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Benjamin Franklin and Jonathan Swift Were Fart Joke Masters. Persuasive Essay Gattaca. Benjamin Franklin was many things: printer, inventor, postmaster, turkey-zapper, constitution-signer, and connoisseur of fart jokes. The founding father fancied flatus. Accounting And Financial Assignment. So much, actually, that in 1781 he penned an essay dedicated to the thunder down under. Franklin lived in Paris at the time, serving as US Ambassador to France. There, he heard that the Royal Academy at persuasive essay, Brussels was requesting scientific essays and would award prizes for the best papers. The news annoyed Franklin. He thought scientists were falling out of touch with reality. Year after year, they churned out pompous papers that didn’t make life better for the common man. Statement. Science should be practical, Franklin thought.
Science should help everyday problems. Science should, you know, make farts smell good. So Franklin wrote a mock letter, To the Royal Academy,” which opened explaining why people try to restrain and contain their windy emissions: It is universally well known, That in digesting our common Food, there is created or produced in the Bowels of human Creatures, a great Quantity of Wind. Essay Gattaca. That the permitting this Air to tommie thesis statement, escape and mix with the persuasive essay Atmosphere, is usually offensive to the Company, from the fetid Smell that accompanies it. That all well-bred People therefore, to avoid giving such Offence, forcibly restrain the Efforts of english language Nature to discharge that Wind.
Franklin argued that holding back gas could be painful, even life threatening. If science could improve the smell, maybe people would break wind freely: “Were it not for the odiously offensive Smell accompanying such Escapes, polite People would probably be under no more Restraint in discharging such Wind in Company, than they are in spitting, or in blowing their Noses.” Franklin urges the essay academy to “Discover some Drug wholesome not disagreeable, to be mix’d with our common Food, or Sauces, that shall render the natural Discharges of Wind from our Bodies, not only inoffensive, but agreable as Perfumes.” Because who needs cologne when your air biscuit freshens the room with the essay aroma of blooming daisies? Franklin’s letter was a joke, of course. Persuasive Essay Gattaca. He never sent it to the academy. Instead, he mailed it to at noon, Richard Price, a British philosopher and friend of essay Thomas Jefferson and Thomas Paine. Accounting Management Admissions Assignment. Price was a member of London’s Royal Society, and he would’ve appreciated Franklin’s jab at academia, especially its closing. At the essay’s end, Franklin writes that science has derailed so far from reality that every discovery combined must be worth a “FART-HING.” (In case you’re wondering, fragrant flatulence probably isn’t possible. Persuasive Essay. When you smell a flatus, you’re actually catching a whiff of hydrogen sulfide and methanethiol.
The two compounds can turn your toots into nose-burning, stomach-churning bowel bombs. You can quell the smell with bismuth supplements, but these won’t transform your farts into air fresheners. They’ll just knock your stinkers scentless.) Jonathan Swift: Master of the Gasser. Franklin wasn’t the english as a international language only believer in the art of the fart. Sixty years earlier, Jonathan Swift—a master of satire and author of persuasive essay gattaca Gulliver’s Travels —wrote an essay titled “The Benefit of tommie thesis statement Farting Explain’d,” published in a pamphlet in 1722.
The paper’s title page is peppered with puns. Swift hides under the essay pseudonym “Don Fartinhando Puff-Indorst, Professor of Bumbast at the University of Craccow.” The essay is “translated into English at the Request and for accounting admissions assignment, the Use of the Lady Damp-Fart, of Her-fart-shire” by “Obadiah Fizle, Groom of the Stool to the Princess of Arse-Mini in Sardinia.” Oh, and persuasive gattaca, it was also reviewed by a “College of Fizz-icians.” Seriously. We can’t make this up. Tommie Thesis Statement. It sounds juvenile, but Swift may have been using potty humor to criticize potty humor. By the 18th century, flatulence had become taboo. Farting was rude, and essay gattaca, gas-passing was merely raw material for crude jokes (and in some cases, subject to censorship law.) But it hadn’t always been that way—farts had a proud literary history.
For centuries, authors had used scatology as a serious symbol for accounting and financial management assignment, mortality, decay, and impurity. Dante, St. Augustine, Chaucer, Marlowe, Dryden, and even Martin Luther wrote about persuasive gattaca cutting the cheese, using flatulence as a literary symbol and even a political tool. So Swift may have been criticizing the animation fart’s sad decline into silliness—and he was fighting fire with fire. The essay is divided into four parts, detailing gas’s relationship with law, society, and essay, science.
The second section, however, may be the international essay most inventive: After clarifying the nature, essence, and definition of the common fart, Swift explains why it’s bad to bottle up your tailwind—and offers a (sexist) theory to one of life’s mysteries: “I shall next enquire into persuasive essay the ill consequence of tommie statement suppressing [gas], which . . . Essay Gattaca. causes Cholicks, hystericks, rumblings, belching, spleen, etc, but in in education essay, the women of a more strong constitution, it vents itself intirely in talkativeness; hence we have a reason, why women are more talkative than men.” Swift says it’s better to let one rip than hold it inside. The gassy vapors can float up and mess with your head, especially if you’re a talkative woman, who may not “vent properly.” Swift theorizes that’s why people cry, too: “If this vapour, when rais’d to the head, is there condensed by a cold melancholy constitution, it distills thor’ the Eyes in Form of Tears.” He captures his thesis with the nugget: “Whoth stop’t at one end, burst out. From long and thick to coiled or curly, every type of mustache, beard, and goatee under the Sun (and barber's pole) seemed to persuasive gattaca, be present at the 2017 World Beard and edgar resume, Moustache Championships. The biannual competition—held in essay, Austin, Texas in early September, according to horton resume, Laughing Squid—brings together hairy rivals from around the globe, who come before a panel of judges to see whose facial hair is the most coiffed and creative. Participants compete across 17 traditional categories in three main groups: mustaches, partial beards, and full beards. Awards are granted to essay, individuals with the best Salvador Dali–inspired mustache; the best goatee freestyle, or short beards styled into elaborate arrangements; and the best natural full beard, among other looks.
Held in Leogang, Austria, the 2015 World Beard and Moustache Championships had just 317 competitors, Bryan Nelson—who helped organize this year's event along with the Austin Facial Hair Club— tells Mental Floss. But the 2017 Championships attracted a staggering 738 participants from 33 countries. Nelson believes that the Austin Facial Hair Club pulled off history's largest facial hair competition (the group is awaiting validation from edgar resume, Guinness World Records), and also says that the essay tournament was the first of its kind to include craft-based categories for accounting and financial management assignment, women. We had Creative Moustache and persuasive, Realistic Moustache, Creative Beard and as a international language essay, Realistic Beard, Nelson says. For the persuasive gattaca realistic categories, female participants used either real or fake tresses to create authentic-looking facial hair (which they attached to their faces), and for the creative categories, they were all over the place and could be made from apa, whatever, Nelson explains. Seashells, bacon, bones … it's such a creative event. You can check out a handful of 2017's winners—who were captured in all their hairy glory by Las Vegas-based photographer Greg Anderson—below, or view even more hilarious looks on his Instagram. Gattaca. Some words, regardless of their meaning, are simply more chuckle-worthy than others. To determine which expressions in the English language are truly the language essay most comical, Smithsonian reports that psychologists at the University of Warwick in essay, the UK conducted a survey in which they asked people to rate the “humor value” of a sampling of chosen words. They recently published their findings in the journal Behavior Research Methods. The researchers selected nearly 5000 words, and then used Amazon’s online crowdsourcing tool Mechanical Turk to ask more than 800 individuals to rank the humor value of 211 randomly chosen words from the animation list, on persuasive essay a scale from 1 (humorless) to 5 (humorous).
Likely not surprising to apa, anyone with younger siblings, the funniest word ended up being “booty,” with an average ranking of 4.32. In descending order, the remaining top 12 words—which all received a score of 3.9 or higher—were “tit,” “booby,” “hooter,” “nitwit,” “twit,” “waddle,” “tinkle,” “bebop,” “egghead,” “ass,” and persuasive, “twerp.” Why these words are so funny remains fuzzy. But when they analyzed their findings according to age and gender, the researchers did find that sexually suggestive words like “orgy” and tommie thesis, “bondage” tended to tickle the funny bones of men, as did the words “birthmark,” “brand,” “chauffeur,” “doze,” “buzzard,” “czar,” “weld,” “prod,” “corn,” and “raccoon.” Meanwhile, women tended to laugh at the words “giggle,” “beast,” “circus,” “grand,” “juju,” “humbug,” “slicker,” “sweat,” “ennui,” “holder,” “momma,” and “sod.” As for persuasive essay gattaca, people under the age of 32, they were amused by “goatee,” “joint,” and “gangster,” while older participants liked “squint,” “jingle,” “burlesque,” and “pong.” Across the board, all parties were least amused by animation words like “rape,” “torture,” and “torment.” Although humor is complex and essay, dependent on elements like syntax and delivery, the study's researchers say that breaking comedy down to single-word units could demystify its essence. “The research initially came about as a result of our curiosity,” said Tomas Engelthaler, the study’s lead author, in a press release. “We were wondering if certain words are perceived as funnier, even when read on at noon thesis their own. It turns out that indeed is the case. Humor is an gattaca, everyday aspects of dissertation editing our lives and we hope this publicly available dataset allows future researchers to better understand its foundations.” LIVE SMARTER BIG QUESTIONS WEATHER WATCH BE THE CHANGE JOB SECRETS QUIZZES WORLD WAR 1 SMART SHOPPING STONES, BONES, WRECKS #TBT THE PRESIDENTS WORDS RETROBITUARIES. Caring for a Sick Animal Can Lead to Anxiety and gattaca, Depression, Study Finds.
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3 Keys to Realizing Your Dreams and Goals. When it comes to persuasive manifesting our dreams and accomplishing our goals, there are three vital components that deserve our attention. Animation In Education Essay? Before we get into essay gattaca, that, ask yourself the following question: Am I actively moving toward my goals and dreams every day? Everybody has dreams and most people have goals. If you want your goals and dreams to apa become reality, you must move toward them consistently and purposefully. By nature, we always begin with distance between where we are and where we want to be. Our job is to narrow that distance until it no longer exists. To accomplish that, we need to draw our goals and dreams closer to us, while simultaneously moving toward them. Some people attempt to attract their goals without taking much action. Others choose to act on their goals, but without the persuasive gattaca added advantage of also drawing those goals to them. Editing Apa? Action alone can bring positive results, but it is much faster to combine the essay gattaca two techniques.
For the sake of clarity, let’s differentiate between dreams and wishful thinking. In some conversations, the two might be interchangeable. Not so in this case. When I talk about the lamp implicit dreams, I am really talking about highly desirable goals, future realities that we fully intend to persuasive realize. In Education? For our purposes, a dream is something that we are willing to work toward, and are determined to manifest, just like a goal. What kind of dreams and goals do you have? When you project your thoughts into the future, how do you see things? Do you see a variety of positive changes across the full spectrum of your life? Do you see yourself healthier, wealthier, and wiser?
Are you willing to move toward that vision in order to realize it? If so, then this is really a highly desirable goal, and that is gattaca, exactly the kind of dreams we are talking about today. 3 ways to move toward the realization of your dreams. Admissions Assignment? 1) Total clarity. Before we do anything else, you need to clearly define exactly what your dreams or goals are. This is not the essay time to deal in generalities; you need to dissertation editing be very specific. One of the persuasive gattaca best ways for dissertation apa, you to get really clear is to write down a detailed description of exactly what you want to accomplish. Writing things down requires that you get a well defined mental image first. Persuasive Gattaca? The very process of putting your thoughts into words creates clarity.
This clarity will help you form a vivid mental image that you can carry around with you 24 hours a day. Most of the time your personal reference to your goals and dreams will be that mental image, but you will also be able to refer back to the written description to help you maintain clarity. One of the most powerful things you can include when writing down your goals and dreams is how they make you feel. The feelings you attach to the things you intend to accomplish are your greatest source of motivation and energy. Edgar? So, be sure to include your feelings in persuasive essay gattaca your written description. Think carefully about english language each aspect of this future reality. How does it make you feel? What emotional anchors resonate with each detail? Write them down. As you read back through your written description, allow yourself to experience those feelings and get emotionally involved in the picture. When you conjure up this mental image of how your life is persuasive essay, going to be, fully experience it on an emotional level.
This is the true power of having clearly defined goals and dreams, and identifying your emotional attachments to edgar horton resume them. Persuasive Essay Gattaca? 2) Take action. Animation Essay? Now that you can see and feel your goals and dreams with clarity, it’s time to begin moving toward them. What steps do you need to essay take to move you closer to realizing these dreams? What sequence do those steps need to be in to produce your intended result? What action can you take each and every day to keep you moving in the right direction? Once again, writing these things down will produce clarity.
It is much easier to take action when you know what actions need to be taken. Reaching your goals means that you need to take the proper actions at smith the right time. There is a natural sequence that will produce your intended result. Following the right sequence allows events to unfold in a very productive way. Persuasive Essay Gattaca? Always take time to animation in education create an action plan. Not only will it keep you moving in the right direction, but it will also allow you to gattaca anticipate what comes next. Animation Essay? Of course, we can’t anticipate everything, and we need to be willing to make adjustments along the way.
That’s the beauty of having an persuasive gattaca action plan, it allows us to be flexible without getting too far off course. In Education? So, even though we will need to make minor adjustments, a plan keeps us heading in th direction of persuasive essay gattaca, your dreams until we reach them. 3) Attract your dreams to you. Now that you know exactly where you are going, how you feel about as a international language it, and how you are going to get there, what’s next? When we started out there was distance between you and the dreams and essay goals you are working toward. You have been actively closing that distance by animation in education essay, moving toward your vision for the future. Now, it’s time to draw your dreams toward you. Persuasive Essay Gattaca? How can you do that? It’s really just a matter of perspective.
Up until now, you have been projecting yourself into this vision that exists in the future, but let’s reverse that. Instead of projecting yourself into a future reality, allow yourself to accounting and financial receive that reality in the present tense. See yourself as stationary and your goals and dreams as moving toward you, and then let them surround and engulf you. Wrap yourself up in them like a giant blanket. Persuasive Essay Gattaca? Feel the tommie smith joy of receiving that vision. Imagine how wonderful it feels to have the reality of that vision totally permeate your life right now. Feel your dreams realized in the here and now. *** If part of your dreams was a beautiful new home, don’t see it from the outside; see yourself in persuasive essay the middle of that beautiful dream house. See yourself living there, going about your daily activities, feeling completely at home and comfortable. English As A Language? See yourself as a full participant, not a spectator. *** If you have been actively moving toward a new career, visualize yourself actually performing the duties of that career. Again, don’t see it from the persuasive essay gattaca outside as a spectator would.
If your new career involves a desk, a computer, and dissertation editing apa a telephone, put yourself there. Look at the screen, answer the persuasive phone, lean back in that amazingly comfortable leather chair – participate! Always harness the power of a 3 dimensional approach. By employing all three of these techniques, your dreams will become your realities much faster than you may have thought possible. Nothing in life is one-dimensional. Dissertation Apa? The quicker you shorten the distance between where you are and where you want to be, the more empowered you become. This approach allows you to override the perceived limitations of time and space, and to essay gattaca more fully comprehend your own ability to manifest your dreams and goals. What do you think about this approach?
Can you see yourself living your dreams? If you enjoyed this article consider email updates! Personal Power and the Magic of Self-Appointment. 3 Growth Strategies used by Every Successful Entrepreneur. Accounting And Financial Admissions? Why do You want Financial Success?
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cathy liebman resume BORN 1952 San Antonio, TX. 1974 BFA (Painting), Carnegie-Mellon University, Pittsburgh, PA. 1972 Whitney Museum Independent Studies Program, New York, NY. 1968-70 Art Students League, New York, NY. 2001 Weatherspoon Art Gallery, University of North Carolina at persuasive essay gattaca Greensboro, Greensboro, NC, “Deborah Kass: The Warhol Project” 2000 University Art Museum, University of California at Santa Barbara, Santa Barbara, CA, “Deborah. Kass: The Warhol Project” Blaffer Gallery, University of Houston, Houston, TX, “Deborah Kass: The Warhol Project” 1999 Newcombe Art Gallery, Tulane University, New Orleans, LA, “Deborah Kass: The Warhol.
Project (traveling, catalogue) 1998 Arthur Roger Gallery, New Orleans, LA. 1996 Kemper Museum of Contemporary Art and editing apa Design, Kansas City, MO, “My Andy: a. 1995 Jose Freire Fine Art, New York, NY, “My Andy: a retrospective” Arthur Roger Gallery, New Orleans, LA.
1994 Barbara Krakow Gallery, Boston, MA. 1993 Jose Freire Fine Art, New York, NY, “Chairman Ma” Arthur Roger Gallery, New Orleans, LA. 1992 fiction/nonfiction, New York, NY, “The Jewish Jackie Series and My Elvis” Simon Watson, New York, NY, “The Jewish Jackie Series” 1990 Simon Watson Gallery, New York, NY. 1988 Scott Hanson Gallery, New York, NY (catalogue) 1986 Baskerville and Watson Gallery, New York, NY. 1984 Baskerville and Watson Gallery, New York, NY. 1982 Zolla/Lieberman Gallery, Chicago, IL. 1972 Barnhardt Gallery, University of Kentucky, Lexington, KY.
SELECTED GROUP EXHIBITIONS. 2004 “Open House: Working in persuasive gattaca, Brooklyn”, Brooklyn Museum of horton, Art. Brooklyn, NY, curated by. Charlotta Kotik and essay gattaca Tumelo Mosaka. “Likeness: Artists’ Portraits of english international, Artists by Other Artisits”, California College of Arts and Crafts, San Francisco, CA, curated by gattaca, Mathew Higgs, traveling. 2003 “Influence, Anxiety and Gratitude”, MIT List Visual Arts Center, Cambridge, MA. Edgar Resume? curated by. “Crimes and Misdemeanors: Politics in U.S. Persuasive Essay? Art of the 1980’s” Cincinnati Contemporary Art. Center, Cincinnati, OH, curated by tommie smith thesis statement, Thom Collins.
“The Recurrent Haunting Ghost, Reflections of Marcel Duchamp in persuasive, Modern and editing apa Contemporay. Art”, Francis M. Naumann Fine Art, New York, NY. 2002 “Queer Visualities”, Stony Brook University Art Gallery, Stony Brook, NY, curated by Carl. 2001 “A Family Album: Brooklyn Collects”, Brooklyn Museum, Brooklyn, NY. “Voice, Image, Gesture: Selections from The Jewish Museum’s Collection. 1945-2000”, The.
Jewish Museum, New York, NY. “Contemporary Art and persuasive essay Celebrity Culture”, Betty Rymer Gallery, School of the in education essay Art Institute of. Chicago, Chicago, IL. “Recasting the Past: Beneath the Hollywood Tinsel”, Main Art Gallery, Cal StateUniversity, 2000 “Revealing and Concealing: Portraits and essay gattaca Cultural Identity”, Skirball Museum, Los Angeles, “Deja vu: Reworking the Past”, Katonah Museum, Katonah, NY, curated by Barbara Bloemink. 1999 “Fifteen”, curated by Walter Robinson for international essay, New York Foundation for the Arts, Deutsche Bank, “The Perpetual Well: Contemporary Art from the persuasive essay Collection of the horton Jewish Museum”, The Jewish. Museum, New York, NY (traveling to Harn Museum Of Art, University of Florida Gainesville, FL, Sheldon Memorial Art Gallery and Sculpture Garden, University of persuasive essay gattaca, Nebraska, Lincoln, NE, Parrish Museum, South Hampton, NY, and Huntington Museum of Art, Huntington, WV), (cat.) “Culture and dissertation Continuity: The Jewish Journey”, The Jewish Museum, New York, NY. “A.R.T. Press Portfolio,” David Adamson Gallery, Washington, D.C.
1998 “In Your Face”, The Warhol Museum, Pittsburgh, PA. “Conversation: Patricia Cronin and Deborah Kass”, Art Transfer Resouce, New York, NY. “5729-5756: Contemporary Artists Welcome the essay New Year- The Jewish Museum List Graphic. Commisssion”, The Jewish Museum, New York NY. “Art on thesis, Paper” The Weatherspoon Gallery of gattaca, Art, Greenboro, NC. 1997 “The Prophecy of Pop”, New Orleans Contemporary Art Center, New Orleans, LA, curated by. “Identity Crisis: Self Portraiture at the End of the Century”, Milwaukee Art Museum, Milwaukee, WI, curated by Dean Sobel, traveling to dissertation Aspen Museum, Aspen, CO (cat.) 1996 “Too Jewish?: Challenging Traditional Identities”, The Jewish Museum, New York, NY, curated. by Norman Kleeblatt (traveling to The Jewish Museum, Philadelphia, PA; The Contemporary,
Baltimore, MD; The Jewish Museum, San Francisco, CA; UCLA at the Armand Hammer. Museum of Art and Cultural Center, Los Angeles, CA - cat.) “NowHere: Incandescent”, curated by persuasive essay gattaca, Laura Cottingham, Louisiana Museum of smith statement, Art, Humlebaek, “Real Fake”, Neuberger Museum of Art, SUNY Purchase, Purchase, NY. “Gender, Fucked”, Center on Contemporary Art, Seattle, WA. 1995 “In a Different Light”, University Art Gallery, University of California at Berkeley, Berkley CA, curated by Nayland Blake and gattaca Lawrence Rinder (cat.) “Face Forward: Self-Portraiture in tommie smith, Contemporary Art”, John Michael Kohler Arts Center, Sheboygan, WI, curated by Maureen Sherlock. “Pervert”, University of persuasive essay gattaca, California at Irvine, Irvine, CA, curated by Catherine Lord (cat.) “Imperfect”, Herter Art Gallery, University of Massachusetts at Amherst, Amherst, MA, curated.
by Jerry Kearns (traveling to Tyler School of Art, Temple University,Philadelphia, PA - cat.) “Semblances”, Museum of Modern Art, New York, NY. 1994 “2 X IMMORTAL: Elvis + Marilyn”, McDaris Exhibition Group, Memphis, TN, curated by. Wendy McDaris (traveling to Institute of as a international essay, Contemporary Arts, Boston, MA; Contemporary Arts. Museum, Houston, TX; Mint Museum of Art, Charlotte, NC; The Cleveland Museum of essay gattaca, Art, Cleveland, OH; The Philbrook Museum f Art, Tulsa, OK; Columbus Museum of Art, OH; Tennessee St. Animation Essay? Museum, Nashville, TN; San Jose Museum of Art, San Jose, CA; Honolulu. Academy of gattaca, Arts, Honolulu, HA - cat.) “Democratic Vistas: 50 Years of American Art from edgar Regional Collections”, State University of.
New York at persuasive gattaca Albany, Albany, NY (cat.) “Stonewall 25: Imaginings of the tommie smith statement Gay Past, Celebrating the persuasive gattaca Gay Present”, White Columns, New. York, NY, curated by animation, Bill Arning. “Pride in Our Diveristy”, Colonial House Hotel, New York, NY, curated by Ronny Cohen. “Absence, Activism The Body Politic”, Fischbach Gallery, New York, NY, curated by Joseph. “Exhibition and essay Sale for edgar horton resume, ICI’s 20th Anniversary”, Sonnabend Gallery, New York, NY, curated. “Working Around Warhol”, Pittsburgh Center for the Arts, Pittsburgh, PA, curated by Murray. “Bad Girls West”, Wight Art Gallery, University of California, Los Angeles, CA, curated by. Marcia Tanner and persuasive gattaca Marcia Tucker (cat.) 1993 “Ciphers of Identity”, University of Maryland, Baltimore / Baltimore County Fine Arts Gallery,
Cantonville, MD, curated by accounting admissions, Maurice Berger (traveled: Ronald Feldman Gallery, New York, NY; Contemporary Arts Center, New Orleans, LA; Woodruff Arts Center, Atlanta, GA, University of persuasive essay, Califomia at Irvine, Irvine, CA; Kemper Museum of statement, Art and Design, Kansas City, “Regarding Masculinity”, Arthur Roger Gallery, New Orleans, LA. “Collecting for persuasive essay, the 21st Century: Recent Acquisitions and Promised Gifts”, Jewish Museum, “I Love You More Than My Own Death, A Melodrama In Parts By Pedro Allmodovar”, Zitelle. Guidecca, The Venice Biennial - Slittamenti, Venice, ITALY, curated by Christian Leigh. “Cutting Bait”, Randolph Street Gallery, Chicago, IL. “I Am The Enunciator”, Thread Waxing Space, New York, NY, curated by Christian Leigh. 1992 “The New American Flag”, Max Protech Gallery, New York, NY. “Shapeshifters”, Amy Lipton Gallery, New York, NY. “Fear of horton resume, Painting”, Arthur Roger Gallery, New York, NY, curated by persuasive essay, Dan. “In Your Face: Politics of the as a international language essay Body and Personal Knowledge”, A.C.
Project Room, New York, “Painting Culture”, University of California, Irvine, Irvine, CA. “Selections”, Arthur Roger Gallery, New Orleans, LA. 1991 ‘Painting Culture”, fiction/nonfiction”, NY. “Rope”, Galeria Fernando Alcolea, Barcelona, SPAIN, curated by Christian Leigh. “Out Art”, Saint Lawrence University, Saint Lawrence, NY, curated by Nan. “Someone or Somebody”, Myers / Bloom Gallery, Santa Monica, CA.
“Something Pithier and persuasive More Psychological”, Simon Watson Gallery, New York, NY. “Just What Is It That Makes Today’s Homes So Different, So Appealing?”, Hyde Museum, Glenns Falls, NY, curated by Dan Cameron (cat.) 1990 “The Last Laugh: Irony, Humor, Self-Mockery and Derision”, Massimo Audiello Gallery, New. York, NY, curated by accounting admissions assignment, Collins and persuasive essay gattaca Milazzo. “Fragments, Parts and Wholes: The Body in dissertation editing, Culture”, White Columns, New York, NY, curated. 1989 “Young New York”, Bellarte, Helsinki, FINLAND (traveled: Turku, FINLAND) “The Mirror in persuasive gattaca, Which Two Are Seen as One”, Jersey City Museum, Jersey City, NJ, curated by. “Painting Between the animation essay Paradigms-Part One: Between Awareness and essay gattaca Desire”, Galerie Rahmel, Cologne, GERMANY, curated by Saul Ostrow. “Erotophobia: A Forum on Contemporary Sexuality”, Simon Watson Gallery, New York, NY.
1988 “Meaningful Geometry”, Postmasters Gallery, New York, NY. “Five Corners of Abstraction”, Jacob Javits Center, New York, NY, curated by as a essay, Bill Arning. “Combination Prints”, New Jersey Center for the Visual Arts, Summit, NJ. “Gallery Selections”, Scott Hanson Gallery, New York, NY. 1987 “Dreams of the Alchemist”, Carl Solway Gallery, Cincinnati, OH. “Romantic Science”, One Penn Plaza, New York, NY, curated by persuasive, Stephen. “Suzanne Joelson, Claudia Hart, Deborah Kass, Pat Steir”, Four Walls, Hoboken, NJ. “Major Acquisitions, Small Appliances”, Solo Gallery, New York, NY, curated by edgar horton, D. Essay? Cameron. 1986 “A Radical Plurality”, Ben Shahn Galleries, William Patterson College, Wayne, “Two-Person Exhibition”, Turnbull Lutjeans Kogan Gallery, Costa Mesa, CA. 1985 “Six Painters”, Zilka Gallery, Wesleyan University, Middletown, CT, curated by Jean Feinberg.
1984 “The New Expressive Landscape”, Sordoni Gallery, Wilkes College, Wilkes-Barre, PA. “Fantastic Landscape”, Exit Art, New York, NY. “Two-Person Exhibition”, Turnbull Lutjeans Kogan Gallery, Costa Mesa, CA. 1982 “Two-Person Exhibition”, Baskerville and Watson Gallery, New York, NY. “Red”, Stefanotti Gallery, New York, NY. “Landscape / Cityscape”, Josef Gallery, New York, NY, curated by Carole Ann Klonarides. “Nature As Image and Metaphor”, Greene Space, New York, NY (under the and financial assignment auspices of persuasive gattaca, the. Women’s Caucus for english as a international language, Art) “Critical Perspectives”, P.S.1 Museum, Long Island City, NY, curated by Ronny Cohen.
1981 “Black Paint / Dark Thoughts”, Pratt Manhattan Center, New York, NY, curated by Ellen. “Drawings at the Mudd Club”, The Mudd Club, New York, NY, curated by persuasive essay gattaca, Kenny Scharf and. “Drawing Show”, Stefanotti Gallery, New York, NY. 1980 “First Person singular: Recent Self Portraiture”, Pratt Manhattan Center, New York, NY Pratt. Institute, Brooklyn, NY, curated by Ellen Schwartz and Paul Schimmel. 1979 “Artists by Artists”, Whitney Museum of the lamp, American Art, New York, NY. 1996 Art Matters Inc. Persuasive Essay? Grant. 1992 Art Matters Inc. Animation? Grant. 1991 New York State Foundation for gattaca, the Arts, Fellowship in Painting.
1987 National Endowment for the Arts, Painting. SELECTED PUBLIC COLLECTIONS. Museum of animation in education essay, Fine Arts, Boston, MA. Chemical Bank, New York, NY. Cincinnati Art Museum, Cincinnati, OH. First Bank of Minneapolis, Minneapolis, MN. Fort Wayne Museum of Art, Fort Wayne, IN.
Glickenhaus Company, New York, NY. The Solomon R. Persuasive? Guggenheim Museum, New York, NY. The Jewish Museum, New York, NY. La Jolla Museum of Contemporary Art, La Jolla, CA. McCrory Corporation, New York, NY. Mobil Oil corporation, New York, NY. Museum of essay, Contemporary Art, San Diego. The Museum of Modern Art, New York, NY.
New Museum, New York, NY. New Orleans Museum of Art, New Orleans, LA. The Norton Family Foundation, Santa Monica, CA. Pacific Bell, Los Angeles, CA. The Progressive Corporation, Cleveland, OH. Prudential Bache, New York, NY. The Prudential Life Insurance Company of persuasive, America, NJ. Salomen Brothers, New York, NY.
The Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ. The Weatherspoon Art Mueum, University of edgar resume, North Carolina at Greensboro, Greenboro, NC. The Whitney Museum of American Art, New York, NY. 2003 Boyarin, Daniel, etc., ed., Queer Theory and essay the Jewish Question, Columbia University Press, McQuaid, Cate, “Something Borrowed”, The Boston Globe, May 30, (illus. C) Yablonsky, Linda, “To Thine Own Selves Be True”, Artnews, November, (illus.C) 2002 Braff, Phyllis, “Looking at the lamp thesis Those Images Again and Again”, The New York Times, November. Leavy, Jane, Sandy Koufax, A Lefty’s Legacy, Harper Collins, NY, NY , p.175.
Soltes, Ori, American Jewish Painters, University Press of essay gattaca, New England. 2001 Cronin, Patricia, M/E/A/N/I/N/G/ An Anthology of Artists’ Writings, Theory, and Criticism, Susan Bee and accounting admissions assignment Mira Schor, eds. Gattaca? “A Conversation on editing, Lesbian Subjectivity and essay Painting”,Duke. University Press, p.79-86. Dols, Teddi, “My Elvis, De humoristtische herhalingen van Deborah Kass”, Lover, number 2,
June (Amsterdam, HOLLAND) Schneider, Rebecca, “Hello Dolly Well Hello Dolly: The Theatre and It’s Double”, Psychoanalysis and Performance, ed. Animation Essay? Adrian Kear and Patrick Campbell, Routledge, (illus.p.101) Goeser, Caroline, “ Deborah Kass The Warhol Project”, ArtLies, Winter issue, Number 29 (illus. D’Sousa, Aruna, ed. Self and persuasive History, A Tribute to as a essay Linda Nochlin, cover (illus.
C), Thames and. Hudson, London, UK, hard/soft. Johnson, Ken, “Wry Skepticism”, The New York Times, July 27. “hot property”, parallax 19, issue 19, University of Leeds, Leeds UK,(cover illus. Essay? B/W) 2000 Berkovitch, Ellen, “A Landmark for as a international essay, Lesbian Art”, Pasatiempo, August 11-17, Braff, Phylliss, “Spiritual Traditions as a Perpetual Well of persuasive essay, Inspiration for at noon implicit, Art”, The New York. Times, October 15, (illus. Persuasive? C) Clifford, Katie. Horton? “What Makes A Great Painting Great?”, ArtNews, September. Corinne,Tee A. “Sighting Lesbian Artists”,The Lesbian Review of Books,Vol.VI, No.4, Summer.
Hammond, Harmony, “Deborah Kass”, Lesbian Art in gattaca, America: A Contemporary History, Rizzoli. And Financial Management? p.121,124-126, (illus. B/W, C) Johnson, Patricia C., “Art Review”, Houston Chronicle, November 7, (illus. C) Pollock, Barbara. “Babe Power”, Art Monthly, April. Saltz, Jerry. “Swish Myth”, The Village Voice, May 16.
Slivka, Rose C. Persuasive Essay Gattaca? S. As A International Language? “From the Studio,”The East Hampton Star, September 28. Weiss,Marion Wolberg, “Art Commentary”, Dan’s Paper, October 13, (illus. Persuasive Essay Gattaca? B/W) Willcox, Kathleen. “Deja Vu Exhibit is a ‘Must See’”, Lewisboro Ledger, February 10. Wilson, William. “Deborah Kass Packs Along Personal Politics as She Ventures Into Andy. Warhol Territory”, Los Angeles Times, August 4.
Unattributed,“Best Bet Art”, The Santa Barbara Independent, July 27. 1999 Berger, Maurice, “Seeing Myself Seeing Myself”, Deborah Kass, The Warhol Project, Newcombe Art Gallery, Tulane University. Gilman, Sander, Making the the lamp Body Beautiful, A Cultural History of persuasive essay, Aesthetic Surgery, Princeton. University Press, p. Management Admissions? 203-4, (illus. Persuasive Essay? B/W) Marcus, Greil, “Pop Gun”, World Art, issue 19. Marshall, Keith. “Andy Warhol and dissertation Beyond”, The Times-Picayune, March 19.
Nochlin, Linda, “Deborah Kass: Portrait of the Artist as Appropriator”, Deborah Kass, The. Warhol Project, Newcombe Art Gallery, Tulane University. Plante, Michael, ed. “Screened Identities, Multiple Repitions and persuasive essay gattaca Missed Kisses”, Deborah. Kass, The Warhol Project, Newcombe Art Gallery, Tulane University. Rosenblum, Robert, “Cards of Identity”, Deborah Kass, The Warhol Project, Newcombe Art. Gallery, Tulane University.
Saslow, James M., Pictures and Passions, A History of Homosexuality in the Visual Arts, Viking, p.297-8, (illus, B/W) Smith, Liz. Jon is in education, On, By Jovi”, Newsday, February 19. Staniszewski, Mary Anne “First Person Plural: The Paintings of persuasive, Deborah Kass”, Deborah Kass, The Warhol Project, Newcombe Art Gallery, Tulane University. Watson, Simon. “Simon Says: Collect”, Artnet.com Magazine, December 1. 1998 Bright, Deborah, ed. The Passionate Camera, Photography and Bodies of Desire, Routledge, p. 297, 304 (illus.
B/W) Cotter, Holland, “Patricia Cronin and Deborah Kass”, The New York Times, April 17. Kaplan, Caren, “Beyond the Pale: Rearticulating U.S. Jewish Whiteness”, Talking Visions, Multiculural Feminism in a Transnational Age, ed. As A International Language Essay? Ella Shohat, New Museum of Contemporary. Art, NY, NY and The MIT Press, Cambridge MA, p.469 (illus. Essay? B/W)
Raz, Hilda, Intro, The Prairie Schooner Anthology of Contemporary Jewish American Writing, University of Nebraska Press, Lincoln, NB, p.5 (illus., B/W) On Paper, March-April, Vol.2 No.4, Working Proof”, review (illus., B/W, p.42) 1997 Becker, Robin, “I’m Telling,” The Prairie Schooner, Spring, Vol. The Lamp? 17 #1, p. Persuasive? 216 (cover illus., C.) Blessing, Jennifer, “Eros, C’est la Vie”: Fetishism as Cultural Discourse (Surrealism, Fashion, and Photography), Art/Fashion;Biennale di Firenze, Skira Editore, Milan, p. 90 (illus.,B/W) Davey, Andy, “Davey Does Deborah”, Campaign, June, Sidney, AUSTRALIA, (illus. In Education? C, B/W)
Feinstein, Joseph N., “What is “Too Jewish?”, Heritage Southwest Jewish Press, February 7, Gilman, Sander L., “The Body In Jewish Art,” New Art Examiner, April, p. Persuasive Essay Gattaca? 20. Horodner, Stuart, and at noon thesis Sanders, Mark, “Warhol is. Persuasive Essay Gattaca? ”, Dazed Confused, March, (illus. English As A? C.) Johnson, John A., “Demystifying Art,” The Brunswick Times Record, July 17 (illus., C.) Johnson, Reed, “Culture Clash, Split Identities of persuasive essay gattaca, Jews in America”, Daily News, March 3, Knight, Christopher, “‘Too Jewish? Good Query”, Los Angeles Times, February 4, (illus. B/W) Krygier, Irit, “Two Jewish Two Views”, The Voice LA’s Jewish Weekly, March 15, (illus.B/W)
Lubar, Robert S., “Unmasking Pablo’s Gertrude: Queer Desire and the Subject of Portraiture”, Art Bulletin, Vol. LXXIX N. 3, March. Mason, Christopher, “Artful Mix,” Elle Decor, Oct/Nov (illus., C p. Editing Apa? 268). Miles, Christopher, “How Jewish is “Too Jewish?”, Detour, February, (illus.B/W)
Nadler,Carol, “Two Scholars Say ‘Welcome To Our Sissy Heritage,’” Forward, June 27, (illus., Pollack, Barbara, “Once Bitten, Always Buyers,” Art News, Summer, p.62 (illus., C) Staff, “Too Jewish? Challenging Traditional Identities” To Open at UCLA’s Armand Hammer. Museum of Art and Culture Center”, San Diego Jewish Times, February 20, (illus. B/W)
Walsh, Daniella, “An Opinionated Look at American Jewishness”, The Orange County Register, February 16, (illus. Persuasive Essay Gattaca? B/W) 1996 Barocas, Randi, “A Jewish Warhol”, The Kansas City Jewish Chronicle, June 28, (illus. B/W) Baynard, Ed, “‘My Barbra’, excerpts from accounting management admissions assignment a conversation with Deborah Kass”, The Village. Ben-David, Calev, “Artistic Identity Crisis”, The Jerusalem Report, May 2. Bloom, Amy, “A Face in the Crowd”, Vogue, December.
Bonetti, David, “Challenging Cultural Identities”, San Francisco Examiner, September 25, (illus. Camhi, Leslie, “Jewish Wry”, The Village Voice, April 2, (illus. B/W) Cembalest, Robin, “Keeping Up With The Whitney: ‘Too Jewish?’ Tries Too Hard”, Forward, Elgrably, Jordan, “In Your Faith”, The Los Angeles Times, May 13, (illus. B/W) Fricke, Harald, “NowHere”, Artforum, November. James, Jamie, “Pop Art (Colour Library)”, Phaidon Press Ltd., (illus. Persuasive Essay Gattaca? B/W C.)
Kaufman, Jason Edward, “Too Jewish?”, The Art Newspaper No. Essay? 57, March. Kimmelman, Michael, “‘Too Jewish? Jewish Artists Ponder’”, The New York Times, March 8, Kleeblatt, Norman L, “‘Passing” Into Multiculturalism”, Too Jewish?: Challenging Traditional. Identities, Catalogue to persuasive gattaca the Exhibition, Rutgers University Press, (illus. Dissertation Editing? p.10 B/W. Essay? p. Animation Essay? 21, B/W. Lewis, Joel, “The New Jewish Art (is it?)”, Moment, April, (illus. C.) Linker, Jane, “Art of the Matter”, The Jewish Week, May 24.
McPhee, Martha, “Mae West, Our Little Chickadee”, The New York Magazine, November 24, Mendelsohn, John, “America The Beautiful?”, The Jewish Week, March, (illus. B/W) Myers, Terry R., “NowHere”, World Art, April. Nochlin, Linda, “Forward: The Couturier and essay the Hasid”, Too Jewish?: Challenging Traditional. Identities, Catalogue to and financial management admissions assignment the Exhibition, Rutgers University Press, (p. xix) Ockman, Carol, “Too Jewish? Challenging Traditional Identities”, Artforum, September, (illus.
Reguer, Sara, “Women in persuasive essay gattaca, The Bible and Jewish History; Jewish Self-Image”, Jewish Press, Rich, Frank, “The ‘Too Jewish’ Question,” The New York Times, (OP-ED), March 16. Self, Dana, “Deborah Kass, My Andy: a retrospective”, Catalogue to the Exhibition, (illus.B/W. Smyth, Cherry, “Damn Fine Art By New Lesbian Artists”, Cassell Press, (illus. B/W) Span, Paula, “Too Jewish?”, The Washington Post, March 17, (illus. B/W) Thorson, Alice, “‘My Andy’: How Ingenious”, The Kansas City Star, July 12, (illus. B/W) Vine, Richard, “Report from Denmark Part 1: Louisiana Techno-Rave”, Art in America,
Zinnes, Harriet, “Too Jewish?”, Caprice, January. 1995 Bonetti, David, “Looking at in education Art ‘In a Different Light’”, The San Francisco Examiner, January 11. Bonetti, David, “San Francisco Show and Tell”, Out Magazine, April. Cembalest, Robin, “Warhol Meets Streisand, Deborah Kass Makes Pop Art Ethnic”, Forward, March 17, (illus. B/W) Cotter, Holland, “Deborah Kass, “My Andy: a retrospective” at Jose Freire”, The New York. Duncan, Michael, “Report from persuasive Berkeley: Queering the Discourse”, Art in America, July. Gimmelson, Deborah, “Art and Commerce”, New York Observer, March 6. Greco, Stephen, “Painting, Sculpture and the lamp at noon implicit Videotaping the Town”, Interview, March, (illus.
C.) Helfand, Glen, “Hungry Eye”, San Francisco Weekly, February 1. Kleeblatt, Norman, “Multivalent Voices”, Art in persuasive, America, December, (illus. International Essay? C.) Kearns, Jerry, “Imperfect”, Catalogue to gattaca the Exhibition, (illus. Horton? B/W) Knight, Christopher, “Shining a ‘Different Light’ on Both Artist and persuasive essay gattaca Viewer”, Los Angeles. Times, February 4 (illus. C.) Levin, Kim, “Art Choices”, The Village Voice, March 21, (illus.
B/W) Lord, Catherine, “Queering The Dead”, Pervert, Catalogue to the Exhibition, Delta Graphics, Smith Roberta, “Void, Self, Drag, Utopia (And 5 Other Gay Themes)”, The New York Times, Staniszewski, Mary Anne, Believing Is Seeing: Creating The Culture Of Art, Penguin Books, p. unsigned, “Art Andymonium”, The New Yorker, March 27. Walsh, Daniella B., “‘Pervert’at UC Irvine”, Artweek, June, (illus. B/W)
Walsh, Daniella B.,“Gays, Lesbians, Put on a Bold Show”, Orange County Register, April 28, Yablonsky, Linda, “Color Her Barbara”, Out Magazine, April, (illus. C.) Zaya, Octavio, “Deborah Kass: The Jewish Jackies and as a essay My Elvis: A Project for essay, AtlAnticA” AtlAnticA, Winter 94/95 (illus. C.) 1994 Avigikos, Jan, “‘Ciphers of dissertation, Identity’ at Ronald Feldman”, Artforum, March. Cotter, Holland, “Gay Pride (and Anguish) Around the persuasive gattaca Galleries”, New York Times, June 24. Cotter, Holland, “Art After Stonewall, 12 Artists Interviewed”, Art in language essay, America, June (illus. C.)
Cottingham, Laura, The Power of gattaca, Feminist Art, Harry N. Abrams, Inc., Publishers, NY, NY. DePaoli, Geri, “Elvis + Marilyn: 2 X Immortal”, Catalogue to the Exhibition, Rizzoli. Publications, (illus. The Lamp Thesis? C.) Johnson, Ken, “Fiction, Non-fiction and persuasive Postmodern Ideology”, Democratic Vistas, 150 Years of. American Art From Regional Collections, Catalogue to resume the Exhibition, (illus. B/W) Goldberg, Vicki, “A Pair of Saints Who Refuse to gattaca Stay Dead”, The New York Times, December.
Smith, Roberta, “review of ‘Exhibition and Sale for edgar horton resume, ICI’s 20th Anniversary’”, The New York. Wise, Michael, “Double Yentls, Chanel Kippahs and persuasive essay gattaca P.C. And Financial Assignment? Torahs”, Forward, July 1, (illus. Persuasive? B/W) 1993 Cotter, Holland, “Deborah Kass at english as a international essay fiction/nonfiction”, The New York Times, January 15. Cronin, Patricia, “A Conversation on Lesbian Subjectivity and persuasive essay gattaca Painting (with Deborah Kass)”, M/E/A/N/I/N/G, November (#14)
Grisham, Esther, “Cutting Bait”, Dialogue Arts in the Midwest, June, / Art. July/August (volume 17,#4), (illus. C.front/back cover) Homes, A.M., “Deborah Kass at fiction/nonfiction”, Artforum, March, (illus. Kass, Deborah, “Color Me Barbara”, 10 Percent, Winter, (illus. International Language? C.) Langer, Cassandra, “Feminist Art Criticism, An Annotated Bibliography”, Macmillann. Publishing Co., (illus. B/W) Lipson, Karin, “A Museum Reborn”, New York Newsday, June 11, (illus.
B/W) Madgalena, Kathairein, “‘Art for Art’s Sake’ Blasts Open New Orleans’ Social and persuasive Art Season”, The New Voice, October 8, Morrison, Mandy, “Fresh Paint”, Chicago Reader, June 11, (illus. Apa? B/W) Smith, Liz, “Love Survives Press”, New York Newsday, January 3. Smith, Roberta, “Jewish Museum Re-Opens”, The New York Times, June 11. Waddington, Chris, “A Women’s Work is. ”, Lagniappe, October 1, (illus. Persuasive Essay Gattaca? C.) 1992 Braff, Phyllis, “Broad Survey Opens Gallery”, The New York Times, October 11, (illus.
B/W) Cameron, Dan, “Don’t Look Now”, Frieze, January, (illus. Essay? C.) Cameron, Dan, “The Changing Tide”, Art and essay Auction, January, (illus. B/W)
Cameron, Dan, “The Outlaw Academy”, Art and accounting management Auction, May. Cunningham, Michael, “After AIDS - Gay Art Aims At a New Reality”, The New York Times, Curtis, Cathy, “Women’s Work: Rich, Shocking”, The Los Angeles Times, October 16. Dubin, Zan, “Painting Themselves Out of gattaca, a Corner”, The Los Angeles Times, October 10. Glueck, Grace, “SoHo’s Election Year Concept: A New Flag”, The New York Observer, Hess, Elizabeth, “Spiritual America”, The Village Voice, May 19. Hirsch, David, “Pop and horton Personal”, New York Native, December 28. Liu, Catherine, “Diary of the Pop Body: Dandy Darlings and persuasive gattaca New Pop Strategies”, Flash Art. International, October (illus.
C.) Mifflin, Margot, “Feminism’s New Face”, Art News, November. Meyers, Terry R., “Fear Strikes Out: ‘Fear of Painting’”, QW, October 4. Smith, Roberta, “Aesthetic Back Talk: Women Artists Engage the ‘Enemy’”, The Houston. Chronicle, (illus. B/W)
Smith, Roberta, “An Angry Young Woman Draws a Bead on tommie smith statement, Men, The New York Times, May. Smith, Roberta, “From New York Painting: Work That Takes Time”, New York Times, May 21. Smith, Roberta, “Women Artists Engage the ‘Enemy’”, The New York Times, August 16, (illus. unsigned, “Color Her Barbara”, The New Yorker, December 28. 1991 Cottingham, Laura, “Feminism and Painting”, Balcon #7, (illus. Gattaca? C.) Evans, Stephen, “Painting Culture” at fiction/nonfiction”, NYQ, November 10. Hess, Elizabeth, “Death to dissertation editing apa the Masters”, The Village Voice, October 22. Kimmelman, Michael, “Painting Culture at fiction/nonfiction”, The New York Times,
Myles, Eileen, “Deborah Kass at Simon Watson”, Art in gattaca, America, January, (illus. C.) 1990 Cottingham, Laura, “Subject Matters, Too”, essay for smith statement, exhibition “Deborah Kass” Westfall, Stephen, “Subject Matters”, Contemporanea, November, #22, (illus. C.) 1989 Mooreman, Margaret, “Print review”, Art News, January, (illus.
C.) 1988 Gilbert-Rolft, Jeremy, “Beyond Absence”, Arts Magazine, October. Mahoney, Robert, “Deborah Kass at Scott Hanson ”, Arts Magazine, September. Mahoney, Robert, “Deborah Kass at Scott Hanson ”, New York Press, November. Morgan, Robert C., “Group Show Review”, Flash Art, May/June. 1987 Brenson, Michael, “Richard Bosman”, The New York Times, October 16. Cameron, Dan, “The Season That Almost Wasn’t”, Arts Magazine, January. Nadelman, Cynthia, “Prints”, Art News, October, (illus. C.)
Olander, William, essay for essay, exhibition “2 Painters - Charles Clough and Mimi Thompson” Saltz, Jerry, “Beyond Boundaries: New York, New Art”, Alfred Van der Mark Editions (illus. 1986 Cameron, Dan, “Second Nature: New Paintings by Deborah Kass”, Arts Magazine, April, (illus. Cohen, Ronny, “Deborah Kass at dissertation editing apa Baskerville +Watson”, Art Forum International, Summer. Westfall, Stephen, “Deborah Kass at essay gattaca Baskerville + Watson”, Art in horton, America, July (illus. Persuasive Gattaca? C.)
1985 Masheck, Joseph, “Observations on horton resume, Harking Back”, New Observations, #28 (illus. B/W) Muchnic, Suzanne, “review”, The Los Angeles Times, May 17, (illus. B/W) 1984 Brenson, Michael, “Deborah Kass at Baskerville + Watson”, The New York Times, January 20, Dunn, Fontaine,“Deborah Kass at Baskerville + Watson”, Arts Magazine, January, (illus. C.) Geer, Susan,“Deborah Kass at Turnball, Lutjeans, and gattaca Kogan”, Images and Issues, July/August. Henry, Gerrit, “Deborah Kass at Baskerville + Watson”, Art News, February, (illus. B/W)
Howe, Katherine, “Deborah Kass at tommie statement Baskerville + Watson”, Images and Issues, May/June, Liebman, Lisa, “Deborah Kass at persuasive gattaca Baskerville + Watson”, Artforum International, April, (illus. Wilson, William, “Deborah Kass at Turnball, Lutjeans, and Kogan”, The Los Angeles Times, February 3, (illus. As A Language? B/W) 1983 Nadelman, Cynthia, “Deborah Kass at Baskerville + Watson”, Art News, September, (illus. Persuasive Essay? C.) 1982 Cohen, Ronny, “Survey of What, How and and financial admissions assignment Why Artists are Drawing So Much Today”, Drawing, Volume 3, #2, July/August (illus. B/W)
Henry, Gerrit,“Deborah Kass at essay gattaca Baskerville + Watson”, Art News, February. Smith, Roberta,“Energism at Stefanatie”, The Village Voice, May 25. 1981 Perrault, John, “review”, SoHo Weekly News, November 24. 1980 Staniszewski, Mary Anne, “First Person singular: Recent Self-Portraiture at Pratt Institute”, Art. News, May, (illus. C.) 2002 “Enough About Me”, Momenta Art, Brooklyn, NY, curator. 2000 “America’s Most Wanted” online project for edgar resume, The Robert Shiffler Foundation, Dayton, OH, curated by essay, Barry Rosenberg. 1997 Astraea Foundation First Annual Fund Raising Print, New York, NY. 1996 The Jewish Museum Annual Vera List Print Edition, New York, NY.
1994 “Off the Streets and dissertation apa Into the Studio: Cultural Politics Theory and Practice”, College Art. Association Conference, New York, NY, organizer and essay moderator. 1992 “Painting Culture”, UC Irvine Gallery, Irvine CA, curator. 1991 “Representation and Value: What Role Will the english as a international essay Languages of Feminism Play in persuasive essay gattaca, the Artworld of. the Nineties?”, Drawing Center and Cooper Union, New York, NY, organizer. TEACHING, LECTURES AND PANELS. 2003 New York University, New York, NY, Visiting Artist, Graduate Program. “The Legacy of edgar horton, Andy Warhol”, Brooklyn Academy of Music, Brooklyn, NY, panelist. “Women in gattaca, the Art World”,National Academy of Design, New York, NY. Tommie Thesis Statement? panelist. 2001 Weatherspoon Art Gallery, “Artist Symposium with Deborah Kass”, University of persuasive gattaca, North.
Carolina at Greensboro, Greensboro, NC. 2000 Rhode Island School of animation essay, Design, Providence, RI, Visiting Artist, Graduate Program, The Katonah Museum, Katonah, NY “Looking Backwards While Moving Forward,” panelist. 1999 The Newcomb Art Gallery, Tulane University, New Orleans, LA, “The Warhol Project,” lecture. The Rhode Island School of Design Museum, Providence, RI, “My Andy,” lecture.
Philadelphia Museum of gattaca, Art, “QA (Queer Artist),” panelist. Contemporary Art Center, New Orleans, LA, “The 1999 Louisiana Open,” juror and the lamp implicit lecture. The Armory, NY, NY, “Simon Says Armory Show Tour,” lecture. SUNY New Paltz, New Paltz, NY “Dead Warhol: Andy Warhol’s Posthumous Reputation”, School of the Museum of Fine Arts, Boston, MA, Fifth Year Travelling Scholarship, juror.
1998 New Museum, NY, NY, panelist. New York University, lecture. School of the Art Institute of Chicago, “Facing the persuasive essay gattaca Dogs” lecture series. 1997 Skowhegan School of dissertation editing, Painting and Sculpture, Skowhegan, ME - resident artist. Sotheby’s - “Andy Warhol’s Influence On Contemporary Art,” panelist.
New York University, New York, NY - graduate seminar, fall semester. Tyler School of Art of essay gattaca, Temple University, Philadelphia, PA , lecture and editing critiques. Contemporary Museum, Baltimore, MD - “Jewish Jackies, Jewish Barbies, Jewish Princesses: Exploding The Myths,” Dialogue with Rabbi Avis D. Miller. 1996 The Whitney Museum of American Art - “Seminars with Artists”, lecture. Institute of essay, Fine Art at tommie New York University - “Artists at the Institute”, lecture. The Jewish Museum - “Too Ethnic: Identity and Its Relationship to the Visual Arts”, panelist. 1995 State University of New York at persuasive Purchase, Purchase, NY - graduate seminar lecture. Cincinnati Art Museum, Cincinnati, OH - Rhoda Mayerson Lectures on Contemporary Art. Museum of as a international essay, Fine Arts, Boston, MA - lecture. Columbia University, New York, NY - graduate seminar lecture.
Barnard College, New York, NY - lecture. New York University, New York, NY - lecture. Franklin and Marshall college, Lancaster, PA - lecture. University of Massachusetts at Amherst, Amherst, MA - graduate and persuasive essay senior critique, lecture. Penn State University, University Park, PA - The Contemporary Scholarship on the lamp, Lesbian and Gay. Lives Lecture Series. Maryland Institute College of Art, Baltimore, MD - junior and persuasive senior critique, lecture. 1994 State University of at noon implicit, New York at Purchase, Purchase, NY - visiting artist, fall semester. Rhode Island School of essay, Design, Providence, RI - final senior critique.
Maryland Institute of Art, Baltimore, MD - junior critique. Tyler School of accounting and financial assignment, Art of Temple University, Philadelphia, PA - “Changing the Context: Artists. Who Curate”, panelist. 1993 School of the Art Institute of Chicago, Chicago, IL - Visiting Artist with seniors and. graduates, spring semester. School of the Museum of essay gattaca, Fine Arts, Boston, MA - Four Painters Program with seniors and. graduates, fall semester. University of New Orleans, New Orleans, LA - senior critique and lecture. Kansas City Art Institute, Kansas City, MO - senior critique and tommie thesis statement lecture. The Whitney Museum of essay, American Art, New York, NY - “Artists on dissertation editing, Abstract Art The.
Geometric Tradition”, panelist. The New School for Social Research, New York, NY - “Voices of Women Artists: Continuity. and Change”, panelist. 1992 California Institute of the Arts, Valencia, CA - lecture. Otis Art Institute of Parsons School of Design, Los Angeles, CA - lecture. Artists Talk on persuasive essay, Art, New York, NY - “Sugar Daddy: The Genetics of english as a language, Oedipus”, panelist.
Thread Waxing Space, New York, NY - “Supermodern Art”, panelist. State University of persuasive essay gattaca, New York at Purchase, Purchase, NY - “Artists Intentions”, panelist. Thread Waxing Space, New York, NY - “Look Who’s Talking: Questions of Standards, Values. and Criteria”, panelist. University of Minnesota, Minneapolis, MN - “Excluded Voices: Challenging Homophobia and. 1991 Rhode Island School of resume, Design, Providence, RI - senior and graduates, winter, spring and fall.
1990 Rhode Island School of persuasive gattaca, Design, Providence, RI - Distinguished Visiting Artist with senior and. graduates, spring semester. Syracuse University, Syracuse, NY - lecture. 1989 Rhode Island School of resume, Design, Providence, RI - senior and gattaca graduates critique. Bard College, Annandale-on-Hudson, NY - graduate critique. 1988 Sarah Lawrence College, Bronxville, NY - lecture. 1987 Rhode Island School of Design, Providence, RI - senior critique. 1986 Maryland Institute of assignment, Art, Royal Graduate Department, Baltimore, MD - visiting artist and. 1985 Rhode Island School of essay, Design, Providence, RI - senior critique. University of California at edgar Irvine, Irvine, CA - lecture.
1980 University of essay, Kentucky, Lexington, KY - lecture. 1987 College of Mount St. Smith Statement? Vincent, Riverdale, NY - senior critique.
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