Sunrise a Tribute to Our Founders
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The Frick Collection Staff As of June 30, 2008
The Frick Collection annual report july 2007–june 2008 The Frick Collection annual report july 2007–june 2008 leadership 2 Board of Trustees, Council of The Frick Collection, and Young Fellows Steering Committee reports 3 Margot Bogert, Chairman 5 Anne L. Poulet, Director 8 Colin B. Bailey, Associate Director and Peter Jay Sharp Chief Curator 11 Patricia Barnett, Andrew W. Mellon Chief Librarian financial statements 13 Statement of Financial Position 14 Statement of Activities public programming 15 Exhibitions and Lectures 16 Symposia, Publications, and Concerts notable library acquisitions 17 Gifts and Exchanges 18 Purchases donor support and membership 19 Gifts and Grants 23 Fellows and Friends 30 Corporate Members and Sponsors staff 31 The Frick Collection 34 Frick Art Reference Library on our cover: Maiolica dish with The Judgment of Paris after Raphael, Fontana workshop, tin-glazed earthenware, c. 1565, The Frick Collection, gift of Dianne Dwyer Modestini in memory of Mario Modestini; photograph by Michael Bodycomb The Frick Collection Council of Young Fellows Board of Trustees The Frick Collection Steering Committee As of June 30, 2008 As of June 30, 2008 As of June 30, 2008 Margot Bogert, Chairman George C. Wachter, Chairman Lydia Fenet, Chairman Howard Phipps Jr., Vice Chairman Jonathan Brown, Vice Chairman Elisabeth Saint-Amand, Secretary L. F. Boker Doyle, Treasurer Caitlin Davis, Coordinator John P. Birkelund, Secretary Julian Agnew Irene Roosevelt Aitken Fiona Benenson Peter P. Blanchard III W. Mark Brady Genevieve Wheeler Brown I. Townsend Burden III Vivien R. Clark Kipton Cronkite Walter A. Eberstadt Anne Goldrach Paul Cruickshank Emily T. Frick Nicholas H. -
National Arts Awards Monday, October 19, 2015
2015 Americans for the Arts National Arts Awards Monday, October 19, 2015 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Musical Director, Jake Goldbas Philanthropy in the Arts Award Legacy Award Joan and Irwin Jacobs Maria Arena Bell Presented by Christopher Ashley Presented by Jeff Koons Outstanding Contributions to the Arts Award Young Artist Award Herbie Hancock Lady Gaga 1 Presented by Paul Simon Presented by Klaus Biesenbach Arts Education Award Carolyn Clark Powers Alice Walton Lifetime Achievement Award Presented by Agnes Gund Sophia Loren Presented by Rob Marshall Dinner Closing Remarks Remarks by Robert L. Lynch and Abel Lopez, Chair, introduction of Carolyn Clark Powers Americans for the Arts Board of Directors and Robert L. Lynch Remarks by Carolyn Clark Powers Chair, National Arts Awards Greetings from the Board Chair and President Welcome to the 2015 National Arts Awards as Americans for the Arts celebrates its 55th year of advancing the arts and arts education throughout the nation. This year marks another milestone as it is also the 50th anniversary of President Johnson’s signing of the act that created America’s two federal cultural agencies: the National Endowment for the Arts and the National Endowment for the Humanities. Americans for the Arts was there behind the scenes at the beginning and continues as the chief advocate for federal, state, and local support for the arts including the annual NEA budget. Each year with your help we make the case for the funding that fuels creativity and innovation in communities across the United States. -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
Robert Rauschenberg and James Rosenquist Graphics Rosenquist
RAUSCHENBERG PAST POP: ROBERT RAUSCHENBERG AND JAMES ROSENQUIST GRAPHICS ROSENQUIST KEAN UNIVERSITY !CKNOWLEDGEMENTS We would like to recognize the many individuals and institutions who generously provided assistance in this process. Bard Graduate Center: Olga Valle Tetkowski; Graebel Movers International Inc.: Jim Wilderotter; Kean University: Dr. Dawood Farahi, Holly Logue, John Maso, and Kenneth Kimble; The Montclair Art Museum: Gail Stavitsky and Erica Boyd; The Newark Museum: Amber Woods Germano, Olivia Arnone; O’Hara Gallery: Ruth O’Hara and Lauren Yen; Prudential Insurance Company of America: Carol Skuratofsky and Joseph Sabatino; the Estate of Robert Rauschenberg: Gina C. Guy and Thomas Buehler; James Rosenquist and Beverly Coe at the Rosenquist Studio; Universal Limited Art Editions: Bill Goldston and Marie Allen; The Whitney Museum of American Art: Donna DeSalvo, Barbie Spieler and Matt Heffernan; Visual Artists and Galleries Association (VAGA): Robert Panzer and Kimberly Tishler. Rich Russo for the photographs of prints in the Kean and Prudential collections. Special thanks to Barbara Burn for her remarkable editing ability and unique kindness. Without her diligence, this catalog would not have been possible. Copyright © 2009 by Kean University, Union, New Jersey Catalog essay, Past Pop: Robert Rauschenberg and James Rosenquist Graphics of the 1970s © 2009 Lewis Kachur All rights reserved. No part of this book may be reproduced in any form including electronic or mechanical means, photocopying, information storage and retrieval systems, except in the case of brief extracts for the purpose of critical articles and reviews, without permission in writing from Kean University. Art © James Rosenquist /Licensed by VAGA, New York, NY Art © Estate of Robert Rauschenberg/Licensed by VAGA, New York, NY U.L.A.E. -
Mapping Robert Storr
Mapping Robert Storr Author Storr, Robert Date 1994 Publisher The Museum of Modern Art: Distributed by H.N. Abrams ISBN 0870701215, 0810961407 Exhibition URL www.moma.org/calendar/exhibitions/436 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art bk 99 £ 05?'^ £ t***>rij tuin .' tTTTTl.l-H7—1 gm*: \KN^ ( Ciji rsjn rr &n^ u *Trr» 4 ^ 4 figS w A £ MoMA Mapping Robert Storr THE MUSEUM OF MODERN ART, NEW YORK DISTRIBUTED BY HARRY N. ABRAMS, INC., NEW YORK (4 refuse Published in conjunction with the exhibition Mappingat The Museum of Modern Art, New York, October 6— tfoti h December 20, 1994, organized by Robert Storr, Curator, Department of Painting and Sculpture The exhibition is supported by AT&TNEW ART/NEW VISIONS. Additional funding is provided by the Contemporary Exhibition Fund of The Museum of Modern Art, established with gifts from Lily Auchincloss, Agnes Gund and Daniel Shapiro, and Mr. and Mrs. Ronald S. Lauder. This publication is supported in part by a grant from The Junior Associates of The Museum of Modern Art. Produced by the Department of Publications The Museum of Modern Art, New York Osa Brown, Director of Publications Edited by Alexandra Bonfante-Warren Designed by Jean Garrett Production by Marc Sapir Printed by Hull Printing Bound by Mueller Trade Bindery Copyright © 1994 by The Museum of Modern Art, New York Certain illustrations are covered by claims to copyright cited in the Photograph Credits. -
Museum to Celebrate James Rosenquist's 80Th Birthday
FOR IMMEDIATE RELEASE Contact: Matthew Wallace [email protected] 701-777-4195 Museum to Celebrate James Rosenquist’s 80th Birthday James Rosenquist has always maintained a connection to North Dakota. He was born in 1933 at the Deaconess Hospital in Grand Forks to Ruth Hendrickson Rosenquist and Louis Rosenquist. The two met at the Grand Forks International Airport and shared a passion for flying. In his autobiography, Painting Below Zero, Rosenquist states, “Perhaps because the land is so flat—there were no mountains to climb—in North Dakota people wanted to go up in the air. My mom and dad wanted to fly, and they both became pioneering pilots.” Despite not having a pilot’s license, Rosenquist’s mother took to the skies, while James’ earliest memories involving planes were of his father letting him play in the cockpit of biplanes at the airport. On August 22, 7 pm, the Museum will open James Rosenquist: An Exhibition Celebrating His 80th Birthday. The exhibition consists of one painting – Through the Eye of the Needle to the Anvil, an homage to his mother who was an early North Dakota aviation pioneer. The painting measures 17 x 46 feet and once installed, will cover the entire wall of the Museum’s east gallery. Through the Eye of the Needle to the Anvil is the perfect vehicle to explore the artist’s North Dakota roots in aviation and celebrate his 80th birthday. Musing about the painting, Rosenquist said, “After my mother died in 1987, I painted Through the Eye of the Needle as a kind of commemoration of her unfulfilled life. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
2018 BAM Next Wave Festival #Bamnextwave
2018 BAM Next Wave Festival #BAMNextWave Brooklyn Academy of Music Adam E. Max, Katy Clark, Chairman of the Board President William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer Place BAM Harvey Theater Oct 11—13 at 7:30pm; Oct 13 at 2pm Running time: approx. one hour 15 minutes, no intermission Created by Ted Hearne, Patricia McGregor, and Saul Williams Music by Ted Hearne Libretto by Saul Williams and Ted Hearne Directed by Patricia McGregor Conducted by Ted Hearne Scenic design by Tim Brown and Sanford Biggers Video design by Tim Brown Lighting design by Pablo Santiago Costume design by Rachel Myers and E.B. Brooks Sound design by Jody Elff Assistant director Jennifer Newman Co-produced by Beth Morrison Projects and LA Phil Season Sponsor: Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund Major support for Place provided by Agnes Gund Place FEATURING Steven Bradshaw Sophia Byrd Josephine Lee Isaiah Robinson Sol Ruiz Ayanna Woods INSTRUMENTAL ENSEMBLE Rachel Drehmann French Horn Diana Wade Viola Jacob Garchik Trombone Nathan Schram Viola Matt Wright Trombone Erin Wight Viola Clara Warnaar Percussion Ashley Bathgate Cello Ron Wiltrout Drum Set Melody Giron Cello Taylor Levine Electric Guitar John Popham Cello Braylon Lacy Electric Bass Eileen Mack Bass Clarinet/Clarinet RC Williams Keyboard Christa Van Alstine Bass Clarinet/Contrabass Philip White Electronics Clarinet James Johnston Rehearsal pianist Gareth Flowers Trumpet ADDITIONAL PRODUCTION CREDITS Carolina Ortiz Herrera Lighting Associate Lindsey Turteltaub Stage Manager Shayna Penn Assistant Stage Manager Co-commissioned by the Los Angeles Phil, Beth Morrison Projects, Barbican Centre, Lynn Loacker and Elizabeth & Justus Schlichting with additional commissioning support from Sue Bienkowski, Nancy & Barry Sanders, and the Francis Goelet Charitable Lead Trusts. -
Early 20Th Century Continued
Early 20th Century- Chapter 21 Artist: Henri Matisse Title: The Joy of Life Movement: Fauvism Period: Early 20th Century Description: Fauvism (les fauves=wild beasts)- pure hues, lines freed from descriptive roles, and simplified shapes all together create a lively rhythm in the composition Artist: Matisse Title: Harmony in Red (The Red Room) Movement: Fauvism Period: Early 20th Century Artist: André Derain Title: London Bridge Movement: Fauvism Period: Early 20th Century Artist: Ernst Ludwig Kirchner Title: Street, Berlin Movement: German Expressionism- The Bridge group Period: Early 20th Century Artist: Kandinsky Title: Blue Mountain Movement: German Expressionism- The Blue Rider group Period: Early 20th Century Artist: Kandinsky Title: Composition IV Movement: German Expressionism Period: Early 20th Century Description- his painting evolved toward a an absence of representational subject matter in order to concentrate on the expressive potential of pure form comparable to the free language of music Artist: Picasso Title: Les Demoiselles D’Avignon Movement: Early Cubism Period: Early 20th Century Description: Cubism’s influences- African masks and African reliquary figures Kota Reliquary figure, Africa Picasso, Les Demoiselles D’Avignon, 1907, oil on canvas, beginning of Dan mask, Cubism; Picasso is interested only in the forms of African art, not the Africa meanings of uses of African art Artist: Braque Title: Houses at L’Estaque Movement: Early Cubism Period: Early 20th Century Description: Cubism’s influences- the Post-Modernist painter -
Donors 2015-2016 the Museum of Modern Art Moma PS1
Donors 2015-2016 The Museum of Modern Art MoMA PS1 1 Trustees of The Museum of Modern Art Jerry I. Speyer Glenn Dubin Joan Tisch Chairman John Elkann Edgar Wachenheim III Laurence Fink Leon D. Black Glenn Fuhrman Honorary Trustees Co-Chairman Kathleen Fuld Lin Arison Howard Gardner Mrs. Jan Cowles Marie-Josée Kravis Anne Dias Griffin Lewis B. Cullman President Mimi Haas H.R.H. Duke Franz of Bavaria Alexandra A. Herzan Maurice R. Greenberg Sid R. Bass Marlene Hess Wynton Marsalis Mimi Haas Ronnie Heyman Richard E. Oldenburg* Marlene Hess AC Hudgins Lord Rogers of Riverside Richard E. Salomon Jill Kraus Ted Sann Vice Chairmen Marie-Josée Kravis Gilbert Silverman Ronald S. Lauder Yoshio Taniguchi Glenn D. Lowry Thomas H. Lee Eugene V. Thaw Director Michael Lynne Khalil Gibran Muhammad *Director Emeritus Richard E. Salomon Philip S. Niarchos Treasurer James G. Niven Ex-Officio Peter Norton Glenn D. Lowry James Gara Daniel S. Och Director Assistant Treasurer Maja Oeri Michael S. Ovitz Agnes Gund Patty Lipshutz Ronald O. Perelman Chairman of the Board of MoMA PS1 Secretary David Rockefeller, Jr. Sharon Percy Rockefeller Sharon Percy Rockefeller David Rockefeller Richard E. Salomon President of the International Council Honorary Chairman Marcus Samuelsson Anna Deavere Smith Thomas R. Osborne Ronald S. Lauder Jerry I. Speyer Ann Schaffer Honorary Chairman Ricardo Steinbruch Co-Chairmen of The Contemporary Daniel Sundheim Arts Council Robert B. Menschel Alice M. Tisch Chairman Emeritus Gary Winnick Bill de Blasio Mayor of the City of New York Agnes Gund Life Trustees President Emerita Eli Broad Gabrielle Fialkoff Douglas S. -
2005 ANNUAL REPORT CONTENTS 6 Economic 10 Studies Global Economy and Development 27 Katrina’S Lessons in Recovery
QUALITY IMPACT AND INDEPENDENCE ANNUAL REPORT THE 2005 1775 Massachusetts Avenue, NW Washington, DC 20036 www.brookings.edu BROOKINGSINSTITUTION 2005 ANNUAL REPORT CONTENTS 6 Economic 10 Studies Global Economy and Development 27 Katrina’s Lessons in Recovery 39 Brookings Institution Press 14 40 Governance Center for Executive Education Studies 2 About Brookings 4 Chairman’s Message 5 President’s Message 31 Brookings Council 18 36 Honor Roll of Contributors Foreign 42 Financial Summary Policy Studies 44 Trustees 24 Metropolitan Policy Editor: Melissa Skolfield, Vice President for Communications Copyright ©2005 The Brookings Institution Writers: Katie Busch, Shawn Dhar, Anjetta McQueen, Ron Nessen 1775 Massachusetts Avenue, NW 28 Design and Print Production: The Magazine Group, Inc. Washington, DC 20036 Jeffrey Kibler, Virginia Reardon, Brenda Waugh Telephone: 202-797-6000 Support for Production Coordinator: Adrianna Pita Fax: 202-797-6004 Printing: Jarboe Printing www.brookings.edu Cover Photographs: (front cover) William Bradstreet/Folio, Inc., Library of Congress Card Number: 84-641502 Brookings (inside covers) Catherine Karnow/Folio, Inc. Broadcast reporters zoom in for a forum on a new compact for Iraq THE BROOKINGS INSTITUTION featuring U.S. Sen. Joseph Biden of Delaware. he Brookings Institution is a pri- vate nonprofit organization devoted to independent research and innovative policy solutions. Celebrating its 90th anniversary in 2006, Brookings analyzes current and emerging issues and produces new ideas that matter—for the nation and the world. ■ For policymakers and the media, Brookings scholars provide the highest-quality research, policy recommendations, and analysis on the full range of public policy issues. ■ Research at the Brookings Institution is conducted to inform the public debate, not advance a political agenda. -
Art Everywhere Press Release 4.7.14.Pdf
THE LARGEST OUTDOOR ART SHOW EVER CONCEIVED—A FREE NATIONWIDE CELEBRATION OF AMERICAN MASTERWORKS—TO BEGIN AUGUST 4, 2014 Five Major Museums and the Outdoor Advertising Association of America Come Together to Organize Art Everywhere US Public Voting Begins Today on Which Great American Art Will Pop Up on Billboards and Signs Across the Country WASHINGTON, DC, April 7, 2014 —American artists have long found inspiration in iconic locations such as Times Square, Sunset Boulevard and Route 66. Starting on August 4, 2014 and continuing for four weeks, these places and more will be transformed into free open-air galleries for masterworks of American art through Art Everywhere US, the largest outdoor art show ever conceived. A nationwide celebration of America’s artistic legacy, Art Everywhere is organized through a collaboration among five major museums—the Art Institute of Chicago, the Dallas Museum of Art, the Los Angeles County Museum of Art (LACMA), the National Gallery of Art and the Whitney Museum of American Art—the Outdoor Advertising Association of America (OAAA), and artists, estates, foundations, and rights agencies. Approximately 50 recognized masterworks of American art from the museums’ collections will pop up on as many as 50,000 displays nationwide, including static and digital billboards, subway platforms and trains, buses and bus shelters—and the selection will be curated with the help of the American people through an online vote. Beginning April 7 at www.ArtEverywhereUS.org and continuing for a month, everyone is invited to view 100 American artworks nominated by the museums and vote for the ones he or she would most like to see reproduced outdoors.