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| michaela melian electric ladyland: Michaela Melián Matthias Mühling, Eva Huttenlauch, 2016 |
| michaela melian electric ladyland: Wessen Wissen? Kathrin Busch, Christina Dörfling, Kathrin Peters, Ildikó Szántó, 2018-07-20 Wessen Wissen? ist einerseits eine Frage nach Akteur_innen, Körpern, Materialien und Technologien, die in künstlerischen Produktions- und Wissensprozessen miteinander interagieren. Diese lassen sich als Übersetzungen und Transformationen beschreiben, in denen Künstler_innen längst nicht mehr die einzigen Subjekte des Wissens sind. Denn in den künstlerischen Praktiken des Entwerfens, Skizzierens, Modellierens, Probens und Experimentierens entfalten Medien und Materialien ihre je eigene agentielle Kraft. Wessen Wissen? ist andererseits eine Frage nach der Heterogenität von Wissensformationen in ihren partikularen und partialen Perspektiven, also nach situated knowledges. Damit wird die Vorstellung einer allgemeingültigen, körperlosen, neutralen Objektivität bestritten. Im Gegenzug nimmt das situierte Wissen der Künste für sich in Anspruch, Erkenntnisse hervorzubringen und zur Verfügung zu stellen. Es steht demnach für verkörperte Kenntnisse, die in das Feld des zugelassenen und legitimen Wissens kritisch intervenieren. |
| michaela melian electric ladyland: Das Pophörspiel Günter Rinke, 2017-12-15 Das Hörspiel als genuine Radiokunst blieb von den Veränderungen des Radios im Zeitalter des Pop nicht unbeeinflusst. Analog zu dem in der Literaturwissenschaft längst eingeführten Begriff »Popliteratur« kann daher heute vom »Pophörspiel« gesprochen werden, das bereits vielfältige Formen ausgebildet hat. Basierend auf Theorieansätzen der Hörspiel-, Medien- und Poptheorie stellt Günter Rinke die medienübergreifenden Aspekte dieser akustischen Kunstwerke dar. Dabei betrachtet er die Gattung nicht isoliert, sondern fasst Hörspiele als Teil umfassender medienkünstlerischer und intermedialer Konzepte auf, die von zahlreichen bekannten Autoren, Theatermachern und Musikern verfolgt werden. |
| michaela melian electric ladyland: Der Tod und das Ding Melanie Haller, Traute Helmers, Stefanie Mallon, 2020-11-20 Textile Dinge sind vielseitige und allgegenwärtige Begleiter des Alltags. Sie prägen Erfahrungswelten und Körper; sie kommunizieren gesellschaftliche und individuelle Belange. Wie aber betreffen Tod und Vergänglichkeit diese dynamische Beziehung zwischen Mensch und – textiler – Materialität? Welche Potentiale bergen Kleidung, Textilien und Mode in diesem Kontext? Die Beiträge des Sammelbandes gehen diesen Fragen nach: Seine dreizehn Autor*innen begreifen Materielle Kultur als einen Gegenstandsbereich ihrer Disziplin und als eine spezifische Sicht auf die Kultur von Tod und Vergänglichkeit. (Textile) Materialitäten verleihen Ideen und Konzepten in diesen Kontexten eine verfügbare Form. Sie wechseln je nach Umfeld in der Wahrnehmung in verschiedene ‚Aggregatzustände‘: von (profan) banal und substanziell zu (sakral) sublimiert und transzendiert. Die Vielfältigkeit, Verfügbarkeit, Vieldeutigkeit und Medialität textiler Dinge erlaubt verschiedene Praktiken, Erfahrungsdimensionen und Symbolisierungen im Umgang mit Vergänglichkeit. In den Mittelpunkt der Betrachtung rückt praktisches Wissen als eine wesentliche Wissensform. Für die hierin eingebundenen Akteur*innen – sei es in Wissenschaft, Handwerk oder Alltag – bedeutet das Vorgenannte einen Zuwachs an Sinnstiftungskompetenz und die Möglichkeit, Tod und Vergänglichkeit differenziert verhandeln zu können. Der Band führt Relevanz und Ergiebigkeit des Themenfeldes für eine interdisziplinäre Kulturwissenschaft von Mode, Kleidung und Textil vor Augen. |
| michaela melian electric ladyland: It's Time for Action (There's No Option) Mercedes Bunz, Maria Elena Buszek, Katy Deepwell, Amelia Jones, Migros Museum für Gegenwartskunst, 2007 Edited by Heike Munder. Text by Amelia Jones, Mercedes Bunz, Maria Elena Buszek, Katy Deepwell. |
| michaela melian electric ladyland: Sound and Symbol: Man the musician Victor Zuckerkandl, 1956 |
| michaela melian electric ladyland: The Polish Rider Ben Lerner, 2018-06 In the winter of 2015, Ben Lerner wrote a short story, 'The Polish rider', incorporating fictionalized elements of the life and work of the artist Anna Ostoya, who had recently lost two of her canvases in the back of an Uber. As the narrator of the story helps the artist search for the missing canvases, he fantasizes about recuperating the lost paintings through prose, about how the verbal might take the place of the visual. After the story was published in 'The New Yorker', Ostoya painted the painting Lerner had invented based on her earlier work, transforming the fiction without changing any of the words. Ostoya went on to produce a series of compositions that respond to the story she'd helped inspire. 'The Polish Rider' is the result of this ongoing conversation across media and genres. In addition to the story, this volume includes an essay by Lerner that describes how Ostoya's actual body of work catalyzed the fiction, as well as the contingencies and uncanny correspondences that have shaped their exchange. Ostoya's compositions -- both those that prompted Lerner's writing and those that take it up -- are never merely illustrative. Instead, they keep literature from having the last word. In this unclassifiable volume, the boundaries between fact and fiction, original and reproduction, text and image, flicker as you read and look. |
| michaela melian electric ladyland: Dentists Mary Meinking, 2020-08 Open wide! Dentists care for people's teeth. Give readers the inside scoop on what it's like to be a dentist. Readers will learn what dentists do, the tools they use, and how people get this exciting job. |
| michaela melian electric ladyland: A House Full of Music Ralf Beil, Peter Kraut, 2012 Before John Cage (1912-1992), there was hardly anyone as consistent as he was in questioning the boundaries of music and its connections to other fields of art and the everyday world. Along with Erik Satie, Marcel Duchamp, Nam June Paik, and Joseph Beuys, Cage is one of the greatest strategists and pioneers of twentieth-century music and art. Starting with these key figures, this publication examines twelve fundamental strategies of art and music since 1900: recording, collage, silence, destruction, calculation, coincidence, feeling, thought, belief, furnishing, repetition, and playing. Interdisciplinary essays by art and music theorists as well as exemplary works and original sources by artists, musicians, and composers are featured alongside visual documentation, showing the impressive diversity of parallel and overlapping activities between music and art from Laurie Anderson and Robert Filliou to Anri Sala and Iannis Xenakis.0Exhibition: Institut Mathildenhöhe Darmstadt, Germany (13.5.-9.9.2012). |
| michaela melian electric ladyland: Marcel Duchamp in München 1912 Marcel Duchamp, Städtische Galerie im Lenbachhaus München, 2012 Marcel Duchamp (1887-1968) hat mit seinem bilderstürmerischen Werk die Kunst des 20. Jahrhunderts und unsere Vorstellung von ihr radikal verändert. München spielte dabei eine nicht ganz unwichtige Rolle. Verärgert über die Ablehnung seines Gemäldes Akt, eine Treppe herabsteigend Nr. 2 im Salon des Indépendants verlässt Duchamp Paris und fährt Ende Juni 1912 nach München. Er will einen guten Freund besuchen, den Maler Max Bergmann, den er in Paris kennengelernt hatte. Bald beschliesst er, länger zu bleiben, und mietet sich in einem Zimmer in der Barerstrasse ein. Am Ende bleibt er drei Monate und entwickelt mehrere bedeutende Arbeiten, die heute u.a. im Museum of Modern Art in New York zu sehen sind, wie etwa das Gemälde Von der Jungfrau zur Braut. Exhibition: Städtische Galerie im Lenbachhaus, Munich, Germany (31.3.-15.7.2012). |
| michaela melian electric ladyland: Thomas Struth Martin-Gropius-Bau (Berlin, Germany), High Museum of Art, 2016 This catalogue accompanies a touring exhibition held at Museum Folkwang, Essen, Germany on March 4-May 29, 2016, at Martin-Gropius Bau, Berlin, Germany on June 11-September 18, 2016, at High Museum, Atlanta, Georgia on October 16, 2016-January 8, 2017, and at St Louis Art Museum, St Louis, Missouri in Fall 2017. |
| michaela melian electric ladyland: Sound Art Neues Museum Weserburg Bremen, 2006 Track listing for accompanying CD on p. [240]. |
| michaela melian electric ladyland: Film as Film Hayward Gallery, Arts Council of Great Britain, 1979 Exhibition focusing on experimental and avant-garde cinema. |
| michaela melian electric ladyland: Jack Kerouac's On the Road Harold Bloom, 2004 Presents ten critical essays published between 1973 and 2001 on Jack Kerouac's On the Road, and includes a chronology, a bibliography, and an introduction by Harold Bloom. |
| michaela melian electric ladyland: To Survive on this Shore Jess T. Dugan, Vanessa Fabbre, 2018-05 Nuanced view into the complexities of aging as a transgender person |
| michaela melian electric ladyland: Framis in Progress Alicia Framis, Montse Badia, Museum voor Moderne Kunst (Arnhem, Netherlands), Galerie im Taxispalais (Innsbruck, Austria), Museo de Arte Contemporáneo de Castilla y León, 2013 Published on the occasion of a solo exhibition of work by Alicia Framis, a multifaceted artist born in Barcelona and educated in Paris and Amsterdam, this large-format book delves into all aspects of her oeuvre over the last fifteen years, from films and installations to performance art and fashion design. Divided into three broader themes – social architecture, fashion and demonstrations, and wishing walls – it investigates her work and its interaction with people, addressing various societal issues like race, gender and discrimination while employing strategies of performativity to reclaim public space and bridge the distance between artist and audience.0Exhibition: Museum voor Moderne Kunst, Arnhem, the Netherlands (8.6.-29.9.2013) / Galerie im Taxispalais, Innsbrück, Austria (14.12.2013-23.2.2014) / MUSAC, Léon, Spain (15.3.-6.7.2014) / Centre for Contemporary Art, Brugge, Belgium (20.9.-23.11.2014). 0Exhibition: |
| michaela melian electric ladyland: The Space that Time Forgot Angela Bulloch, 2008 New work by the Spanish sculptor and installation artist known for her large-scale systems of enclosed passageways made from interconnected and organic-feeling metal lattices. Represented in New York by Marion Goodman Gallery, Iglesias has had one-person shows at such major international venues as the Guggenheim Museum, New York. |
| michaela melian electric ladyland: On the Royal Road Elfriede Jelinek, 2021-04-01 Nobel Prize winner Elfriede Jelinek is known as a writer who works in response to contemporary crises and cultural phenomena. Perhaps none of her works display that quality as clearly as On the Royal Road. Three weeks after Donald Trump's election, Jelinek mailed her German editor the first draft of this monologue, which turns out to be a stunningly prescient response to Trump and what he represents. In this drama we discover that a 'king', blinded by himself, who has made a fortune with real estate, golf courses and casinos, suddenly rules the United States, and the rest of the people of the world rub their eyes in disbelief until no one sees anything anymore. On the Royal Road brings into focus the phenomenon of right-wing populism. Carefully perched somewhere between tragedy and grotesque, high-pitched and squeamish, Jelinek in this work questions her own position and forms of resistance. 'Ms. Jelinek's play is a screed of outrage at the political, economic and cultural forces that have brought us to an unprecedented — and for many, unimaginable — moment of crisis for modern democracy. Mr. Trump is never mentioned by name, but the narration sketches an undisciplined, uncouth monarch who has been propped up by obscene wealth, a nonstop media circus and a remarkable talent for self-aggrandizing...[On the Royal Road] is neither a polemic nor a historical dramatization but an of-the-moment allegory for our deeply troubling political, social and economic reality.' — A. J. Goldmann, New York Times 'Jelinek's work is brave, adventurous, witty, antagonistic and devastatingly right about the sorriness of human existence, and her contempt is expressed with surprising chirpiness: it's a wild ride.' — The Guardian |
| michaela melian electric ladyland: The Council of Love Oskar Panizza, 1973 |
| michaela melian electric ladyland: Division of Labor Bronx Museum of the Arts, 1995 'Division of labor' offers the opportunity to acknowledge the feminist movement's influence on art production as well as artists' contributions to the dialogue on feminism and its impact on domestic arrangements and roles--P. 5. |
| michaela melian electric ladyland: Curatorial Activism Maura Reilly, 2018 |
| michaela melian electric ladyland: The Man Without Qualities Robert Musil, 2024-05-17 Robert Musil (1880 - 1942) was an Austro-Hungarian novelist and essayist, known for his masterpiece The Man Without Qualities. He was born on November 6, 1880, in Klagenfurt, Austria, during the era of the Austro-Hungarian monarchy. Musil, influenced by the philosophical and cultural currents of his time, stood out for his keen observation of society and his profound psychological analysis. His most famous work, The Man Without Qualities, is a monumental novel that examines the decadence of European society on the eve of World War I. Musil addressed themes such as alienation, the search for meaning, and the crisis of traditional values, establishing himself as a precursor of existentialism. |
| michaela melian electric ladyland: By Our Own Hands Faith Wilding, 1977 Rosenbach, Ulrike ; Chicago, Judy ; Schapiro, Miriam ; Wayne, June ; Hall, Vicki ; Kozloff, Joyce ; Rush, Christine ; Lacy, Suzanne ; Antin, Eleanor ; etc. |
| michaela melian electric ladyland: Daled Collection Patrizia Dander, Ulrich Wilmes, Haus der Kunst München, 2010 The Daled collection in Brussels has long been seen as one of the most famous yet little known collections of conceptual art. This comprehensive publication presents the Daled collection to the public for the very first time. All the work collected between 1966 and 1978, totalling around 500 pieces, is documented in an inventory, complete with purchase prices. The illustrated section is made up of more than 200 colour plates and shows key works from artists such as Vito Acconci, Carl Andre, Robert Filliou, On Kawara, Richard Long, Bruce Nauman, Ian Wilson and many more. These are complemented by numerous statements by Herman and Nicole Daled, giving insight into their collecting activities. |
| michaela melian electric ladyland: A Studio of Their Own Laura Meyer, 2009 Catalog of the exhibition held at the Phebe Conley Gallery, Fresno, Calif., Aug. 26-Oct. 9, 2009. |
| michaela melian electric ladyland: Klee, Kandinsky Paul Klee, Wassily Kandinsky, 1971 |
| michaela melian electric ladyland: Hyper! Max Dax, Dirk Luckow, 2019 What happens when musicians make use of ideas and strategies from the art world? And what kind of pictures result when painters are influenced by music? To be interested in other people's lives, to follow the unknown, to copy it, to use it in one's own work--in short, to cross-map between the worlds of music and the visual arts: this is the subject of HYPER! A Journey into Art and Music curated by Max Dax, the former editor-in-chief of Spex and Electronic Beats. The book will include classic works such as Peter Saville's ground-breaking album cover for New Order's 1983 masterpiece Power, Corruption and Lies, and the narrative, minimalist imagery of Emil Schult on which the cover of Kraftwerk's 1974 album, Autobahn, was based, and Cyprien Gaillard's acclaimed 3D installation, Night Life, from 2015. The mutual influences between music and art will be illustrated with examples by Albert Oehlen and Scooter, Thomas Scheibitz and the Melvins, as well as Daniel Blumberg. Photographs and video works by Andrea Stappert, Sven Marquardt, Andreas Gursky, The KLF, Mark Leckey, and Bettina Pousttchi will lend the book a documentary dimension. The book is narratively underpinned by numerous background interviews that Max Dax conducted with the participants in HYPER! over the past thirty years. |
| michaela melian electric ladyland: Szuper Gallery Whitechapel Art Gallery, 2001 Published to accompany the exhibition held at Whitechapel Art Gallery, London, 12 January - 4 March 2001. |
| michaela melian electric ladyland: Revolution in the Making Emily Rothrum, Elizabeth A. T. Smith, Anne Wagner, 2016 Half theWorld traces the ways in which women artists deftly transformed the language of sculpture to invent radically new forms and processes that privileged studio practice, tactility and the artist's hand. The volume seeks to identify the multiple strains of proto-feminist practices, characterized by abstraction and repetition, which rejected the singularity of the masterwork and rearranged sculptural form to be contingent upon the way the body moved around it in space. The catalogue begins in the immediate post-war era, with the first section spanning the late 1950s through the 1950s. Featuring historically important predecessors including Ruth Asawa, Lee Bontecou, Louise Bourgeois, Claire Falkenstein and Louise Nevelson, this section examines abstraction based on the human figure and the influence of the unconscious. The second section covers the decades of the 1960s and 1970s, and includes Magdalena Abakanowicz, Lynda Benglis, Heidi Bucher, Gego, François Grossen, Eva Hesse, Sheila Hicks, Marisa Merz, Mira Schendel, Michelle Stuart, Hannah Wilke, and Jackie Winsor, a generation of post-minimalist artists who ignited a revolution in their use of process-oriented materials and methods. In the 1980s and 1990s, the period explored in the third section, artists Phyllida Barlow, Isa Genzken, Cristina Iglesias, Liz Larner, Anna Maria Maiolino, Senga Nengudi, and Ursula von Rydingsvard moved beyond singular, three-dimensional objects toward architectonic works characterized by repetition, structure, and design. The final section is comprised of post-2000 works by artists Karla Black, Abigail DeVille, Sonia Gomes, Rachel Khedoori, Lara Schnitger, Shinique Smith, and Jessica Stockholder, artists who create installation-based environments, embracing domestic materials and craft as an embedded discourse. |
| michaela melian electric ladyland: Boltanski Christian Boltanski, 2006 Christian Boltanski ISBN 3-7757-1825-7 / 978-3-7757-1825-7 Hardcover, 8.75 x 11.25 in. / 160 pgs / 125 color. / U.S. $55.00 CDN $66.00 January / Art |
| michaela melian electric ladyland: Gender Check Bojana Pejic, 2009 Gender Check is the first comprehensive exhibition featuring art from Eastern Europe since the 1960s based on the theme of gender roles. 20 years after the fall of the Berlin Wall, the curator Bojana Peji?, along with a team of experts from 24 different countries, has put together a selection of over 400 works including paintings, sculpture, installations, photography, posters, films and videos. With over 200 artists, the exhibition paints an exceptionally diverse picture of a chapter in art history that until recently had been largely unknown and that could also act as an important addition to contemporary gender discourse. Published on the occasion of the exhibition in 2009/10 at Museum Moderner Kunst Stiftung Ludwig, Vienna, and at Zacheta National Gallery of Art, Warsaw. English text. |
| michaela melian electric ladyland: Henry Moore Plasters Anita Feldman, Malcom Woodward, Anthony Caro, Phillip King, 2011-09-01 This title looks exclusively at Henry Moore's work in plaster. Until recently the plasters have been regarded as preparatory stages in the process of making a sculpture rather than as works of art in their own right. |
| michaela melian electric ladyland: Braun/Lieff collection Kurt Wettengl, Nicole Grothe, 2013-12-18 Das Museum Ostwall im Dortmunder U nimmt seine wichtigen Neuerwerbungen, Schenkungen und Dauerleihgaben aus dem Bereich Fluxus zum Anlass für zwei Publikationen, die die Sammlung Feelisch und die Sammlung Braun/Lieff präsentieren. Aus dem Nachlass des 2009 verstorbenen Sammlers Hermann Braun, der sich seit 1972 intensiv mit Fluxus befasste, kamen viele Werke und Dokumente als Dauerleihgabe in das Museum Ostwall. Mit den Werken aus dieser Sammlung sind nun auch viele US-amerikanische Künstler des Fluxus vertreten, wie Robert Watts, George Brecht und Dick Higgins. 0Exhibition: Dortmunder U, Germany (25.8.2012-6.1.2013). |
| michaela melian electric ladyland: WERNER BUTTNER - PLENTY OF ROOM FOR ALL SORTS OF HAPPINESS. BARRY. SCHWABSKY, 2018 |
| michaela melian electric ladyland: Kiki Smith - Procession Petra Giloy-Hirtz, 2018 |
| michaela melian electric ladyland: Michaela Melián , 1992 |
| michaela melian electric ladyland: More Than Meat Joy Carolee Schneemann, 1979 |
| michaela melian electric ladyland: Electric Ladyland - Ausstellung als Medium Michaela Mélian, 2020 |
| michaela melian electric ladyland: Welcome to Electric ladyland Roberto Mastroianni, 2024 |
| michaela melian electric ladyland: Electric Ladyland Jimi Hendrix Experience, 1968 |
Michaels - Arts & Crafts, Frames, Seasonal Décor | DIY ...
Shop now to start a new tradition or expand your village. Dial up the drama with our latest décor collection. Set the mood for Fall. Find all the essentials you need to create your dream space.
Michaela - Wikipedia
Michaela (Hebrew מיכאלה) is a female given name. It is a female form of the Hebrew name Michael (מִיכָאֵל), which means "Who is like God". As of 2008, it was 357th in rank for newborn …
Michaela - Baby name meaning, origin, and popularity
See the popularity of the baby name Michaela over time, plus its meaning, origin, common sibling names, and more in BabyCenter's Baby Names tool.
Michaela - Meaning of Michaela, What does Michaela mean?
The meaning of Michaela is 'who is like God?'. It is a biblical name derived from miy which means 'who' ; el 'God, powerful'. The generic name has been used in the Old Testament of the Bible. …
Michaela Name Meaning, Origin, History, And Popularity
May 7, 2024 · The name Michaela is considered a feminine form of the name Michael, which has Hebrew origins. Michael is an archangel in Judeo-Christian traditions and is often associated …
Meaning, origin and history of the name Michaela
Dec 1, 2024 · Feminine form of Michael. Name Days?
Michaela - Name Meaning, What does Michaela mean?
Michaela as a girls' name is pronounced mih-KAY-lah. It is of Hebrew origin, and the meaning of Michaela is "who is like God?". Latin feminine form of Michael. Kayla is a popular derivative of …
Michaela: Name Meaning and Origin - SheKnows
In English Baby Names the meaning of the name Michaela is: Feminine of Michael, meaning gift from God. In Hebrew Baby Names the meaning of the name Michaela is: Who is like God? Gift …
Michaela: Meaning, Origin, Traits & More | Namedary
Aug 29, 2024 · Michaela is a feminine name derived from Michael, which means "Who is like God" in Hebrew. It signifies divine strength, protection, and grace. The name is particularly …
Michaela: Name Meaning, Popularity and Info on BabyNames.com
4 days ago · The name Michaela is primarily a female name of English origin that means Who Is Like God?. Click through to find out more information about the name Michaela on …
Michaels - Arts & Crafts, Frames, Seasonal Décor | DIY ...
Shop now to start a new tradition or expand your village. Dial up the drama with our latest décor collection. Set the mood for Fall. Find all the essentials you need to create your dream space.
Michaela - Wikipedia
Michaela (Hebrew מיכאלה) is a female given name. It is a female form of the Hebrew name Michael (מִיכָאֵל), which means "Who is like God". As of 2008, it was 357th in rank for newborn …
Michaela - Baby name meaning, origin, and popularity
See the popularity of the baby name Michaela over time, plus its meaning, origin, common sibling names, and more in BabyCenter's Baby Names tool.
Michaela - Meaning of Michaela, What does Michaela mean?
The meaning of Michaela is 'who is like God?'. It is a biblical name derived from miy which means 'who' ; el 'God, powerful'. The generic name has been used in the Old Testament of the Bible. …
Michaela Name Meaning, Origin, History, And Popularity
May 7, 2024 · The name Michaela is considered a feminine form of the name Michael, which has Hebrew origins. Michael is an archangel in Judeo-Christian traditions and is often associated …
Meaning, origin and history of the name Michaela
Dec 1, 2024 · Feminine form of Michael. Name Days?
Michaela - Name Meaning, What does Michaela mean?
Michaela as a girls' name is pronounced mih-KAY-lah. It is of Hebrew origin, and the meaning of Michaela is "who is like God?". Latin feminine form of Michael. Kayla is a popular derivative of …
Michaela: Name Meaning and Origin - SheKnows
In English Baby Names the meaning of the name Michaela is: Feminine of Michael, meaning gift from God. In Hebrew Baby Names the meaning of the name Michaela is: Who is like God? Gift …
Michaela: Meaning, Origin, Traits & More | Namedary
Aug 29, 2024 · Michaela is a feminine name derived from Michael, which means "Who is like God" in Hebrew. It signifies divine strength, protection, and grace. The name is particularly …
Michaela: Name Meaning, Popularity and Info on BabyNames.com
4 days ago · The name Michaela is primarily a female name of English origin that means Who Is Like God?. Click through to find out more information about the name Michaela on …
