Art Talk—Chicago Public Artworks December 4, 2020
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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. -
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. -
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. -
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. -
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 -
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. -
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. -
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. -
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. -
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. -
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. -
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.