ayna Zweiman is a multidisciplinary artist and designer. Her independent practice combines architecture, art, craft and new media to focus on experiences that overlap physical, virtual and conceptual spaces. Perhaps best known as the co-creator/co-founder of The Pussyhat Project, an international network and movement of women's rights supporters, Zweiman has become a leading advocate of using design innovation to enact social change. The Pussyhat Project became a worldwide phenomenon at the 2017 Women's Marches with one of the largest crowd-sourced art advocacy projects ever. She is also the creator and founder of Welcome Blanket, a reconceptualization of the 2000-mile length of the proposed border wall as 2000-mile length of yarn to make individual welcome blankets for new immigrants coming to the United States. Zweiman's work has been exhibited and published internationally. In 2017, her work has been nominated for the Beazley Design of the Year by the Design Museum in London, acquired by the Victoria & Albert Museum, and awarded the first ever Brand of the Year by the School of Visual Arts. Zweiman was awarded in 2017 as one of "The 25 People Who Defined Visual Culture" by Artsy. Zweiman received her AB from Brown University in visual arts and economics and her Masters in Architecture from Harvard University Graduate School of Design. She lives and works in Los Angeles. In her talk, Zweiman questions how can we use design and architecture to craft the world we wish to see? We will investigate the overlap between individual stories and collective conversations, between craft and politics, and between physical and virtual communities in both Pussyhat Project and Welcome Blanket. Join Zweiman to discuss how these design interventions create social change by reimagining our spaces and systems.
Die vorliegende Monographie über den Maler Joseph Ignaz Mildorfer (1719-1775) umfasst vierzehn Kapitel, die mit dem Lebenslauf beginnend die verschiedenen Etappen im Werk des Malers veranschaulichen. Dabei wurde grosser Wert auf die soziologischen, politischen und ästhetischen Kriterien gelegt, welche die Entwicklung dieses eigenwilligen Künstlers bestimmten. In eine angesehene Malerfamilie in Innsbruck geboren, erlebte Mildorfer neben seiner konventionellen Ausbildung in der väterlichen Werkstatt hier auch den Beginn einer internationalen Monumentalmalerei, die erst durch den Import süddeutscher Maler auf tiroler Boden um sich griff. Mit diesen frühen Anregungen versehen, gelang es dem jungen Maler bei seiner Ankunft in der Kaiserstadt denn auch mit erstaunlicher Sicherheit den, für eine erfolgreiche Karriere imperativen, grossen Preis der Wiener Akademie zu gewinnen. Im Fahrwasser Paul Trogers, als dessen begabtester Schüler er von den Zeitgenossen gerühmt wurde, stellten sich in rascher Folge prestigereiche Angebote ein. Dem erstaunlich grossen Erstlingswerk, der malerischen Gesamtausstattung der Wallfahrtskirche am Hafnerberg, schloss sich bald der erste kaiserliche Auftrag an. Doch Österreich befand sich im Erbfolgekrieg, der die künstlerische Auftragssituation ernstlich bedrohte und auch Mildorfer zwang, nach Alternativen zu suchen. Und solche fand er in der Schlachtenmalerei. In diesem Genre schuf der junge Künstler Werke von einer aufrührenden Intensität, die ihn weit über seine Kollegen an der Akademie herausragen liessen, und ihm eine eigene Nische boten. Sicherlich machten gerade diese Bilder die letzten grossen Mäzene der Monarchie auf Mildorfer aufmerksam, was zu seiner Berufung als Hofmaler der Herzogin Maria Theresia von Savoyen, geborener Prinzessin von Liechtenstein führte, und eine lang anhaltende Zusammenarbeit mit den verschiedenen Zweigen der Familie Esterházy nach sich zog. Als Krönung rief Nikolaus Fürst Esterházy Mildorfer schliesslich nach Esterháza, um jenes Schloss zu freskieren, dessen aufwendige Gestaltung seinem Besitzer den Beinamen "der Prachtliebende" bescherte. (Die gründliche Aufarbeitung des Fürstlich Liechtensteinischen Archivs in Vaduz beantwortet nun endlich die Frage nach Art und Ausmass des tradierten, aber nie geklärten Arbeitsverhältnisses unseres Malers mit dem Hause Liechtenstein). Mildorfers Wahl zum wiener Akademieprofessor markierte nicht nur den Höhepunkt dieses Künstlerlebens, sondern spielte auch ganz wesentlich in eines der spannendsten Kapitel der wiener Kunst des 18. Jahrhunderts hinein. Unter seiner Ägide nämlich entstand hier der vielzitierte "Einheitsstil der Wiener Akademie", der von der Fülle seiner Schüler, allen voran Franz Anton Maulbetsch getragen wurde und Mildorfer zum Urheber dieses faszinierenden Phänomens macht. Die Arbeiten in den ehemaligen Kronländern kompletieren sein Werk als das eines typischen Mitteleuropäers des 18. Jahrhunderts. Manche, der oft schwer nachvollziehbaren Eigenschaften dieses kontroversen Malers müssen allerdings aus dem Zeitgeist gedeutet, und unter dem Begriff "Maler der Empfindsamkeit" verständlich gemacht werden. Mildorfer umfassend zu bearbeiten ist ein Desideratum, denn ohne ihn als Verbindungsglied zwischen Paul Troger, seinem Lehrer und Franz Anton Maulbertsch, seinem Schüler voll zu erfassen, wird immer ein Baustein im Gefüge der österreichischen Barockmalerei fehlen. ; This monograph on Joseph Ignaz Mildorfer (1719-1775) consists of forteen chapters, that after having given an overall curriculum, depict the various stations in the painter's working process. Special emphasis has been given to such criteria as the socio-economic, political and esthetic impacts, that shaped the development of this intriguing artist. Mildorfer was born into a distinguished family of painters in Innsbruck, where he was taught the basics of his profession. However, he was also exposed to the newly imported paintings from southern Germany, which at this time sparked Tyrolian tradition with international flavor. Partly due to those early stimuli, the young painter managed to instantly gain the renowned "big prize" of the Academy, upon his arrival in Imperial Vienna. This distinction was a prerequisite to any further career. Praised by his contemporaries as the most prodigious pupil of Paul Troger, Mildorfer soon was offered remarkable employments. His first major task, the complete decoration of the pilgrimage church at Hafnerberg near Vienna, comprising works in fresco and oil was soon to be followed by a commission from the Imperial court. But Austria was plagued by a raging War of Succession, which cast its shadow upon the job market, forcing Mildorfer to venture out into alternative fields. This he found in the painting of battlescenes. In this genre the young artist produced works of such rebellious intenseness that surpassed all his colleagues' endeavors and saved him a special niche. It might well be that those particular paintings drew the attention of the last great sponsers of the monarchy to Mildorfer, resulting in his being appointed painter of the court to the Duchess of Savoy, neé Maria Theresia Princess of Liechtenstein. (By way of scholarly work in the Princely Archives of Liechtenstein we have now established answers to questions regarding character and extend of Mildorfers work for the Duchess, that up till now has been obscured). In addition this period marked the beginning of a long lasting relationship with various branches of the Esterházy family, culminating in Mildorfer's appointment to Esterháza. Here he was commissioned to paint al fresco in Duke Nikolaus Esterházy's castle, one of the last manifestations of feudal style, the elaborate adornment of which promted the Duke with the attribute "The Magnificent". When Mildorfer was elected Professor at the Academy (kaiserlich-königliche Hofakademie der Mahler, Bildhauer und Baukunst) this not only marked the zenith of his career but also had major impact on one of the most thrilling phenomena within eighteenth century Viennese art. It was under his leadership that a movement took center stage, that was aprostophized the "Einheitsstil der Wiener Akademie". Carried out by an array of his scholars, notably Franz Anton Maubertsch this faszinating manifestation had Mildorfer's ideas at its core. With his contributions in the Crown Lands of the Habsburg monarchy in mind, his work makes him a typical Central-European artist of the eighteenth century. However some of his lesser graspable traits can only be understood out of the "Zeitgeist" and must be explained under the term of "painter of the sensibility". Since Mildorfer is the link between Paul Troger, his teacher and Franz Anton Maulbertsch, his student, a comprehensive biography of this artist is an absolute must. Only that makes a profound understanding of the third generation of Austrian barock-painting possible.
The German Geophysical Society was founded in 1922 as the Deutsche Seismologische Vereinigung. One of the 24 founders of this society was Karl Friedrich Almstedt. Born in 1891 and deceased in 1964, Almstedt represents a generation of academics and scientists who grew up during the decline of the European empires, experiencing the devastations of the two World Wars and the cruelties of the Nazi era as well as the resurrection of academic and cultural life in post-war Germany. A detailed biographical sketch of Karl Almstedt's life is presented through historical notes on his social, political, and scientific environment.
Profesor Henryk Lesiński to jeden z twórców szczecińskiego środowiska akademickiego. Od 1956 roku jako dyrektor archiwum państwowego brał udział w pracach licznych towarzystw i organizacji naukowych zarówno w mieście, jak i w regionie. Znaczącą rolę odgrywał między innymi w: Szczecińskim Towarzystwie Naukowym (główny redaktor wydawnictwa), Instytucie Zachodnio-Pomorskim (przewodniczący rady naukowej) czy też w szczecińskim oddziale Polskiego Towarzystwa Historycznego (prezes oddziału). Przez całe dziesięciolecia prof. Henryk Lesiński skupiał wokół siebie i wzmacniał szczecińskie środowisko historyczne. Zaangażowany w działalność wydawniczą STN czy IZP kreował w dużym stopniu rozwój kadr akademickiego Szczecina. Gdy w latach 1969–1981 pełnił funkcje rektora – na początku Wyższej Szkoły Nauczycielskiej, a potem Wyższej Szkoły Pedagogicznej – przyczynił się w decydującym stopniu do wzmocnienia szczecińskiego ośrodka naukowego, co umożliwiło w 1985 roku powołanie do życia w mieście u ujścia Odry Uniwersytetu Szczecińskiego. W tym ostatnim prof. Henryk Lesiński, aż do śmierci w 1994 roku, pełnił funkcję dziekana Wydziału Humanistycznego oraz Dyrektora Instytutu Historii.
Adalbert Stifter's edited collection Wien und die Wiener is relevant for memory studies research on nineteenth-century Austria due to its generic and narrative form. As a contemporary Viennese publication that focuses on the recent past, Stifter's "St. Stephansthurm" and Perger's "Eine Partie nach der Lobau" suture the reader into prosthetic memory of the Battles of Aspern and Wagram through battle reenactments. These scenes suggest that continuity in nature is greater than the historical narratives of the Habsburg Empire.
Roberta (Robbie) Jaffe grew up in New York in the 1950s, and moved to Florida when she was sixteen. She attended the University of Florida and University of South Florida, and graduated with a degree in sociology. During and after college she was deeply involved in the United Farm Workers (UFW) movement as a field organizer and boycott organizer for the state of Florida. Jaffe first came to the Santa Cruz area with her then-husband, Jerry Kay, who was also active in the sustainable agriculture movement. They farmed ten acres near Elkhorn Slough, and in 1976, Jaffe helped start the first farmers' market in Santa Cruz County, at Live Oak School. After that marriage ended, Jaffe studied horticulture at Cabrillo College with Richard Merrill, and took a position with a CETA (Comprehensive Employment and Training Act) program called Project Blossom. As part of that program, she co-founded a school garden at Green Acres School in Live Oak, a semi-rural area near Santa Cruz, California. This was the genesis of the Life Lab Science Program, which grew into a groundbreaking nonprofit organization that works with schools throughout the United States to develop school gardens and curriculum for teaching science and nutrition. Jaffe served as founding executive director of the program for many years. Jaffe earned a second master's degree in education from UC Santa Cruz, with an emphasis in agroecology. She met and married Steve Gliessman (also the subject of an oral history in this series). In 2001, they co-founded the Community Agroecology Network (CAN). CAN defines its goals as, "to help a network of rural, primarily coffee-growing communities in Mexico and Central America develop self-sufficiency and sustainable growing practices, and direct market coffee to consumers in the United States." Jaffe is the co-author of "From Differentiated Coffee Markets Towards Alternative Trade and Knowledge Networks," in Confronting the Coffee Crisis: Sustaining Livelihoods and Ecosystems in Mexico and Central America, and many Life Lab publications, including The Growing Classroom. Ellen Farmer interviewed Robbie Jaffe on May 5, 2007, at Jaffe's house in Santa Cruz, California. Farmer's MA thesis (in public policy) at California State University at Monterey Bay focused on the coffee crisis. As a graduate student, she worked with Jaffe at CAN, and brought her knowledge of the economics and politics of coffee growing in Latin America to the interview.
