Genius in a Box

2020 ◽  
pp. 365-370
Author(s):  
Alexi Worth
Keyword(s):  
Rhode Island ◽  
Art History ◽  
American Art ◽  
Comic Book ◽  
Pop Art ◽  
California State University ◽  
State University ◽  
Marvel Comics ◽  
The Relationship

This chapter includes a 2017 article by artist and art critic Alexi Worth wherein he reviews two exhibitions centered on the work of the “King of Comics” Jack Kirby: Comic Book Apocalypse: The Graphic World of Jack Kirby at California State University Northridge and What Nerve! Alternative Figures in American Art, 1960 to the Present at Rhode Island School of Design Museum. This chapter focuses on the relationship between comics and Pop Art, discussing the use of Kirby’s cover for Young Romance #26 in Richard Hamilton’s groundbreaking Pop Art collage Just What Is It That Makes Today’s Homes So Different, So Appealing (1956) and Kirby’s place in art history. This chapter discusses Dream Machine,Kirby’s dynamic drawing style and influences, and the twists and turns of his career at Marvel Comics.

Jack Kirby at Cal State Northridge

2020 ◽  
pp. 361-364
Author(s):  
Doug Harvey
Keyword(s):  
Los Angeles ◽  
Science Fiction ◽  
Comic Book ◽  
California State University ◽  
State University

This chapter includes a 2015 review of Comic Book Apocalypse: The Graphic World of Jack Kirby at California State University Northridge by Los Angeles based writer and artist Doug Harvey, providing a detailed look at the exhibition. This chapter discusses narrative in exhibitions, full issues of Kamandi: The Last Boy on Earth #14 and Thor #155 on display and the stories behind them, Kirby’s painting Dream Machine, examples of work from every period in Kirby’s lengthy career, touching on genre forays into romance, war, occult, westerns, espionage, autobiography, and science fiction. Image: Dream Machine painting by Jack Kirby

Developing a Database of Pollen Images

2001 ◽  
Vol 7 (S2) ◽  
pp. 462-463
Author(s):  
R. A. Spier ◽  
J. M. Thompson
Keyword(s):  
Pollen Grains ◽  
California State University ◽  
State University ◽  
The Public ◽  
Biology Department ◽  
San Bernardino ◽  
Analysis Center ◽  
Local Species ◽  
Syringe Filter ◽  
The Relationship

A database cataloguing SEM micrographs of pollen specimens can be useful for several purposes. The primary reason would be for educational purposes. The images could be used to study pollen structure, as well as the relationship between pollen and pollinator species. Identification of pollen can be of potential use for medical purposes (such as combating allergic reactions to pollen), and for comparison in a forensic investigation. At the Biology Department of California State University, San Bernardino an ongoing project is underway to construct a database of pollen samples, focusing on local species. The micrographs are created at the Electron Microscope and Images Analysis Center located in the School of Natural Sciences at Cal State San Bernardino using a Hitachi S-2700 SEM. The database will be made available to the public and updated periodically via the Biology Department website (http://biology.csusb.edu).All specimens were first fixated by placing the pollen grains in a syringe filter and injecting a 2% formaldehyde/4% glutaraldehyde formula and incubating overnight.

Introduction to Comic Book Apocalypse: The Graphic World of Jack Kirby

2020 ◽  
pp. 356-360
Author(s):  
Charles Hatfield
Keyword(s):  
Comic Book ◽  
California State University ◽  
Exhibit Design ◽  
State University ◽  
Comic Art

This chapter includes a 2016 article by California State University Northridge professor and author of Hand of Fire: The Comic Art of Jack Kirby, Charles Hatfield, explaining the genesis of and his curatorial strategy for the exhibition Comic Book Apocalypse: The Graphic World of Jack Kirby at CSUN. This chapter discusses the culture of collectors of original Kirby art, narrative in exhibits, displaying the complete Kamandi #14 and Thor #155, and the importance of murals and color in exhibit design. Images: 2 exhibit photos

scholarly journals F.I. Shmit at Leningrad University at the Turn of the 1920s and 1930s

2021 ◽  
Vol 163 (3) ◽  
pp. 67-74
Author(s):  
V.G. Ananiev ◽  
Keyword(s):  
Art History ◽  
State University ◽  
Russian Art ◽  
Byzantine Art ◽  
History Of Art ◽  
History Of ◽  
The One ◽  
The University ◽  
The Relationship ◽  
Academic Content

This paper discusses an episode from the academic biography of Fyodor Ivanovich Shmit (1877–1937), a prominent Russian art historian and art theorist, museologist. The history of F.I. Shmit’s teaching at Leningrad State University during the 1920s and 1930s was covered. The scholar was an alumnus of the university and renewed the relationship with the alma mater following his return from Ukraine to Leningrad in the mid-1920s. Until 1932, F.I. Shmit taught here various disciplines of art history and theory. Since 1930, he had worked as the head of the Department of General History of Art and taught here such courses as History of Byzantine Art, History of Art in Feudal Europe, History of Ancient Art, History of Western European Art of the Age of Primitive Accumulation of Capital. He actively presented the results of his research in the form of academic reports. The analysis of F.I. Shmit’s curricula shows that, on the one hand, he tried to adapt them to the needs of the changing time, but, on the other one, he tried to preserve the traditional academic content. In many ways, his activities during this period helped to uphold the traditions of the St. Petersburg-Petrograd School of Art History. However, F.I. Shmit was deprived of the opportunity to continue his teaching due to the changes in the structure of higher education, which were typical for that period, as well as because of the growing pressure of the totalitarian state. In 1933, he was arrested, expelled from Leningrad, and murdered.

The Impact of Competitive Quasi-Market on Service Delivery in Benue State University, Makurdi Nigeria

GIS Business ◽  
2019 ◽  
Vol 14 (4) ◽  
pp. 85-98
Author(s):  
Idoko Peter
Keyword(s):  
Service Delivery ◽  
A Priori ◽  
Least Square ◽  
Secondary Source ◽  
State University ◽  
Ordinary Least Square ◽  
Negative Effect ◽  
The Impact ◽  
The Relationship

This research the impact of competitive quasi market on service delivery in Benue State University, Makurdi Nigeria. Both primary and secondary source of data and information were used for the study and questionnaire was used to extract information from the purposively selected respondents. The population for this study is one hundred and seventy three (173) administrative staff of Benue State University selected at random. The statistical tools employed was the classical ordinary least square (OLS) and the probability value of the estimates was used to tests hypotheses of the study. The result of the study indicates that a positive relationship exist between Competitive quasi marketing in Benue State University, Makurdi Nigeria (CQM) and Transparency in the service delivery (TRSP) and the relationship is statistically significant (p<0.05). Competitive quasi marketing (CQM) has a negative effect on Observe Competence in Benue State University, Makurdi Nigeria (OBCP) and the relationship is not statistically significant (p>0.05). Competitive quasi marketing (CQM) has a positive effect on Innovation in Benue State University, Makurdi Nigeria (INVO) and the relationship is statistically significant (p<0.05) and in line with a priori expectation. This means that a unit increases in Competitive quasi marketing (CQM) will result to a corresponding increase in innovation in Benue State University, Makurdi Nigeria (INVO) by a margin of 22.5%. It was concluded that government monopoly in the provision of certain types of services has greatly affected the quality of service experience in the institution. It was recommended among others that the stakeholders in the market has to be transparent so that the system will be productive to serve the society effectively

Art, History, and Postwar Fiction

2018 ◽  
Author(s):  
Kevin Brazil
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
New Left ◽  
Doris Lessing ◽  
William Gaddis ◽  
Continuity And Change ◽  
Historical Developments ◽  
The Cold War ◽  
The Relationship

Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War up to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.

Epic Cruelty: On Post-Pandemic Performance

2021 ◽  
Vol 37 (2) ◽  
pp. 119-136
Author(s):  
Rick Mitchell
Keyword(s):  
Climate Change ◽  
United States ◽  
African Americans ◽  
The United States ◽  
California State University ◽  
The State ◽  
State University ◽  
White Supremacist ◽  
Systemic Racism ◽  
Disaster Capitalism

As today’s catastrophic Covid-19 pandemic exacerbates ongoing crises, including systemic racism, rising ethno-nationalism, and fossil-fuelled climate change, the neoliberal world that we inhabit is becoming increasingly hostile, particularly for the most vulnerable. Even in the United States, as armed white-supremacist, pro-Trump forces face off against protesters seeking justice for African Americans, the hostility is increasingly palpable, and often frightening. Yet as millions of Black Lives Matter protesters demonstrated after the brutal police killing of George Floyd, the current, intersecting crises – worsened by Trump’s criminalization of anti-racism protesters and his dismissal of science – demand a serious, engaged, response from activists as well as artists. The title of this article is meant to evoke not only the state of the unusually cruel moment through which we are living, but also the very different approaches to performance of both Brecht and Artaud, whose ideas, along with those of others – including Benjamin, Butler, Latour, Mbembe, and Césaire – inform the radical, open-ended, post-pandemic theatre practice proposed in this essay. A critically acclaimed dramatist as well as Professor of English and Playwriting at California State University, Northridge, Mitchell’s published volumes of plays include Disaster Capitalism; or Money Can’t Buy You Love: Three Plays; Brecht in L.A.; and Ventriloquist: Two Plays and Ventriloquial Miscellany. He is the editor of Experimental O’Neill, and is currently at work on a series of post-pandemic plays.

Sign in / Sign up

Export Citation Format

Share Document