ; Roots / Nile Lansana ; News item : police seek African-American man / Mary Catherine Loving ; History of static / Kevin Stein ; East Texas blues / Mary Catherine Loving ; Robert's Hill : San Augustine, Texas / Mary Catherine Loving ; We real / Roger Bonair-Agard ; WWW2015 / Deshaunte Walker ; The tragedies / Kevin Stein ; Skin / John C. Mannone ; Keloid cells / Jodi Joanclair ; Landscape with chalk-marked silhouette / Tony Medina ; Everyday horrors / Esteban Colon ; When racism dies / Kwabena Foli ; Overheard at tea, near Kensington and DeVeers, London / Mary Catherine Loving ; A feast of whispers / Jaki Shelton Green ; In praise of wisdom / Sharan Strange ; Halloween / Malaika Favorite ; Who needs the stars if the full moon loves you? / Sheree Renée Thomas ; Prayer for Jordan / Jaki Shelton Green -- Part 6. The corner / Keith Wilson ; A deaf old lady / Marilyn Nelson ; Street woman / Devorah Major ; Black woman In Russia / Shahari Moore ; Artwork gallery ; Recollections / Reggie Scott Young ; Urban couple / Opal Palmer Adisa ; The tenant / Keith Wilson ; Meanwhile, A Lawndale girl burns cornbread / Patricia Smith ; R. Taylor's Project girl / Bettina Marie Walker ; Final frontier / Adrian Matejka ; Gwendolyn Brooks stands in the Mecca / Kevin Coval ; The last supper / Tina Jenkins Bell ; Second Ave. ceiling / Zoe Lynn Nyman ; Steel canary / Rohan Preston ; Crime in Bluesville / Reggie Scott Young ; Eating in the after life / Qiana Towns ; Hotel Hades / Sandra Jackson-Opoku ; Lincoln Cemetery / Cortney Lamar Charleston ; The blinking apple / Rohan Preston ; & later / Adrian Matejka ; Geometry / Rita Dove ; Cedar / Anastacia Renee Tolbert ; Fun in the backyard / Lenard D. Moore ; Day 4, Somewhere between Athens and Serifos, Greece / Monica Hand ; June 9, Serifos, Greece / Monica Hand ; Blackbirding / John Wilkinson ; Seven years / Quraysh Ali Lansana --Part 7. Testifying / Rita Dove ; Language of the unheard / Opal Palmer Adisa ; Jazz June / Clifford Thompson ; To the recorder of history / Randall Horton ; A note on Gwendolyn Brooks / Sharon Olds ; Reading Gwendolyn Brooks / Gwendolyn A. Mitchell ; Letter to Gwendolyn Brooks / Sandra Cisneros ; Nobody knows my name / Manuel Muñoz ; A haiku for Gwendolyn Brooks / Damaris Hill ; Journaling with Gwendolyn Brooks Kwansaba-style 2016 : a pastiche of poetic reports on her life & works / Eugene B. Redmond ; The weight of the word / Quraysh Ali Lansana ; Baggage / Lansana/Brooks ; Smolder / Lansana/Brooks -- Part 8. Artist statements. Lana Hechtman Ayers ; Khari B. ; Tina Jenkins Bell ; Rose Blouin ; Anecdote / David Bublitz ; Adjoa Jackson Burrowes ; Chirskira Caillouet ; Adrienne Christian ; Kimberly Dixon-Mays ; Judy Dozier ; Natasha Ria El-Scari ; Calvin Forbes ; Diane Glancy ; Reflections : experiencing Gwendolyn Brooks / Jaki Shelton Green ; Monica Hand ; Reflection / Damaris Hill ; Gwendolyn Brooks reminiscence / Akua Lezli Hope ; Being born into Brooks / Sandra Jackson-Opoku ; Jodi Joanclair ; Joan Wiese Johannes ; Jacqueline Johnson ; Carolyn Joyner ; Emily Hooper Lansana ; Description of portrait of Gwendolyn Brooks / Roy Lewis ; My Gwendolyn Brooks experience / Tony Lindsay ; Mary Catherine Loving ; Devorah Major ; Remembrance / Adrian Matejka ; Finding my own sunset and thoughts on reading Gwendolyn Brooks / Gwendolyn A. Mitchell ; Lenard D. Moore ; Joyce Owens ; Elise Paschen ; My first contact with Gwendolyn Brook / Mike Puican ; A slice of prose for Gwendolyn Brooks, poet / Eugene B. Redmond ; Crystal Simone Smith ; To make a thing sing and mean : reflections on Gwendolyn Brooks / Kevin Stein ; Regina Taylor ; Wordweaver {for Gwendolyn Brooks) / Jeanne Towns ; Qiana Towns ; Keith Wilson ; Avery R. Young ; A Bluesviile tribute for Gwendolyn Brooks / Reggie Scott Young -- Brooks biography. We remember Sunday : portrait of the artist as an ancestor / Sandra Jackson-Opoku -- Brooks bibliography. Gwendolyn Brooks : a selected bibliography 1979-2015 / Kathleen E. Bethel.

Subjects: Essays.; Poetry.; Brooks, Gwendolyn, 1917-2000; Brooks, Gwendolyn, 1917-2000; Brooks, Gwendolyn, 1917-2000; African American women in literature.;

Available copies: 1 / Total copies: 1

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