1967 Gifts of Works of Art to the Corcoran Gallery of Art
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Capitol Hill Guide Welcome
The Van Scoyoc Companies Capitol Hill Guide Welcome Welcome to Washington and the Van Scoyoc Companies. I hope you’ll find this guide useful during your visit to Capitol Hill. Our Country’s forefathers enshrined in the First Amendment to the U.S. Constitution the people’s right “peaceably to assemble, and to petition the Government for a redress of grievances.” They considered this right of equal importance with freedom of religion and freedom of the press. Thousands of Americans visit their elected representatives in the House and the Senate each year, providing Members of Congress and the Administration with vital insights into the Country’s needs and fears and wishes for the future. Unfortunately, many Americans today don’t appreciate this right – and this privilege – they have to influence government by making their views known, either directly or through agents and associations. The Founding Fathers knew that a great nation grew out of a vigorous competition of ideas and interests, and they designed our Government to accommodate conflicts, not quash them. We at the Van Scoyoc Companies have always believed that our primary role was to help our clients find honorable and effective ways to make their arguments known to those in power. Please don’t hesitate to ask anyone in our firms for something you may need during your visit to Washington. We don’t pretend to have the answer to every question, but I guarantee you that when we don’t, we know how to find it. Regards, Contents ciate sso s I a nc c o • y V Stu’s Welcome 2 o S C c o s n n s a Map of Capitol Hill 3 u v l • t c i a n Hints for Visiting Congressional Offices 4 p g i I t n o c • l D Useful Contacts 5 e c c isions In Restaurant Map 6 Recommended Restaurants 7 This guide was created for the convenience and sole use of clients and potential clients of the Van Map of Places to Visit 8 Scoyoc Companies. -
District of Columbia Inventory of Historic Sites Street Address Index
DISTRICT OF COLUMBIA INVENTORY OF HISTORIC SITES STREET ADDRESS INDEX UPDATED TO OCTOBER 31, 2014 NUMBERED STREETS Half Street, SW 1360 ........................................................................................ Syphax School 1st Street, NE between East Capitol Street and Maryland Avenue ................ Supreme Court 100 block ................................................................................. Capitol Hill HD between Constitution Avenue and C Street, west side ............ Senate Office Building and M Street, southeast corner ................................................ Woodward & Lothrop Warehouse 1st Street, NW 320 .......................................................................................... Federal Home Loan Bank Board 2122 ........................................................................................ Samuel Gompers House 2400 ........................................................................................ Fire Alarm Headquarters between Bryant Street and Michigan Avenue ......................... McMillan Park Reservoir 1st Street, SE between East Capitol Street and Independence Avenue .......... Library of Congress between Independence Avenue and C Street, west side .......... House Office Building 300 block, even numbers ......................................................... Capitol Hill HD 400 through 500 blocks ........................................................... Capitol Hill HD 1st Street, SW 734 ......................................................................................... -
Trustees Corcoran Gallery of Art Corcoran School
CONFIDENTIAL: TRUSTEES CORCORAN GALLERY OF ART CORCORAN SCHOOL OF ART MARCH/APRIL 1974 MONTHLY REPORTS Director/Dean's Report Gallery: Curatorial Registrar Education Special Education Membership Admissions Maintenance/Security Gallery Shop Public Relations Events Finance Conservation School: Assistant Dean/Academic Studies Registrar Corcoran Report March/April 1974 During the months of March and April the Corcoran Gallery of Art continued to be most active, with many exhibitions and events. On Friday, March 15, a preview was held of exhibitions organized as a "Tribute to the Arts of the America's". The Tribute was organized by the Washington Performing Arts Society, and the Corcoran exhibitions played a vital role in the celebration of the arts in the America's. The preview was held in conjunction with openings at the Pan American Union and the Renwick Ga-llery. Many members, guests and others attended the opening at the Corcoran. The sculpture of Edgar Negret was well received, being sculpture of major international importance. The Argentine Embassy helped present the paintings of Raquel Forner, while the Commonwealth of Puerto Rico presented prints from the San Juan Biennial and Puerto Rican photographs. Canada was represented by the prints of William Featherston. The paintings of Elliott Thompson were previewed later in the month on Wednesday, March 27. Elliott Thompson is increasingly well known as a Washington painter and the work shown represented his development in painting from 1967-1974. Elliott Thompson teaches at the Corcoran School of Art. Events were held in March to coincide with "The Tribute to the Arts in the America's", including lunchtime talks and a reception by the Commonwealth of Puerto Rico in conjunction with the Puerto Rican photography of'Dos Mundos'.' The Lecture Committee of the Women's Committee sponsored an evening of "American Writing of the 1930's". -
I. Those Present and Approval of Minutes of Regular Quarterly Meeting of May I, 1967
AGENDA The Board of Trustees October 30, 1967 (The Corcoran Gallery of Art Centennial: May IS, 1969) I. Those present and approval of minutes of Regular Quarterly meeting of May I, 1967. a) Resolution on the death of Mr. Fleming Bomar, President of The Friends of the Corcoran. l/ 2. Auditors Report for year ending December 31, 1966. 3. Treasurer's Interim Report. r; Report on Operation of the Budget. I___5> Financial report on the Art School for period September I, 1966 - August 31, 1967. 6. Financial report on the 1967 Summer School. Approval of Consolidated Endowment Fund. ^-3. Report on receipts from paid admissions for May - September 30, 1967. 9. Consideration of letter from Edmund Archer requesting sab- aticaI Ieave. 10. Report submitted by John Price Jones & Gale Associates. I I . ResoIution of thanks for the following gifts: This page was intentionally removed due to a research restriction on all Corcoran Gallery of Art Development and Membership records. Please contact the Public Services and Instruction Librarian with any questions. -3- Report on Membership: a) Art School student members. b) Report American Mail Advertising membership survey and results. c) Resolution on election of Fellow in the Association. Report of the Committee on Bui Iding and Grounds for Second and Third Quarters. a) Letter from General Services Administration re availa¬ bility of land in this block, b) Consideration of excavation to provide more parking// space in garden area. 16. Report of the Special Committee on Music. Financial report of the Women's Committee for period August I, 1966 through August 22, 1967 and minutes of meetings of May 23, 1967 and September 26, 1967. -
Electronic Zen
ELECTRONIC ZEN: The Alternate Video Generation By Jud Yalkut Copyright, 1984, Jud Yalkut. "The light-flower of heaven and earth fills all the thousand spaces. But also the light-flower of the individual body passes through heaven and covers the earth. Therefore, as soon as the light is circulating, heaven and earth, mountains and rivers, are all circulating with it at the same time. To concentrate the seed-flower of the human body above in the eyes, that is the great key of the human body." - THE SECRET OF THE GOLDEN FLOWER. "Zen Meditation is purely a subjective experience completed by a concentration which holds the inner mind calm, pure and serene. And yet Zen meditation produces a special psychological state based on the changes in the electroencephalogram. Therefore, Zen meditation influences not only the psychic life but also the physiology of the brain." - AKIRA KASAMATSU AND TOMIO HIRAI ("An Electroen- cephalographic Study on the Zen Meditation (Zazen)") in ALTERED STATES OF CONSCIOUSNESS (Charles Tart, editor). "We are not yet aware that telepathy is conveyed through the resonance factors of the mind... The electromagnetic vibration of the head might lead the way to Electronic Zen." - NAM JUNE PAIK. ELECTRONIC ZEN: THE ALTERNATE VIDEO GENERATION PREFACE Although the medium of television has existed in the American home since the post-war period, it has only been since the advent of portable video recorders in the late sixties that a meaningful dissemination of electronics communication technology has permitted the two-way interf low of information and vision exchange. This predominantly half-inch video technology engendered the emergence of alternate video innovators who have gradually mastered the parameters and circuitry of equipment woefully unstable as com pared to the hardware used daily by the vast television broadcasting networks. -
Yuri Schwebler the Spiritual Plane
YURI SCHWEBLER THE SPIRITUAL PLANE ALPER INITIATIVE FOR WASHINGTON ART YURI SCHWEBLER THE SPIRITUAL PLANE Curated by John James Anderson American University Museum at the Katzen Arts Center Washington, DC ALPER INITIATIVE FOR WASHINGTON ART Untitled (Blue Haystack), c. 1983. Mixed media on paper. Courtesy Enid Sanford. ACKNOWLEDGEMENTS During my research on the Jefferson Place Gallery in 2016, I went on a wild lark trying to find an archive for Yuri Schwebler. That resulted in a 3,000 word essay, published on the Inter- national Sculpture Center’s blog, re:sculpt. The article almost didn’t happen, since it was roughly 2,000 words longer than they typi- cally allowed. The web manager, Karin Jevert, fought for the article’s publication. Thanks to her efforts, the article was published, and it generated some renewed interest in Schwe- bler’s work. Throughout the 1990s, Enid Sanford and a Drawing for an Unrealized Sculpture, c. 1979. Mixed media on paper. Courtesy Enid Sanford. group of supporters attempted to organize a memorial exhibition after Yuri’s death. Absent a willing gallery or museum, those efforts didn’t come to fruition. It’s with great gratitude that, 30 years later, Jack Rasmussen gave it the green light: an exhibition between 2 and 3 decades. Despite the cancellation of the exhibition, due Yuri Schwebler, Washington, DC, 1980. Photo by Mary H.D. Swift. to the international pandemic caused by the novel coronavirus, I want to extend my thanks to Jack, Carla Galfano, Sarah Leary, Jessica Pochesci, Kevin Runyon, Kristi-Anne Shaer, and the rest of the staff, assistants, and volunteers who would have helped make this exhibi- tion come together had circumstances remained “normal.” Fortunately, we still have the catalog, and we have Elizabeth Cowgill to thank for that, as well as the generous support of Carolyn Small Alper whose legacy thrives through the exhibitions of Washington art that she championed. -
Michael Clark (A.K.A
ARTIST MICHAEL CLARK: WASHINGTON April 3 – May 27, 2018 American University Museum at the Katzen Arts Center Washington, DC ALPER INITIATIVE FOR WASHINGTON ART FOREWORD Michael Clark (a.k.a. Clark Fox) has been an influential figure in the Washington art world for more than 50 years, despite dividing his time equally between the capital and New York City. Clark was not only a fly on the wall of the art world as the last half- century played out—he was in the middle of the action, making innovative works that draw their inspiration from movements as diverse as Pop Art, Op Art, Conceptual Art, Minimalism, and the Washington Color School. The result of this prolific and varied artistic oeuvre is that Clark’s output is too much for one show. After consulting with former Washington Post art critic Paul Richard, I decided Michael Clark: Washington Artist at the American University Museum would concentrate on his significant artistic contributions to the ‘60s, ‘70s, and ‘80s in Washington, DC. In line with his amazingly diverse and productive career, a conversation with Michael Clark is similar to drinking from a fire hose. In one sentence, he can jump from painting techniques using masking tape to making cookies for Jackie Onassis. My transcription of our conversation, presented here as a soliloquy, tries its best to maintain some kind of coherence and order, but in reality, I just tried to hold on for the ride. In contrast, the amazing thing about Clark’s art is how still, focused, and composed it is. The leaps and diversions of his lively mind are transmuted into an almost classical art, more Modigliani than Soutine, probably reflecting the time spent in his early years copying masterworks in the National Gallery of Art. -
Free Art and a Planned Giveaway
54 ARCHIVES of AMERICAN ART JOURNAL | 57.1 fig. 9 Letter from Henri Ehrsam to Gene Davis, June 29, 1965. Henri Gallery Records, Archives of American Art, Smithsonian Institution. first attempt to create the paintings, using local art students, so poor that he refused to put his name to them.40 McGowin ultimately enlisted Michael Clark (now known as Clark V. Fox), a recent graduate of the Corcoran School of Art and a skilled artist, to paint the fifty copies.41 The process of mass-reproducing Popsicle highlighted a hierarchy of labor in Giveaway, by which the physical production of the work was subordinate to its conception. Working on five canvases at a time, twelve to sixteen hours a day for nine days, and paid less than a skilled worker’s hourly wages plus meals, Clark painted all fifty works.42 Extant canvases bear the silkscreened names of the three event organizers followed by Clark’s original signature, with some—but not all—of the works also signed by Clark’s assistants ( fig. 10).43 In effect diminishing the painter and fabricators’ skill and artistic contributions, Douglas Davis declared “although his work is original and profound, in some ways Gene Davis is an easy copy.”44 Like Sturtevant’s repetitions, the copies of Popsicle were not exact.45 Mixing pigments to produce the exact hues of the original painting was challenging, given the brevity of Davis’s instructions.46 Moreover, at least one critic noted stylistic differences between Davis’s and Clark’s stripes; the older artist had been interested in how overlapping colors could produce faint effects of subtle vibration, but Clark did not have the luxury of letting one stripe dry before painting the next.47 Subtle aesthetic differences between the original and its reproductions produced fresh skepticism about a model of creative practice unable to see beyond the dichotomy of author and nonauthor. -
White House Neighborhood Focuses on the History and Architecture of Part of Our Local Environment That Is Both Familiar and Surprising
Explore historic dc Explore historic CHILDREN’S WALKING TOUR CHILDREN’S EDITION included WHITE HOUSE inside! NEIGHBORHOOD WASHINGTON, DC © Washington Architectural Foundation, 2017 Welcome to the cap Welcome to Welcome This tour of Washington’s White House Neighborhood focuses on the history and architecture of part of our local environment that is both familiar and surprising. The tour kit includes everything a parent, teacher, Scout troop leader or home schooler would need to walk children through several blocks of buildings and their history and to stimulate conversation and activities as they go. Designed for kids in the 8-12 age group, the tour is fun and educational for older kids and adults as well. The tour materials include... • History of the White House Neighborhood • Tour Booklet Instructions • The White House Neighborhood Guide • Architectural Vocabulary • Conversation Starters • The White House Neighborhood Tour Stops • Children's Edition This project has been funded in part by a grant from the Dorothea DeSchweinitz Fund for the District of Columbia of the National Trust for Historic Preservation. This version of the White House Neighborhood children’s architectural tour is the result of a collaboration among Mary Kay Lanzillotta, FAIA, Peter Guttmacher and the creative minds at LookThink. White house neigh History of the White House Neighborhood The president's neighborhood hen Pierre L’Enfant designed the plan of Washington, W DC, in 1791, he selected the site for the President’s House west of the downtown. Next to the President’s House was an orchard, which was identified as President’s Park. When President Jefferson moved into the President’s House in 1801, he noted that the country residence was “free from the noise, the heat...and the bustle of a close built town.” Over the next 100 years, the neighborhood developed with many fashionable homes, including the Octagon and the Ringgold Residence. -
Sky House Commences Construction
Southwest Waterfront Fireworks Festival Special Pullout Section Inside The www.thesouthwester.com SouthwesterServing the Southwest and Capitol Riverfront Communities Copyright © 2012 Southwest Neighborhood Assembly, Inc., All rights reserved. April 2012 Circulation 12,000 FREE Published by the Southwest Neighborhood Assembly, Inc. (SWNA) — a non-profit, 501(c)(3) charitable and educational corporation. Submit material to [email protected] Potbelly Sandwich Shop Opens in Navy Yard Sky House Commences Construction otbelly Sandwich Shop announces the n March 12, Urban Atlantic and sleek interior designs, upscale fixtures, hard- opening of its newest neighborhood shop The JBG Companies, together wood flooring and contemporary kitchens. P at 301 Tingey St., located in the historic O with their development partners, The community is pet-friendly and amenities Navy Yard neighborhood. Situated at the corner civic and community leaders and business include a rooftop deck with pool, e-lounge, of 3rd and Tingey, the shop resides below the representatives, celebrated the official com- resident clubroom with gaming elements, mencement of construction for Sky House, pool table and movie screening area, extensive Yards Foundry Lofts and is the 45th Potbelly two residential buildings totaling 530 units gym, and an outdoor courtyard with sitting to open in the metropolitan Washington D.C. located at the corner of Fourth and M Streets areas, TVs, gas fireplace and grills. area. James Carpenter is the general manager SW. District of Columbia Mayor Vincent C. and will head the brand’s new operations at the Sky House is an adaptive reuse of two Gray attended the event. “The development shop. Born and raised in Washington D.C., commercial buildings into two new luxu- of Sky House represents a significant step in Carpenter has nearly half a decade of experience ry residential communities. -
Brian Wood Museum Collections: Museum of Modern Art, New York
Brian Wood [email protected] www.brianwoodstudio.com Tel: 917-886-1768 Museum Collections: Museum of Modern Art, New York Metropolitan Museum of Art, New York Brooklyn Museum, New York Los Angeles County Museum of Art, Los Angeles National Gallery of Art, Washington, DC Corcoran Gallery of Art, Washington, DC Houston Museum of Fine Arts, Houston Blanton Museum of Art, Austin New York Public Library, New York Davis Museum, Wellesley Tampa Museum of Art, Tampa Asheville Art Museum, North Carolina Ludwig Museum, Cologne Museum of Decorative Arts, Prague Museum of Modern Art, Prague National Gallery of Canada, Ottawa Canadian Museum of Contemporary Photography, Ottawa Art Gallery of Hamilton, Hamilton, Ontario Mendel Art Gallery, Saskatoon, SK, Canada Kamloops Art Gallery, Kamloops, BC, Canada Mackenzie Art Gallery, Regina, SK, Canada The Canada Council Artbank, Ottawa Concordia Art Gallery, Montreal Museum of Fine Arts, Montreal Museum of Contemporary Art, Montreal Solo Exhibitions: 2019 Brian Wood: Drawings, Arts + Leisure Gallery, New York, NY 2017 Brian Wood Paintings, Cross Contemporary Art, Saugerties, NY No. Six Depot, West Stockbridge (Two-person show with Ashley Garrett) 2014 Enceinte, Church of Saint Paul, New York Spin Zero, Novella Gallery, NYC (Three-person show, Brian Wood, John Newman, Max Razdow) curated by Brian Wood 2012 Yace Gallery, New York Hudson Opera House, Hudson, NY (Two-person show with Joel Carreiro) 2010 Sordoni Art Gallery, Wilkes College, Wilkes-Barre, PA 2008 Jeannie Freilich Contemporary, New York Kreft -
Notes for Tour of Townsend Mansion, Home of the Cosmos
NOTES FOR TOUR OF TOWNSEND MANSION HOME OF THE COSMOS CLUB July 2015 Harvey Alter (CC: 1970) Editor Updated: Jean Taylor Federico (CC: 1992), Betty C. Monkman (CC: 2004), FOREWORD & ACKNOWLEDGEMENTS These notes are for docent training, both background and possible speaking text for a walking tour of the Club. The material is largely taken from notes prepared by Bill Hall (CC: 1995) in 2000, Ed Bowles (CC: 1973) in 2004, and Judy Holoviak (CC: 1999) in 2004 to whom grateful credit is given. Many of the details are from Wilcomb Washburn’s centennial history of the Club. The material on Jules Allard is from the research of Paul Miller, curator of the Newport Preservation Society. The material was assembled by Jack Mansfield (CC: 1998), to whom thanks are given. Members Jean Taylor Federico and Betty Monkman with curatorial assistant, Peggy Newman updated the tour and added references to notable objects and paintings in the Cosmos Club collection in August, 2009. This material was revised in 2010 and 2013 to note location changes. Assistance has been provided by our Associate Curators: Leslie Jones, Maggie Dimmock, and Yve Colby. Acknowledgement is made of the comprehensive report on the historic structures of the Townsend Mansion by Denys Peter Myers (CC: 1977), 1990 rev. 1993. The notes are divided into two parts. The first is an overview of the Club’s history. The second part is tour background. The portion in bold is recommended as speaking notes for tour guides followed by information that will be useful for elaboration and answering questions. The notes are organized by floor, room and section of the Club, not necessarily in the order tours may take.