DOCSLIB.ORG

Download Cmog Annual Report 2009.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Cmog Annual Report 2009.Pdf Cover and opposite: Officers The Fellows of The Corning The Fellows of The Corning Museum of Glass Museum of Glass are among St. Matthew. Sir Edward James B. Flaws the world’s leading glass Coley Burne-Jones, Mer- Chairman of the Board Carole Allaire collectors, scholars, dealers, ton Abbey, Surrey, Morris and glassmakers. The E. Marie McKee Gary E. Baker & Company, designed in Renée E. Belfer objectives of this organization President are (1) to disseminate knowl- 1873 and made in 1909. Robert A. Belfer edge about the history and H. 122 cm (2009.2.31). Amory Houghton Jr. Mike Belkin Vice President art of glassmaking and (2) William W. Boeschenstein* to support the acquisitions James R. Houghton Alan L. Cameros program of the Museum’s Vice President Lt. Gen. Christian Clausen, retired Rakow Research Library. Kenneth C. Depew Admission to the fellowship Denise A. Hauselt Thomas P. Dimitroff is intended to recognize Secretary Jay R. Doros accomplishment, and is by Linda E. Jolly David Dowler invitation. Assistant Secretary Max Erlacher Mark S. Rogus Christopher T. G. Fish Treasurer Alice Cooney Frelinghuysen William Gudenrath Robert J. Grassi Jirˇí Harcuba Assistant Treasurer Douglas Heller David B. Whitehouse A. C. Hubbard Jr. Executive Director Lawrence Jessen Kenneth L. Jobe Trustees Dorothy-Lee Jones Olive Jones Roger G. Ackerman* Leo Kaplan Peter S. Aldridge Helena Koenigsmarková Thomas S. Buechner Michael Kovacek Van C. Campbell* Dwight P. Lanmon Dale Chihuly Harvey K. Littleton Patricia T. Dann Louise Luther Robert Duke Kenneth W. Lyon James B. Flaws Josef Marcolin John P. Fox Jr. Gregory A. Merkel Polly W. Guth Kirk J. Nelson Ben W. Heineman* Barbara H. Olsen Amory Houghton Jr. Elmerina L. Parkman Arthur A. Houghton III Paul D. Parkman James D. Houghton Paul N. Perrot James R. Houghton John V. B. Perry Thomas C. MacAvoy* Joan P. Randles E. Marie McKee Richard F. Randles Carl H. Pforzheimer III Peter Rath Carlos A. Picón Rachel Russell Helmut Ricke Prof. Dr. Axel von Saldern Mark S. Rogus Josh Simpson Charles A. Ryskamp* John P. Smith Antony E. Snow Jean Sosin Peter F. Volanakis Walter Spiegl Wendell P. Weeks Paul J. Stankard Ian McKibbin White Prof. Dr. Rudolf von Strasser David B. Whitehouse Lino Tagliapietra Dena Tarshis † Photo Credits * Trustee Emeritus Catherine M. V. Thuro-Gripton Kenneth R. Treis All of the photographs in this Annual Report are by Deborah Truitt The Corning Museum of Glass Lauriston Ward (Nicholas L. Wil liams, Andrew M. David Watts Fortune, Allison S. Lavine, and Eric Martin Wunsch Dara Riegel), with the following Rainer Zietz exceptions: Maris Zuika Page 3: Photo: Rob Little Pages 10 (bottom) and 17: *Life Fellow Photo by Michael Smith † Deceased Page 37: Photo by Brent Sommerhauser The Corning Museum of Glass Annual Report 2009 An educational institution dedicated to the history, art, and science of glass Chartered by the Board of Regents of the University of the State of New York April 27, 1951 (6026) Accredited by the American Association of Museums 1973, 1986, 1999 During the year 2009, museums staggered “Voices” displaced our permanent exhibi- The Year because income from endowments and donors tion of contemporary glass, and to compen- in Review declined as a result of the worldwide reces- sate for its removal, we showed “Favorites sion. We were fortunate. With the unwavering from the Contemporary Glass Collection” in support of our corporate sponsor, Corning In- the Changing Exhibitions Gallery. As is almost corporated, combined with modest borrowing always the case, when familiar objects are dis- from the Museum Operating Reserve Fund played in unfamiliar places, we see them in (70 percent of which was repaid at the end of a new light and gain a new appreciation for the year), budget cuts, and a rigorous approach some of our best-known treasures. to spending, we weathered the storm and On the West Bridge, we mounted two exhi- came through with flying colors. bitions. Tina Oldknow curated “Masters of In fact, it was a year to be proud of. It was Studio Glass: Richard Craig Meitner” (which marketed as “The Year of Contemporary will travel to the Museum of Glass in Tacoma, Glass,” and events at the Museum attracted Washington, in 2010), and Jane Shadel Spill- 329,000 visitors (three percent more than in man assembled “Tiffany Treasures: Favrile 2008), who contributed $10.6 million toward Glass from Special Collections.” The special the operating budget. Guests participated in collections belong to the Herbert F. Johnson numerous activities: every day during the Museum of Art at Cornell University and the summer, we presented more than 50 demon- Rockwell Museum of Western Art in Corning. strations of glassmaking and five guided tours, A unique dimension of the show consisted of and more than one in five of our individual original designs for Tiffany glass by two female and family visitors experienced the thrill of artists, Alice Gouvy and Lillian Palmié, which creating something in our Make Your Own are housed in the Rakow Research Library. Glass workshops. “Tiffany Treasures” included an extraor- Our roster of exhibitions was even longer dinary example of first-class restoration. Mu- than usual. The summer exhibition, “Voices seum Fellow Jay Doros and his wife, Micki, of Contemporary Glass: The Heineman Col- donated to the Museum an outstanding but lection,” curated by Tina Oldknow, revealed shattered Tiffany lamp, which our conservator, the wealth of the collection of glass art made Stephen P. Koob, put together in a stunning Pietro Ferro (left) and between 1969 and 2005 that was assembled exercise in invisible mending. Mark Petrovic (right) by Ben and Natalie Heineman and recently present glassworking donated to the Museum. This collection had demonstrations during the 2009 Glass Art Soci- never been seen in public, and in response to ety conference, which its enthusiastic reception, we decided to keep was held in Corning. the exhibition open through 2010. 2 Year after year, we lend objects to exhibi- we were delighted to receive, as a gift from Untitled 2. Klaus tions organized by other museums. The year the Ennion Society, a nine-part kiln-formed Moje, 2006. Installed: 2009 was no exception, and 58 objects from wall panel made by Klaus Moje in 2006. H. 150 cm, W. 150 cm (2009.6.8). Gift of the the glass collection and the Rakow Library Acquisitions by the Rakow Library included Ennion Society. enriched 14 exhibitions elsewhere in the Unit- four design drawings for stained glass windows ed States and in Australia, Canada, France, by John La Farge (1835–1910), which were and Germany. donated by the Fellows. Exceptionally, on the other hand, we our- The physical structure of the Rakow Library selves mounted an entire exhibition away has been strengthened to support compact from home. The first display seen by visitors shelving, which will be installed in 2010 to to the Winter Antiques Show in New York increase the Library’s capacity for paper-based City was a generous selection of glass from holdings by 30 percent. At the same time, we all ages that showcased the breadth and depth acquired a new digital asset management of our collection. system, MediaBin, and librarian Diane Dol- Here at the Museum, one of the major bashian continued the long-term program of events of 2009 was the visit of the Glass Art digitizing our collection of information on Society, which held its annual conference in paper and film by scanning 15,000 pages of Corning in June. Fourteen hundred partici- rare books and manuscripts, including papers pants enjoyed activities at The Studio, the of Leopold and Rudolf Blaschka, and of Fred- Hot Glass Show, the glass collection, and the erick Carder. Rakow Library, as well as at venues from one The Museum continues to publish books side of the city to the other. and DVDs. Our presence on the Web is ex- We continued to enrich our collections. In panding exponentially, and in addition to addition to purchases of glass of all periods, offering information on www.cmog.org, we 3 provided regional teachers with opportunities to compare notes and to find out what is go- ing on at the Museum; the summer program, which placed young Explainers in the galleries to interact with guests and to tell them about glass; the Little Gather storytelling program for the very young; and the “Families Explore” series. The Museum’s long-range outreach pro- grams expanded in 2009, most spectacularly at sea. In 2007, Celebrity Cruises asked us to develop a program of hot glass demonstrations for a new class of luxury ships. Rob Cassetti, Steve Gibbs, and their team rose to the occa- sion. Building on the experience gained at the Museum and on the road, the team designed a Hot Glass Show that offers year-round glass- blowing demonstrations on two ships. All ex- penses are covered by Celebrity Cruises. The Design drawing for have a presence on Facebook and other social benefits to us are clear: by the end of 2009, opalescent leaded glass media. Publications on paper in 2009 included more than 200,000 guests had become ac- window. John La Farge, the catalog by Tina Oldknow that accompa- quainted with The Corning Museum of Glass 1880–1885. W. 46 cm. Purchased with funds nied the exhibition “Voices of Contemporary and learned how glass objects are made. from the Fellows of The Glass,” New Glass Review 30, and volume 51 After a challenging year, it was a great plea- Corning Museum of of the Journal of Glass Studies, all of which sure to receive the annual award of the Art Glass. were created in the Publications Department Alliance for Contemporary Glass for the Mu- by Richard W.
Load more

Recommended publications
  • Daniel Cottier's Aesthetic of Beauty in Australia
    Daniel Cottier’s Aesthetic of Beauty in Australia Andrew Montana Detail from Fig. 11. Lyon, Cottier & Co. The Seasons staircase window Glenyarrah mansion, Sydney. c.1876. “A range of performance beyond any modern artist”; so Ford Madox Brown’s appreciation of the work of his former pupil, the brilliant colourist, decorator and stained glass artist, Daniel Cottier (1837-91) was reported in the Glaswegian press. “Here tone and colour are suggestive of paradise itself,” he enthused about Cottier’s decorative enrichment of the interior of Queen’s Park United Presbyterian Church (1867-69), which Brown saw in Glasgow in 1883.1 Brown had befriended Cottier in the late 1850s at the Working Men’s College in Red Lion Square, London, where Cottier attended lectures by John Ruskin and was instructed in draw- ing by Brown, who had taken over from Dante Gabriel Rossetti.2 Through Brown, Cottier studied Pre-Raphaelite art and observed the formation of Morris, Marshall, Faulkner & Co. in London in 1861.3 Following on from Morris’s example, Cottier made a successful career from his decorating businesses in London, New York, and Sydney, where he co-established Lyon, Cottier & Co. in 1873. He brought distinctive expressions of the British Aesthetic movement in painted and 1 “Gossip and Grumbles,” Evening Times (Glasgow), 9 Oct. 1893, p. 1. 2 Margaret H. Hobler: In Search of Daniel Cottier, Artistic Entrepreneur, 1838-1891. The City University of New York: M. A. Thesis (unpub.), Hunter College, 1987, pp. 10, 22. 3 Juliet Kinchin: “Cottier’s in Context: the Significance of Dowanhill Church.” Cottier’s in Context: Daniel Cottier, William Leiper and Dowanhill Church, Glasgow.
    [Show full text]
  • 'Daylight Upon Magic': Stained Glass and the Victorian Monarchy
    ‘Daylight upon magic’: Stained Glass and the Victorian Monarchy Michael Ledger-Lomas If it help, through the senses, to bring home to the heart one more true idea of the glory and the tenderness of God, to stir up one deeper feeling of love, and thankfulness for an example so noble, to mould one life to more earnest walking after such a pattern of self-devotion, or to cast one gleam of brightness and hope over sorrow, by its witness to a continuous life in Christ, in and beyond the grave, their end will have been attained.1 Thus Canon Charles Leslie Courtenay (1816–1894) ended his account of the memorial window to the Prince Consort which the chapter of St George’s Chapel, Windsor had commissioned from George Gilbert Scott and Clayton and Bell. Erected in time for the wedding of Albert’s son the Prince of Wales in 1863, the window attempted to ‘combine the two ele- ments, the purely memorial and the purely religious […] giving to the strictly memorial part, a religious, whilst fully preserving in the strictly religious part, a memorial character’. For Courtenay, a former chaplain- in-ordinary to Queen Victoria, the window asserted the significance of the ‘domestic chapel of the Sovereign’s residence’ in the cult of the Prince Consort, even if Albert’s body had only briefly rested there before being moved to the private mausoleum Victoria was building at Frogmore. This window not only staked a claim but preached a sermon. It proclaimed the ‘Incarnation of the Son of God’, which is the ‘source of all human holiness, the security of the continuousness of life and love in Him, the assurance of the Communion of Saints’.
    [Show full text]
  • The Influence of Lino Tagliapietra
    FOR IMMEDIATE RELEASE CONTEMPORARY GLASS AT INAUGURAL SILICON VALLEY ART FAIR: THE INFLUENCE OF LINO TAGLIAPIETRA Media Inquiries: Thursday, April 10-Sunday, April 13, 2014 at Silicon Valley Contemporary Art Fair Kristin Carlson McEnery Convention Center in San Jose, California | Schantz Galleries Booth #410 Think All Day 505-501-2497 [email protected] SAN JOSE, CA—Schantz Galleries (Stockbridge, Massachusetts) is pleased to present new work by five top contemporary glass artists at the first annual Silicon Valley Contemporary Art Fair, April 10-13, 2014, Booth #410, McEnery Convention Center in San Jose, California. The work of Lino Tagliapietra, Dante Marioni, John Kiley, David Walters, and Giles Bettison demonstrates that the intersection between technology and art precedes the digital age; cutting-edge science and innovative expression have long been synthesized in the discipline of glassmaking. Each of these artists has mastered and pushed the boundaries of traditional techniques, and achieved important advances in this time-honored art form. Italian glass maestro Lino Tagliapietra is acknowledged worldwide as one of the most influential glassmakers of our time; the other four artists in this exhibition have each studied and worked with Tagliapietra, and the broad scope of his influence in the field of glass art is evident in the far-reaching facets of their careers. Lino Tagliapietra, Africa, 2013, blown glass, 10.25 x 19.25 x 19.25.” Photo by Russell Johnson. LINO TAGLIAPIETRA: MAESTRO. Celebrating his 80th birthday this year, Lino Tagliapietra is one of the world’s most accomplished artists working with glass today. Tagliapietra has been an independent glass artist since 1989, exhibiting in museums internationally, receiving countless honors, openly sharing his extensive knowledge of the medium and his skill as one of its finest practitioners, and helping to create a new renaissance in studio glassmaking.
    [Show full text]
  • The Corning Museum of Glass Annual Report, 2006
    The Corning Museum of Glass Annual Report 2006 Cover: Officers The Fellows of The Corning The Fellows of The Corning Museum of Glass Museum of Glass are among Peacock vase, blown; E. Marie McKee the world’s leading glass col- silver-gilt mount. U.S., President Carole Allaire lectors, scholars, dealers, and Corona, NY, Tiffany Gary E. Baker glassmakers. The objectives Amory Houghton Jr. Studios, 1898–1899. Renée E. Belfer of this organization are (1) Vice President H. 14.1 cm (2006.4.161). Robert A. Belfer to disseminate knowledge James R. Houghton Mike Belkin about the history and art of Vice President William W. Boeschenstein* glassmaking and (2) to sup- port the acquisitions program Alan L. Cameros Denise A. Hauselt of the Museum’s Rakow Secretary Lt. Gen. Christian Clausen, retired Research Library. Admission Thomas P. Dimitroff to the fellowship is intended James B. Flaws Jay R. Doros to recognize accomplishment, Treasurer David Dowler and is by invitation. Robert J. Grassi Max Erlacher Assistant Treasurer Christopher T. G. Fish Barbara U. Giesicke David B. Whitehouse William Gudenrath Executive Director Jirˇí Harcuba+ Douglas Heller Trustees A. C. Hubbard Jr. Roger G. Ackerman* Kenneth L. Jobe + Peter S. Aldridge Dorothy-Lee Jones Thomas S. Buechner Leo Kaplan Van C. Campbell* Helena Koenigsmarková + Dale Chihuly Michael Kovacek Patricia T. Dann Dwight P. Lanmon + Robert Duke Harvey K. Littleton James B. Flaws Louise Luther John P. Fox Jr. Kenneth W. Lyon Polly W. Guth Josef Marcolin Ben W. Heineman* John H. Martin + Amory Houghton Jr.* Gregory A. Merkel Arthur A. Houghton III Barbara H.
    [Show full text]
  • Crystal Ball Newsletter August 1994
    GENUINE HAND MADE Eambribor , 90, A os^ ffital• ■ iSalt Published monthly by National Cambridge Collectors, Inc. to encourage and report the discovery of the elegant and boundless product of the Cambridge Glass Company of Cambridge, Ohio Issue No. 256 August 1994 President's Message Another successful Convention has conic and gone. The to renew old friendships and meet new members, and success will be measured in various ways. The attend- hopefully make some new friends. ing member who purchased and carried home the item of their choice left with a smile on their face. The I have been elected to serve another year as President dealer who participated in the Antique Show will mea- of NCC. The dedicated members of the Board travel sure success by sales volume. I measure it by the num- many miles and spend vast amounts of their time and ber of friendships I renew and the knowledge members money to help make this organization of value to you. I acquire during their attendance. (But, lest you forget. I want to say THANK YOU to each of them. also added quite a few items to my collection.) Please attend our next event, the picnic at the end of The educational opportunities were plentiful this year. the summer. Information will be found elsewhere in Mark Nye gave a talk on glass of the Twenties. Wil- this issue. lard Kolb talked of reissues. There were slide pro- grams, glass identification, and our special program The Antique Show Chairperson (Mary Beth Hackett) Saturday evening. The informal exchange of informa- asks that I extend her thanks to her dealers and that tion between members went on constantly.
    [Show full text]
  • New Glass Review 10.Pdf
    'New Glass Review 10J iGl eview 10 . The Corning Museum of Glass NewG lass Review 10 The Corning Museum of Glass Corning, New York 1989 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dal3 sie the 1988 calendar year. innerhalb des Kalenderjahres 1988 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare des New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 (607) 937-5371 All rights reserved, 1989 Alle Rechtevorbehalten, 1989 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Dusseldorf FRG Gedruckt in Dusseldorf, Bundesrepublik Deutschland Standard Book Number 0-87290-119-X ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der KongreB-Bucherei 81-641214 unter der Nummer 81-641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstler und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Verzeichnis der Eigennamen und Orte 53 er Wunsch zu verallgemeinern scheint fast ebenso stark ausgepragt Jury Statements Dzu sein wie der Wunsch sich fortzupflanzen. Jeder mochte wissen, welchen Weg zeitgenossisches Glas geht, wie es in der Kunstwelt bewer- tet wird und welche Stile, Techniken und Lander maBgeblich oder im Ruckgang begriffen sind. Jedesmal, wenn ich mich hinsetze und einen Jurybericht fur New Glass Review schreibe (dies ist mein 13.), winden he desire to generalize must be almost as strong as the desire to und krummen sich meine Gedanken, um aus den tausend und mehr Dias, Tprocreate.
    [Show full text]
  • GISB/NAESB/DUNS Cross Reference File As of 11/11/99
    GISB/NAESB/D-U-N-S Cross Reference File as of 11/11/99 (Updated in July 2017) Entity Common Code Entity Name Validation? 139329114 1 SOURCE ENERGY SERVICES COMPANY NO 079350872 1 SOURCE ENERGY SERVICES COMPANY NO 877675801 1564 EAST LANCASTER AVENUE BUSINESS TRUST NO 078256054 3-T EXPLORATION INC NO 078256054 3-T EXPLORATION, INC. NO 879801330 7777 DRILLING CORPORATION NO 038777025 A & A ENERGY PROPERTIES LTD NO 046425476 A & Z PRODUCTION AGENT NO 030215529 A 1 TECH SPECIALTY STEEL CORP NO 006308407 A B CHANCE CO NO 099870842 A B STEEL MILL INC NO 618464036 A C HUMKO CORPORATION NO 122320559 A E STALEY MFG CO NO 004196564 A I ROOT COMPANY NO 009839077 A L ABERCROBMIE INC NO 054681739 A M GENERAL NO 008223349 A MILLER OIL COMPANY NO 006439327 A O SMITH APPLIED ELEC. PRODUCTS NO 006504005 A P GREEN INDUSTRIES INC NO 185110566 A P PARTS COMPANY NO 004232823 A W B METALS NO 006085815 A. O. SMITH CORPORATION NO 134807635 A.J. Rowe & Associates, Inc. NO 016384125 A-1 COMPRESSOR INC NO left blan A-1 TOOL AND MACHINE COMPANY NO 188747539 AA PRODUCTION INC NO 188747539 AA Production, Inc. NO 004916458 AACTRON INC NO 147926042 AAR BROOKS & PERKINS NO 015692064 AARON & JANA PARRY NO 148482227 AARON OIL COMPANY, INC NO 557103520 AARROWCAST, INC. NO 604739748 AB OPERATING CO NO 609774435 ABB POWER T&D CO INC NO 196081384 Abbott Laboratories NO left blan ABBYVILLE KANSAS, CITY OF NO 795450634 ABITIBI PRICE NO 618089494 ABPS ENERGY, INC. NO 046824746 ABQ Energy Group, Ltd MbrRev063017 049824746 ABQ Energy Group, Ltd NO 075612648 ABRAHAM LINCOLN MEMORIAL HOSP NO 088482898 ABRAXAS PRODUCTION CORP NO 193777971 ABS Energy LLC MbrRev063017 099867038 ABX AIR INC.
    [Show full text]
  • Quarterly Journal of the All India Glass Manufacturers' Federation Inside
    Vol. 4 | No. 1 | April - June 2016 www.aigmf.com Quarterly Journal of The All India Glass Manufacturers’ Federation Bi-lingual Inside Interview Special Feature Yoshihiko Sano • Sustainability in Glass President of Nipro Corporation • A Note on Closed Glass Companies in the USA • Nipro Injects Innovation into Pre- for Artistic Appreciation filled Syringes and Targets US Expansion • Efficient Workflow: Automation and Digitisation Reduce Production and Handling Costs Upcoming Events (Sept 2, 2016) • FEA Studies of Impact Loads on NNPB Refillable • Enhancing Profitability by Empowering Workforce Bottles • Business Opportunities for Indian Glass Companies at Port of Duqm, • Energy Efficient Renovation Boost for Added- Sultanate of Oman Value Glazing • AIGMF Executive Committee Meeting / AGM Main Story Glass Packaging Supporting Swachh Bharat Abhiyaan (Clean India Campaign) event at Central Glass and Ceramic Research Institute (CSIR-CGCRI), Kolkata Page No. 6 Technical Articles Prof. (Dr.) A. K. Bandyopadhyay Prof. (Dr.) A Sustainable 50 for postage postage for 50 ` ASS ASS www.aigmf.com Building and Packaging material - An Publication GlASS Gl Gl 500 (within India) + + India) (within 500 ` ` Overseas: US$ 60 (including postage and bank charges) bank and postage (including 60 US$ Overseas: Order Print Copies: Print Order Price: Price: PORT OF DUQM Duqm, 100% Foreign Ownership the preferred Tax -exemption for 30 years Free Repatriation of Capital Special Economic & profi ts No minimum capital requirement No currency restrictions Zone for your No personal income tax Exemption from import & overseas export duties Usufruct agreements up to 50 years renewable investment One-stop station service For more information, contact: Port of Duqm Company SAOC Tel: (+968) 24342800 | Fax: (+968) 24587343 | [email protected] | www.portduqm.com 2 Kanch | Vol.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: • Manuscript pages may have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts may not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material may have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or as a 17”x 23” black and white photographic print. Most photographs reproduce acceptably on positive microfilm or microfiche but lack the clarity on xerographic copies made from the microfilm. For an additional charge, 35mm slides of 6”x 9” black and white photographic prints are available for any photographs or illustrations that cannot be reproduced satisfactorily by xerography. Order Number 8717659 Art openings as celebratory tribal rituals Kelm, Bonnie G., Ph.D. The Ohio State University, 1987 Copyright ©1987 by Kelm, Bonnie G. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy.
    [Show full text]
  • Subiaco Abbey
    The Abbey Message Subiaco Abbey Vol LXX, No. 2 Fall 2012 For all the saints The Inside by Fr. Hugh Assenmacher, OSB “Day by day, remind yourself that you are going to die.” (Rule of Benedict 4:47) Message “The souls of the just are in the hand of God.” (Wisdom 3:1) “It is a holy and wholesome thought to pray for the dead.” (2 Maccabees 12:45) “May He bring us all together to everlasting life.” (Rule of Benedict 72:12) 2 This collage of texts from the Bible and the Rule illustrate the Christian and monas- Abbot’s Message tic attitude toward death. Thus a monastic cemetery is a comfortable place of continu- ing communion as we wait for the “all together” time. Have you been to Caesarea? The beginning of a cemetery at St. Benedict’s Priory, now Subiaco Abbey, and of St. Benedict’s Parish, was in 1878, shortly after the monks arrived from Indiana. The first burial was that of an elderly bachelor, a Mr. Babel, a brewer from Bavaria. He had lived 3 with the monks for about three weeks and then settled northwest of the town of Paris and began to construct a brewery. Here he fell ill. A Protestant neighbor brought the Abbey Journal news to Fr. Wolfgang at the priory and the prior hurried on the sick call. The next day Gardening without rain! word came that Mr. Babel had died and that there was no one to attend to his burial. The monks made a coffin and Fr. Wolfgang and Br.
    [Show full text]
  • Download New Glass Review 21
    NewG lass The Corning Museum of Glass NewGlass Review 21 The Corning Museum of Glass Corning, New York 2000 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dass sie in- the 1999 calendar year. nerhalb des Kalenderjahres 1999 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass please contact: Review konnen angefordert werden bei: The Corning Museum of Glass Buying Office One Corning Glass Center Corning, New York 14830-2253 Telephone: (607) 974-6479 Fax: (607) 974-7365 E-mail: [email protected] All rights reserved, 2000 Alle Rechte vorbehalten, 2000 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-147-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81-641214 Table of Contents/In halt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 16 1999 in Review/Ruckblick auf 1999 36 Bibliography/Bibliografie 44 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 73 Jury Statements Here is 2000, and where is art? Hier ist das Jahr 2000, und wo ist die Kunst? Although more people believe they make art than ever before, it is a Obwohl mehr Menschen als je zuvor glauben, sie machen Kunst, "definitionless" word about which a lot of people disagree.
    [Show full text]
  • Volume 46, Number 12 (December 1928) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 12-1-1928 Volume 46, Number 12 (December 1928) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 46, Number 12 (December 1928)." , (1928). https://digitalcommons.gardner-webb.edu/etude/47 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. PRICE 25 CENTS December i928 32.00 A YEAR THE ETUDE DECEMBER 1928 Page 893 I DO NOT CARE TO ▼ YetE thTHINK of singing as a com¬ wplete art, an entity in itself. And so I Berkey SING ALONE am called a soloist. BY Yet to me the gift of the human &<jAY voice, divine as it is, is not sufficient unto itself. In grand opera, flute or piano trill cadenzas with the coloratura; the full orchestra thunders the chords of a chorus. Opera stars do not sing alone. If accompaniment is important in opera, it is absolutely SOPRANO vital in concert work. Here the singer must rely entirely on METROPOLITAN OPERA one instrument—the piano. And only when the tone of the COMPANY piano harmonizes completely with the singer’s voice do you ★ have that “sweetest strain” the poet described—“a song in which the singer has been lost”.
    [Show full text]