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Annual Report 2018–2019 Artmuseum.Princeton.Edu
Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb. -
Bobby Hutcherson, Vibraphonist with Coloristic Range of Sound, Dies at 75
Bobby Hutcherson, Vibraphonist With Coloristic Range of Soun... http://www.nytimes.com/2016/08/17/arts/music/bobby-hutchers... http://nyti.ms/2bdO8F9 MUSIC Bobby Hutcherson, Vibraphonist With Coloristic Range of Sound, Dies at 75 By NATE CHINEN AUG. 16, 2016 Bobby Hutcherson, one of the most admired and accomplished vibraphonists in jazz, died on Monday at his home in Montara, Calif. He was 75. Marshall Lamm, a spokesman for Mr. Hutcherson’s family, confirmed the death, saying Mr. Hutcherson had long been treated for emphysema. Mr. Hutcherson’s career took flight in the early 1960s, as jazz was slipping free of the complex harmonic and rhythmic designs of bebop. He was fluent in that language, but he was also one of the first to adapt his instrument to a freer postbop language, often playing chords with a pair of mallets in each hand. He released more than 40 albums and appeared on many more, including some regarded as classics, like “Out to Lunch,” by the alto saxophonist, flutist and bass clarinetist Eric Dolphy, and “Mode for Joe,” by the tenor saxophonist Joe Henderson. Both of those albums were a byproduct of Mr. Hutcherson’s close affiliation with Blue Note Records, from 1963 to 1977. He was part of a wave of young artists who defined the label’s forays into experimentalism, including the pianist Andrew Hill and the alto saxophonist Jackie McLean. But he also worked with hard-bop stalwarts like the tenor saxophonist Dexter Gordon, and he later delved into jazz-funk and Afro-Latin grooves. Mr. Hutcherson had a clear, ringing sound, but his style was luminescent and 1 of 4 8/17/16, 2:43 PM Bobby Hutcherson, Vibraphonist With Coloristic Range of Soun.. -
Seconded By~+--~· \ Gq '
PUBUC WORKS &GANG REDUCTiO. -. MOTION Gerald Wilson played for more than 75 years, a musician who delighted millions, all over the world, with his music. Wilson later served in the US Navy and while there he played with musicians like Clark Terry, Willie Smith and Jimmy Nottingham which would later be reunited as "The Great Lakes Experience Big Band." In the 1940s, Gerald made his way out to Los Angeles and began working the club circuit along the famous South Central Avenue corridor, including famous musical venues like and the Dunbar Hotel. It was along Central that Gerald solidified his musical career, providing guidance and assistance to a number of up and coming jazz musicians like Bobby Bryant, Harold Land Jr., Jack Wilkins and many others and helping to make Los Angeles the epicenter of Jazz on the west coast. Over more than seven decades, Gerald played and arranged for a tremendous number of jazz legends including Duke Ellington, Dizzy Gillespie, Nancy Wilson, Sarah Vaughan, Ray Charles, Julie London, Ella Fitzgerald and Dinah Washington, among many others. But Gerald was driven to do more for his community. So he spent several years as a professor at California State University Los Angeles, California State University Northridge, Cal Arts and the University of California at Los Angeles, helping to train a new generation of jazz aficionados and musicians and where he was recognized several times by students and faculty as "teacher ofthe year." I THEREFORE MOVE that the intersection of 42nd Place and S. Central Avenue be named as "Gerald Wilson Square" and that the Department of Transportation be directed to fabricate and install permanent ceremonial signs to this effect at this location, in consultation with Council District 9, in recognition of Gerald Wilson dedication to bringing music education to the Greater Los Angeles Community. -
Washington University Record, July 2, 1987
Washington University School of Medicine Digital Commons@Becker Washington University Record Washington University Publications 7-2-1987 Washington University Record, July 2, 1987 Follow this and additional works at: http://digitalcommons.wustl.edu/record Recommended Citation "Washington University Record, July 2, 1987" (1987). Washington University Record. Book 414. http://digitalcommons.wustl.edu/record/414 This Article is brought to you for free and open access by the Washington University Publications at Digital Commons@Becker. It has been accepted for inclusion in Washington University Record by an authorized administrator of Digital Commons@Becker. For more information, please contact [email protected]. I '/^OH/MGr / O/N/ /V//i/5/7V ,~*:-- § Washington WASHINGTON ■ UNIVERSITY- IN • ST- LOUIS ARCHIVES u*«ry JUL i '87 RECORD Vol. 11 No. 36/July 2, 1987 Science academy's medical institute elects two faculty Two faculty members at the School of Medicine have been elected mem- bers of the prestigious Institute of Medicine of the National Academy of Sciences. New members of the institute are Michel M. Ter-Pogossian, Ph.D., and Samuel A. Wells Jr., M.D. Ter- Pogossian is professor of radiology at the School of Medicine and director of radiation sciences for Mallinckrodt Institute of Radiology. Wells is Bixby Professor and chairman of the De- partment of Surgery at the medical school. He is also chief of surgery at Barnes and Children's Hospitals in the Washington University Medical Center. The two are among 40 new members elected to the institute in recognition of their contributions to health and medicine or related fields. As members of the institute, which was established in 1970, Wells and Ter-Pogossian will help examine health policy issues and advise the federal government. -
The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 -
Vol. 23, No. 8 August 2019 You Can’T Buy It
ABSOLUTELY FREE Vol. 23, No. 8 August 2019 You Can’t Buy It As Above, So Below Artwork is by Diane Nations and is part of her exhibit Under the Influence of Jung on view at Artworks Gallery in Winston-Salem, North Carolina through August 31, 2019. See the article on Page 28. ARTICLE INDEX Advertising Directory This index has active links, just click on the Page number and it will take you to that page. Listed in order in which they appear in the paper. Page 1 - Cover - Artworks Gallery (Winston-Salem) - Diane Nations Page 3 - Ella Walton Richardson Fine Art Page 2 - Article Index, Advertising Directory, Contact Info, Links to blogs, and Carolina Arts site Page 5 - Wells Gallery at the Sanctuary & Halsey MCallum Studio Page 4 - Redux Contemporary Art Center & Charleston Artist Guild Page 6 - Thomas Dixon for Mayor & Jesse Williams District 6 Page 5 - Charleston Museum & Robert Lange Studios Page 7 - Emerge SC, Helena Fox Fine Art, Corrigan Gallery, Halsey-McCallum Studio, Page 6 - Robert Lange Studios cont., Ella Walton Richardson Fine Art & Rhett Thurman, Anglin Smith Fine Art, Halsey Institute of Contemporary Art, Lowcountry Artists Gallery The Wells Gallery at the Sanctuary & Saul Alexander Foundation Gallery Page 9 - Lowcountry Artists Gallery cont. & Halsey Institute / College of Charleston Page 8 - Halsey Institute / College of Charleston Page 10 - Halsey Institute / College of Charleston & Art League of Hilton Head Page 9 - Whimsy Joy Page 11 - Art League of Hilton Head cont. & Society of Bluffton Artists Page 10 - Halsey Institute -
XIII. Supplemental Information (PDF)
Annual Budget Process The City of Durham’s annual budget process is the framework for communicating major financial operational objectives and for allocating resources to achieve them. This process is a complex undertaking involving the whole government. The process begins in October and runs until the end of June. By state law, the City must adopt an annual budget ordinance by June 30 of each year. Coordination of the process is essential to the building of the budget. To achieve coordination, a calendar of activities is summarized on this page. Once the budget is approved, the focus of the budget becomes control. Ongoing monitoring of expenditures and revenues throughout the year is a responsibility shared by department heads and the Budget Department. The Accounting Services Division ensures that changes are correctly entered and payments are appropriate. The Budget and Management Services Department reviews all requests from departments to make sure that sufficient appropriations have been budgeted. All funds are reviewed on a regular basis, and a budget report is submitted to the City Council on a quarterly basis. The City Manager has the authority to transfer budgeted amounts between departments within any function. However, transfers between functions, additions or deletions require a budget amendment. To amend the budget, a revised budget ordinance must be approved by the City Council. January February March Department budgets submitted Coffees with Council continue. Budget kick-off. City Manager to Budget office. explains financial and City Council retreat to discuss City Council retreat to discuss operational objectives. vision and service issues. financial issues. Public input on budget sought Budget office projects revenues. -
View Landscape Guidelines
UNIVERSITY Duke LANDSCAPE CHARACTER AND DESIGN GUIDELINES MAY 2014 1 2 TABLE OF CONTENTS INTRODUCTION 4 GUIDING PRINCIPLES FOR THE DUKE CAMPUS LANDSCAPE 5 DESIGN CHARACTER 26 MATERIAL COLOR RANGE 27 LANDSCAPE TYPOLOGIES HISTORIC LANDSCAPES 9 West Quad 10 East Quad 11 NATURALISTIC LANDSCAPES 13 Reforestation and Managed Woodlands 14 Ponds, Streams, Wetlands and Raingardens 15 Parkland 16 PUBLIC LANDSCAPES 17 Plazas 18 Gardens 19 Courtyards and Terraces 20 Pedestrianways 21 CAMPUS FABRIC 23 Streetscapes 24 Interstitial Spaces 25 DESIGN ELEMENTS 27 Paving Bluestone 28 Concrete Pavers 30 Exposed Aggregate Concrete 31 Brick Pavers 32 Miscellaneous 33 Sitewalls Duke Stone 34 Duke Blend Brick 38 Other Masonry 39 Concrete 40 Miscellaneous 41 Steps and Railings Steps 42 Railings 43 Accessibility 45 Fences and Gates 46 Site Furniture Seating 47 Bike Racks 48 Bollards 48 Exterior Lighting 49 Waste and Recycling Receptacles 49 3 Duke’s campus is relatively large and spread out compared to many other universities. The main part of campus - aside from the Duke Forest and other properties - is nearly 2000 acres, with approximately 500 acres of that being actively maintained. The large amount of tree coverage, road network, topography, and natural drainage system, along with extensive designed landscapes, athletic fi elds and gardens, makes the campus an incredibly rich and complex place. These guidelines are intended to be a resource for creating and maintaining a campus landscape with a certain level of consistency that exists across various precincts with specifi c contextual requirements. These guidelines will help to set the character for the different landscape types while also providing detailed recommendations and precedents for what has and has not worked on campus previously. -
Azzschool at C ALIFORNI a J a Z Z CON SERVATORY
the azzschool at C ALIFORNI A J A Z Z CON SERVATORY 2019 FALL CATALOG CLASSES • WORKSHOPS • CONCERTS “The California Jazz Conservatory Contents is an exceptional institution, fostering the next generation of artists and educators, INTRODUCTION ADULT VOCAL CLASSES (continued) many on the cutting edge, CJC Concert Series 2 Composition 28 performing, composing, The California Jazz Conservatory 4 Young Singers 28 teaching and touring The Jazzschool at CJC 6 Vocal Mentor Program 29 throughout the world.” ADULT VOCAL WORKSHOPS Dr. Jeff Denson ADULT PERFORMANCE ENSEMBLES Dean of Instruction, CJC Vocal Workshops 30 Jazz 8 Funk 12 Brazilian 12 YOUNG MUSICIANS PROGRAM World 13 Introduction 35 Latin 13 Program Requirements 35 Blues 13 Placement and Audition Requirements 36 ADULT INSTRUMENTAL CLASSES Large Performance Ensembles 37 Small Performance Ensembles 40 Piano and Keyboards 14 Voice 41 Guitar 17 Bass 1 9 Drums and Percussion 20 WORKSHOPS Saxophone 20 For all instruments and voice 4 2 THEORY, IMPROVISATION AND INFORMATION COMPOSITION CLASSES Monterey Jazz Festival Partnership Theory 21 for Excellence in Jazz Improvisation 21 Performance and Education 38 Composition 21 Jazzschool Faculty 53 Board and Staff 60 ADULT VOCAL CLASSES Instructions and Technique and Musicianship 22 Application Form 62 Performance 23 Map 63 Ensemble Singing 26 Support 64 Blues 27 Latin 27 IMPORTANT INFORMATION Dr. Jeff Denson is just • Fall Performance Series takes place 12/9 – 12/15. one of the reasons the California Jazz Conservatory Many opportunities fill early, so sign up now! Visit cjc.edu for current information, as schedules are subject to change. For the latest news from CJC, sign up for succeeds in transforming In a Musician, Out an Artist! our monthly mailed Postcard Calendar and our E-Newsletter at cjc.edu! musicians into artists. -
Romare Bearden
Let’s Create A Collage An abstract mixed-media project inspired by the work of Romare Bearden What is COLLAGE and DÉCHIRAGE? Collage is a technique where a piece of art is created by assemblying different images and shapes and adding them in layers to a piece of paper, canvas, or object. A collage might include images or headlines from a magazine or news- paper, photos, color papers, fabric, items found in nature, and/or other objects. Déchirage, which means “to tear” in French, is an artistic style that distresses paper to create a 3D patchwork. Déchirage is a form of décollage (which is the opposite of collage) because the art is created by cutting, tearing away, or otherwise removing pieces of the original image. Romare Bearden, Melon Season, 1967 HOW TO REMEMBER THE DIFFERENCE Mixed media on canvas, 56 1/2 x 44 1/2 in (143.5 x 113 cm) Collage = Adds image layers to create art Signed upper right: Romare Bearden Décollage and Déchirage = Takes away pieces of the image Collection: Neuberger Museum of Art, Purchase College, SUNY Gift of Roy R. Neuberger. 1976.26.45 WHAT DO YOU SEE? In the Melon Season collage shown above, can you spot an example of déchirage where artist Romare Bearden tore or peeled edges of paper away from the artwork? This project was created by the Neuberger Museum of Art Education team. [email protected] Let’s Create A Collage Activity Materials Students will create a collage using magazines, • Cardboard, heavy card stock paper, or a newspapers, and art supplies found around the Canvas Board house. -
Bulletin of Duke Divinity School 2020-2021
Bulletin of Duke University Duke Divinity School 2020-2021 Bulletin of Duke University Duke Divinity School 2020-2021 Duke University Registrar Frank Blalark, Associate Vice Provost and University Registrar Coordinating Editor Bahar Rostami Publications Coordinator Keely Fagan Divinity School Editors G. Sujin Pak, Vice Dean of Academic Affairs Deborah Hackney, Senior Director of Academic Programs and Registrar Sherry Williamson, Associate Director of Communications Cover Photo Bill Snead Interior Photos Courtesy of Duke Divinity School and Duke University (Jared Lazarus, Megan Mendenhall, Bill Snead, Les Todd, and Sherry Williamson) The information in this bulletin applies to the academic year 2020-2021 and is accurate and current, to the greatest extent possible, as of July 2020. The university reserves the right to change programs of study, academic requirements, teaching staff, the calendar, and other matters described herein without prior notice, in accordance with established procedures. Duke University is committed to encouraging and sustaining a learning and work community that is free from prohibited discrimination and harassment. The institution prohibits discrimination on the basis of age, color, disability, gender, gender identity, gender expression, genetic information, national origin, race, religion, sex, sexual orientation, or veteran status, in the administration of its educational policies, admission policies, financial aid, employment, or any other institution program or activity. It admits qualified students to all the rights, privileges, programs, and activities generally accorded or made available to students. Sexual harassment and sexual misconduct are forms of sex discrimination and prohibited by the institution. Duke has designated the Vice President for Institutional Equity and Chief Diversity Officer as the individual responsible for the coordination and administration of its nondiscrimination and harassment policies. -
Introduction to Romare Bearden #1 “Jamming at the Savoy” by Bearden
Copyright, 1994, Art Outreach, an extension of the Education Department and School of Art, Springfield Art Association of Edwards Place, an Illinois non-profit corporation. #53 ROMARE BEARDEN AND WILLIAM H. JOHNSON Images Artists #1 “Jamming At the Savoy” Bearden #2 “The Return of Maudelle Sleet” Bearden #3 “Return of the Prodigal Son” Bearden #4 “The Lamp” Bearden #5 “Out Chorus” Bearden #6 “Man in a Vest” Johnson #7 “Going to Church” Johnson #8 “Mom and Dad” Johnson Introduction to Romare Bearden “He struck me as taller somehow and even more substantial than his 5”11”, 210 pound frame would warrant, smiling with a gaze in his hazel green eyes that was at the same time congenial, approachable, yet detached and distant--and there was a decidedly special aura about him. Although Bearden was a remarkably fair-skinned black American, he was also what Albert Murray had called an Omni-American--part frontiersman, part Cherokee, part Southerner, part urbane Harlemite, and part blues-idiom hero. He was a man whose presence charged a room with intelligence, not that he ever put on any airs: he had no need to.” Quote by Myron Schwartzman, author. Right now, it is almost impossible to go into a bookstore and not come across a book with Romare Bearden’s art on its cover. We make two assumptions when encountering this phenomenon: that the contents of the book have something to do with the “black experience”: and that the publisher wants to be absolutely sure we know this. These assumptions expose an underlying problem in the literature on Bearden: the common reduction of his work to just a record of the black experience.