Art Talk—Chicago Public Artworks December 4, 2020

Total Page:16

File Type:pdf, Size:1020Kb

Art Talk—Chicago Public Artworks December 4, 2020 Art Talk—Chicago Public Artworks December 4, 2020 Linda Kay—Visual Art Instructor Phone: (630) 483-5600 We are so fortunate to live near a city so full of art and cultural treasures. Every time I make a trip to the downtown Chicago area, I am treated to an endless treat of visual delights and artwork. I try to find hidden treasures that I have not seen before. It’s not difficult to do as Chicago is filled with architec- ture, statures, parks and gardens. I want to share some of my favorites that are mostly outdoors, easy to get to and can be seen any time of the year. In a time of social distancing and being careful, this is still a great way to get out and enjoy the arts. Last December I took my granddaughter with me to explore Chicago. We were on a mission to find the biggest Christmas tree in the city, but along the way we saw so many wonderful places that it added greatly to our search. It was a memorable day. We took frequent breaks to warm up and enjoy snacks. We talked about what we saw, our favorite sights and where the next turn might take us. This collection that I share with you today are some of our favorites and are all easily walkable. We spent a full day exploring and learned a lot. I had done a similar day with my daughter when she was about the same age and it was fun continuing this type of tour with my granddaughter. I have included a small map at the end to help you navigate your way. Take your time and enjoy the odds and ends you come across. Wear clothing that you can layer, good comfortable shoes and take a water bottle to sip on. Don’t have any agenda other than having a good time and I can guarantee you that it will be a memora- ble adventure. Enjoy our beautiful tour of Chicago! 1.) Ceres— Board of Trade Building, 141 W Jackson Blvd. At the end of the LaSalle Street’s can- yon as it is called, is a lovely Art Deco skyscraper by Holabird and Root architectural firm in 1930. Imag- ine, such a fine financial building being built during the Depression. It is topped by a lovely statue of Ceres created by John H Storrs depicting the Roman goddess of agriculture in honor of the commodities exchange. She is depicted holding a bag of grain and a stalk of wheat, and was considered one of the finest sculptures of its time. It is a lovely art deco style sculpture but is without a face. The sculptor did not believe that people would be able to see the details of the face from such a height, so he did not create one. You can see a scaled model of this sculpture in the Art Institute of Chicago and even buy a small version of it in their gift shop. When I first say this sculpture I was curious of whom it was depicting. Since its lines are very sim- plified, I could not tell if it was male or female in form. It is very iconic and could be depicting anyone from history. I really like this sculpture and like to think of Ceres looking over the commodities and fi- nancial district and helping it along. Spend a few minutes examining the details of the exterior of the building while you are there. It was the tallest building in the city until 1965. I love all the sleek lines of the walls with the detailed Art Deco details embellishing the windows and entrance. 2 2.) The Flamingo by Alexander Calder—230 S Dearborn Street. This “stabile” sculpture by Ameri- can sculptor, Alexander Calder in 1974 is a contrast in design from it’s surroundings. It is different from most of Calder’s work, which were mainly mobiles and moving installments, this piece is firmly anchored into the ground. It is modernism, minimalism and expressive in design. It is not popular with everyone, but I find it very striking and imaginative. It’s bright “Calder red” coloring was used to offset it from its surroundings. He also wanted to use curving forms to further contrast it with the buildings around it. A smaller version resides in the Art Institute of Chicago in the Modern wing. 3.) The Marquette Building—140 S Dearborn Street. One of the most elaborately decorated buildings in the city, the Marquette Building is a must see. Build in 1895 by the architectural group of Holabird and Roach, the same Holabird as the Board of Trade Building, this is a stunning example of the Chicago School of Architecture design. It is an early steel frame skyscraper and excellent example of this early style. It was renovated in the 2001 to replace the red terra cotta exterior but its basic outlines and all the details were kept. The entrance and two story interior depict the Jacques (Pierre) Marquette ex- pedition of this area in 1674. The bronze sculptures on the exterior over the doors are by sculptor Her- mon Atkins MacNeil. The mosaic frieze around the interior atrium is by the Tiffany Studio. The mosaic panels are by Louis Comfort Tiffany and his assistant, Jacob Adolph Holzer. 3 I spend quite a lot of time here looking at all the beautiful details of the mosaics and bronze sculptures. While it is a romantic depiction of this expedition, it is an amazing work of art and on the Na- tional Historic Landmark list. 4.) The Four Seasons by Marc Chagall—10 S Dearborn Street. A delightful respite from the city noise and busy streets is a stop at the Four Seasons mosaic at the Chase Tower park on South Dearborn Street. For years I walked past this beauty without even noticing it, but three years ago friends took me here. This lovely mosaic by artist Marc Chagall is a whimsical depiction of the four seasons. It is so uplifting that it takes away my cares just spending a while here looking at all the designs he used. It was part of the 1974 movement to add artwork to the city of Chicago and money well spent I believe. A canopy was add- ed to help protect it in 1994 and provides a comfortable atmosphere any time of the year. 4 5.) Chicago’s Picasso—50 W Washington Street. What visit to Chicago to see public artwork would be complete without a visit to the Picasso in Daley Plaza? It was the first major piece of artwork purchased by the city expressly for public art display. And what a grand location for it to be installed, the legal center of Chicago and across the street from the Office of the Mayor. The plaza is big enough to accommodate large events like the holiday Christkindlmarkt, political rallies and protests and has been featured in several popular movies. The city commissioned Pablo Picasso to do a sculpture in 1963 and it was installed in 1967. Made of American steel fabricated in Gary, Indiana, it stands 50 feet tall. The Art Institute of Chicago has a smaller Marquette of this sculpture in its collection. Picasso refused an offer for payment for his design work stating it was his gift to the city. There has been a lot of speculation on what Picasso intended to depict in his sculpture. Some say it is a depiction of his favorite model, others say it is an abstract of an Afghan Hound dog, but the one I believe is what his second wife suggested, that it is a frontal view of a baboon. Whatever it is, I like to look at it and imagine what Picasso was thinking while he created it. Maybe he was laughing the whole time, but I also think he wanted to create something so grand that would stand out over time. And it does that indeed. 5 6.) The Marshall Field’s and Company Building—111 N. Michigan Avenue. One of my favorite destinations in the loop. Who doesn’t have a memory of the Marshall Field’s building such as the won- derful shopping inside, the Walnut Room for lunch or the great holiday window scenes that they have become famous for? But what I love the most are the iconic clocks outside and the wonderful Tiffany atrium inside. This building is on the National History Landmarks list, is the third largest shopping build- ing in the world and fills an entire city block. It was the first store to have escalators installed, the first to post prices on their products and the first to offer personal shoppers to its customers. It has been built three times since its beginnings, the last time in two section between 1901—02 for the north section and 1905—06 for the south section. The building has three atria, the 5 story atrium with the Tiffany mosaic arch, the 13 story skylight atrium and the third atrium holds a lovely water fountain. Its four exterior col- umns on the State Street side are a stunning 50 feet tall. Now owned by Macy’s, it is still keeping up with the traditional holiday window displays but is now officially named “Macy’s on State Street.” 6 7.) The Chicago Cultural Center—78 E Washington Street. This building is a stunning jeweled box inside and out. It is run by the Chicago’s Department of Affairs and Special Events and the city’s official event venue for the mayor.
Recommended publications
  • Pittsfield Building 55 E
    LANDMARK DESIGNATION REPORT Pittsfield Building 55 E. Washington Preliminary Landmarkrecommendation approved by the Commission on Chicago Landmarks, December 12, 2001 CITY OFCHICAGO Richard M. Daley, Mayor Departmentof Planning and Developement Alicia Mazur Berg, Commissioner Cover: On the right, the Pittsfield Building, as seen from Michigan Avenue, looking west. The Pittsfield Building's trademark is its interior lobbies and atrium, seen in the upper and lower left. In the center, an advertisement announcing the building's construction and leasing, c. 1927. Above: The Pittsfield Building, located at 55 E. Washington Street, is a 38-story steel-frame skyscraper with a rectangular 21-story base that covers the entire building lot-approximately 162 feet on Washington Street and 120 feet on Wabash Avenue. The Commission on Chicago Landmarks, whose nine members are appointed by the Mayor, was established in 1968 by city ordinance. It is responsible for recommending to the City Council that individual buildings, sites, objects, or entire districts be designated as Chicago Landmarks, which protects them by law. The Comm ission is staffed by the Chicago Department of Planning and Development, 33 N. LaSalle St., Room 1600, Chicago, IL 60602; (312-744-3200) phone; (312­ 744-2958) TTY; (312-744-9 140) fax; web site, http ://www.cityofchicago.org/ landmarks. This Preliminary Summary ofInformation is subject to possible revision and amendment during the designation proceedings. Only language contained within the designation ordinance adopted by the City Council should be regarded as final. PRELIMINARY SUMMARY OF INFORMATION SUBMITIED TO THE COMMISSION ON CHICAGO LANDMARKS IN DECEMBER 2001 PITTSFIELD BUILDING 55 E.
    [Show full text]
  • Calder and Sound
    Gryphon Rue Rower-Upjohn Calderand Sound Herbert Matter, Alexander Calder, Tentacles (cf. Works section, fig. 50), 1947 “Noise is another whole dimension.” Alexander Calder 1 A mobile carves its habitat. Alternately seductive, stealthy, ostentatious, it dilates and retracts, eternally redefining space. A noise-mobile produces harmonic wakes – metallic collisions punctuating visual rhythms. 2 For Alexander Calder, silence is not merely the absence of sound – silence gen- erates anticipation, a bedrock feature of musical experience. The cessation of sound suggests the outline of a melody. 3 A new narrative of Calder’s relationship to sound is essential to a rigorous portrayal and a greater comprehension of his genius. In the scope of Calder’s immense œuvre (thousands of sculptures, more than 22,000 documented works in all media), I have identified nearly four dozen intentionally sound-producing mobiles. 4 Calder’s first employment of sound can be traced to the late 1920s with Cirque Calder (1926–31), an event rife with extemporised noises, bells, harmonicas and cymbals. 5 His incorporation of gongs into his sculpture followed, beginning in the early 1930s and continuing through the mid-1970s. Nowadays preservation and monetary value mandate that exhibitions of Calder’s work be in static, controlled environments. Without a histor- ical imagination, it is easy to disregard the sound component as a mere appendage to the striking visual mien of mobiles. As an additional obstacle, our contemporary consciousness is clogged with bric-a-brac associations, such as wind chimes and baby crib bibelots. As if sequestered from this trail of mainstream bastardi- sations, the element of sound in certain works remains ulterior.
    [Show full text]
  • Social Media and Popular Places: the Case of Chicago Kheir Al-Kodmany†
    International Journal of High-Rise Buildings International Journal of June 2019, Vol 8, No 2, 125-136 High-Rise Buildings https://doi.org/10.21022/IJHRB.2019.8.2.125 www.ctbuh-korea.org/ijhrb/index.php Social Media and Popular Places: The Case of Chicago Kheir Al-Kodmany† Department of Urban Planning and Policy, University of Illinois at Chicago, USA Abstract This paper offers new ways to learn about popular places in the city. Using locational data from Social Media platforms platforms, including Twitter, Facebook, and Instagram, along with participatory field visits and combining insights from architecture and urban design literature, this study reveals popular socio-spatial clusters in the City of Chicago. Locational data of photographs were visualized by using Geographic Information Systems and helped in producing heat maps that showed the spatial distribution of posted photographs. Geo-intensity of photographs illustrated areas that are most popularly visited in the city. The study’s results indicate that the city’s skyscrapers along open spaces are major elements of image formation. Findings also elucidate that Social Media plays an important role in promoting places; and thereby, sustaining a greater interest and stream of visitors. Consequently, planners should tap into public’s digital engagement in city places to improve tourism and economy. Keywords: Social media, Iconic socio-spatial clusters, Popular places, Skyscrapers 1. Introduction 1.1. Sustainability: A Theoretical Framework The concept of sustainability continues to be of para- mount importance to our cities (Godschalk & Rouse, 2015). Planners, architects, economists, environmentalists, and politicians continue to use the term in their conver- sations and writings.
    [Show full text]
  • Pablo Picasso Study Guide
    Self Portraits – 1907 and 1972 Pablo Picasso painter, sculptor, printmaker, ceramicist and theatre designer Born: October 25, 1881 in Malaga, Spain Died: April 8, 1973, in Mougins, France Fun Fact: Picasso is known as the inventor of constructed sculpture, co- founder of the Cubism movement and co-inventor of collage From his Blue Period The Old Guitarist, 1903 From his Rose Period Acrobat and Young Harlequin, 1905 From his Crystal (Cubism) Period Still Life with Compote and Glass, 1915 From his African Influence Period Three Women, 1908 Chicago Picasso Picasso refused payment for this 50-foot tall From his Neoclassical/ Surrealism Period sculpture he made for the city of Chicago in 1967 Pierrot, 1918 Book List: 100 Pablo Picassos By, Violet Lemay An Interview With Pablo Picasso By, Neil Cox Just Behave, Pablo Picasso! By, Jonah Winter Pablo Picasso By, Mike Venezia 13 Artists Children Should Know By, Angela Wenzel Websites: Pablo Picasso - The Picasso myth | Britannica Pablo Picasso - Wikipedia Picasso Quotes | Art Quotes by Pablo Picasso | Art Therapy (arttherapyblog.com) Activities: 1. Create a Picasso face. Use paint, magazine pictures, cut up construction paper or clay. 2. Make collage art. 3. Picasso color page - coloring-page.jpg (377×480) (artsycraftsymom.com) 4. Picasso’s Blue period was during a sad time in his life. His Rose Period was during a time filled with joy and love. His art reflects his moods in colors, subjects and style. Create your own Blue Period/ Rose Period paintings. Or find your own mood and paint according to that. 5. Watch this video about Picasso - (2) 10 Amazing Facts about Spanish Artist Pablo Picasso - YouTube Art Appreciation – Pablo Picasso Thank you for downloading the Pablo Picasso Study Guide.
    [Show full text]
  • Culturalupdate
    CONCIERGE UNLIMITED INTERNATIONAL July 2016 culturalupdate Volume XXVI—Issue VII “Fireworks and temperatures are exploding!” Did You Know? ♦Independence Day♦Beach Getaways♦Festivals♦and more♦ The Wrigley Building was the first air-conditioned office building in Chicago! New/News Arts/Museums ♦Bad Hunter (802 W. Randolph, Chicago) Opens 2 Witness MCA Chicago Bad Hunter is coming to the West Loop. Slated to 15 Copying Delacroix’s Big Cats Art Institute Chicago open in late summer, Bad Hunter will specialize 15 Post Black Folk Art in America Center for Outsider Art in meats fired up on a wooden grill, along with a 16 The Making of a Fugitive MCA Chicago lower-alcohol cocktail menu. 26 Andrew Yang MCA Chicago ♦The Terrace At Trump (401 N. Wabash, Chicago) Through 3 Materials Inside and Out Art Institute Chicago The Terrace At Trump just completed 3 Diane Simpson MCA Chicago renovations on their rooftop! Enjoy a 10 Eighth BlackBird Residency MCA Chicago signature cocktail with stellar views and 11 The Inspired Chinese Brush Art Institute Chicago walk away impressed! 17 La Paz Hyde Park Art Center 17 Botany of Desire Hyde Park Art Center ♦Rush Hour Concerts at St. James Cathedral (65 E. Huron) 17 Steve Moseley Patience Bottles Center for Outsider Art Forget about sitting in traffic or running to your destination. Enjoy 18 Antiquaries of England Art Institute Chicago FREE rush hour concerts at St. James Cathedral Tuesday’s in July! Ongoing ♦5th: Russian Romantic Arensky Piano Trio No. 1 What is a Planet Adler Planetarium ♦12th: Debroah Sobol
    [Show full text]
  • FOR IMMEDIATE RELEASE August 2, 2017 Lollapalooza 2017 Tip Sheet Important Facts & Features of Lollapalooza
    FOR IMMEDIATE RELEASE August 2, 2017 Lollapalooza 2017 Tip Sheet Important Facts & Features of Lollapalooza Lollapalooza returns with four full days in Grant Park August 3-6, 2017. This four-day extravaganza will transform the jewel of Chicago into a mecca of music, food, art, and fashion featuring over 170 bands on eight stages, including Chance The Rapper, The Killers, Muse, Arcade Fire, The xx, Lorde, blink-182, DJ Snake, and Justice, and many more. Lollapalooza will host 100,000 fans each day, and with so much activity, we wanted to provide some top highlights: •SAFETY FIRST: In case of emergency, we urge attendees to be alert to safety messaging coming from the following sources: • Push Notifications through The Official Lollapalooza Mobile App available on Android and iOS • Video Screens at the Main Entrance, North Entrance, and Info Tower by Buckingham Fountain • Video Screens at 4 Stages – Grant Park, Bud Light, Lake Shore and Perry’s • Audio Announcements at All Stages • Real-time updates on Lollapalooza Twitter, Facebook and Instagram In the event of a weather evacuation, all attendees should follow the instructions of public safety officials. Festival patrons can exit the park to the lower level of one of the following shelters: • GRANT PARK NORTH 25 N. Michigan Avenue Chicago, IL 60602 Underground Parking Garage (between Monroe and Randolph) *Enter via vehicle entrance on Michigan Ave. • GRANT PARK SOUTH 325 S. Michigan Avenue Chicago, IL 60604 Underground Parking Garage (between Jackson and Van Buren) *Enter via vehicle entrance on Michigan Ave. • MILLENIUM LAKESIDE 5 S. Columbus Drive Chicago, IL 60603 Underground Parking Garage (Columbus between Monroe and Randolph) *Enter via vehicle entrance on Michigan For a map of shelter locations and additional safety information, visit www.lollapalooza.com/safety.
    [Show full text]
  • Alexander Calder James Johnson Sweeney
    Alexander Calder James Johnson Sweeney Author Sweeney, James Johnson, 1900-1986 Date 1943 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2870 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 THE MUSEUM OF RN ART, NEW YORK LIBRARY! THE MUSEUM OF MODERN ART Received: 11/2- JAMES JOHNSON SWEENEY ALEXANDER CALDER THE MUSEUM OF MODERN ART, NEW YORK t/o ^ 2^-2 f \ ) TRUSTEESOF THE MUSEUM OF MODERN ART Stephen C. Clark, Chairman of the Board; McAlpin*, William S. Paley, Mrs. John Park Mrs. John D. Rockefeller, Jr., ist Vice-Chair inson, Jr., Mrs. Charles S. Payson, Beardsley man; Samuel A. Lewisohn, 2nd Vice-Chair Ruml, Carleton Sprague Smith, James Thrall man; John Hay Whitney*, President; John E. Soby, Edward M. M. Warburg*. Abbott, Vice-President; Alfred H. Barr, Jr., Vice-President; Mrs. David M. Levy, Treas HONORARY TRUSTEES urer; Mrs. Robert Woods Bliss, Mrs. W. Mur ray Crane, Marshall Field, Philip L. Goodwin, Frederic Clay Bartlett, Frank Crowninshield, A. Conger Goodyear, Mrs. Simon Guggenheim, Duncan Phillips, Paul J. Sachs, Mrs. John S. Henry R. Luce, Archibald MacLeish, David H. Sheppard. * On duty with the Armed Forces. Copyright 1943 by The Museum of Modern Art, 11 West 53 Street, New York Printed in the United States of America 4 CONTENTS LENDERS TO THE EXHIBITION Black Dots, 1941 Photo Herbert Matter Frontispiece Mrs. Whitney Allen, Rochester, New York; Collection Mrs.
    [Show full text]
  • Renoir, Impressionism, and Full-Length Painting
    FIRST COMPREHENSIVE STUDY OF RENOIR’S FULL-LENGTH CANVASES BRINGS TOGETHER ICONIC WORKS FROM EUROPE AND THE U.S. FOR AN EXCLUSIVE NEW YORK CITY EXHIBITION RENOIR, IMPRESSIONISM, AND FULL-LENGTH PAINTING February 7 through May 13, 2012 This winter and spring The Frick Collection presents an exhibition of nine iconic Impressionist paintings by Pierre-Auguste Renoir, offering the first comprehensive study of the artist’s engagement with the full-length format. Its use was associated with the official Paris Salon from the mid-1870s to mid- 1880s, the decade that saw the emergence of a fully fledged Impressionist aesthetic. The project was inspired by Renoir’s La Promenade of 1875–76, the most significant Impressionist work in the Frick’s permanent collection. Intended for public display, the vertical grand-scale canvases in the exhibition are among the artist’s most daring and ambitious presentations of contemporary subjects and are today considered masterpieces of Impressionism. The show and accompanying catalogue draw on contemporary criticism, literature, and archival documents to explore the motivation behind Renoir’s full-length figure paintings as well as their reception by critics, peers, and the public. Recently-undertaken technical studies of the canvases will also shed new light on the artist’s working methods. Works on loan from international institutions are La Parisienne from Pierre-Auguste Renoir (1841–1919), Dance at Bougival, 1883, oil on canvas, 71 5/8 x 38 5/8 inches, Museum of Fine Arts, Boston, Picture Fund; photo: © 2012 Museum the National Museum Wales, Cardiff; The Umbrellas (Les Parapluies) from The of Fine Arts, Boston National Gallery, London (first time since 1886 on view in the United States); and Dance in the City and Dance in the Country from the Musée d’Orsay, Paris.
    [Show full text]
  • Alexander Calder (American, 1898–1976) the Ghost (Maquette), 1964 Painted Sheet Metal, Metal Rods, and Steel Wire Leonard and Ruth Horwich Family Loan, EL1995.13
    PB Alexander Calder (American, 1898–1976) The Ghost (maquette), 1964 Painted sheet metal, metal rods, and steel wire Leonard and Ruth Horwich Family Loan, EL1995.13 Alexander Calder redefined sculpture in the 1940s by incorporating the element of movement. He created motorized works and later hanging sculptures, or “mobiles,” that rotate freely in response to airflow. Using wire, found objects, and industrial materials, Calder constructed three-dimensional line drawings of people, animals, and objects that he activated with kinetic verve. PB Alexander Calder (American, 1898–1976) Performing Seal, 1950 Painted sheet metal and steel wire Leonard and Ruth Horwich Family Loan, EL1995.7 PB Alexander Calder (American, 1898–1976) Orange Paddle Under the Table, c. 1949 Painted sheet metal, metal rods, and steel wire Leonard and Ruth Horwich Family Loan, EL1995.11 PB Alexander Calder (American, 1898–1976) Chat-mobile (Cat Mobile), 1966 Painted sheet metal and steel wire Leonard and Ruth Horwich Family Loan, EL1995.10 PB Alexander Calder (American, 1898–1976) Snowflakes and Red Stop, 1964 Painted sheet metal, metal rods, and steel wire Leonard and Ruth Horwich Family Loan, EL1995.14 PB Alexander Calder (American, 1898–1976) Little Face, 1943 Copper wire, thread, glass, and wood Leonard and Ruth Horwich Family Loan, EL1995.6 PB Alexander Calder (American, 1898–1976) Bird, 1952 Coffee cans, tin, and copper wire Leonard and Ruth Horwich Family Loan, EL1995.8 PB Takis (Greek, b. 1925) Magnetic Mobile, c. 1964 Glass, plastic, wood, and electric cord Collection Museum of Contemporary Art Chicago, gift of Mrs. Robert B. Mayer, 1982.32 Since the 1950s, Greek artist and inventor Panayiotis “Takis” Vassilakis has investigated the relationship between art and science.
    [Show full text]
  • Social Media and Popular Places: the Case of Chicago
    CTBUH Research Paper ctbuh.org/papers Title: Social Media and Popular Places: The Case of Chicago Author: Kheir Al-Kodmany, University of Illinois at Chicago Subjects: Keyword: Social Media Publication Date: 2019 Original Publication: International Journal of High-Rise Buildings Volume 8 Number 2 Paper Type: 1. Book chapter/Part chapter 2. Journal paper 3. Conference proceeding 4. Unpublished conference paper 5. Magazine article 6. Unpublished © Council on Tall Buildings and Urban Habitat / Kheir Al-Kodmany International Journal of High-Rise Buildings International Journal of June 2019, Vol 8, No 2, 125-136 High-Rise Buildings https://doi.org/10.21022/IJHRB.2019.8.2.125 www.ctbuh-korea.org/ijhrb/index.php Social Media and Popular Places: The Case of Chicago Kheir Al-Kodmany† Department of Urban Planning and Policy, University of Illinois at Chicago, USA Abstract This paper offers new ways to learn about popular places in the city. Using locational data from Social Media platforms platforms, including Twitter, Facebook, and Instagram, along with participatory field visits and combining insights from architecture and urban design literature, this study reveals popular socio-spatial clusters in the City of Chicago. Locational data of photographs were visualized by using Geographic Information Systems and helped in producing heat maps that showed the spatial distribution of posted photographs. Geo-intensity of photographs illustrated areas that are most popularly visited in the city. The study’s results indicate that the city’s skyscrapers along open spaces are major elements of image formation. Findings also elucidate that Social Media plays an important role in promoting places; and thereby, sustaining a greater interest and stream of visitors.
    [Show full text]
  • Learning English As a Strategy to Improve the Competiveness For
    1 LEARNING ENGLISH AS A STRATEGY TO IMPROVE THE COMPETIVENESS FOR PROFESSIONAL DEVELOPMENT IN THE TOURIST AND HOTEL MANAGEMENT INDUSTRY, CASE CHICAGO, ILLINOIS, USA LUDY EDIKC SILVA LEON UNIVERSIDAD PEDAGÓGICA Y TECNOLÓGICA DE COLOMBIA FACULTAD SECCIONAL DUITAMA ESCUELA ADMINISTRACIÓN TURÍSTICA Y HOTELERA DUITAMA APRIL, 2018 1 2 LEARNING ENGLISH AS A STRATEGY TO IMPROVE THE COMPETIVENESS FOR PROFESSIONAL DEVELOPMENT IN THE TOURIST AND HOTEL MANAGEMENT INDUSTRY, CASE CHICAGO, ILLINOIS, USA LUDY EDIKC SILVA LEON GUILLERMO IGNACIO CAPERA Thesis Director UNIVERSIDAD PEDAGÓGICA Y TECNOLÓGICA DE COLOMBIA FACULTAD SECCIONAL DUITAMA ESCUELA ADMINISTRACIÓN TURÍSTICA Y HOTELERA DUITAMA APRIL, 2018 2 3 On our way to get essential achievements we always found who are by our side, to support us and remind us the way when we are lost. To them we owe what we are and what we achieve. So this project is dedicated to all of them in my life 3 4 GRATEFULNESS Through all this process I learned so many valuable things for in my life, I developed new skills, meet met amazing people, and I had personal and professional growth. This enriched my life in so many ways that I’m so thankful that I couldn’t forget to thank all those who make part of this process. First I would like to thank to God who gave me the opportunity to live this experience, He directed my way and provided me patience, strength and wisdom to finish this process. To my dear parents Alba Marina Leon and Ely Silva, for their constant support and love in every moment, without them I wouldn’t be what I am today.
    [Show full text]
  • Pablo Picasso, One of the Most He Was Gradually Assimilated Into Their Dynamic and Influential Artists of Our Stimulating Intellectual Community
    A Guide for Teachers National Gallery of Art,Washington PICASSO The Early Ye a r s 1892–1906 Teachers’ Guide This teachers’ guide investigates three National G a l l e ry of A rt paintings included in the exhibition P i c a s s o :The Early Ye a rs, 1 8 9 2 – 1 9 0 6.This guide is written for teachers of middle and high school stu- d e n t s . It includes background info r m a t i o n , d i s c u s s i o n questions and suggested activities.A dditional info r m a- tion is available on the National Gallery ’s web site at h t t p : / / w w w. n g a . gov. Prepared by the Department of Teacher & School Programs and produced by the D e p a rtment of Education Publ i c a t i o n s , Education Division, National Gallery of A rt . ©1997 Board of Tru s t e e s , National Gallery of A rt ,Wa s h i n g t o n . Images in this guide are ©1997 Estate of Pa blo Picasso / A rtists Rights Society (ARS), New Yo rk PICASSO:The EarlyYears, 1892–1906 Pablo Picasso, one of the most he was gradually assimilated into their dynamic and influential artists of our stimulating intellectual community. century, achieved success in drawing, Although Picasso benefited greatly printmaking, sculpture, and ceramics from the artistic atmosphere in Paris as well as in painting. He experiment- and his circle of friends, he was often ed with a number of different artistic lonely, unhappy, and terribly poor.
    [Show full text]