Lisa Russell CV 2018
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Leonard Bernstein Festival of the Creative Arts
LEONARD FREE AND OPEN TO THE PUBLIC BERNSTEIN FESTIVAL OF APRIL 7-14, 2019 THE CREATIVE ARTS The Festival of the Creative Arts was founded in 1952 by the brilliant composer and conductor Leonard Bernstein. Each spring, Brandeis cele- brates the abundant creativity of its students, faculty, staff and alumni, joined by professional artists from around the country. Festival events are free and open to the public unless otherwise noted. For schedule updates, visit brandeis.edu/arts/festival. LEONARD BERNSTEIN Leonard Bernstein (1918-90) was one of the great American he conducted concerts on both sides of the wall. In the early artists of the 20th century. A composer, conductor, pianist, days of AIDS research, Bernstein raised the first million dol- teacher, thinker and adventurous spirit, he transformed the lars for a community-based clinical trials program run by the way we hear music and experience the arts. American Foundation for AIDS Research. Bernstein’s successes ranged from the Broadway stage Bernstein was a member of the Brandeis music department (“West Side Story,” “Candide,” “On the Town”) to television faculty from 1951-56. He received an honorary doctorate from and film, to international concert halls. His major concert Brandeis in 1959 and served as a University Fellow from 1958- works, including the symphony “Kaddish” and the choral 76 and on the university’s board of trustees from 1976-81. He works “Mass” and “Chichester Psalms,” are studied and was a trustee emeritus until his death in 1990. performed around the world. He was a dynamic leader of the world’s greatest orchestras, including the New York For the university’s first commencement, in 1952, Bernstein Philharmonic (1958-69). -
Public Meeting Access Will Be Provided Online At
NOTICE OF PUBLIC MEETING Wednesday, December 2, 2020 10:00 AM- 2:30 PM Public meeting access will be provided online at https://arts.ca.gov/about/council-meetings/ 1. Call to Order N. Lindo 2. Acknowledgment of Tribal Land A. Bown-Crawford 3. Roll Call and Establishment of a Quorum L. Barcena 4. Voting Item: Approval of Minutes from September 10, 2020 N. Lindo Council Meeting (TAB A) 5. Chair’s Report (TAB B) N. Lindo 6. Director’s Report (TAB C) A. Bown-Crawford 7. Public Comment N. Lindo Two forms of public comment will be offered: - Written comments will be accepted online prior to and during the Council meeting - Live comment will be accepted during this agenda item in the meeting via Zoom or phone. Live public comment may be limited to 2 minutes per person. Access and instructions will be provided at https://arts.ca.gov/about/council-meetings/ 8. Committee Updates: a) Equity Committee (TAB D) K. Gallegos L. Gonzales-Chavez b) Programs Policy Committee (TAB E) L. Baza J. Evans c) Legislative Committee (TAB F) C. Montoya J. Moscone d) Governance Committee K. Gallegos D. Harris 9. Presentation: Strategic Framework Committee (TAB G) The J. Galli Strategic Framework Committee will provide an overview of A. Israel the Aspirations and Decision Support Tool. 10. Discussion Item: Council’s Direction N. Lindo J. Galli 11. Voting Item: 2021 Chair and Vice-Chair Elections K. Gallegos The Nominating Committee will present the nominees for the J. Galli Council vote of chair and vice-chair for 2020. 12. -
SPIRITED THINGS: Sacred Arts of the Black Atlantic
SPIRITED THINGS: Sacred Arts of the Black Atlantic TRAVELING EXHIBITION SERVICE 2 SPIRITED THINGS INTRODUCTION he ruthless triangular trade that flourished between the continents of Europe, Africa, and the Americas T brought millions of enslaved Africans to the Americas, where African priests—assimilating some of the practices and beliefs of the radically new cultures they encountered—gradually adapted their ancestral religions to their people’s new and dire circumstances. The Afro-Atlantic religions are products of Africans’ long-running cosmopolitanism, and represent a complex, syncretic response to the tragic beginnings of globalization. This exhibition explores a family of religions that emerged from the centuries-long turmoil and diaspora of the trans-Atlantic slave trade. TRAVELING EXHIBITION SERVICE 3 4 SPIRITED THINGS SPIRITED THINGS: Spirited Things explores a family of religions that evolved in the context SACRED ARTS OF of the trans-Atlantic slave trade. At its root are the ancestors of the Yorùbá people and their gods, called òrìṣà (in Yorùbá), orichas (Spanish), orixás THE BLACK ATLANTIC (Portuguese), or orishas (English). West African monarchs and merchants invoked the òrìṣà in rituals of healing and for the protection of their interests in the coastal trade with their European counterparts. Later, West Africans enslaved in the Caribbean and South America adapted these same gods to their own, more existential needs of mutual assistance, healing, and spiritual uplift, often in defiance of their captors’ attempts to suppress their ancestral traditions. They disguised and amplified their continued worship of African gods by combining them with similar Roman Catholic saints and indigenous spirits. This blending of African, European, and Native American iconography and practices is a hallmark of the religions of the African diaspora, which include Haitian Vodou, Cuban Santería (also called Regla de Ocha), Brazilian Candomblé, and Caribbean Spiritism. -
Rose Art Museum's Sam Hunter Emerging Artists Fund Committee
FOR IMMEDIATE RELEASE Contact: Nina J. Berger, [email protected] 617.543.1595 High-resolution images available on request ROSE ART MUSEUM’S SAM HUNTER EMERGING ARTISTS FUND COMMITTEE SELECTS TWO WORKS BY B. INGRID OLSON TO ENTER THE COLLECTION (Waltham, MA) –The Rose Art Museum has announced that work by B. Ingrid Olson has been selected for acquisition by the Sam Hunter Emerging Artists Acquisition Fund Committee. Inspired by the legacy of the Rose’s founding director, Sam Hunter, the fund is generated annually and administered by a committee that aims to collect the work of promising artists on the cusp of recognition. Two works by Chicago-based Olson–Arched fold, bent of another movement, 2017 and Firing distance, scission, 2017–have been acquired for the Rose Art Museum’s collection. Straddling sculpture and photography, Olson’s work plays fascinating games with perception and vision. Olson was recently featured in a two-person exhibition at The Renaissance Society in Chicago, and her first solo museum show will open at the Albright-Knox Art Gallery in March 2018. Her work will also be included in Being: New Photography 2018, at the Museum of Modern Art, New York (March 2018) and in a group show at the MCA Chicago, Picture Fiction: Kenneth Josephson and Contemporary Photography (April 28– December 30, 2018). “Ingrid is an extraordinary photographer, pushing the bounds of the medium while engaging with pressing issues of gender identity and representation,” say Leslie Aronzon, a member of this year’s committee. “Her work fits in well with the Rose collection, and we are so excited to add her impressive and fresh works to our permanent collection.” Joining Aronzon on this year’s committee are Kim Allen-Niesen, Steven Bunson, Tory Fair, Betsy Pfau, and Lisa Wyett. -
The Alan Lomax Photographs and the Music of Williamsburg (1959-1960)
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2010 The Alan Lomax Photographs and the Music of Williamsburg (1959-1960) Peggy Finley Aarlien College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the Music Commons Recommended Citation Aarlien, Peggy Finley, "The Alan Lomax Photographs and the Music of Williamsburg (1959-1960)" (2010). Dissertations, Theses, and Masters Projects. Paper 1539626612. https://dx.doi.org/doi:10.21220/s2-b3tk-nh55 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. THE ALAN LOMAX PHOTOGRAPHS AND THE MUSIC OF WILLIAMSBURG (1959-1960) Peggy Finley Aarlien Niirnberg, Germany Master of Arts, Norwegian University of Sciences and Technology, 2001 Bachelor of Arts, Norwegian University of Sciences and Technology, 1995 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Masters of Arts The American Studies Program The College of William and Mary August 2010 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Masters o f Arts Approved by the Committee, June, 2010 Professor Grey Gundaker The American Studies Program / Dr^Gj/affle^MjbGovern he Anwiqfin SJMdies*4*f©gi2iiT^^ 'w / G' fgG Arthur Rrnignt j” The American Studies Program ABSTRACT PACE On July 19, 2002, folklorist Alan Lomax died at the age of 87. -
Framework for the Future
THE FRAMEWORK FOR THE FUTURE FINAL REPORT January 2020 The Framework for the Future: Prefatory Remarks Brandeis University is at an important crossroads in its 72-year history. Founded by the American Jewish community on the principles of academic excellence and openness in hiring and admissions practices, Brandeis has achieved an inspiring degree of success — not just as a young university committed to educating undergraduates in the liberal arts but also as a major research institution. The Framework for the Future provides a scaffolding for the university’s coming decades. It is rooted in the institution’s history and builds upon its unique place in higher education. The Framework is the synthesis of more than three years of broad consultations with focus groups, including prospective students, current students, alumni, faculty, staff, trustees, friends, and parents. It is also based on responses from multiple alumni surveys; information gleaned from 30 “self-reflection” documents written by faculty and administrators; and the work of four task forces, composed of 11 working groups, which forwarded for consideration more than 250 recommendations. The synthesis of these sources does not include many of the recommendations that came out of the task force reports. Rather, it offers some overarching themes that require our attention most urgently as we seek to plan and advance Brandeis’ future. And while the Framework provides guideposts within which we will pursue many initiatives, its purpose is not to identify all the university’s plans, strengths, and achievements. Instead, it outlines a series of strategic initiatives and investments, especially in areas where we have over the years underinvested, which will allow us to build a stronger Brandeis over the next several years. -
Museums in Middlebury Vermont
Museums in Middlebury Vermont Founded in 1984, the Vermont Folklife Center is a nationally-known folklife education organization that uses ethnography—study of cultural experience through interviewing, participation and observation—to strengthen the understanding of the cultural and social fabric of Vermont's diverse communities. 88 Main St. Middlebury, VT 05753 802-388-4964 www.vermontfolklifecenter.org Approximately 5 minutes from the Middlebury Inn The Sheldon Museum, the oldest community-based Museum in the country, has welcomed visitors and researchers since 1882. In 2015, the Sheldon Museum announced a two-year alliance with Historic New England alliance, Our mission is to serve the public by preserving the historic memory of Addison County and neighboring communities, heightening the awareness and enjoyment of our rich cultural legacy, and stimulating the study of connections between Vermont’s past and broader historical themes. 1 Park St. Middlebury, VT 05753 802-388-2117 www.henrysheldonmuseum.org Approximately 5 minutes from the Middlebury Inn The Middlebury College Museum of Art is an integral educational and cultural component of Middlebury College whose mission is to enable visitors to understand more fully the artistic achievements represented by a diversity of cultures. Our collection of several thousand objects ranges from antiquities to contemporary art and includes distinguished collections of Asian art, Middlebury College Museum of Art is an integral educational and cultural component of Middlebury College whose mission is to enable visitors to understand more fully the artistic achievements represented by a diversity of cultures. Our collection of several thousand objects ranges from antiquities to contemporary art and includes distinguished collections of Asian art, photography, 19th- centrury European and American Sculpture, and contemporary prints. -
The Rose Art Museum
The Rose Art Museum “The Rose at Brandeis: Works from the Collection” Curated by Adelina Jedrzejczak and Roy Dawes Oct. 28, 2009 – May 23, 2010 The Rose Art Museum Brandeis University Fall exhibition, special catalogue will mark celebration of The Rose Art Museum’s permanent collection WALTHAM, Mass.— In fall 2009, The Rose Art Museum at Brandeis University will feature its renowned collection, which includes modern and contemporary masterworks by some of the 20th century’s most revered artists, in an historic exhibition and catalogue. The wide-ranging show entitled, “The Rose at Brandeis: Works from the Collection” opens on Oct. 28th and will present the breadth of the collection by including pieces from dozens of artists who represent different historical periods, from Willem de Kooning, to Jasper Johns, Roy Lichtenstein, Morris Louis, Andy Warhol, Robert Motherwell, Helen Frankenthaler, Max Weber, Cindy Sherman, Kiki Smith, Larry Rivers, Philip Guston, Frank Stella, Jennifer Bartlett, Hans Hoffman, Louise Nevelson and Elsworth Kelley, among others. The exhibition will also explore the depth of The Rose’s holdings by focusing on groupings of artworks by several artists, to expose both artistic development and the process of collecting. “The length of the exhibition, running from October through May 23, 2010, will allow students and the public unprecedented access to some of the key artworks in the collection,” said show co-curator and Director of Museum Operations Roy Dawes. “It will allow museum visitors time to properly see, contemplate, study, revisit and gain perspective on this stupendous collection.” “The Rose at Brandeis” coincides with the Oct.1 publication of the first comprehensive catalogue of the museum’s collection. -
Reciprocal Museum List
RECIPROCAL MUSEUM LIST DIA members at the Affiliate level and above receive reciprocal member benefits at more than 1,000 museums and cultural institutions in the U.S. and throughout North America, including free admission and member discounts. This list includes organizations affiliated with NARM (North American Reciprocal Museum) and ROAM (Reciprocal Organization of American Museums). Please note, some museums may restrict benefits. Please contact the institution for more information prior to your visit to avoid any confusion. UPDATED: 10/28/2020 DIA Reciprocal Museums updated 10/28/2020 State City Museum AK Anchorage Anchorage Museum at Rasmuson Center AK Haines Sheldon Museum and Cultural Center AK Homer Pratt Museum AK Kodiak Kodiak Historical Society & Baranov Museum AK Palmer Palmer Museum of History and Art AK Valdez Valdez Museum & Historical Archive AL Auburn Jule Collins Smith Museum of Fine Art AL Birmingham Abroms-Engel Institute for the Visual Arts (AEIVA), UAB AL Birmingham Birmingham Civil Rights Institute AL Birmingham Birmingham Museum of Art AL Birmingham Vulcan Park and Museum AL Decatur Carnegie Visual Arts Center AL Huntsville The Huntsville Museum of Art AL Mobile Alabama Contemporary Art Center AL Mobile Mobile Museum of Art AL Montgomery Montgomery Museum of Fine Arts AL Northport Kentuck Museum AL Talladega Jemison Carnegie Heritage Hall Museum and Arts Center AR Bentonville Crystal Bridges Museum of American Art AR El Dorado South Arkansas Arts Center AR Fort Smith Fort Smith Regional Art Museum AR Little Rock -
Every Rose Has Its Thorn: a New Approach to Deaccession Andrew W
Hastings Business Law Journal Volume 6 Article 4 Number 2 Summer 2010 Summer 1-1-2010 Every Rose Has Its Thorn: A New Approach to Deaccession Andrew W. Eklund Follow this and additional works at: https://repository.uchastings.edu/ hastings_business_law_journal Part of the Business Organizations Law Commons Recommended Citation Andrew W. Eklund, Every Rose Has Its Thorn: A New Approach to Deaccession, 6 Hastings Bus. L.J. 467 (2010). Available at: https://repository.uchastings.edu/hastings_business_law_journal/vol6/iss2/4 This Note is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Business Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. EVERY ROSE HAS ITS THORN: A NEW APPROACH TO DEACCESSION Andrew W. Eklund* INTRODUCTION In 1961, Edgar and Bertha Rose donated $1 million to Brandeis University to form the Rose Art Museum ("the Rose").' Initially, the Rose had no acquisition budget, so the now-7000-piece collection was built on gifts.2 Focused on twentieth-century art, the collection includes a strong selection of post-war artists like Andy Warhol, Jasper Johns, and Roy Lichtenstein,3 many of which were acquired through the initial gifts to the museum.4 In the face of the financial crisis and reduced donations due to the Bernard Madoff scandal, Brandeis University's board of trustees voted unanimously to close the Rose and sell the entire collection on January 26, 2009.5 Valued at approximately $350 million, the Rose was targeted to help deal with Brandeis' budget deficit, alleged to be as much as $10 million,6 as well as a decline in the University's endowment, from $712 million to $549 million, or twenty-three percent, since the financial crisis began. -
SJMA Members at the $75 Level and Above Can Enjoy Benefits at the Following Museums: Western Museum Group (WMG)
Reciprocal Membership Privileges: Museum members at the Dual/Family ($75) level and above receive reciprocal privileges at museums affiliated with the Western Museum Group (WMG). Those at the Advocate ($150) level and above also receive reciprocal privileges at museums in both the Museum Alliance Reciprocal Program (MARP), Reciprocal Organization of Associated Museums (ROAM) and also the North American Reciprocal Membership (NARM) programs. Please check with institution for their reciprocity policy. SJMA Members at the $75 level and above can enjoy benefits at the following museums: Western Museum Group (WMG) California Museum of Craft and Folk Art, SF Santa Barbara Museum of Art Other Western States Carnegie Art Museum, Oxnard Museum of Photographic Arts, San Diego Seymour Marine Discovery Center Bellevue Art Museum, WA Fresno Art Museum National Steinbeck Center The Museum of Art & History, Santa Cruz Missoula Art Museum, Montana Fresno Metropolitan Museum Orange County Museum of Art UCR California Museum of Photography Phoenix Art Museum, AZ Long Beach Museum of Art Pacific Asia Museum, Pasadena University Art Museum, Santa Barbara Tucson Museum of Art and Historic Block, AZ Museum of Contemporary Art, San Diego & LaJolla San Jose Museum of Quilts and Textiles The Contemporary Museum, Honolulu SJMA Members at the $150 level and above can also enjoy benefits at the following museums: Museum Alliance Reciprocal Program (MARP) North American Reciprocal Membership (NARM) Reciprocal Organization of Associated Museums (ROAM) Alaska San Diego -
ROBERT E. VON STERNBERG Born
ROBERT E. VON STERNBERG Born: Glendale, California AA, El Camino College, Torrance, California 1961 BA, California State University, Long Beach, California 1965 MA, California State University, Long Beach, California 1969 Chairman, Art Department, Santa Ana College, Santa Ana, California, 1970- 1971 Lecturer, California State University, Fullerton, Summer Session, 1971 Visiting Artist, California Institute of the Arts, Valencia, California, 1972 Lecturer, UCLA Extension, 1973-1975 Visiting Artist, Cincinnati Art Museum, Cincinnati, Ohio, 1975 Lecturer, Northern Kentucky University, Highland Heights, Kentucky, Summer Session, 1975 Professor of Art (Emeritus), California State University, Northridge, 1971- 2006 PERMANENT COLLECTIONS Ackland Art Museum, UNC at Chapel Hill, North Carolina Allentown Art Museum of the Lehigh Valley, Allentown, Pennsylvania Art Institute of Chicago, Chicago, Illinois Bates Museum of Art, Lewiston, Maine Benedictine University Art Collection, Lisle, Illinois Bibliotheque Nationale de France, Paris, France Blanden Art Museum, Fort Dodge, Iowa Boise Art Museum, Boise, Idaho Boca Raton Museum of Art, Boca Raton, Florida California Museum of Photography, University of California, Riverside California State University, Long Beach, Long Beach, California Cameron Art Museum, Wilmington, North Carolina Cedar Rapids Museum of Art, Cedar Rapids, Iowa Center for Creative Photography, University of Arizona, Tucson, Arizona Crocker Art Museum, Sacramento, California CU Art Museum, UCB, Boulder, Colorado David Winton Bell