Catherine Edelman Gallery opened in quickly establishing itself as one of the leading galleries in the Midwest devoted exclusively to the art of photography. Recent shows at the gallery include a major exhibition, Killer Shots: A Photographic Response to War, curated in by Catherine Edelman as a response to the war in Iraq. The show featured 34 photographers and showcased photographs from numerous conflicts starting with Vietnam and moving to the present. The Center has a twenty year history of organizing and presenting museum quality exhibition programs of visual art and new media in South Florida. Exhibitions are presented at its permanent location as well as at other public locations in collaboration with governmental, educational and non-profit organizations. Works presented include those in the traditional media of painting, printmaking and photography as well work incorporating new technologies and electronic media. Toggle navigation.
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Kimberly Gunter , Fairfield University. Figure 1. In a plunging, baby-doll gown, fishnet stockings, and knee-high boots of which Bettie Page might approve, that Beals chose to perform this monologue, punctuated with an array of girl-on-girl orgasms, was no accident. To demonstrate her prowess, Beals, assisted by Chaiken, Sea, and Hedison off to the side, around a single microphone, backup-singer style , performed a round robin of types of orgasms, Beals taking the African American moan; the uninhibited, militant bisexual moan; and the diva moan, all taxonomic lenses through which we might read her. Instead, she spoke as a by-then queered Jennifer Beals who rhetorically insisted on her own intersectionality, perhaps as African American, uninhibited bisexual, diva, and more. Herein, I trace the metamorphosis of Jennifer Beals as she transformed into a queer, intersectional public rhetor. My rhetorical analysis of these texts illustrates that Beals was hailed into intersectional, queer rhetorship by at least three forces: first, her experiences of alterity as a biracial girl; second, a voyeuristic, homophobic, and racist film industry; and third, a queer counterpublic desirous of images and icons of queer sexuality. While some might have resisted interpellation into what began as allegations of queerness, I show how Beals performed a rhetorical pivot and instead responded with relish, intervening into larger, monolithic rhetorics of race and sexuality, both on and off the TLW set. In recovering Beals as an intersectional queer rhetor, I attend to two gaps in current scholarship.
I'm interested in please check all that apply. You may opt-out anytime by clicking "unsubscribe" from the newsletter or from your account. Judge James Mazzone deviated from the joint recommendation of the defense and prosecution Friday in sentencing former teacher Jennifer Bennett to one year in prison and one year of supervised release for having nude cell phone photos of a former student. Bennett, 36, of Wheeling, pleaded guilty in Ohio County Circuit Court on May 17 to a single count of possession of child pornography. Mazzone also ordered the mother of two to register as a sex offender for life and undergo counseling as a term of her sentence. She will remain on home confinement until that date. Bennett pleaded for alternative sentencing, saying incarceration would not only punish her, but it would punish her children, as well as her mother, who suffers from multiple sclerosis and is dependent.
By Emily Goodin, Senior U. Political Reporter For Dailymail. You've earned the right to do something that Americans are known for all around the world, greeting others with a smile,' President Biden said during remarks in the White House Rose Garden. And a maskless first lady was all smiles when she stepped off her plane in Charleston, W. Actress Jennifer Garner greeted Dr. She had a face mask on but took hers off when she saw the situation.