Name: 00000314

Total Page:16

File Type:pdf, Size:1020Kb

Name: 00000314 \ K§i Contents Board and Committees, 2002-2003 Volume 14, 2002-2003 Photography and reproduction credits: Reports of the Chairman and Director Copyright © 2004 by The David and Alfred Front and back covers and pages 21, 22, 26, Smart Museum of Art, The University of 29, 31, 33, 35-37, 39, 41, 43, 45: photography Mission Statement Chicago, 5550 South Greenwood Avenue, by Tom van Eynde. Chicago, Illinois, 60637. AH rights reserved, http: / / smartmuseum.uchicago.edu Pages 47, 50, 54, 56, 57, 58 (FIGURE 1), 59 ISSN: 1099-2413 (FIGURES 1 and 2), 60 (FIGURES 2 and 3), 63, The Idea of Things and the Ideas in Them, Bill Brown 65, 67: photography by Jim Newberry. Editor: Stephanie Smith Publication Assistants: Amanda Ruch, Page 14: © 1971 Aperture Foundation Inc., Sophie Hackett Paul Strand Archive, and the Baltimore Acquisitions Design: Froeter Design Company, Inc. Museum of Art, purchase with exchange funds Printing: Lowitz & Sons, Chicago from the Edward Joseph Gallagher III Memorial Collection; and partial gift of George H. Front cover: Installation view of Dawoud Bey: Dalsheimer, Baltimore, BMA 1988.575. Exhibitions The Chicago Project, April 24-June 15, 2003 Page 21: courtesy Luise Ross Gallery, New York. Education Back cover: Installation view of Reflections of Beauty: Late Nineteenth-Century Japanese Prints Page 22: © 2004 Estate of Alexander Archipenko Public Programs in the Smart Museum Collection, December 15, / Artists Rights Society (ARS), New York. 2002-March 23, 2003 Sources of Support Page 26: © 2004 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Operating Statement Page 29: © Aaron Siskind Foundation, courtesy Smart Museum Staff Robert Mann Gallery, New York. Page 31: courtesy The Couturier GaUery, Los Angeles. Page 32: courtesy the artist and Chambers Fine Art, New York. Every effort has been made to contact rights holders for all reproductions. Additional rights holders please contact the Smart Museum. 4 Board and Committees, 2002-2003 Reports of the Chairman and Director Report of the Director donors, whose gifts strengthened key areas of our Smart Museum Board of Governors Georgette D'Angelo Irmgard Hess Rosenberger Report of the Chairman This will be my last report as director of the collection. Paul and Susan Freehling gave a group Robert G. Donnelley Brenda Shapiro 2002-03 was another successful year for the of works by European modern artists including Smart Museum, as Istep down at the end of Richard Gray, Gail M. Elden Joseph P. Shure University of Chicago's David and Alfred Smart Chairman Archipenko, Kirchner, and Kandinsky. Leon and Museum of Art. We presented a wealth of exciting June 2004 to become the director of the new Elizabeth Helsinger, Vice Chair Dr. Patricia Erens John N. Stern Nasher Museum of Art at Duke University. 1 Marion Despres's gifts of works on paper by Mrs. Owen Fairweather Dorie Sternberg exhibitions and programs for an ever-expanding Marilynn B. Alsdorf American and European artists, including a rare audience, and continued to build the collection write to you now in May 2004, reflecting on our Mrs. Edwin A. Bergman Joan E. Feitler Isabel C. Stewart activities for the 2002-03 fiscal year, another print by Max Beckmann, augmented several Robert Feitler Dr. Bryan Traubert with thoughtful purchases and significant gifts. Joel Bernstein areas of the collection, and they also gave a I take this opportunity to thank all our friends, very satisfying one as we continued our trajec­ Russell Bowman Joan S. Freehling Clarence S.Wilson, Jr. tory of growth across all dimensions. Attendance beautiful group of modern ceramics by Gertrud Stanley M. Freehling Karen G. Wilson members, and supporters, with special thanks Susan O'Connor Davis and Otto Natzler. Joseph V. and Brenda F. Smith to Joan and Robert Feitler, Will and Ellen grew from 45,000 the previous year to 52,000. Robert G. Donnelley Marshall B. Front James Nowell Wood Our annual budget continued to rise, from $1.98 continued to donate groups of important prints Allan Frumkin t Mrs. George B.Young Oswald, Raymond Smart, and Mary Smart of the Richard Elden by such artists as Callot, Goya, and Kollwitz, and Smart Family Foundation.I am also particularly million to $2.1 million. This reflects increased Robert Feitler Susanne Ghez Helen Zell fundraising: individual contributions increased Miriam Graham bestowed a significant group of Adele B. Gidwitz grateful to the museum's dedicated Board of Lorna C. Ferguson British and American Art Nouveau objects to Governors for their leadership. Particular thanks from $201,000 to $233,000; foundation and cor­ Alan M. Fern Isaac Goldman Education Advisory Committee porate support grew from $333,000 to $543,000; enhance our modern design collection. Jean K. Goldman are due to Elizabeth Helsinger, Vice Chair, and Sharon Flanagan One of the year's major achievements Lorna Ferguson, Collections Committee Chair. and government grants from $45,000 to $97,000. Stanley M. Freehling Richard Gray Diane Bloom While worth noting, these figures mean was the substantial completion of the H.C. Mary Winton Green Danielle Choi Finally,I must thank our director, Kimerly Jack Halpern Westermann Study Collection gift, from the Rorschach, for her service to the museum over nothing in themselves. Our success should Joan W. Harris Joyce Zeger Greenberg Lydia Diamond instead be measured by the ways we fulfilled our estate of the artist's wife Joanna Beall Nathan M. Grossman Eliza Duenow this past decade. She had developed, led, and Neil Harris Westermann. This group of over 220 objects, inspired the museum's fine staff through a period mission as we worked to strengthen the collec­ Mary Harvey (ex officio) Leo S. Guthman t Steve Gilbert tions and present the best and most interesting including sculptures, drawings, prints, and David C. Hilliard David Hays of remarkable progress and has set the course for Randy L. Holgate documents, makes the Smart Museum the assured growth in the future. possible exhibitions and programs to engage our William M. Landes Doris B. Holleb Dr. Marvin Hoffman many audiences, both within the University of major repository for the study of the work of Kimerly Rorschach (ex officio) Marshall M. Holleb Mark Johnson Chicago and beyond it. this important, but still too little known Joel Honigberg Deborah Levinson Richard Gray Linda Seidel (ex officio) American sculptor whose life and work were Chairman, Board of Governors Our collections were augmented by a Raymond Smart Ruth P. Horwich Sonya Malunda major photographic work by the young Chinese celebrated with major retrospectives in 2001. Joel Snyder Dr. James E. Jones Michelle Obama artist Song Dong, Breathing, Part 1 and Part 2, In support of this gift, the late Allan Frumkin John N. Stern Burton W. Kanter t Dan Peterman 1996, which was exhibited in our 1999 exhibition (Westermann's friend and former dealer) gave Geoffrey Stone Alan Koppel Richard Pettengill Transience: Chinese Experimental Art at the a group of seven objects and two drawings to Allen M. Turner (ex officio) Dr. Mary S. Lawton Bill Salvato End of the Twentieth Century. Song Dong has complement the study collection. Michael Wyatt Julius Lewis Laura Senteno emerged as one of the most exciting artists of In our exhibition program, we strive to Holly W. Madigan Carolyn Sullivan his generation. His work has drawn acclaim from present a wide variety of subjects, to stimulate University of Chicago Visiting EloiseW. Martin Mary Ellen Ziegler curators and critics around the globe and will and challenge our audiences both visually and Committee on the Visual Arts Beatrice Cummings Mayer be featured in our upcoming exhibition Between intellectually, and to reflect exciting scholarship Thomas McCormick t Deceased Past and Future: New Photography and Video and research here at the University of Chicago. Allen M. Turner, Chairman Mary M. McDonald from China, which will be shown in Chicago, Major exhibitions in 2002-03 ranged from the Anne Abrons Mrs. Ralph Mills, Jr. New York, Seattle, Berlin, London, and Santa raw energy of Outside In: Self-Taught Artists and Marilynn B. Alsdorf Paula Molner Barbara in 2004-05. This purchase was possible Chicago to the exquisite refinement of Symbol Dorothy L. Baumgarten Charles H. Mottier through the generosity of Will and Ellen Oswald and Substance: The ElaineEhrenkranz Collection Robert H. Bergman Martin Hughes Nesbitt and the Smart Family Foundation, who estab­ of Japanese Lacquer Boxes. Our fall exhibition, David L. Blumberg Muriel Kallis Newman lished the Smart Family Foundation Fund for Confronting Identities in German Art: Myths, T. Kimball Brooker Evelyn E. Padorr Contemporary Art last year. Reactions, Reflections, organized by Professor John A. Bross Marshall J. Padorr We also benefited from gifts of works of Reinhold Heller and Mellon Projects Curator Gay-Young Cho Beatrice G. Perry art from many generous individuals. We were Elizabeth Rodini, was challenging in its intellec­ Phyllis Gordon Cohen Elizabeth Plotnick particularly fortunate last year to receive tual scope, tracing the crucial theme of identity Marion Wood Covey Margot L. Pritzker extraordinary groups of works from several in German art from 1800 to the present. The show Michael Cunningham Laura Campbell Rhind , • \ 6 Reports of the Chairman and Director Mission Statement disciplinary understanding of the visual arts by assistant Brette Greenwood work tirelessly to The David and Alfred Smart Museum of Art is also delighted the eye with a brilliant range of also helped organize a party to launch the stu­ the art museum of the University of Chicago. means of its exhibitions and programs. While dent Festival of the Arts in May, and broke all keep the wheels turning, and they wear many works from our collections supplemented by embracing and serving the University of Chicago hats with unwavering good cheer. Our registrar In support of the University of Chicago's educa­ loans from some of the most important public records by entertaining some 1,000 students at tional mission the Smart Museum collects, audience, the Museum also reaches beyond this the museum during the course of the evening.
Recommended publications
  • Lebensguss Marc Krepp
    LEBENSGUSS MARC KREPP 1 LEBENSGUSS MARC KREPP 2 Vorwort Christoph Breitwieser Ist es nicht erstaunlich, dass in einer durch und durch schmiedendes und dennoch robustes Material hervorbrachte, industrialisierten, globalisierten und digitalisierten Zeit das durch Einschmelzen auch leicht recyclebar war. einigen Materialien eine geradezu archaisch anmutende Außerdem glänzt das Material im Sonnenlicht wie ein noch Wertschätzung zukommt? Denken wir an Edelsteine oder begehrterer Rohstoff, der direkt von der Sonne zu stammen an die Edelmetalle Platin, Gold und Silber, erklärt sich scheint: dem Gold. Der Anblick der glühendflüssigen diese durch die Seltenheit der Rohstoffe. Doch woher rührt und funkenspeienden Bronze beim Legieren muss großen unsere beinahe ehrfürchtige Faszination gegenüber der Eindruck auf die Menschen gemacht haben – magisch, Bronze – einem Material, auf das wir vermeintlich unbegrenzt archaisch, göttlich. Zugriff haben? Hier lohnt ein Blick in die Urgeschichte und Einen Nachteil hat die Bronze allerdings: Auf dem besonders in eine Epoche, die der Legierung aus Kupfer und europäischen Kontinent liegen die Lagerstätten von Kupfer Zinn sogar ihren Namen verdankt: der Bronzezeit. und Zinn weit voneinander entfernt. Während Kupfer Nach rund 3,4 Millionen Jahren Evolution suchte der vor allem im alpinen Raum und in den Mittelgebirgen Mensch eine Alternative zum Stein als Werkstoff für vorkommt, wird Zinn in England, Dänemark und Spanien Arbeitsgeräte, Waffen und Schmuck, aber auch als abgebaut. Daher wird Bronze zum ultimativen Katalysator Ausdrucksmedium seiner Kreativität. Die erste Wahl fiel der Menschheitsgeschichte: Um die beiden Rohstoffe auf das Element Kupfer, das jedoch aufgrund der Weichheit zusammenzuführen, muss ein europaweites Verkehrsnetz des Metalls nur bedingt als Werkzeug verwendet werden aufgebaut werden. Der Austausch von Zinn und Kupfer zur konnte.
    [Show full text]
  • Bulletin Describes the Operations of the Artmobile, Presents Some
    DOCUMENT RESUME' ED 027 356 UD 007 709 Artmobile Exhibit # I: A Manual on, Operations and Instructions. Los Angeles City Schools, Calif. Div. of Secondary Education. Report No- LACS -ESEA-T -A-127-67 Pub Date 30 Jun 67 . Note-60p. EDRS Price MF-$0.50 HC-$3.10 Descriptors-Art Activities, *Art Education, Artists, *Art Materials, Educational Objectives, Instructional Materials, Learning Activities, *Mobile Educational services, *Secondary Schools Identifiers-Californik Los Angeles . An Artmobile exhibit was developed for Los Angeles secondary schools underan ESEA specially funded program. The exhibit involves two trailers and packaged instructional materials for a display of the work of 33 local artists. An instructional bulletin describes the operations of the Artmobile, presents some relevant art concepts, outlines several art education objectives, and offers some suggested learning activities for art classrooms. The document includes information about the 33 artists 'and their work (NH) r SPECIALLY FUNDED PROGRAMS" FOR CLASSROOM TRIAL ONLY ESEA NO. T - -61., SUMMER, 1967 ....... : . ,.. ARTMOBILE Exhibit #1 ii . .:: .... ... A AAANIJAL A*. :?.....,.... On Oporations ..::::::...,.. .(44,E.... .... .. :......,...:.::, AndInstructions ,.-....:E.:::::.....,. : " U.3. UtVAKIMUll Ut MAW!, CUULAIIUM Ca WELIMIL OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION MHITMNORPOLMt LoSANGELES CITY SCHOOL DISTRICTS Divi9ion of Secondary Education Beverly Boulevard Center Specially-PundedPrograms DATE: June 30, 1967 ............-______...............CLASSROOM TRIAL APPROVAL PROJECT: FINE ARTS --ART (ARTmOBILE) ARTMOBILE EXHIBIT # I TITLE OF PUBLICATION: A Manual on Operations and Instruction The material isaccepted and approvedfor classroom trial. c../ onsultant in Charge , Project Coordinator .../ .
    [Show full text]
  • The Art of Society, 1900-1945: the Nationalgalerie Collection 1 / 23 1
    The Art of Society, 1900-1945: The Nationalgalerie Collection 1 / 23 1. Tarsila do Amaral Long-term loan from the Fundação José Distance, 1928 e Paulina Nemirovsky to the Pinacoteca Oil on canvas do Estado de São Paulo 65 × 74.5 cm 2. Alexander Archipenko Staatliche Museen zu Berlin, Flat Torso, 1914 (cast, late 1950s) Nationalgalerie Bronze Acquired in 1965 from the Galerie 48 x 10,5 x 10,5 cm (base included) Grosshennig, Düsseldorf, by the Land Berlin for the Galerie des 20. Jahrhunderts, Berlin (West) 3. Alexander Archipenko Staatliche Museen zu Berlin, Woman Standing, 1921 Nationalgalerie Bronze Acquired in 1977 from the 67,5 x 14,5 x 15 cm Handelsorganisation (HO) Cottbusser Börse, Cottbus, for the Nationalgalerie, Berlin (East) 4. Hans Arp Staatliche Museen zu Berlin, Constellation (Shellhead and Tie), Nationalgalerie 1928 Gift from the Ulla and Heiner Pietzsch Wood, 25,1 x 33,9 x 6 cm Collection to the Land Berlin, 2010 5. Hans Arp Staatliche Museen zu Berlin, Sitting, 1937 Nationalgalerie Limestone Gift from the Ulla and Heiner Pietzsch 29,5 x 44,5 x 18 cm Collection to the Land Berlin, 2010 6. Hans Arp Staatliche Museen zu Berlin, Concrete Relief, 1916/1923 Nationalgalerie Wood Acquired in 1979 from the estate of 21,4 x 27,7 x 7 cm Hannah Höch, Berlin, by the Freunde der Nationalgalerie for the Nationalgalerie, Berlin (West) 7. Hans Arp Staatliche Museen zu Berlin, Concretes Relief, 1916/1917 Nationalgalerie Wood Acquired in 1979 from the estate of 41,2 x 60,6 x 12 cm Hannah Höch, Berlin, by the Freunde der Nationalgalerie for the Nationalgalerie, Berlin (West) 8.
    [Show full text]
  • Trauma and Memory: an Artist in Turmoil
    TRAUMA AND MEMORY: AN ARTIST IN TURMOIL By Angelos Koutsourakis Konrad Wolf’s Artist Films Der nackte Mann auf dem Sportplatz (The Naked Man on the Sports Field, 1973) is one of Konrad Wolf’s four artist films. Like Goya (1971), Solo Sunny (1978), and Busch singt (Busch Sings, 1982)—his six-part documentary about the German singer and actor Ernst Busch, The Naked Man on the Sports Field focuses on the relationship between art and power. In Goya, Wolf looks at the life of the renowned Spanish painter—who initially benefited from the protection of the Spanish king and the Catholic church—in order to explore the role of the artist in society, as well as issues of artistic independence from political powers. In Solo Sunny, he describes a woman’s struggle for artistic expression and self-realization in a stultifying world that is tainted by patriarchal values; Sunny’s search is simultaneously a search for independence and a more fulfilling social role. Both films can Film Library • A 2017 DVD Release by the DEFA be understood as a camouflaged critique of the official and social pressures faced by East German artists. The Naked Man on the Sports Field can be seen this way as well, and simultaneously explores questions of trauma and memory. The film tells the story of Herbert Kemmel (played by Kurt Böwe), an artist uncomfortable with the dominant understanding of art in his country. Kemmel is a sculptor in turmoil, insofar as he seems to feel alienated from his social environment, in which people do not understand his artistic works.
    [Show full text]
  • Annual Report 2013-2014
    The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I.
    [Show full text]
  • Ceramics Monthly Jun90 Cei069
    William C. Hunt........................................Editor Ruth C. Buder.......................... Associate Editor Robert L. Creager........................... Art Director Kim Schomburg....................Editorial Assistant Mary Rushley................... Circulation Manager Mary E. Beaver.................Circulation Assistant Jayne Lx>hr.......................Circulation Assistant Connie Belcher.................Advertising Manager Spencer L. Davis.................................Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio43212 (614) 488-8236 FAX (614) 488-4561 Ceramics Monthly (ISSN 0009-0328) is pub­ lished monthly except July and August by Professional Publications, Inc., 1609 North­ west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates: One year $20, two years $36, three years $50. Add $8 per year for subscriptions outside the U.S.A. Change of Address: Please give us four weeks advance notice. Send both the magazine address label and your new ad­ dress to: Ceramics Monthly, Circulation Of­ fices, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (including 35mm slides), graphic illustra­ tions, announcements and news releases about ceramics are welcome and will be considered for publication. A booklet de­ scribing standards and procedures for the preparation and submission of a manu­ script is available upon request. Mail sub­ missions to: The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Infor­ mation may also be sent by fax: (614) 488- 4561; or submitted on 3.5-inch microdisk- ettes readable with an Apple Macintosh™ computer system. Indexing: An index of each year’s articles appears in the December issue. Addition­ ally, articles in each issue ofCeramics Monthly are indexed in the Art Index; on-line (com­ puter) indexing is available through Wilson- line, 950 University Avenue, Bronx, New York 10452.
    [Show full text]
  • Summer Seminar for K-12 Educators, Teaching the Holocaust Through
    Narrative Section of a Successful Application The attached document contains the grant narrative and selected portions of a previously funded grant application. It is not intended to serve as a model, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects its unique project and aspirations. Prospective applicants should consult the current Summer Seminars and Institutes guidelines, which reflect the most recent information and instructions, at https://www.neh.gov/program/summer-seminars-and-institutes-k-12-educators Applicants are also strongly encouraged to consult with the NEH Division of Education Programs staff well before a grant deadline. Note: The attachment only contains the grant narrative and selected portions, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Teaching the Holocaust through Visual Culture Institution: Bowdoin College Project Directors: Natasha Goldman Grant Program: Summer Seminars and Institutes (Seminar for K-12 Educators) 400 7th Street, SW, Washington, DC 20024 P 202.606.8500 F 202.606.8394 [email protected] www.neh.gov Teaching the Holocaust through Visual Culture Summer Seminar for School Teachers at Bowdoin College Table of Contents Narrative 1 Intellectual Rationale 1 Program
    [Show full text]
  • (Or) Dead Heroes?
    Juli Székely HEROES AFTER THE END OF THE HEROIC COMMEMORATING SILENT HEROES IN BERLIN Living (or) dead heroes? Although meditations over the influence of key figures on the course of history have already been present since antiquity, the heroic imagination of Europe considerably changed in the nineteenth century when the phenomenon of hero worship got deeply interwoven with a project of nation-states.1 As historian Maria Todorova describes, ‘the romantic enterprise first recovered a host of “authentic” folk heroes, and encouraged the exalted group identity located in the nation’ and then it ‘underwrote the romantic political vision of the powerful and passionate individual, the voluntaristic leader, the glorious sculptor of human destinies, the Great Man of history.’2 Nevertheless, in the period after 1945 these great men – who traditionally functioned as historical, social and cultural models for a particular society – slowly began to appear not that great. In 1943 already Sidney Hook cautioned that ‘a democratic community must be eternally on guard’ against heroic leaders because in such a society political leadership ‘cannot arrogate to itself heroic power’.3 But after World War II the question was not simply about adjusting the accents of heroism, as Hook suggested, but about the future legitimacy of the concept itself. Authors extensively elaborated on the crises of the hero that, from the 1970s, also entailed a Juli Székely, ‘Heroes after the end of the heroic. Commemorating silent heroes in Berlin’, in: Studies on National Movements,
    [Show full text]
  • The California Art Quilt Revolution
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Public Access Theses and Dissertations from Education and Human Sciences, College of the College of Education and Human Sciences (CEHS) Spring 4-14-2011 The California Art Quilt Revolution Nancy C. Bavor University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/cehsdiss Part of the Arts and Humanities Commons, and the Education Commons Bavor, Nancy C., "The California Art Quilt Revolution" (2011). Public Access Theses and Dissertations from the College of Education and Human Sciences. 98. https://digitalcommons.unl.edu/cehsdiss/98 This Article is brought to you for free and open access by the Education and Human Sciences, College of (CEHS) at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Public Access Theses and Dissertations from the College of Education and Human Sciences by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE CALIFORNIA ART QUILT REVOLUTION by Nancy Curry Bavor A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: Textiles, Clothing & Design Under the Supervision of Professor Michael F. James Lincoln, Nebraska April 2011 THE CALIFORNIA ART QUILT REVOLUTION Nancy Curry Bavor, M.A. University of Nebraska, 2011 Adviser: Michael F. James The American studio art quilt movement that emerged in the last decades of the twentieth century had its primary origins in Ohio and California, and to a lesser degree, Massachusetts. There is no study that considers the early quilt artists in California as a group nor are there studies that consider their work from an art historical viewpoint.
    [Show full text]
  • ANNUAL REPORT 2005 1 2 Annual Report 2005 Contents
    ANNUAL REPORT 2005 www.mam.org 1 2 Annual Report 2005 Contents Board of Trustees . 4 Committees of the Board of Trustees . 4 President and Chairman’s Report . 6 Director’s Report . 9 Curatorial Report . 11 Exhibitions, Traveling Exhibitions . 14 Loans . 14 Acquisitions . 16 Publications . 35 Attendance . 36 Membership . 37 Education and Public Programs . 38 Year in Review . 39 Development . 43 Donors . 44 Support Groups . 51 Support Group Officers . 55 Staff . 58 Financial Report . 61 Financial Statements . 63 OPPOSITE: Ludwig Meidner, Self-Portrait (detail), 1912. See listing p. 16. PREVIOUS PAGE: Milwaukee Art Museum, Quadracci Pavilion designed by Santiago Calatrava as seen looking east down Wisconsin Avenue. www.mam.org 3 Board of Trustees As of August 30, 2005 BOARD OF TRUSTEES COMMITTEES OF Earlier European Arts Committee Jean Friedlander AND COMMITTEES THE BOARD OF TRUSTEES Jim Quirk Milton Gutglass George T. Jacobi MILWAUKEE ART MUSEUM EXECUTIVE COMMITTEE Chair David Ritz Sheldon B. Lubar Sheldon B. Lubar Martha R. Bolles Helen Weber Chairman Chair Vice Chair and Secretary Barry Wind Andrew A. Ziegler Christopher S. Abele Barbara B. Buzard EDUCATION COMMITTEE President Donald W. Baumgartner Joanne Charlton Lori Bechthold Margaret S. Chester Christopher S. Abele Donald W. Baumgartner Frederic G. Friedman Stephen Einhorn Chair Vice President, Past President Terry A. Hueneke George A. Evans, Jr. Kim Abler Mary Ann LaBahn Eckhart Grohmann Frederic G. Friedman John Augenstein Marianne Lubar Frederick F. Hansen Assistant Secretary and James Barany P. M ichael Mahoney Avis M. Heller Legal Counsel José Chavez Betty Ewens Quadracci Arthur J. Laskin Terrence Coffman Mary Ann LaBahn James H.
    [Show full text]
  • California Design, 1930-1965: “Living in a Modern Way” CHECKLIST
    ^ California design, 1930-1965: “living in a modern way” CHECKLIST 1. Evelyn Ackerman (b. 1924, active Culver City) Jerome Ackerman (b. 1920, active Culver City) ERA Industries (Culver City, 1956–present) Ellipses mosaic, c. 1958 Glass mosaic 12 3 ⁄4 x 60 1 ⁄2 x 1 in. (32.4 x 153.7 x 2.5 cm) Collection of Hilary and James McQuaide 2. Acme Boots (Clarksville, Tennessee, founded 1929) Woman’s cowboy boots, 1930s Leather Each: 11 1 ⁄4 x 10 1⁄4 x 3 7⁄8 in. (28.6 x 26 x 9.8 cm) Courtesy of Museum of the American West, Autry National Center 3. Allan Adler (1916–2002, active Los Angeles) Teardrop coffeepot, teapot, creamer and sugar, c. 1957 Silver, ebony Coffeepot, height: 10 in. (25.4 cm); diameter: 9 in. (22.7 cm) Collection of Rebecca Adler (Mrs. Allan Adler) 4. Gilbert Adrian (1903–1959, active Los Angeles) Adrian Ltd. (Beverly Hills, 1942–52) Two-piece dress from The Atomic 50s collection, 1950 Rayon crepe, rayon faille Dress, center-back length: 37 in. (94 cm); bolero, center-back length: 14 in. (35.6 cm) LACMA, Gift of Mrs. Houston Rehrig 5. Gregory Ain (1908–1988, active Los Angeles) Dunsmuir Flats, Los Angeles (exterior perspective), 1937 Graphite on paper 9 3 ⁄4 x 19 1⁄4 in. (24.8 x 48.9 cm) Gregory Ain Collection, Architecture and Design Collection, Museum of Art, Design + Architecture, UC Santa Barbara 6. Gregory Ain (1908–1988, active Los Angeles) Dunsmuir Flats, Los Angeles (plan), 1937 Ink on paper 9 1 ⁄4 x 24 3⁄8 in.
    [Show full text]
  • Kulturgut 19
    I. Quartal 2014 Kulturgut 19 Exil und Rückkehr Zu Will Lammerts Figurenentwürfen für das Mahnmal im ehemaligen Frauenkonzentrationslager Ravensbrück, 1957 Will lammert, der seine künstlerische laufbahn 1910 im lammert arbeitete in freier und angewandter Kunst und umfeld des hagener mäzens Karl ernst osthaus (1874– richtete eine keramische Werkstatt ein, die zugleich lehr- 1921) begann, war in der Weimarer republik ein renom- betrieb war. er befasste sich intensiv mit der entwicklung mierter Bildhauer. er sei ein künstlerischer „Mittelpunkt des von Verfahren zum Brennen großformatiger Bauplastik Ruhrgebietes und darüber hinaus des damaligen Rheinlandes und kooperierte mit namhaften essener architekten. im und Westfalens“ gewesen, so fritz cremer (1906-1993), der sommer 1931 erhielt er den rom-Preis der Preußischen als junger steinmetzgeselle einige Plastiken nach lammerts akademie und arbeitete bis Juli 1932 in der Villa massimo. modellen ausführte, wie auch hermann Blumenthal (1905– Zu seinen mitstipendiaten zählten u. a. hermann Blument- 1942), von dem in der sammlung 20. Jahrhundert arbeiten hal, ernst Wilhelm nay (1902–1968) sowie Werner gilles ausgestellt sind. in lammerts atelier trafen sich aufstreben- (1894–1961), mit dem er sich besonders anfreundete. ihre de junge Kräfte. arbeiten in der museumssammlung laden zum Vergleich 1922 hatte er sich mit seiner frau hedwig („hette“), geb. mit lammerts Werken ein. meyerbach (1895–1979), einer jungen Ärztin, die er 1920 seine in rom entstandenen gipsarbeiten, luzide sinnzei- heiratete, auf
    [Show full text]