FY2010 Annual Listing
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The Frick Collection Staff As of June 30, 2008
The Frick Collection annual report july 2007–june 2008 The Frick Collection annual report july 2007–june 2008 leadership 2 Board of Trustees, Council of The Frick Collection, and Young Fellows Steering Committee reports 3 Margot Bogert, Chairman 5 Anne L. Poulet, Director 8 Colin B. Bailey, Associate Director and Peter Jay Sharp Chief Curator 11 Patricia Barnett, Andrew W. Mellon Chief Librarian financial statements 13 Statement of Financial Position 14 Statement of Activities public programming 15 Exhibitions and Lectures 16 Symposia, Publications, and Concerts notable library acquisitions 17 Gifts and Exchanges 18 Purchases donor support and membership 19 Gifts and Grants 23 Fellows and Friends 30 Corporate Members and Sponsors staff 31 The Frick Collection 34 Frick Art Reference Library on our cover: Maiolica dish with The Judgment of Paris after Raphael, Fontana workshop, tin-glazed earthenware, c. 1565, The Frick Collection, gift of Dianne Dwyer Modestini in memory of Mario Modestini; photograph by Michael Bodycomb The Frick Collection Council of Young Fellows Board of Trustees The Frick Collection Steering Committee As of June 30, 2008 As of June 30, 2008 As of June 30, 2008 Margot Bogert, Chairman George C. Wachter, Chairman Lydia Fenet, Chairman Howard Phipps Jr., Vice Chairman Jonathan Brown, Vice Chairman Elisabeth Saint-Amand, Secretary L. F. Boker Doyle, Treasurer Caitlin Davis, Coordinator John P. Birkelund, Secretary Julian Agnew Irene Roosevelt Aitken Fiona Benenson Peter P. Blanchard III W. Mark Brady Genevieve Wheeler Brown I. Townsend Burden III Vivien R. Clark Kipton Cronkite Walter A. Eberstadt Anne Goldrach Paul Cruickshank Emily T. Frick Nicholas H. -
Holliday, Christopher. " Toying with Performance: Toy Story, Virtual
Holliday, Christopher. " Toying with Performance: Toy Story, Virtual Puppetry and Computer- Animated Film Acting." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 87–104. Bloomsbury Collections. Web. 1 Oct. 2021. <http://dx.doi.org/10.5040/9781501324949.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 07:14 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 87 Chapter 6 T OYING WITH PERFORMANCE: TOY STORY , VIRTUAL PUPPETRY AND COMPUTER-A NIMATED FILM ACTING C h r i s t o p h e r H o l l i d a y In the early 1990s, during the emergence of the global fast food industry boom, the Walt Disney studio abruptly ended its successful alliance with restaurant chain McDonald’s – which, since 1982, had held the monopoly on Disney’s tie- in promotional merchandise – and instead announced a lucrative ten- fi lm licensing contract with rival outlet, Burger King. Under the terms of this agree- ment, the Florida- based restaurant would now hold exclusivity over Disney’s array of animated characters, and working alongside US toy manufacturers could license collectible toys as part of its meal packages based on characters from the studio’s animated features Beauty and the Beast (Gary Trousdale and Kirk Wise, 1991), Aladdin (Ron Clements and John Musker, 1992), Th e Lion King (Roger Allers and Rob Minkoff , 1994), Pocahontas (Mike Gabriel and Eric Goldberg, 1995) and Th e Hunchback of Notre Dame (Gary Trousdale and Kirk Wise, 1996).1 Produced by Pixar Animation Studio as its fi rst computer- animated feature fi lm but distributed by Disney, Toy Story (John Lasseter, 1995) was likewise subject to this new commercial deal and made commensu- rate with Hollywood’s increasingly synergistic relationship with the fast food market. -
FOR IMMEDIATE RELEASE Transparent Studio: Chitra Ganesh
FOR IMMEDIATE RELEASE Chitra Ganesh, A Magician and Her Muse, 2011, 9.5 x 36 feet, site-specific installation created for Samtidigt Tennis Palace Museum, Helsinki Transparent Studio: Chitra Ganesh Residency dates: 18 June – 16 July 2013 Open Studio & Artist Talk: Thursday, 11th July 6-9pm Brooklyn, NY --- Transparent Studio at Bose Pacia is pleased to announce the current artist-in- residence, Chitra Ganesh. Her drawing, installation, text-based work, and collaborations seek to excavate and rewrite hidden narratives typically excluded from official canons of history, literature, and art. Her work is inspired by mythology, folklore, sci-fi, Bollywood, comic books and graffiti. During the month long residency, Ganesh will use the space to develop her wall drawings by exploring the use of sculptural elements, printmaking technique and collage ephemera. The public is invited to an Open Studio and Artist Talk on 11th July from 6-9pm. Please contact the gallery to arrange for a visit to the studio between June 18th and July 16th. Born in Brooklyn, New York, Chitra Ganesh received her BA in Comparative Literature and Art Semiotics in 1996 and her MFA from Columbia University in 2002. Ganesh’s work has been exhibited widely at venues including PS 1/MOMA, Brooklyn Museum, the Asia Society, and the Andy Warhol Museum, Fondazione Sandretto in Italy, Nature Morte Berlin, ZKM in Germany, and the Gothenburg Kunsthalle. She is the recipient of numerous awards including the Joan Mitchell Awards for Painting and Sculpture, and a John Simon Guggenheim Creative Arts Fellowship. Ganesh will be the 2012-2013 artist-in-residence at New York University’s A/P/A Institute with Mariam Ghani for their work, Index of the Disappeared. -
National Arts Awards Monday, October 19, 2015
2015 Americans for the Arts National Arts Awards Monday, October 19, 2015 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Musical Director, Jake Goldbas Philanthropy in the Arts Award Legacy Award Joan and Irwin Jacobs Maria Arena Bell Presented by Christopher Ashley Presented by Jeff Koons Outstanding Contributions to the Arts Award Young Artist Award Herbie Hancock Lady Gaga 1 Presented by Paul Simon Presented by Klaus Biesenbach Arts Education Award Carolyn Clark Powers Alice Walton Lifetime Achievement Award Presented by Agnes Gund Sophia Loren Presented by Rob Marshall Dinner Closing Remarks Remarks by Robert L. Lynch and Abel Lopez, Chair, introduction of Carolyn Clark Powers Americans for the Arts Board of Directors and Robert L. Lynch Remarks by Carolyn Clark Powers Chair, National Arts Awards Greetings from the Board Chair and President Welcome to the 2015 National Arts Awards as Americans for the Arts celebrates its 55th year of advancing the arts and arts education throughout the nation. This year marks another milestone as it is also the 50th anniversary of President Johnson’s signing of the act that created America’s two federal cultural agencies: the National Endowment for the Arts and the National Endowment for the Humanities. Americans for the Arts was there behind the scenes at the beginning and continues as the chief advocate for federal, state, and local support for the arts including the annual NEA budget. Each year with your help we make the case for the funding that fuels creativity and innovation in communities across the United States. -
Bauhaus 1 Bauhaus
Bauhaus 1 Bauhaus Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building". The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a The Bauhaus Dessau 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, 1921/2, Walter Gropius's Expressionist Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe Monument to the March Dead from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it. -
Sunrise a Tribute to Our Founders
Museum of Contemporary Art Cleveland Sunrise A Tribute to Our Founders Sunrise: A Tribute to Our Founders March 15 – August 11, 2019 Sunrise pays homage to our founders, Marjorie Talalay, Nina Sundell, and Mueller Family Gallery Agnes Gund, through artworks that speak to their passions and pursuits. The title references the logo of The New Gallery (moCa’s original name) Organized by Jill Snyder, that was designed by Roy Lichtenstein. A sun rising above a dotted plane Kohl Executive Director with graphic rays fanning through the sky, the logo was a metaphor for the with Kate Montlack, organization, suggesting the vitality and potential of contemporary art. Assistant Director of Exhibitions For this exhibition we invited the daughters of our founders to select works in honor of their mothers. This exhibition represents some of the 20th century’s most influential artists, and each previously has been shown at moCa. Agnes, together with her daughter Catherine, selected sculptural works by three female artists who reinforce her support for the early careers of women artists. Margaret Sundell chose works that reflect her late mother Nina’s professional relationship with Robert Rauschenberg and her embrace of his desire to work in the gap between art and life. Kathy, Nina, and Lauren Talalay’s choices represent meaningful professional and personal moments in their late mother Marjorie’s career as moCa’s longest serving Executive Director (1968–1993). Shown on the cover, Lichtenstein’s logo signals our vanguard legacy. Andy Warhol’s garishly hued portrait of China’s revolutionary leader, (Mao, 1972), Robert Rauschenberg’s collage of American trauma and triumph in the sixties (Signs, 1970), and Lynda Benglis’s vulvar minimalist sculpture (Lagniappe II Major support for this Glitter, 1977) reflect the sociopolitical climate of The New Gallery’s early exhibition provided by years. -
Roysdon Cv Tranzit
Emily Roysdon Education University of California Los Angeles, MFA, Interdisciplinary Studio, 2006 Whitney Museum Independent Study Program, New York, NY 2001 Hampshire College, BA, Amherst, MA 1999 Solo Projects 2012 not yet titled, Tate Live Performance Room, Tate Modern (London) not yet titled, Tramway (Glasgow) not yet titled, Visual Art Center, University of Texas (Austin) 2011 POSITIONS, New Commissions, Art in General (New York) (catalog forthcoming) A Gay Bar Called Everywhere (with costumes and No Practice), The Kitchen (New York) 2010 If Donʼt Move Can You Hear Me?, Matrix 235, Berkeley Art Museum Sense and Sense, Konsthall C (Stockholm) 2008 Work, Why, Why not, Weld (Stockholm) Select Exhibitions 2012 Abstract Possible; The Stockholm Synergies, Tensta Konsthall (Stockholm) Coming After, The Power Plant (Toronto) Photography Is, Higher Pictures (New York) Nothing is forgotten, some things considered, UKS (Oslo) Social Choreography, Gallery TPW (Toronto) In Numbers: Serial Publications by Artists Since 1955, ICA London Read, Look, We promise itʼs not dangerous, Emily Harvey Foundation (New York) Millennium Magazines, Museum of Modern Art Library (New York) 2011 Abstract Possible, Museo Tamayo (Mexico City) (catalog) Time Again, Sculpture Center (New York) (catalog) Dance/ Draw, ICA Boston (catalog) Untold Stories, Kunsthalle Talinn NY Temporary, Center for Photography and the Moving Image (New York) Always The Young Stranger, Higher Pictures (New York) Through Symbolic Worlds, International Project Space (Birmingham, UK) Symposion, -
Sculptural Cubism in Product Design: Using Design History As a Creative Tool
INTERNATIONAL CONFERENCE ON ENGINEERING AND PRODUCT DESIGN EDUCATION 3 & 4 SEPTEMBER 2015, LOUGHBOROUGH UNIVERSITY, DESIGN SCHOOL, LOUGHBOROUGH, UK SCULPTURAL CUBISM IN PRODUCT DESIGN: USING DESIGN HISTORY AS A CREATIVE TOOL Augustine FRIMPONG ACHEAMPONG and Arild BERG Oslo and Akershus University College of Applied Sciences ABSTRACT In Jan Michl's "Taking down the Bauhaus Wall: Towards living design history as a tool for better design", he explains how the history of design can become a tool for future design practices. He emphasizes how the aesthetics of the past still exist in the present. Although there have been a great deal of studies on the history of design, not much emphasis has been placed on Cubism, which is a very important part of design history. Many designs of the past, such as in the field of architecture and jewellery design, took their inspiration from sculptural cubism. The research question is therefore "How has sculptural Cubism influenced contemporary student product-design practices?" One research method used was the literature review, which was chosen to investigate what has been done in the past. Other methods used were interviews and focus groups, which were chosen to investigate what some contemporary design students knew about cubism. The researcher will also look to solicit knowledge from people outside the design community regarding designers and the work they do, as well as the general impression they have concerning design history and cubism. The concept of Cubism has been used in branding and as a marketing tool and in communication. Keywords: Design history, contemporary design practice, sculptural cubism, aesthetics. -
Toy Story: How Pixar Reinvented the Animated Feature
Brown, Noel. " An Interview with Steve Segal." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 197–214. Bloomsbury Collections. Web. 2 Oct. 2021. <http:// dx.doi.org/10.5040/9781501324949.ch-013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 2 October 2021, 03:24 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 97 Chapter 13 A N INTERVIEW WITH STEVE SEGAL N o e l B r o w n Production histories of Toy Story tend to focus on ‘big names’ such as John Lasseter and Pete Docter. In this book, we also want to convey a sense of the animator’s place in the making of the fi lm and their perspective on what hap- pened, along with their professional journey leading up to that point. Steve Segal was born in Richmond, Virginia, in 1949. He made his fi rst animated fi lms as a high school student before studying Art at Virginia Commonwealth University, where he continued to produce award- winning, independent ani- mated shorts. Aft er graduating, Segal opened a traditional animation studio in Richmond, making commercials and educational fi lms for ten years. Aft er completing the cult animated fi lm Futuropolis (1984), which he co- directed with Phil Trumbo, Segal moved to Hollywood and became interested in com- puter animation. -
C100 Trip to Houston
Presented in partnership with: Trip Participants Doris and Alan Burgess Tad Freese and Brook Hartzell Bruce and Cheryl Kiddoo Wanda Kownacki Ann Marie Mix Evelyn Neely Yvonne and Mike Nevens Alyce and Mike Parsons Your Hosts San Jose Museum of Art: S. Sayre Batton, deputy director for curatorial affairs Susan Krane, Oshman Executive Director Kristin Bertrand, major gifts officer Art Horizons International: Leo Costello, art historian Lisa Hahn, president Hotel St. Regis Houston Hotel 1919 Briar Oaks Lane Houston, Texas, 77027 Phone: 713.840.7600 Houston Weather Forecast (as of 10.31.16) Wednesday, 11/2 Isolated Thunderstorms 85˚ high/72˚ low, 30% chance of rain, 71% humidity Thursday, 11/3 Partly Cloudy 86˚ high/69˚ low, 20% chance of rain, 70% humidity Friday, 11/4 Mostly Sunny 84˚ high/63 ˚ low, 10% chance of rain, 60% humidity Saturday, 11/5 Mostly Sunny 81˚ high/61˚ low, 0% chance of rain, 42% humidity Sunday, 11/6 Partly Cloudy 80˚ high/65˚ low, 10% chance of rain, 52% humidity Day One: Wednesday, November 2, 2016 Dress: Casual Independent arrival into George Bush Intercontinental/Houston Airport. Here in “Bayou City,” as the city is known, Houstonians take their art very seriously. The city boasts a large and exciting collection of public art that includes works by Alexander Calder, Jean Dubuffet, Michael Heizer, Joan Miró, Henry Moore, Louise Nevelson, Barnett Newman, Claes Oldenburg, Albert Paley, and Tony Rosenthal. Airport to hotel transportation: The St. Regis Houston Hotel offers a contracted town car service for airport pickup for $120 that would be billed directly to your hotel room. -
THE INDEPENDENT VOICE of the VISUAL ARTS Volume 32 No
THE INDEPENDENT VOICE OF THE VISUAL ARTS Volume 32 No. 3 January/February 2018 Established 1973 INSIDE RICHARD SIEGESMUND delivers a harsh critique of current students’ art education $8 U.S. $10 Canada JEN DELOS REYES offers ideas about a radical school of art and art history for the 21st century EVAN CARTER shares his experiences in art school and guides students in choosing the right school DIANE THODOS describes the 1980s takeover of art schools by neoliberal economic values MICHEL SÉGARD reviews a rare exhibition of French photographer Hervé Guibert’s imagery NEW ART EXAMINER COVER IMAGE: .A photo of a Yale School of Fine Arts studio painting class taken CONTENTS circa 1900–1920. IS ART SCHOOL A SCAM? 4 Introduction 5 The Flawed Academic Training of Artists Art and Design Professor, RICHARD SIEGESMUND, delivers a harsh critique of current students’ art education amid today’s triumphant cultural marketplace. 8 Re-Thinking Art Education (Revisited), Again Artist and art administrator, JEN DELOS REYES, offers new thoughts on the idea and potential of a radical school of art and art history for the 21st century. 12 Art School Today: Fast and Loose University of Chicago 2017 MFA graduate, EVAN CARTER, speaks of his experiences in art school and guides future students about choosing the right art school. 15 How Neoliberal Economics Impacted Art Education DIANE THODOS, a 1989 MFA graduate of New York’s School of Visual Arts, describes the 1980s takeover of art schools by neoliberal economic values. 19 Artist Biography with a Bias Elaine de Kooning was a well-regarded artist and mentor to fellow artists. -
George Condo: 'I Was Delirious. Nearly Died' He Worked for Warhol, Jammed with Basquiat – and Now Designs Albums for Kanye West and Handbags for Kim Kardashian
The Guardian S. Jeffries, ‘George Condo: ‘I was delirious. Nearly died’ 10 February 2014 George Condo: 'I was delirious. Nearly died' He worked for Warhol, jammed with Basquiat – and now designs albums for Kanye West and handbags for Kim Kardashian. But has a recent near-death experience made George Condo's work even weirder BY Stuart Jeffries 'I describe what I do as psychological cubism' … George Condo at the Simon Lee Gallery in London. Photograph: Sarah Lee for the Guardian Last May, George Condo had a near-death experience. The American artist was visiting Berlin after finishing a suite of ink drawings. "I guess my immune system was down and I was in a weird state of mind." "Weirder than usual?" I ask, as we look at those drawings at the Skarstedt Gallery, one of two London venues showing his work this month. "Much weirder," he says. He points to the silhouette of a head dominating the foreground of a work called The Prisoner. Behind the silhouette are iron bars, and behind those is a prisoner facing us, whose head seems to have been flayed to reveal the throbbing orange cranium beneath. "That's where my mind was at." The ink drawings were to be the final portraits of a weird menagerie of archetypal figures – among them banker, butler, alcoholic, and an odd French guy called Jean Louis, who cropped up in various improbable guises including that of a French maid – that Condo had culled from his imagination and worked on for a quarter of a century. "It's the last hurrah of the pods," he says.