University Report a Newsletter for the Staff of the Twin Cities Campus, University of Minnesota

Total Page:16

File Type:pdf, Size:1020Kb

University Report a Newsletter for the Staff of the Twin Cities Campus, University of Minnesota September 15, 1969 UNIVERSITY REPORT A NEWSLETTER FOR THE STAFF OF THE TWIN CITIES CAMPUS, UNIVERSITY OF MINNESOTA Two Vice Presidents Join University 1969-71 Funds $227 Million A reorganization of the administra­ tive structure has brought two new vice State support of $226.7 million was million was appropriated. This represents presidents to the University_ granted to the University of Minnesota by a 6.5 percent improvement in the faculty Hale Champion left a post as the 1969 Legislature for the two-year payroll for each of the two years. director of the Boston Redevelopment period that began July 1, 1969. Salaries of most civil service Administration to join the University as The total includes $171.2 million employees, increased 8 percent on July 1, vice president for planning and for current operations and $55.5 million 1969, will be adjusted another 4 percent operations_ for buildings and land on all University on July 1, 1970. campuses. Major building appropriations on the University Regents had requested Twin Cities campus include: $209.8 million for current operations and * $6.7 million for a preforming arts $134.2 million for buildings. The 1967 building on the West Bank; Legislature appropriated $131 million for * $5.8 million for remodeling the operations and $22.8 million for East Bank State Board of Health­ buildings. Psychology Building, demolition of A full report of legislative appro­ the old Psychology Building, and priations to the University is soon to be an addition for Psychology; published in the format of the old * $6.3 million for the state's share of Minnesotan and will be sent to all staff a $9.9 million biological sciences members_ facility in St. Paul; * State funds of $14 million for The Legislature allocated funds for Phase I of the Health Sciences 334 new academic positions and 312 new I complex. (Construction is not to civil service positions for the biennium. start until federal funds are Hale Champion For faculty salary adjustments, $5.7 approved.) r Roger G. Kennedy, who was senior f vice president and chairman of the I Universttv Report. a twice-monthly newsletter, will be sent subscription-free executive committee of Northwestern ~ to all staff members of the University of Minnesota, Twin Cities Campus. The National Bank of St. Paul, becomes vice newsletter replaces the Minnesotan, a monthly magazine of feature articles. president for investments and executive director of the University Foundation. The new publication has been created to fill a communication gap within the University. University departments keep their own members informed about Each assumes some of the work departmental business, the Minnesota Daily reports general University news to a carried out by Laurence R. Lunden, r student-faculty audience, and local newspapers and radio and television stations former vice president for business admin­ report major news items to the general public. But there has been no medium for r istration and now vice president and I reporting staff news to staff members. consultant to the president. Lunden asked to be removed from active duties in Staff members are invited to suggest events that need coverage or to submit the business office on the basis of medical brief news items. Send suggestions to University Fleport, 20 Johnston Hall, or call advice. Maureen Smith or Joan Friedman, 3-2126. Even the name can be changed; if you I" (Continued on page 2) have a better one, let the editors know! Two Vice Presidents Reeves, Zander judged on "likelihood of academic success." Adult special students with (Continued from page 1) Take New Positions bachelor's degrees have been asked to apply to the Graduate School. The planning duties of Elmer W. Appointment of James Reeves and Elementary education has reached Learn, who resigned to become vice Donald Zander as assistant vice presidents the limit of its facilities, and for the first chancellor at the University of California, for student affairs was approved by the time qualified applicants have been Davis, are transferred to Champion. Regents in July. turned away. The number of new stu­ Kennedy's post with the Foundation Reeves had been with Vice President dents (juniors) has been cut and no new Cashman's office since June, 1968, as is separate from the vice presidency--the seniors have been accepted. Foundation is a separate legal entity--but coordinator of programs for disadvan­ the dual nature of his position is expected taged students. In his new position he will Summers Accepts to promote effective interaction between work with such student services as loans, the Foundation and the central adminis­ scholarships, and counseling. Special Assignment tration of the University. Zander, formerly director of the Dean R. E. Summers, the only dean Student Activities Bureau and the Univer­ Fred J. Lauerman, director of the of admissions and records the University sity Student Unions, was named assistant Foundation for several years, has resigned has had, has taken on a new assignment to Vice President Cashman in March, to become vice chancellor for institu­ for the year before he retires. tional resources of the Minnesota State 1969. He will devote his primary atten­ President Moos, who recommended College system. tion to the growth of student activities and their mounting complexity, to the Regents the creation of a new according to Cashman. position called "administrators on special assignment," spoke of a need "to find new ways to allow the experience of able Wilderson Becomes administrative officers to be made fully available to the University as their careers Assistant Dean are coming to an end." Frank B. Wilderson has been named As one part of his assignment, Dean assistant dean of the College of Education Summers will travel to American colleges and associate professor of urban and universities to study new approaches education. to the relationships between students and Professor Wilderson, a member of their colleges. the University faculty since 1962, will also serve as urban education coordinator First Indian Studies in the University's Center for Urban and Regional Affairs. Courses Offered Roger G. Kennedy Dean Robert J. Keller says that A new General College course on Wilderson "will serve as a link between Minnesota Indian history will be taught the College of Education and the com­ this fall by Prof. Norman Moen and G. munity. His work will be with the William Craig as part of the Dept. of New Faculty Members college's programs in teacher education American Indian Studies. Prof. Arthur M. Invited to Moos Home and education for the disadvantaged in Harkins of education will teach an the metropolitan area as well as out in the anthropology course, Urban Indians in New faculty members will be invited state." the United States. to the home of University President The new program will include lower Malcolm Moos Friday, Sept. 26. division courses in CLA and GC, core Invitations are being distributed courses in anthropology, and supporting through department heads. Faculty Restricted Admission courses in other departments. members will be invited in three shifts In Arts, Education --one group at 3 p.m., one at 4 p.m., and one at 5 p.m. Restricted admissions policies in the Alford Resigns In past years new faculty members College of Liberal Arts (CLA) and the have been greeted with speeches and a College of Education have become Harold J. Alford has resigned as reception at Coffman Union or Northrop necessary because of limitations on director of independent study to become Auditorium. This year guests will meet physical facilities and teaching resources. director of continuing education and University administrators and tour the Degree candidates applying to CLA summer session at Kansas State Univer­ Moos home. --a~ freshmen or as transfer students--are sity. A First--Students Survey Rates University High Seated in Senate The University of Minnesota ranks Scholastica, and St. Teresa with 10 to 1, at or near the top among state higher have lower rat1os. The remainder range up About 50 students will be members education institutions in a survey con­ to 22 to 1. of the All-University Senate for the first ducted by the St. Pau I Pioneer Press. time this fall. The Senate has previously Low student-faculty rat1os are con· been composed of faculty members only. The survey uses three criteria edu· sidered evidence of quality because they cators consider important in measuring suggest a high incidence of personal The elected students, representing the quality of colleges and universities: reI at i unships I.Jetween students and colleges and schools within the Univer student-faculty ratios, percentages of sity, will sit with faculty members on teachers. Ph.D. degrees 1n the faculties, and committees dealing with student govern­ In achievement on the Amer1can entrance test resu Its. ment, organizations, and publications, College Test (ACT), University beginners and on other major committees. In percentage of Ph.D. holders, head all Minnesota colleges that use ACT. Minnesota (68 percent) is second only to The 150 elected faculty members Freshmen entenng the Institute of Tech· Carleton (71). Among the 18 other retain control of curriculum, faculty nology rate 27 (on a 34-to-0 scale), and Minnesota colleges in the study, the range those entering the College of L1beral Arts appointments, and tenure. is from 57 to 23 percent. rate 24. Others range from 23.5 to 17. The University's Twin Cities campus Carleton heads the colleges that use Protocol Defines is slightly better than the median in the Scholastic Aptitude Test (SAT). student-faculty ratio, with a ratio of 14 About half of the 100,000 students Crookston's Role to 1. The Morris campus has a 12 to 1 enrolled in Minnesota four-year colleges ratio and Duluth 21 to 1.
Recommended publications
  • Oral History Interview with Edward Dugmore, 1994 May 13-June 9
    Oral history interview with Edward Dugmore, 1994 May 13-June 9 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Edward Dugmore on May 13, 1993. The interview was conducted at Edward Dugmore's home in New York by Tram Combs for the Archives of American Art, Smithsonian Institution. Interview ED: EDWARD DUGMORE MD: EDIE DUGMORE [MRS. DUGMORE] TC: TRAM COMBS Tape 1, Side A (45-minute tape sides) TC: This is an interview for the Archives of American Art, conducted by Tram Combs for the Archives with Edward Dugmore. There will be three voices on the tape. This is Tram Combs speaking. ED: This is Edward Dugmore. MD: And this is Edie Dugmore. TC: Edie is Mrs. Dugmore. She is sitting in on the interview for information that doesn’t come immediately to mind, and any disagreements about [our accuracy]. [all chuckle] Ed, tell us about your background, your family. ED: Okay, I was born in 1915. I have two brothers, approximately four years apart. Older brother and a younger brother. TC: Their names? ED: There’s Leonard, and then myself, and then Stanley is the youngest. My father came over from England, and my mother, and he was a photographer. TC: With your mother? MD: No. ED: No, he didn’t do that; that’s right.
    [Show full text]
  • Ernest Briggs' Three Decades of Abstract Expressionist Painting
    Ernest Briggs' Three Decades its help in allowing artists of the period to go to school. They were set of Abstract Expressionist Painting free economically, and were allowed to live comfortably with tuition and supplies paid for. The Fine Arts School would last about 3 years Ernest Briggs, a second generation Abstract Expressionist painter under McAgy. The program took off due to the presence of Clyfford known for his strong, lyrical, expressive brushstrokes, use of color and Still, Ad Reinhardt, along with David Park, Richard Diebenkorn, Elmer sometimes geometric composition, first came to New York in late 1953. Bischoff and others. Most of the students at the school, about 40-50 He had been a student of Clyfford Still at the California School of Fine taking painting, such luminaries as Dugmore, Hultberg, Schueler and Arts. Frank O’Hara first experienced the mystery in the way Ernest Crehan, had had some exposure to art through university or art school. Briggs’ splendid paintings transform, and the inability to see the shape But there had been no exposure to what was going on in New York or in as a shape apart from interpretation. Early in 1954, viewing Briggs’ first Europe in the art world, and Briggs and the others were little prepared one man show at the Stable Gallery in New York, O’Hara said in Art for the onslaught that was to come. in America “From the contrast between the surface bravura and the half-seen abstract shapes, a surprising intimacy arises which is like The California Years seeing a public statue, thinking itself unobserved, move.” With the entry of Still, the art program would “blow apart”.
    [Show full text]
  • PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar Archive of Abstract Expressionist Art, 1913-2005
    PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Pavia, Philip, 1915-2005. Title: Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Call Number: Manuscript Collection No. 981 Extent: 38 linear feet (68 boxes), 5 oversized papers boxes and 5 oversized papers folders (OP), 1 extra oversized papers folder (XOP) and AV Masters: 1 linear foot (1 box) Abstract: Philip Pavia and Natalie Edgar archive of abstract expressionist art including writings, photographs, legal records, correspondence, and records of It Is, the 8th Street Club, and the 23rd Street Workshop Club. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Purchase, 2004. Additions purchased from Natalie Edgar, 2018. Citation [after identification of item(s)], Philip Pavia and Natalie Edgar archive of abstract expressionist art, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Russey and Elizabeth Stice, October 2009. Additions added to the collection in 2018 retain the original order in which they were received. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Philip Pavia and Natalie Edgar archive of abstract expressionist art, Manuscript Collection No.
    [Show full text]
  • Downloads: Chuck Close Prints: Process and Collaboration by Terrie Sultan with Contributions from Richard Schiff Hardcover
    US $25 The Global Journal of Prints and Ideas July – August 2014 Volume 4, Number 2 On Screenprint • The Theater of Printing • Arturo Herrera • Philippe Apeloig • Jane Kent • Hank Willis Thomas Ryan McGinness • Aldo Crommelynck • Djamel Tatah • Al Taylor • Ray Yoshida • Prix de Print: Ann Aspinwall • News C.G. Boerner is delighted to announce that a selection of recent work by Jane Kent is on view at the International Print Biennale, Hatton Gallery, Newcastle upon Tyne, June 27–August 8, 2014. Jane Kent, Blue Nose, 2013, silkscreen in 9 colors, 67 x 47 cm (26 ⅜ x 18 ½ inches) edition 35, printed and published by Aspinwall Editions, NY 23 East 73rd Street New York, NY 10021 www.cgboerner.com July – August 2014 In This Issue Volume 4, Number 2 Editor-in-Chief Susan Tallman 2 Susan Tallman On Screenprint Associate Publisher Susan Tallman and Michael Ferut 4 Julie Bernatz Screenprint 2014 Managing Editor Jason Urban 11 Dana Johnson Stagecraft: The Theater of Print in a Digital World News Editor Christine Nippe 15 Isabella Kendrick Arturo Herrera in Berlin Manuscript Editor Caitlin Condell 19 Prudence Crowther Type and Transcendence: Philippe Apeloig Online Columnist Sarah Kirk Hanley Treasures from the Vault 23 Mark Pascale Design Director Ray Yoshida: The Secret Screenprints Skip Langer Prix de Print, No. 6 26 Editorial Associate Peter Power Michael Ferut Ann Aspinwall: Fortuny Reviews Elleree Erdos Jane Kent 28 Hank Willis Thomas 30 Ryan McGinness 32 Michael Ferut 33 Hartt, Cordova, Barrow: Three from Threewalls Caitlin Condell 34 Richard Forster’s Littoral Beauties Laurie Hurwitz 35 Aldo Crommelynck Kate McCrickard 39 Djamel Tatah in the Atelier Jaclyn Jacunski On the Cover: Kelley Walker, Bug_156S Paper as Politics and Process 42 (2013-2014), four-color process screenprint John Sparagana Reads the News on aluminum.
    [Show full text]
  • Zur Geschichte Des Siebdrucks (Teil 3): Die Entwicklung in Den USA Von Guido Lengwiler
    Zur Geschichte des Siebdrucks (Teil 3): Die Entwicklung in den USA Von Guido Lengwiler Frühe Siebdrucke, USA, undatiert (Abb. Bedford, Historical Society, Ohio) Nachdem Guido Lengwiler im zweiten Teil seiner Artikelreihe die Frühzeit des Siebdruckverfahrens aufgearbeitet hat, widmet er sich in dieser Ausgabe nun der Entwicklung des Siebdrucks in den USA bis zum Zweiten Weltkrieg. Dabei kommen neben einer Fülle von anderen wissenswerten Aspekten auch die für den Siebdruck besonders relevanten Themen „Schneidefilme“ und „Fotoschablonen“ zur Sprache. Seit Mitte des 19. Jahrhunderts expor- tierten drei bedeutende Schweizer Ge- schaftlichen Umfeld, mehr oder weni- te wie Bert Zahn oder Harry Hiett, aber webehersteller, die heute zur Sefar-Grup- ger kontinuierlich. Zwar gab es große auch Firmeninhaber, deren Betriebe zur pe gehören, ihre Seidengaze in großem Siebdruckereien, der überwiegende Teil Pioniergeneration gehörten. Im Novem- Umfang für Müllereizwecke in die USA. der Betriebe dürfte aber kleingewerblich ber 1937 fand in Chicago mit der „Pro- Intressante Hinweise zur frühen Verbrei- gearbeitet haben. Das Verfahren wurde cess-Show“ eine erste große Ausstellung tung des Siebdruckverfahrens in den USA hauptsächlich zum Bedrucken von Schil- zum Siebdruckverfahren statt. Gezeigt finden sich im Archiv der Sefar in Thal, dern, Displays und teilweise für Kunstre- wurden, begleitet von Fachreferaten, die Schweiz. 1924 wurde in Geschäftsberich- produktionen, aber auch zunehmend im vielen Anwendungsmöglichkeiten des ten vermerkt, dass „ein gewisses
    [Show full text]
  • Bay Area Abstraction 1945-1965 David Richard Contemporary 130 Lincoln Avenue, Suite D, Santa Fe
    CRITICAL REFLECTIONS BAY AREA ABSTRACTION 1945-1965 DAVID RICHARD CONTEMPORARY 130 LINCOLN AVENUE, SUITE D, SANTA FE THE BEARER OF ITS PASSION. Locus is Latin for “place”— York School, Still’s influence was felt firsthand through his an Alexandrian cast in the West. The explicitly urban and local “where it’s happening,” in English—as in: “By the early 1950s, teaching at the former California School of Fine Arts (now SFAI) references of Bay Area abstraction centered at CSFA—Jefferson’s New York had emerged as the locus of Postwar abstraction.” which followed his first solo exhibition in the winter of 1946 paintings titled with street names, Lobdell’s agrarian aerial views, In his introduction to 50 West Coast Artists, published three at Peggy Guggenheim’s Art of this Century Gallery. The list Strong’s topographies of Bolinas Peninsula, Wharf Road, and decades later (1981) by the San Francisco Museum of Modern of artists in Bay Area Abstraction reads like a biblical genealogy Harrison Street—have the feel of Theocritan idylls in some inverse Art, its director framed “the question of local designation” as an traceable to SFAI and Still’s tenure there in the late 1940s. Along metonymy evoking the great plains, high desert, and mountain abiding problem for art history as well as for artists and the art with Edward Dugmore, Jack Jefferson, and Frank Lobdell were ranges of the vanishing West. Notwithstanding Still’s ambivalence Tworld: “It seems to emerge from the unspoken and challenged Still’s students, with whom, in turn, Charles Strong would
    [Show full text]
  • 2021 Bibliografia Incisione
    Bibliografia Tecniche dell’Incisione a cura di Danilo Ferrero Brevi note per la lettura della bibliografia Ai tempi della scuola ho iniziato ad appuntare su fogli sparsi i libri di Grafica che ritenevo più interesanti, in seguito ho avuto il piacere nei primi anni di insegnamento di poter far parte commissione biblioteca dell’Istituto per Arti Grafiche G. V. Paravia di Torino, quella che nei primi anni del 900 era denominata Regia Scuola Tipografica di Torino, mi si è aperto un mondo, passavo interi pomeriggi a riordinare, spolverare e ricatalogare quel patrimonio nato con la biblioteca del Museo del Libro del Borgo Medievale di Torino del 1911, confluita negli anni 20 nella biblioteca della Scuola. Gli appunti manoscritti sono diventati dattiloscritti, oggi con le biblioteche digitali abbiamo un patrimonio di volumi enorme da poter consultare. Quello che segue è il tentativo di far confluire nelle mie ricerche alcuni lavori molto interessanti quali la bibliografia dell’amico e collega dell’Accademia di Belle Arti di Bologna, Toni Pecoraro, la bibliografia dell’incisione Panizzi di Reggio Emilia, e il diccionario del arte grafico, bibliografia della Real Academia de San Fernando di Madrid, inoltre la bibliografia grafica dell’ENIPG Roma del 1966, 1972 e 1975. La maggior parte dei volumi sono digitalizzati da Google Books, da Bnf Gallica, e u.s. international archive, Hathi Trust Digital Library Michigan University, Heidelberg University Library, quindi scaricabili in pdf, nella bibliografia sono indicati con il simbolo ° , quelli indicati con il simbolo * sono i volumi della mia biblioteca personale, i volumi sono indicati e ordinati in base alla data di edizione dove possibile, al termine è inserita una appendice per le riviste.
    [Show full text]
  • Jean-Noel Archive.Qxp.Qxp
    THE JEAN-NOËL HERLIN ARCHIVE PROJECT Jean-Noël Herlin New York City 2005 Table of Contents Introduction i Individual artists and performers, collaborators, and groups 1 Individual artists and performers, collaborators, and groups. Selections A-D 77 Group events and clippings by title 109 Group events without title / Organizations 129 Periodicals 149 Introduction In the context of my activity as an antiquarian bookseller I began in 1973 to acquire exhibition invitations/announcements and poster/mailers on painting, sculpture, drawing and prints, performance, and video. I was motivated by the quasi-neglect in which these ephemeral primary sources in art history were held by American commercial channels, and the project to create a database towards the bibliographic recording of largely ignored material. Documentary value and thinness were my only criteria of inclusion. Sources of material were random. Material was acquired as funds could be diverted from my bookshop. With the rapid increase in number and diversity of sources, my initial concept evolved from a documentary to a study archive project on international visual and performing arts, reflecting the appearance of new media and art making/producing practices, globalization, the blurring of lines between high and low, and the challenges to originality and quality as authoritative criteria of classification and appreciation. In addition to painting, sculpture, drawing and prints, performance and video, the Jean-Noël Herlin Archive Project includes material on architecture, design, caricature, comics, animation, mail art, music, dance, theater, photography, film, textiles and the arts of fire. It also contains material on galleries, collectors, museums, foundations, alternative spaces, and clubs.
    [Show full text]
  • Contemporary American Painting and Sculpture
    ILLINOIS LIBRARY AT URBANA-CHAMPAIGN ARnM!TFXTURE KIOMR LliiHAKY AKOHITKTUKfc UNiVEIWTY OF ILLINOIS NOTICE: Return or renew all Library Malerlalst The minimum Fee for each Lost Book is $50.00. The person charging this material is responsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for discipli- nary action and may result in dismissal from the University. To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN L16I—O-1096 ' » • .( ij.^.'. / »f T»^ 'A^Vc^ * • ir* ;' I n'V', ii'.mM :"! ii'vi '' > ' i: 1 "i .m'i ;:[ ' iv/iv/,''ir' ',!.;' ill ! i;'M,'i)">'i>''; I I I'^i'iii' , I ji II, >,M]' i,,i,ii, I * l'.',, i ! I i M!, ,.ll;!;J!-!;'!li^:*^'(WrM''^ I 1 ' ' I •,''',•1 ' , ill'' I fe!(''::!:ifi!'yi§li''i'!''';iVM^ »ntemporary American Painting and Sculpture] niversity off Illinois . -i&Sv i; z^' ii^ THE LIBRARY OF THE FEB ,?4iS5G UNIVERSITY OF ILLINOIS c ^MTifn? Y-^.m ARCWTEcnwi oi .n oi. =4 CONTEMPORARY AMERICAN PAINTING AND SCULPTURE University of Illinois, Urbana Sunday, February 27, through Sunday, April 3, 1955 Galleries, Architecture Building Co//ege of Fine and Applied Arts THE LIBRARY OF THE IVIAR 1 1955 iiMi\fFe<:rrv nr iiiiNrii5$ Copyright 1955 by the University of Illinois Manufactured in the United States of America RICKFP 5-^>/ ,^r^^ tIRRARY ARCHITCCTU8E 7 UMVfcXS.IY OF lumois CONTEMPORARY AMERICAN PAINTING AND SCULPTURE LLOYD MOREY President of the University- ALLEN S.
    [Show full text]
  • Alumni Newsletter
    Number 53 – Fall 2018 NEWSLETTERAlumni Published by the Alumni Association of 1 Contents From the Director ...............3 Art and Business ..............10 Faculty Updates ...............20 The Early Years of the Museum In Memoriam Alumni Updates ...............25 Training Program at the Institute of Linda Nochlin ..............13 Fine Arts: Tears and Connoisseurship . 4 Doctors of Philosophy Conferred Egbert Haverkamp-Begemann ..14 in 2017-2018 .................38 Navigating my Student Years at the Institute in Preparation for an Marjorie Susan Venit .........16 Masters Degrees Conferred Academic Career ...............6 in 2017-2018 .................38 The Year in Pictures ............18 Back to the Homeland ............8 Institute Donors ...............40 Institute of Fine Arts Alumni Association Officers: Alumni Board Members: Committees: President William Ambler Walter S. Cook Lecture Jennifer Eskin [email protected] Susan Galassi, Co-Chair [email protected] Susan Galassi [email protected] and [email protected] Katherine A. Schwab, Co-Chair Vice President Kathryn Calley Galitz [email protected] Jennifer Perry [email protected] Yvonne Elet [email protected] Matthew Israel Kathryn Calley Galitz [email protected] Debra Pincus Treasurer Lynda Klich Gertje Utley Anne Hrychuk Kontokosta [email protected] [email protected] Debra Pincus Student-Alumni [email protected] Lynda Klich, Chair Secretary Katherine A. Schwab [email protected] Johanna Levy [email protected] Matthew Israel
    [Show full text]
  • Abstract Expressionism 1 Abstract Expressionism
    Abstract expressionism 1 Abstract expressionism Abstract expressionism was an American post–World War II art movement. It was the first specifically American movement to achieve worldwide influence and put New York City at the center of the western art world, a role formerly filled by Paris. Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism. In the USA, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.[1] The movement's name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic.[2] Jackson Pollock, No. 5, 1948, oil on fiberboard, 244 x 122 cm. (96 x 48 in.), private collection. Style Technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst and David Alfaro Siqueiros. Another important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all-over" look of Pollock's drip paintings.
    [Show full text]
  • Bella Pacifica.Indd
    BELLA PACIFICA BAY AREA ABSTRACTION 1946 — 1963: A SYMPHONY IN FOUR PARTS January 21 — March 12, 2011 First Movement: The 6 Gallery or An Array of Infl uences, Heard Softly Nyehaus is pleased to present Bella Pacifi ca: Bay Area Abstraction, 1946- 1963: A Symphony In Four Parts that will take place from January 11th to March 5th, 2011 at David Nolan Gallery, Nyehaus, Franklin Parrasch Gallery and Leslie Feely Fine Art. Characterized by tonal, harmonic, and rhythmic instability, the 6 Gallery exemplifi es the ‘50s at its most restless, carefree and experimental. The work shown at the gallery within its short life span (1954 to 1957) ranges from expressionism, to surrealism, illusionism, collage, assemblage and abstraction; pure and impure. A DADA attitude of Hilarity and Disdain had replaced the grave sense of mission that characterized the period from 1945 to the early 1950s. It can be said that out of all these artists’ professors and mentors, Hassel Smith had the most infl uence over this group, as they were outgoing, gregarious and playful, with strong ties to jazz and a new poetry that was like jazz. In the late ‘50s, both the San Francisco and Los Angeles scenes related to New York but on different channels. There were two different ways of constructing a conversation of difference, in which New York stood in for all of Metropolitan culture and each of the Alternative Scenes (Los Angeles, San Francisco) presented itself as the Real America. In San Francisco, the Alternative Scene resulted in collective projects such as galleries, publications, jazz bands and fi lm-screening societies.
    [Show full text]