51,492 research outputs found
Dr. David McCarthy
No full textDr. David McCarthy, Professor of Computer Science, is standing in front of a chalkboard
David McCarthy in Class, 2000
No full textThese images show Prof. David McCarthy teaching students how to create objects using paper mache techniques
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The David W. Fentress Family Letters, 1856-1969
No full textTranscript of a letter by an unidentified author to David Fentress regarding sharing federal newspapers and the banning of federal newspapers in some areas. The author passes on the news of the war including the destruction of the Federal merchantmen by the Confederate fleet. He passes along world news: Russia preparing to go to War with Europe and how that could negatively affect the Confederacy. There is also speculation on the future of the war
The David W. Fentress Family Letters, 1856-1969
No full textTranscript of a letter by an unidentified author to David Fentress regarding sharing federal newspapers and the banning of federal newspapers in some areas. The author passes on the news of the war including the destruction of the Federal merchantmen by the Confederate fleet. He passes along world news: Russia preparing to go to War with Europe and how that could negatively affect the Confederacy. There is also speculation on the future of the war
McCarthy, Peter (Oral History Interview)
No full textStudent, Football Player, Hockey PlayerPeter McCarthy attended high school and college at Saint Mary's during the second world war. He speaks about his working life with Air Canada, his family, and his years as a student at Saint Mary's. . Discussed or mentioned: Mr. Lynch; Father Kehoe; Father Peter J. McCarthy, Dean of Discipline; school discipline; David MacDonald, his friend and son of the dean of Dalhousie Law School; the 'hash house' (cafeteria); sports facilities; girls on campus; life as a boarder; Retreats; school spiri
Baltimore Fiddle Fair, Baltimore, Co Cork. Established 1994. Declan McCarthy, Founder and Artistic Director, in conversation with David Teevan
No full textDeclan McCarthy is from Skibbereen in west Cork and has been working in the arts for over 30 years. His family were in the bar business where there was always live music. He promoted his first live concert in 1990 and established the Baltimore Fiddle Fair in 1992. Originally a week of concerts in the family bar in Baltimore, it changed to its current format in 2006, 4 days of world-class traditional and folk music, in various venues around the beautiful seaside village of Baltimore. Attracting performers and audiences from all over the world, it truly is 'The Small Festival with The Big Reputation'.University College DublinUniversity College Dublin FoundationUCD Arts and Humanities Support Fun
David McCarthy with paper mache ball
No full textReceived from Communications in 2010.David McCarthy with the paper mache ball created in one of his art classes
David McCarthy teaching art history
No full textThis digital image was scanned from a 35mm slide and uploaded to DLynx in the Visual Resources Center during summer 2022.This image shows Professor David McCarthy in a classroom in Clough Hall. He is teaching Art 440 during the fall of 1996. Students pictured include Leah Coker '97 and Kelley Pratt '97
Ketchup and Blood: Documents, Institutions and Effects in the Performances of Paul McCarthy 1974-2013
No full textSince the 1970s, the work of Los Angeles-based artist Paul McCarthy (b. 1945) has included live performance, video, sculpture, kinetic tableaux, and installation. Tracing the development of McCarthy’s work between 1974 and 2013, I undertake a critical discussion of the development of performance in relation to visual art practices. Using one artist’s work as a guide through a number of key discussions in the history of performance art, I argue that performance has influenced every aspect of McCarthy’s artistic practice, and continues to inform critical readings of his work.
My thesis follows the trajectory of McCarthy’s performance practice as it has developed through different contexts. I begin with the early documentation and dissemination of performance in the Los Angeles-based magazine High Performance (1978-83), which established a context for the reception of performance art, and for McCarthy’s early work. I then examine specific examples of McCarthy’s practice in relation to his critical reception: live performances and videos from the 1970s are discussed alongside critical readings of his work influenced by psychoanalysis; and the wider public recognition of McCarthy’s object-based art in the 1980s and early 1990s. I then look more broadly at the recent trend of re-enacting historical performances in the Getty’s Pacific Standard Time project (2011-12), as a mode of engaging with performance history and exploring how histories of ephemeral art are re-iterated over time. Finally, I discuss a number of McCarthy’s recent exhibitions and installations that mobilises a wider consideration of the histories of performance and ephemeral practices in art institutions.
McCarthy’s work is firmly established in the art world, and I argue that his work also provides a significant touchstone for histories of performance. I look historically at how McCarthy’s work has been documented, disseminated, curated, and re-performed, and open wider discussions about ways of engaging with performance history. In turn, I complicate the relationship between performance and the art world; between ephemeral art and object-based art practices; and between scholarly engagements with performance history, and the public presentation of performance in curatorial practices and institutional contexts.This project was funded by a College Studentship from Queen Mary, University of London. Additional financial support for a research trip to Los Angeles in 2012 to undertake primary research and conduct interviews was provided by the Queen Mary Central Research Fund (now the Postgraduate Research Fund). I would also like to acknowledge the support of the Glynne Wickham Scholarship fund, which contributed to travel expenses for a conference presentation at Stanford University in 2013
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