Alexander Calder
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Finding Aid for the William Hill Images of Alexander Calder's La Grande Vitesse Collection 346
Finding aid for the William Hill images of Alexander Calder's La Grande Vitesse Collection 346 This finding aid was produced using the Archivists' Toolkit May 24, 2013 Describing Archives: A Content Standard Grand Rapids Public Library, Grand Rapids History and Special Collections Department 2004 111 Library Street NE Grand Rapids, Michigan, 49503 616-988-5400 [email protected] Finding aid for the William Hill images of Alexander Calder's La Grande Vitesse Table of Contents Summary Information ................................................................................................................................. 3 Biographical/Historical note.......................................................................................................................... 4 Scope and Contents note............................................................................................................................... 5 Administrative Information .........................................................................................................................5 Related Materials ........................................................................................................................................ 6 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 Series I. -
Calder and Sound
Gryphon Rue Rower-Upjohn Calderand Sound Herbert Matter, Alexander Calder, Tentacles (cf. Works section, fig. 50), 1947 “Noise is another whole dimension.” Alexander Calder 1 A mobile carves its habitat. Alternately seductive, stealthy, ostentatious, it dilates and retracts, eternally redefining space. A noise-mobile produces harmonic wakes – metallic collisions punctuating visual rhythms. 2 For Alexander Calder, silence is not merely the absence of sound – silence gen- erates anticipation, a bedrock feature of musical experience. The cessation of sound suggests the outline of a melody. 3 A new narrative of Calder’s relationship to sound is essential to a rigorous portrayal and a greater comprehension of his genius. In the scope of Calder’s immense œuvre (thousands of sculptures, more than 22,000 documented works in all media), I have identified nearly four dozen intentionally sound-producing mobiles. 4 Calder’s first employment of sound can be traced to the late 1920s with Cirque Calder (1926–31), an event rife with extemporised noises, bells, harmonicas and cymbals. 5 His incorporation of gongs into his sculpture followed, beginning in the early 1930s and continuing through the mid-1970s. Nowadays preservation and monetary value mandate that exhibitions of Calder’s work be in static, controlled environments. Without a histor- ical imagination, it is easy to disregard the sound component as a mere appendage to the striking visual mien of mobiles. As an additional obstacle, our contemporary consciousness is clogged with bric-a-brac associations, such as wind chimes and baby crib bibelots. As if sequestered from this trail of mainstream bastardi- sations, the element of sound in certain works remains ulterior. -
Nasaa Assembly 2016
GRAND RAPIDS September 14-17 NASAA ASSEMBLY 2016 Hosted by the Michigan Council for Arts & Cultural Affairs TABLE OF CONTENTS Welcome We’re proud PAGE 3 to support Hotel Floor Plans PAGE 4 the Schedule at a Glance PAGE 6 talented professionals Sessions and Events who enable the PAGE 8 General Information arts PAGE 19 to thrive in our 2016 NASAA communities, Leadership Awards PAGE 20 enrich Thank You! PAGE 22 our minds and beautify our From the President PAGE 24 . Sponsors & lives Acknowledgments PAGE 25 Board and Staff PAGE 26 Proud supporter of the National Assembly of State Arts Agencies WELCOME TO Grand Rapids NASAA ASSEMBLY MICHIGAN 2016 Welcome, NASAA colleagues! The Michigan Council for Arts & Cultural Affairs is thrilled to serve as your host for NASAA Assembly 2016. We want to ensure that you have a great time while you stay in our great state. You will be visiting Michigan’s west side and the community of Grand Rapids, historically known for its contributions to design, and furniture making in particular. West Michigan is home to companies such as Steelcase, Haworth and Herman Miller – it is often said that there isn’t an uncomfortable chair anywhere in Grand Rapids. While that may be something of an exaggeration, it isn’t an exaggeration to say that this is a high-quality “maker community,” and you will see that in everything from the arts to the beer! The maker culture together with a highly walkable downtown make Grand Rapids an ideal setting for NASAA Assembly 2016. The locale strikes the perfect balance of excitement, comfort and creativity conducive to rich learning experiences during the day and fun entertainment in the evening. -
Alexander Calder James Johnson Sweeney
Alexander Calder James Johnson Sweeney Author Sweeney, James Johnson, 1900-1986 Date 1943 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2870 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art THE MUSEUM OF RN ART, NEW YORK LIBRARY! THE MUSEUM OF MODERN ART Received: 11/2- JAMES JOHNSON SWEENEY ALEXANDER CALDER THE MUSEUM OF MODERN ART, NEW YORK t/o ^ 2^-2 f \ ) TRUSTEESOF THE MUSEUM OF MODERN ART Stephen C. Clark, Chairman of the Board; McAlpin*, William S. Paley, Mrs. John Park Mrs. John D. Rockefeller, Jr., ist Vice-Chair inson, Jr., Mrs. Charles S. Payson, Beardsley man; Samuel A. Lewisohn, 2nd Vice-Chair Ruml, Carleton Sprague Smith, James Thrall man; John Hay Whitney*, President; John E. Soby, Edward M. M. Warburg*. Abbott, Vice-President; Alfred H. Barr, Jr., Vice-President; Mrs. David M. Levy, Treas HONORARY TRUSTEES urer; Mrs. Robert Woods Bliss, Mrs. W. Mur ray Crane, Marshall Field, Philip L. Goodwin, Frederic Clay Bartlett, Frank Crowninshield, A. Conger Goodyear, Mrs. Simon Guggenheim, Duncan Phillips, Paul J. Sachs, Mrs. John S. Henry R. Luce, Archibald MacLeish, David H. Sheppard. * On duty with the Armed Forces. Copyright 1943 by The Museum of Modern Art, 11 West 53 Street, New York Printed in the United States of America 4 CONTENTS LENDERS TO THE EXHIBITION Black Dots, 1941 Photo Herbert Matter Frontispiece Mrs. Whitney Allen, Rochester, New York; Collection Mrs. -
Alexander Calder (American, 1898–1976) the Ghost (Maquette), 1964 Painted Sheet Metal, Metal Rods, and Steel Wire Leonard and Ruth Horwich Family Loan, EL1995.13
PB Alexander Calder (American, 1898–1976) The Ghost (maquette), 1964 Painted sheet metal, metal rods, and steel wire Leonard and Ruth Horwich Family Loan, EL1995.13 Alexander Calder redefined sculpture in the 1940s by incorporating the element of movement. He created motorized works and later hanging sculptures, or “mobiles,” that rotate freely in response to airflow. Using wire, found objects, and industrial materials, Calder constructed three-dimensional line drawings of people, animals, and objects that he activated with kinetic verve. PB Alexander Calder (American, 1898–1976) Performing Seal, 1950 Painted sheet metal and steel wire Leonard and Ruth Horwich Family Loan, EL1995.7 PB Alexander Calder (American, 1898–1976) Orange Paddle Under the Table, c. 1949 Painted sheet metal, metal rods, and steel wire Leonard and Ruth Horwich Family Loan, EL1995.11 PB Alexander Calder (American, 1898–1976) Chat-mobile (Cat Mobile), 1966 Painted sheet metal and steel wire Leonard and Ruth Horwich Family Loan, EL1995.10 PB Alexander Calder (American, 1898–1976) Snowflakes and Red Stop, 1964 Painted sheet metal, metal rods, and steel wire Leonard and Ruth Horwich Family Loan, EL1995.14 PB Alexander Calder (American, 1898–1976) Little Face, 1943 Copper wire, thread, glass, and wood Leonard and Ruth Horwich Family Loan, EL1995.6 PB Alexander Calder (American, 1898–1976) Bird, 1952 Coffee cans, tin, and copper wire Leonard and Ruth Horwich Family Loan, EL1995.8 PB Takis (Greek, b. 1925) Magnetic Mobile, c. 1964 Glass, plastic, wood, and electric cord Collection Museum of Contemporary Art Chicago, gift of Mrs. Robert B. Mayer, 1982.32 Since the 1950s, Greek artist and inventor Panayiotis “Takis” Vassilakis has investigated the relationship between art and science. -
Listed Exhibitions (PDF)
G A G O S I A N G A L L E R Y Alexander Calder Biography Born in 1898, Lawnton, PA. Died in 1976, New York, NY. Education: 1926 Académie de la Grande Chaumière, Paris, France. 1923–25 Art Students League, New York, NY. 1919 B.S., Mechanical Engineering, Stevens Institute of Technology, Hoboken, NJ. Solo Exhibitions: 2015 Alexander Calder: Imagining the Universe. Sotheby’s S|2, Hong Kong. Calder: Lightness. Pulitzer Arts Foundation, Saint Louis, MO. Calder: Discipline of the Dance. Museo Jumex, Mexico City, Mexico. Alexander Calder: Multum in Parvo. Dominique Levy, New York, NY. Alexander Calder: Primary Motions. Dominique Levy, London, England. 2014 Alexander Calder. Fondation Beyeler, Basel. Switzerland. Alexander Calder: Gouaches. Gagosian Gallery, Davies Street, London, England. Alexander Calder: Gouaches. Gagosian Gallery, 980 Madison Avenue, New York, NY. Alexander Calder in the Rijksmuseum Summer Sculpture Garden. Rijksmuseum, Amsterdam, Netherlands. 2013 Calder and Abstraction: From Avant-Garde to Iconic. Los Angeles County Museum of Art, Los Angeles, CA. 2011 Alexander Calder. Gagosian Gallery, Davies Street, London, England. 2010 Alexander Calder. Gagosian Gallery, W. 21st Street, New York, NY. 2009 Monumental Sculpture. Gagosian Gallery, Rome, Italy. 2005 Monumental Sculpture. Gagosian Gallery, W. 24th Street, New York, NY. Alexander Calder 60’s-70’s. GióMarconi, Milan, Italy. Calder: The Forties. Thomas Dane, London, England. 2004 Calder/Miró. Foundation Beyeler, Riehen, Switzerland. Traveled to: Phillips Collection, Washington, D.C. (through 2005). Calder: Sculpture and Works on Paper. Elin Eagles-Smith Gallery, San Francisco, CA. 590 Madison Avenue, New York, NY. 2003 Calder. Gagosian Gallery, Los Angeles, CA. Calder: Gravity and Grace. -
Modern and Contemporary Sculpture Outreach Suitcase
Ann P. Wyckoff Teacher Resource Center Outreach Suitcases Places, Spaces, and Faces: Modern and Contemporary Sculpture Outreach Suitcase “The materials immediately inspired great creativity . and the Educator Resource Guide inspired me to create an accordion-book project. Thanks for the supplies and inspiration.” —Elementary Parent Art Docent ABOUT THE SUITCASE The Places, Spaces, and Faces suitcase is a resource for examining modern sculpture from the late nineteenth century to the contemporary period, emphasizing objects from the collections of SAM. These objects are intended to inspire artistic creation by students and provide an interactive approach to sculpture, including exploration of materials, techniques, meaning, and history. By using these objects, students can explore not only the formal and expressive elements of sculpture, but also how sculpture conveys social concerns and issues of identity. Book this suitcase online at www.seattleartmuseum.org/programs-and-learning/schools-and-educators/teacher- resource-center/suitcases. LOOKING QUESTIONS Encourage your students to look closely at the objects in the suitcase and images from SAM’s Collection with questions like: • Describe what you see in this sculpture. How does it make you feel? • If these works were to come to life, what might they do or how would they move? • What kind of personalities would they have and why? Ann P. Wyckoff Teacher Resource Center Outreach Suitcases WHAT’S IN THE MODERN AND CONTEMPORARY SCULPTURE OUTREACH SUITCASE? Educator Resource Guide • Octave, -
Legislative Branch: FY2016 Appropriations
Legislative Branch: FY2016 Appropriations Ida A. Brudnick Specialist on the Congress February 1, 2016 Congressional Research Service 7-5700 www.crs.gov R44029 Legislative Branch: FY2016 Appropriations Summary The legislative branch appropriations bill provides funding for the Senate; House of Representatives; Joint Items; Capitol Police; Office of Compliance; Congressional Budget Office (CBO); Architect of the Capitol (AOC); Library of Congress (LOC), including the Congressional Research Service (CRS); Government Publishing Office (GPO); Government Accountability Office (GAO); the Open World Leadership Center; and the John C. Stennis Center. The legislative branch FY2016 budget request of $4.528 billion was submitted on February 2, 2015. By law, the President includes the legislative branch request in the annual budget without change. A budget amendment was transmitted by the President to Congress on April 14, 2015. The House and Senate Appropriations Committees’ Legislative Branch Subcommittees held hearings in February and March to consider the FY2016 legislative branch requests. The House subcommittee held a markup of its bill on April 23, 2015. The full committee met on April 30, 2015, and agreed to (1) a manager’s amendment; (2) an amendment establishing a House Technology Task Force; and (3) an amendment increasing the funding for Open World (offset from funding from the Architect of the Capitol, Capitol Power Plant). All were adopted by voice vote. One additional amendment was defeated (21-29) and two were withdrawn. The bill would have provided $3.341 billion (not including Senate items), equivalent to the FY2015 level. It was ordered reported by voice vote (H.R. 2250, H.Rept. 114-110). -
WATERFRONT Photographic Interlayer
• 61, 64 67 Seattle Cloud Cover, DENNY WAY Myrtle Teresita Fernández, 2006. Edwards Park Laminated glass wall with C1 WATERFRONT photographic interlayer. Seattle Art Museum BAY ST Collection. ON RAILROAD OVERPASS. • 63 MYRTLE EDWARDS PARK WATERFRONT, NORTH OF BAY STREET. • 62 EAGLE ST 68 Father and Son, Louise Olympic 61 Undercurrents, Laura 64 Adjacent, Against, Sculpture Bourgeois, 2005. Stainless Park Haddad and Tom Drugan, Upon, Michael Heizer, steel and aluminum • 67 BROAD ST 2003. Stainless steel, concrete, 1976. Concrete and granite • 66 • 65 fountain and bronze • 68 stone and landscaping. King sculpture. bell. Seattle Art Museum County Public Art Collection CLAY ST Collection. ALASKAN WAY AND (4Culture). BROAD STREET. CEDAR ST BELL STREET PIER VINE ST 69 Bell Harbor Beacon, Ron Fischer, 1996. Painted steel WALL ST and light sculpture. Port of Seattle Art Collection. BELL ST ALASKAN WAY BETWEEN LENORA AND VIRGINIA STREETS. BLANCHARD ST SEATTLE AQUARIUM ALASKAN WAY PIER 59 AND PIER 60. 70 The Wave Wall, Susan Zoccola, 2007. White paneling. Seattle Parks LENORA ST PHOTO: MICHAEL HEIZER. and Recreation Collection. RECEPTION AND FOYER. SEATTLE ART MUSEUM, OLYMPIC SCULPTURE PARK 69 • VIRGINIA ST 2901 WESTERN AVE. SELECTED ARTWORKS AT LOCATION. WATERFRONT PARK ALASKAN WAY AND UNION STREET. 62 Eagle, Alexander Calder, 65 Neukom Vivarium, Mark 1971. Dion, 2006. Painted steel sculpture. Mixed-media 71 Waterfront Fountain, Seattle Art Museum Collection. WATERFRONT installation and custom James Fitzgerald and Z-PATH BETWEEN NORTH AND WEST greenhouse. Seattle Art 1974. MEADOWS. Margaret Tompkins, Museum Collection. ELLIOTT AVE. Seattle 74 Aquarium • AND BROAD STREET. Bronze fountain. • 70 PIKE ST 63 Wake, Richard Serra, 2004. -
Essentiel : L'automne Hyber À La Fondation Maeght
Essentiel : l’automne Hyber à la Fondation Maeght Entre nature et culture, les Peintures homéopathiques de Fabrice Hyber offrent un point de vue unique sur la richesse de son œuvre tandis que, dans les jardins de la Fondation, ses Hommes de Bessines entament un dialogue inédit avec les plus grands maîtres de l’art moderne et contemporain. A découvrir jusqu’au 6 janvier 2013. Alors que Fabrice Hyber est cet automne à l’honneur dans plusieurs grands musées français, la Fondation Maeght a fait le choix de présenter l’une des parties les plus vivantes de son œuvre, faite de peintures, de dessins et de collages, dont le pari est de contribuer à soigner le monde et à nous donner plus d’énergie. Essentiel, titre de l’exposition choisi par Fabrice Hyber et Olivier Kaeppelin, souligne le sujet des Peintures homéopathiques et l’importance que l’artiste leur accorde. Les amateurs de tous âges trouveront à la Fondation Maeght un cadre exceptionnel et poétique pour suivre dans ses déambulations artistiques cet artiste « essentiel ». Peinture homéopathique n°29 (L’avant réel) – (détail), 2010. Technique mixte, 201 x 633 x 10 cm. (1) L’essentiel de Fabrice Hyber Synthèses libres et colorées de ses recherches, souvent de très grande dimension, les Peintures homéopathiques sont rassemblées ici pour la première fois. Plus de vingt œuvres sont présentées parmi les 30 réalisées par Fabrice Hyber à ce jour. L’exposition présente également un ensemble de 15 Hommes de Bessines. Dans les fontaines au sein des jardins de la Fondation, ces petites sculptures anthropomorphes dialoguent avec les œuvres de Miró, mais aussi Calder, Giacometti, Dietman ou encore Caro. -
Gold of the Gods
THE GOLD OF THE GODS By Erich Von Daniken (1972) Swiss Born - Erich Anton Paul von Däniken (14 April 1935 - Currently Alive) This material has been reconstructed from various unverified sources of very poor quality and reproduction CMG Archives http://campbellmgold.com --()-- 1 Contents Contents .................................................................................................................................................. 2 Inside Cover ............................................................................................................................................ 2 Chapter 1 - The Gold of The Gods ......................................................................................................... 3 Chapter 2 - The War of The Gods ........................................................................................................ 35 Chapter 3 - Traces of the Gods in China, Too ...................................................................................... 48 Chapter 4 - Temuen, The Iseland They Call Nan-Madol ...................................................................... 64 Chapter 5 - On The Trail of The Indians ............................................................................................... 83 Chapter 6 - Rarities, Curiosities and Speculations ............................................................................... 97 Chapter 7 - 'IT' .................................................................................................................................... -
Copyright by Cameron Blair Strang 2013
Copyright by Cameron Blair Strang 2013 The Dissertation Committee for Cameron Blair Strang Certifies that this is the approved version of the following dissertation: Entangled Knowledge, Expanding Nation: Science and the United States Empire in the Southeast Borderlands, 1783-1842 Committee: Jorge Cañizares-Esguerra, Supervisor James Sidbury, Co-Supervisor Bruce Hunt Robert Olwell Christopher Morris Entangled Knowledge, Expanding Nation: Science and the United States Empire in the Southeast Borderlands, 1783-1842 by Cameron Blair Strang, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2013 Acknowledgements I have worked hard to finish this dissertation and earn a Ph.D. But mostly I’ve just been really lucky. I’ve been lucky to work with wonderful supervisors in a wonderful department. Jorge Cañizares and Jim Sidbury have challenged and supported me since my first semester at the University of Texas. Their generosity, knowledge, and wisdom have made me a far better historian and, I’d bet, a better human being. I simply can’t thank them enough, and I hope they know how proud I am to be their student. Many thanks as well to the other members of my dissertation committee—Bruce Hunt, Robert Olwell, and Christopher Morris—for devoting their time and expertise to this project. Jim Sidbury and Jackie Jones never let me down in their capacities as departmental Graduate Advisers, and Dr. Jones helped support me financially by hiring me as a graduate assistant right after we both arrived at UT in 2008.