DOCSLIB.ORG

75Th Anniversary Program & Auction Catalogue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
75Th Anniversary Program & Auction Catalogue PROGRAM & AUCTION CATALOGUE CONTEMPORARY ARTS CENTER 75TH CELEBRATION MAY 16, 2014 Here we are: 75, agile, fast-paced, and forever passion are contagious, and she has taught me a new, with our gaze toward the future, yet rooted lot about a great number of things. Dianne fondly in a remarkable history. There are not many insti- quotes her late husband Jay’s perspective on tutions that have stayed so true to their mission contemporary artists; they are, he asserted, the while continuously re-imagining themselves, and philosophers of our time. I wish I had been able to growing stronger, wiser, and bigger while doing meet this thoughtful man, who collected some of so. Today, we celebrate the 75th anniversary of the most “on the cusp of recognition” artists. For the Contemporary Arts Center, the second oldest the Celebration, let his example guide you in filling non-collecting institution in this country after the walls of your home with beauty and joy, but the Institute of Contemporary Art/Boston, which also with the cultural insights that so many amazing preceded us by just three years and recently artists have generously brought to the CAC. decided to start collecting. Ours is a jewel of an arts organization, a source of pride in our commu- Our exceptional Kelly Kolar devised the many nity and a respected presence around the globe. graphic elements for our celebration with the Three young women, Betty Pollak Rauh, Peggy support of Jennie Berliant’s astute aesthetic eye, Frank Crawford and Rita Rentschler Cushman, Lauren Chesley Cohen lent her great experience unwaveringly and audaciously pursued their vision as Dinner Host/Hostess Chair and Deni Tato, of art of the moment in Cincinnati and founded chair of the After Party spearheaded many of the Modern Art Society in 1939. From the begin- our best past galas and will once again inspire ning, the most cutting-edge, thought-provoking, us to dance until the morning hours. Thank you and influential exhibitions and programs were so much for your invaluable contributions! realized under the leadership of terrific directors and dedicated staff. With unusual tenacity, the I am delighted to share an evening with you that CAC has kept its eyes trained on the present mo- is history in the making; an evening when we can ment, looking at the world we all share through applaud and reminisce about a venerable institution the lens of artists from different walks of life. that has stayed young, that has touched and trans- formed so many lives. I toast all of you––our found- It has been a great honor to lead this ex- ers, our supporters, our community, and our city–– traordinary institution for the past few years, who have nurtured and shaped one of the oldest to work alongside such talented, committed and most exceptional centers for contemporary arts people, and to reach this amazing milestone in this country. of a diamond anniversary with all of you. Happy Birthday, CAC! It’s been a special privilege to work with Dianne Dunkelman, one of the most dedicated trustees and supporters I have ever met, and the energetic visionary behind the 75th Celebration and auction. Dianne inspires me every time I see her or talk to Raphaela Platow, The Alice & Harris Weston her. Her great intelligence, sense of humor, and Director of the Contemporary Arts Center home of the CAC. A generous contribution from Mr. 75 years old and beautiful and Mrs. Rosenthal led the Hadid building itself to – inside and out! I know what you’re thinking, “So be named “The Lois & Richard Rosenthal Center for have you had any work done?” the answer, “You Contemporary Art,” where we will continue tonight’s bet!!” The work began with three women who had Celebration. little money, but “passion capital.” Betty Pollak Rauh, Peggy Frank Crawford and Rita Rentschler We have had a number of homes and a number of Cushman had a vision. In itself, having a vision is doors through which a huge number of people have not so unique, but what was unique about these explored the world of the contemporary arts. We women was their extraordinary passion to see this have had 13 previous directors and now, since 2007, vision through to what initially became The Modern we have been in the hands of our director, Raphaela Art Society (MAS). In 1939, in the basement of the Platow, who brings international recognition, the re- Cincinnati Art Museum, the first patrons walked into spect of artists and an enthusiastic board of trustees an exhibit of Fernand Léger, Jacob Epstein, and to the CAC. Georg Kolbe, presented by MAS. And how is this for synchronicity, 1939 also saw the premier of one of In recognition of the CAC’s 75th Celebration, this the all-time great movies, The Women! evening presents an opportunity for our patrons to bid on amazing works of art that our most generous The early years brought emerging artists, Paul artists, artists’ estates and a generous collector have Klee, Pablo Picasso, Marsden Hartley and Stuart donated ~ works from artists who are now “blue Davis, Rufino Tamayo, Willem de Kooning, Andy chip,” mid-career established artists and, of course, Warhol, Chuck Close, Claes Oldenburg, Adolph emerging artists. To those who are bidding, I urge Gottlieb, Roy Lichtenstein, Robert Rauschenberg you to think how smart you would feel (and look to and later Nam June Paik, and, of course, Robert your children and grandchildren) if you had bought Mapplethorpe, just to name a few, to Cincinnati, art that has been shown at the CAC since 1939! So and every year thereafter the list of talent grew. make this evening your opportunity to be Art Smart! “You are certainly setting some standards out there It takes a village to create, nurture and enhance which are sure to affect other institutions through- one of the earliest, most famous, most successful, out the country.” - Stuart Davis, 1941- a quote that intellectually stimulating non-collecting art exhibition now looks like an understatement! centers in the world. In 1954, the board voted to change the name to the Congratulations to every artist, patron, board Contemporary Arts Center (CAC), the basement member, staffer, director, and visitor who has walked space was redesigned by architects Carl Strauss, through all of our doors for the past 75 years. Ray Roush and Michael Graves, and the CAC now had 2 permanent galleries. In the years that fol- Respectfully, lowed, the CAC had its home in the Taft Museum, the Carew Tower, the Women’s Exchange, and the Mercantile Center on 5th Street, where it remained for 30 years (and, not so incidentally, where we begin tonight’s 75th Celebration). In 1998, The Board of Trustees awarded Zaha Hadid the commission Dianne Dunkelman, Trustee th for the new CAC building design, and the purchase 75 Celebration Chair of land at 6th and Walnut was approved. Many very significant gifts were made to support the new 1 SPONSORS CELEBRATION SPONSOR DINNER & ART AUCTION HOSTS/HOSTESSES Jim and Fran Allen Steve and Sandy Amoils William and Kate Baumann David and Gale Beckett MEDIA SPONSORS Richard L. Betagole Mark Boire and Peter Quinnan Jay and Janet Chatterjee Richard and DeeDee Chesley Thomas and Mary Ellen Cody Tom and Cathy Crain INVITATION Ron and Anne DeLyons Bill Eckerle James T. and Leslie Fitzgerald Lynne Meyers Gordon Otis and Lauren Grigsby SPONSORS Louis and Beth Guttman Matt Kotlarczyk and Tamara Harkavy 21C John Harrison Will Applegate Fred and Patti Heldman Joel and Leslie Hern Bartlett & Co. David Herriman Allan Berliant and Jennie Rosenthal Berliant Toni Hoge Steven and Carolyn Bloomfield Mark and Sarah Johnson Cliff and Rita Chin Dean and Anne Kereiakas Scott and Diane Durban Mark and Ellen Knue David W. Eyman & Kelly Kolar Bill and Sue Friedlander John J. Larkin FotoFocus Stephen and Julie Lerner FRCH Design Worldwide Madeleine Ludlow John Hutton and Sandra Gross Jim and Linda Miller Jeffery P. and Susan C. Harris Timothy Smith and Valerie Newell Stefan and Elizabeth Olson AFTERPARTY Heidelberg Alex and Phoebe Pardo Loren and Debbie Hiratzka Robert and Alison Probst Stephen and Sandra Joffe Stuart Rabkin Ken and Christine Jones Nick and Martha Ragland Richard and Pamela Reis Kolar Design., Inc. Melody Richardson Charles Koontz David and Dianne Rosenberg Legg Mason Investment Counsel Martin Wilz and Dionysia Savas David and Sara Osborn James and Beth Schiff Kevin and Elizabeth Ott Mark and Rosemary Schlachter Larry and Rhonda Sheakley John and Francie Pepper Nancy and Howard Starnbach Richard and Lois Rosenthal Robb Stein Richard and Cathie Rothfuss Sara and Michelle Vance Waddell John and Jen Stein Andrew VanSickle Cedric Vogel Michael and Christianna Stephens J. Philip and Barbara Vollmer Special thanks to: Irwin and Barbara Weinberg Jeff Thomas Catering, Goodwin Lighting, Dustin Grutza and Ashley Wells Christian and Alicia Wilhelmy Art Design Consultants, Eye Candy Creative Bill and Monica Woeste and The Center Frank and Karen Wood Kenneth Wright Dianne Dunkelman, Event Chair Tim and Tamela Zimmerman Lauren Chesley Cohen, Dinner Host/Hostess Chair James Rauth and Alice Weston Kelly Kolar, Design Chair (As of 4/15/14) Deni Tato, After Party Chair 2 AFTERPARTY SPONSORS NICHOLSON’S CINCINNATI’S FIRST & FINEST GASTROPUB PROGRAM 6:00 PM- 7:15 PM SILENT AUCTION 7:15 PM DINNER AND LIVE AUCTION THE CENTER (former CAC location at Mercantile Center) 115 E. 5th St 9:30 PM WALK WITH US… FOLLOW THE BALLOONS WAVE YOUR FLAG, WEAR YOUR WRISTBAND AND HEAD TO DANCING, DRINKING AND ENTERTAINMENT 1 BLOCK AWAY* 9:00 PM-1:00 AM DIAMONDS AND DEBAUCHERY AFTER-PARTY** LOIS & RICHARD ROSENTHAL CENTER FOR CONTEMPORARY ART 44 E.
Load more

Recommended publications
  • Sean Landers
    SEAN LANDERS 1962 Born in Palmer, MA, USA 1984 BFA, Philadelphia College of Art, Philadelphia, PA, USA 1986 MFA, Yale University School of Art, New Haven, CT, USA Lives and works in New York, NY, USA SOLO EXHIBITIONS 2020 2020 Vision, Petzel Gallery, New York, NY, USA (online presentation) Northeaster, greengrassi, London, UK Consortium Museum, Dijon, France (curated by Eric Troncy) 2019 Ben Brown Fine Arts, Hong Kong Galerie Rodolphe Janssen, Brussels, Belgium [Cat.] Curated by . Featuring Sean Landers, Petzel Bookstore, New York, NY, USA Sean Landers: Studio Films 90/95, Freehouse, London, UK (curated by Daren Flook) 2018 Petzel Gallery, New York, NY, USA [Cat.] 2016 Sean Landers: Small Brass Raffle Drum, Capitain Petzel, Berlin, Germany 2015 Taka Ishii Gallery, Tokyo, Japan Galerie Rodolphe Janssen, Brussels, Belgium [Cat.] China Art Objects, Los Angeles, CA, USA 2014 Sean Landers: North American Mammals, Petzel Gallery, New York, NY, USA [Cat.] 2012 Galerie Rodolphe Janssen, Brussels, Belgium [Cat.] Longmore, Sorry We’re Closed, Brussels, Belgium greengrassi, London, UK 2011 Sean Landers: Around the World Alone, Friedrich Petzel Gallery, New York, NY, USA Sean Landers: A Midnight Modern Conversation, Marianne Boesky Gallery, New York, NY [CAT.] 2010 Sean Landers: 1991-1994, Improbable History, Contemporary Art Museum St. Louis, St. Louis, MO, USA (curated by Laura Fried and Paul Ha) [Cat.] 2009 Sean Landers: Art, Life and God, Glenn Horowitz Bookseller, East Hampton, NY, USA (curated by Jeremy Sanders) greengrassi, London, UK Sean
    [Show full text]
  • Darger, Henry (1892-1973) by Jim Elledge
    Darger, Henry (1892-1973) by Jim Elledge Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2013 glbtq,Inc. Reprinted from http://www.glbtq.com Now considered one of the most original and important artists of the last half of the twentieth century, Henry Darger died completely unknown in his native Chicago. When he moved out of his one-room apartment on November 24, 1972 into an old folks home a few blocks away, his next door neighbor, who had been hired to clear out Darger's room, discovered over 300 canvases Darger had painted and the huge manuscripts of two novels and an autobiography that he had written. The canvases, which depict naked little girls with penises (who, in many of the paintings, are being eviscerated, strangled, and crucified by adults), became synonymous with the man, causing critics who were unaware of their relevance to the gay subculture of the time to call Darger a pedophile, child killer, and sadist. Darger's Life Darger was born into utter poverty on April 12, 1892. His mother died in childbirth when he was four. Within a few years, his father, a failed, alcoholic tailor, had all but abandoned his parental responsibilities to the boy. Growing up in one of the darkest and most desperate vice districts in Chicago, now Henry Darger. Photo by the much-gentrified Near West Side, Darger became involved in male-male sexual David Berglund, c. 1970. activities early in life, admitting to the most significant one in his autobiography decades later. In it, he reported that, by the time he was eight years old, he had developed a relationship with an adult guard whom he visited late at night at the lumberyard where the man worked.
    [Show full text]
  • Modernism 1 Modernism
    Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking.
    [Show full text]
  • The AI Interview: Tom Otterness NEW YORK, Sept
    file:///C|/Documents%20and%20Settings/Katrin.tomotterness/Desktop...fo%20tom%20otterness%20world%20famous%2027%20September%202006.htm NEWS & FEATURES October 02, 2006 Tom Otterness with his work-in- progress "Untitled" (Immigrant Couple), 2006. "See No Evil" (2002) at the Frederik Meijer Gardens & Sculpture Park in Grand Rapids, Mich. (main entrance) Tom Otterness The AI Interview: Tom Otterness NEW YORK, Sept. 27, 2006—According to the New York Times, Tom Otterness “may be the world’s best public sculptor.” Certainly he is one of the most visible. He is the only artist ever to have contributed a balloon to the Macy’s Thanksgiving Day Parade, and his large-scale installations in outdoor public locations—from Indianapolis to New York—are enormously popular. Otterness enjoys the rare ability to engage spectators from all walks of life and all levels of art- world sophistication—because while his imagery is cartoon-like, and often highly appealing to children, his work also tends to carry a political punch. He is particularly scathing in his portrayals of those for whom financial wealth is all important. Pieces such as Free Money (1999) and Big, Big Penny (1993) depict this obsession, and others, like his New York subway installation, Life Underground, beneath ArtInfo’s headquarters, show people actually turning "Free Money" (1999) into money. Tom Otterness His next New York gallery show will be at the Marlborough Gallery's 57th Street location in November 2007. Tom, let me begin by asking you about the response to the sculptures you showed in Grand Rapids, Mich. this summer. They were hugely successful.
    [Show full text]
  • Paul Robeson Galleries
    Paul Robeson Galleries Exhibitions 1979 Green Magic April 9 – June 29, 1979 An exhibition consisting of two parts: Green Magic I and Green Magic II. Green Magic I displayed useful plants of northern New Jersey, including history, properties, and myths. Green Magic II displayed plant forms in art of the ‘70’s. Includes the work of Carolyn Brady, Brad Davis, Jim Dine, Tina Girouard, George Green, Hanna Kay, Bob Kushner, Ree Morton, Joseph Raffael, Ned Smyth, Pat Steir, George Sugarman, Fumio Yoshimura, and Barbara Zucker. Senior Thesis Exhibition May 7 – June 1, 1979 An annual exhibition of work by graduating Fine Arts seniors from Rutgers – Newark. Includes the work of Hugo Bastidas, Connie Bower, K. Stacey Clarke, Joseph Clarke, Stephen Delceg, Rose Mary Gonnella, Jean Hom, John Johnstone, Mathilda Munier, Susan Rothauser, Michael Rizzo, Ulana Salewycz, Carol Somers Kathryn M. Walsh. Jazz Images June 19 – September 14, 1979 An exhibition displaying the work of black photographers photographing jazz. The show focused on the Institute of Jazz Studies of Rutgers University and contemporary black photographers who use jazz musicians and their environment as subject matter. The aim of the exhibition was to emphasize the importance of jazz as a serious art form and to familiarize the general public with the Jazz Institute. The black photographers whose work was exhibited were chosen because their compositions specifically reflect personal interpretations of the jazz idiom. Includes the work of Anthony Barboza, Rahman Batin, Leroy Henderson, Milt Hinton, and Chuck Stewart. Paul Robeson Campus Center Rutgers – The State University of New Jersey 350 Dr. Martin Luther King, Jr.
    [Show full text]
  • Decolonial Aesthetics
    8.50 CAD / USD ART / CULTURE / POLITICS / States of Coloniality Kency Cornejo p.24 / Leah Decter and Carla Taunton p.32/Sakahàn p.40 / Decter andCarlaTaunton Cornejop.24/Leah Kency Naufus Ramírez-Figueroa p.11 /DavidGarneaup.14 p.11 /JulieNagamp.22 Naufus Ramírez-Figueroa Berlin Reed p.4 / Miguel Rojas-Sotelo p.5 / Gordon Brent Ingramp.7/ Brent Berlin Reedp.4/MiguelRojas-Sotelop.5 /Gordon Heidi McKenzie p.8/DecolonialAestheticsManifesto p.10 HeidiMcKenzie / Jacqueline HoangNguyenp.49 isDayani Cristal? /Who p.50 Read-in p.43 / Time Lapsed p.46 / Border Cultures p.47 / p.47 Lapsedp.46 Cultures Read-in p.43 /Time /Border DECOLONIAL AESTHETICS Taghavi and Tannis andTannis Taghavi Hashemi, Maryam BONUS! Poster byGitaPoster Nielsen Artist’s FUSE MAGAZINE 36 – 4 FALL 2013 EDITORIAL EXPERIENCE STATES OF POST TORONTO COLONIALITY/ TRANSFORMED DECOLONIAL BY ARTISTS AESTHETICS OCTOBER 5 A i W 11 eiw 20 ei, les, SUNSET TO Forever Bicyc SUNRISE C This issue of FUSE was produced col- Decoloniality is cast, by Walter Mignolo and other h 1 r members of the Transnational Decolonial Institute, as the radical i 1 laboratively with the e-fagia organization. Based s 0 t other of modernity-coloniality. Throughout a diffuse and influential in 2 , in Toronto, e-fagia was founded in 2004 with the body of work, they write of a decoloniality of knowledge, being and e e One night only. I n r i v h mandate of promoting digital art, focusing on Latin aesthetics. Within this framework, decolonial aesthetics acknowl- in c g a edges and subverts the presence of colonial power and control in & M American and Canadian artists.
    [Show full text]
  • News Release
    NEWS RELEASE FOR IMMEDIATE RELEASE Lauren Kistner, Marketing & Communications Manager August 1, 2017 314.615.5277 / [email protected] Laumeier Sculpture Park Acquires Tony Tasset’s Deer, 2015, in Honor of 40th Anniversary Year (ST. LOUIS, MO)—Laumeier Sculpture Park announced today the acquisition and upcoming installation of a new sculpture by artist Tony Tasset, whose Eye, 2007, is already one of the most iconic sculptures in the Park. Tasset’s Deer, 2015, is a larger-than-life, 12-foot-tall sculpture of a white-tailed doe made of painted, steel-reinforced fiberglass. The major acquisition honors and celebrates the nonprofit organization’s 40th Anniversary year. The sculpture will be accessioned into Laumeier’s Permanent Collection and installed in the Way Field in August 2017. Tony Tasset is arguably one of the most inventive sculptors working in the United States today. Since the mid-1990s, he has created increasingly ambitious sculptures; his cunning work explores how we collectively dwell in the landscape. Deer celebrates the unique environment created when art frames nature. The artwork’s size suggests how nature is out of balance in today’s urban and suburban spaces, and how humans impact the species around us. The surreal juxtaposition of the super-sized deer emerging from the woods dramatizes the relationship of what it means to be human, the identity of sculpture and their respective places in nature. “As one of the first and largest dedicated sculpture parks in the country, Laumeier Sculpture Park has set many of the standards for public practice that combine curated public art with the interpretation and stewardship of a traditional indoor museum,” said Dana Turkovic, Associate Curator at Laumeier Sculpture Park.
    [Show full text]
  • The Henry Darger Study Center at the American Folk Art Museum a Collections Policy Recommendation Report
    The Henry Darger Study Center at the American Folk Art Museum A Collections Policy Recommendation Report by Shannon Robinson Spring 2010 I. Overview page 3 II. Mission and Goals page 5 III. Service Community and Programs page 7 IV. The Collection and Future Acquisition page 8 V. Library Selection page 11 VI. Responsibilities page 12 VII. Complaints and Censorship page 13 VIII. Evaluation page 13 IX. Bibliography page 15 X. Additional Materials References page 16 I. Overview The American Folk Art Museum in New York City is largely focused on the collection and preservation of the artwork of self-taught artists in the United States and abroad. The Museum began in 1961 as the Museum of Early American Folk Arts; at that time, the idea of appreciating folk art alongside contemporary art was a consequence of modernism (The American Folk Art Museum, 2010c). The collection’s pieces date to as early as the eighteenth century and in it’s earlier days was largely comprised of sculpture. The Museum approached collecting and exhibiting much like a contemporary art gallery. This was in support of its mission promoting the “aesthetic appreciation” and “creative expressions” of folk artists as parallel in content and quality to more mainstream, trained artists. (The American Folk Art Museum, 2010b). Within ten years of opening, however, and though the collection continued to grow, a financial strain hindered a bright future for the Museum. In 1977, the Museum’s Board of Trustees appointed Robert Bishop director (The American Folk Art Museum, 2010c). While Bishop was largely focused on financial and facility issues, he encouraged gift acquisitions, and increasing the collection in general, by promising many artworks from his personal collection.
    [Show full text]
  • Cincinnati Art Center: Integrated Spaces
    Innovation Cincinnati Art Center: Integrated Spaces The opportunity to participate in a project of such far-reaching significance does not come often, and Steelcase was determined to offer whatever help it could to make it possible for Zaha Hadid to fulfill her dramatic vision for the museum. THE LOIS & RICHARD ROSENTHAL CENTER FOR CONTEMPORARY ART, CINCINNATI OBJECTIVES ARTISTIC EXPRESSION. Today, Cincinnati has a new museum that brings the world of contemporary art to the street, and engages the city in a dialogue that promises to be heard far beyond the Ohio River Valley. It’s a bold stroke, even for a town with a reputation for fighting hard for the freedom of artistic expression. It was this same institution—the Cincinnati Contemporary Arts Center—that in 1990 started the works of Robert Mapplethorpe on their way to a First Amendment legal battle and a national debate over the public funding of art. The outcome was a major win for the freedom of expression. 1 When the Center announced its intention to build a new home for itself, 97 architects responded to the call for entries. The field was eventually narrowed to three, and Iraqi-born, London-based architect Zaha Hadid was chosen from the finalists. The oisL & Richard Rosenthal Contemporary Art Center opened its doors to the public in May 2003. The sculptural effect that eeY describes floats out and onto the city like an ocean liner struggling to break loose from its anchorage. SITUATION CREATING INTEGRATED SPACES When the building of a major new home for contemporary art is announced, particularly one designed by one of the world’s leading architects, it creates a lot of attention.
    [Show full text]
  • Accidental Genius
    Accidental Genius Accidental Genius ART FROM THE ANTHONY PETULLO COLLECTION Margaret Andera Lisa Stone with an introduction by Jane Kallir Milwaukee Art Museum DelMonico Books Prestel MUNICH LONDON NEW YORK CONTENTS 19 FOREWORD Daniel T. Keegan 21 ACKNOWLEDGMENTS Margaret Andera 23 Art Brut and “Outsider” Art A Changing Landscape Jane Kallir 29 “It’s a picture already” The Anthony Petullo Collection Lisa Stone 45 PLATES 177 THE ANTHONY PETULLO COLLECTION 199 BIOGRAPHIES OF THE ARTISTS !" FOREWORD Daniel T. KeeganDirector, Milwaukee Art Museum The Milwaukee Art Museum is pleased to present Accidental Genius: the Roger Brown Study Collection at the School of the Art Institute Art from the Anthony Petullo Collection, an exhibition that celebrates of Chicago, for her insightful essay for this publication. the gift to the Museum of Anthony Petullo’s collection of modern A project of this magnitude would not have been possible self-taught art. Comprising more than three hundred artworks, the without generous financial support. The Milwaukee Art Museum collection is the most extensive grouping of its kind in any American wishes to thank the Anthony Petullo Foundation; Leslie Hindman, museum or in private hands. Thanks to this gift, the Milwaukee Art Inc.; the Einhorn Family Foundation; and Friends of Art, a support Museum’s holdings now encompass a broadly inclusive represen- group of the Museum, for sponsoring the exhibition. Tony Petullo tation of self-taught art as an international phenomenon. is a past president of Friends of Art, and he credits the group for Tony Petullo, a retired Milwaukee businessman, built his col- introducing him to collecting.
    [Show full text]
  • Art-Related Archival Materials in the Chicago Area
    ART-RELATED ARCHIVAL MATERIALS IN THE CHICAGO AREA Betty Blum Archives of American Art American Art-Portrait Gallery Building Smithsonian Institution 8th and G Streets, N.W. Washington, D.C. 20560 1991 TRUSTEES Chairman Emeritus Richard A. Manoogian Mrs. Otto L. Spaeth Mrs. Meyer P. Potamkin Mrs. Richard Roob President Mrs. John N. Rosekrans, Jr. Richard J. Schwartz Alan E. Schwartz A. Alfred Taubman Vice-Presidents John Wilmerding Mrs. Keith S. Wellin R. Frederick Woolworth Mrs. Robert F. Shapiro Max N. Berry HONORARY TRUSTEES Dr. Irving R. Burton Treasurer Howard W. Lipman Mrs. Abbott K. Schlain Russell Lynes Mrs. William L. Richards Secretary to the Board Mrs. Dana M. Raymond FOUNDING TRUSTEES Lawrence A. Fleischman honorary Officers Edgar P. Richardson (deceased) Mrs. Francis de Marneffe Mrs. Edsel B. Ford (deceased) Miss Julienne M. Michel EX-OFFICIO TRUSTEES Members Robert McCormick Adams Tom L. Freudenheim Charles Blitzer Marc J. Pachter Eli Broad Gerald E. Buck ARCHIVES STAFF Ms. Gabriella de Ferrari Gilbert S. Edelson Richard J. Wattenmaker, Director Mrs. Ahmet M. Ertegun Susan Hamilton, Deputy Director Mrs. Arthur A. Feder James B. Byers, Assistant Director for Miles Q. Fiterman Archival Programs Mrs. Daniel Fraad Elizabeth S. Kirwin, Southeast Regional Mrs. Eugenio Garza Laguera Collector Hugh Halff, Jr. Arthur J. Breton, Curator of Manuscripts John K. Howat Judith E. Throm, Reference Archivist Dr. Helen Jessup Robert F. Brown, New England Regional Mrs. Dwight M. Kendall Center Gilbert H. Kinney Judith A. Gustafson, Midwest
    [Show full text]
  • Cummins Opens Nine-Story Office Tower on Four-Acre Site in Downtown Indianapolis
    Contact: Katie Zarich Manager - External Communications Phone: (317) 650-6804 Email: [email protected] January 18, 2017 For Immediate Release Cummins Opens Nine-Story Office Tower on Four-Acre Site in Downtown Indianapolis INDIANAPOLIS, IND. – Cummins Inc. (NYSE: CMI) is building upon its legacy of innovation and community commitment with the addition of a nine-story office tower in downtown Indianapolis. The Company, which is headquartered in Columbus, Ind., is known for its rich history of architectural excellence, and this location is the next chapter in that story. Opening in January 2017 and designed by the New York-based architecture firm Deborah Berke Partners, this dynamic, people-centric work environment for employees and customers will contribute to the city’s social and economic vibrancy. The building provides workspace for Cummins employees in the distribution business and select corporate functions. Downtown Indianapolis allows Cummins to bring the company closer to its distributors and customers through close proximity to the Indianapolis International Airport and the convergence of multiple interstates. “We are incredibly excited about opening our new Distribution Business headquarters in downtown Indianapolis,” said Tom Linebarger, Cummins Chairman and CEO. “Indianapolis is a vibrant and growing city and we are looking forward to being a bigger part of this diverse and thriving community. Cummins was founded in Indiana nearly 100 years ago, and we have grown to have about 10,000 employees in the state. Our new Indianapolis building, with its innovative and collaborative work environment, will help us attract and retain the best and brightest talent, a critical part of fulfilling our mission of powering a more sustainable world.” “As a homegrown Hoosier company, Cummins has a long history of business success and job creation in the Hoosier state,” said Indiana Governor Eric Holcomb.
    [Show full text]