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Smithsonian Institution Archives (SIA)
SMITHSONIAN OPPORTUNITIES FOR RESEARCH AND STUDY 2020 Office of Fellowships and Internships Smithsonian Institution Washington, DC The Smithsonian Opportunities for Research and Study Guide Can be Found Online at http://www.smithsonianofi.com/sors-introduction/ Version 2.0 (Updated January 2020) Copyright © 2020 by Smithsonian Institution Table of Contents Table of Contents .................................................................................................................................................................................................. 1 How to Use This Book .......................................................................................................................................................................................... 1 Anacostia Community Museum (ACM) ........................................................................................................................................................ 2 Archives of American Art (AAA) ....................................................................................................................................................................... 4 Asian Pacific American Center (APAC) .......................................................................................................................................................... 6 Center for Folklife and Cultural Heritage (CFCH) ...................................................................................................................................... 7 Cooper-Hewitt, -
Joseph Jarman's Black Case Volume I & II: Return
Joseph Jarman’s Black Case Volume I & II: Return From Exile February 13, 2020 By Cam Scott When composer, priest, poet, and instrumentalist Joseph Jarman passed away in January 2019, a bell sounded in the hearts of thousands of listeners. As an early member of the Association for the Advancement of Creative Musicians (AACM), as well as its flagship group, the Art Ensemble of Chicago, Jarman was a key figure in the articulation of Great Black Music as a multi- generational ethic rather than a standard repertoire. As an ordained Buddhist priest, Jarman’s solicitude transcended philosophical affinity and deepened throughout his life as his music evolved. His musical, poetic, and religious paths appear to have been mutually informative, in spite of a hiatus from public performance in the nineties—and to encounter Jarman’s own words is to understand as much. The full breadth of this complexity is celebrated in the long-awaited reissue of Black Case Volume I & II: Return from Exile, a blend of smut and sutra, poetry and polemic, that feels like a reaffirmation of Jarman’s ambitious vision in the present day. Black Case wears its context proudly. A near-facsimile of the original 1977 publication by the Art Ensemble of Chicago (which itself was built upon a coil-bound printing from 1974), the volume serves as a time capsule of a key period in the development of an emancipatory musical and cultural program, and an intimate portrait of the artist-as-revolutionary. Black Case, then, feels most contemporary where it is most of its time, as a document of Black militancy and programmatic self-determination in which—to paraphrase Larry Neal’s 1968 summary of the Black Arts Movement—ethics and aesthetics, individual and community, are tightly unified. -
The City University of New York Committee on Academic Policy, Programs and Research
THE CITY UNIVERSITY OF NEW YORK COMMITTEE ON ACADEMIC POLICY, PROGRAMS AND RESEARCH AGENDA April 6, 2017 I. Action Items A. Approval of the minutes of the February 6, 2017 meeting B. Policy Calendar 1. Brooklyn College – MM in Global and Contemporary Jazz 2. Medgar Evers College – Establishment of the Department of Social Work 3. Brooklyn College – Resolution to Award an Honorary Degree at the College’s Commencement a) Bernard Sanders – US Senator representing the state of Vermont Degree: Doctor of Humane Letters 4. Hunter College – Resolution to Award an Honorary Degree at the College’s Commencement a) Arthur Elgort ’64 – Influential fashion photographer Degree: Doctor of Fine Arts 5. CUNY School of Law - Resolution to Award an Honorary Degree at the School’s Commencement a) Sherrilyn Ifill – President and Director – NAACP – Legal Defense and Education Fund Degree: Doctor of Law 6. The College of Staten Island - Resolution to Award Honorary Degrees at the College’s Commencement a) Margaret Ricciardi ’86 – Artist and benefactor Degree: Doctor of Arts b) Andy Shih, Senior Vice President, Public Health and Inclusion at Autism Speaks, NY Degree: Doctor of Science c) Deidre DeAngelis, Principal of New Dorp High School Degree: Doctor of Humane Letters d) Peter and Robin Jovanovich, College Benefactors Degree: Doctor of Humane Letters 7. CUNY Graduate School of Public Health and Health Policy - Resolution to Award an Honorary Degree at the School’s Commencement a) Chirlane McCray, First Lady of New York City and Mental Health Advocate Degree: Doctor of Science 8. Graduate School and University Center - Resolution to Award Honorary Degrees at the School’s Commencement a) Vanita Gupta, former Principal US Deputy Assistant Attorney General Degree: Doctor of Humane Letters b) Wael Shawky, artist Degree: Doctor of Humane Letters c) Lord Nicholas Stern, Chair of the Grantham Research Institute on Climate Change and the Environment Degree: Doctor of Humane Letters 9. -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
Practicum Descriptions
Latino Museum Studies Program Practicum 1 Archives of American Art (AAA) The Latina Papers: Primary Sources for Documents of Latin American and Latino Art (In partnership with the International Center for the Arts of the Americas (ICAA)) Joshua T. Franco, Ph.D., National Collector, AAA Project Overview: With over thirty million items and counting, the Archives of American Art (AAA) is the world’s largest repository for documents related to the history of American art. In 2015, AAA hired a Latino Collections Specialist to focus on acquiring papers related to US Latino/a art. Building on AAA’s holdings resulting from past initiatives particularly in south Florida and Texas, the Latino Collections Specialist made further acquisitions from New York, Denver, Florida, the Midwest, and the West Coast including: Cheech Marin (Oral History), Paul Ramirez Jonas, Andres Serrano, Kathy Vargas, Victor Zamudio-Taylor, and Tony Ortega. AAA’s mission is to acquire primary sources—letters, diaries, journals, notes, and other unpublished writings, financial records, photographs, sketchbooks, scrapbooks, audio and video recordings, rare printed material, and the like—from artists, critics, collectors, art historians and others. As part of the International Center for the Arts of the Americas’ (ICAA) landmark Documents of Latin American and Latino Art digital archive project, The Latinx Papers seeks to identify and make accessible key documents related to the history of Latinx art as well as the trajectory of key artists and cultural figures. During this multi-year initiative, the ICAA will build upon its existing holdings with a new selection of primary documents focused on individual artists and groups as well as on critics, curators and cultural representatives. -
Dissertation, Full Draft V. 3
Inventing Architectural Identity: The Institutional Architecture of James Renwick, Jr., 1818-95 Nicholas Dominick Genau Amherst, New York BA, University of Virginia, 2006 MA, University of Virginia, 2009 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy McIntire Department of Art University of Virginia May, 2014 i TABLE OF CONTENTS ! ABSTRACT .......................................................................................................................................................... ii ACKNOWLEDGMENTS ......................................................................................................................................................... iv LIST OF ILLUSTRATIONS .......................................................................................................................................................... v INTRODUCTION .......................................................................................................................................................... 1 CHAPTER 1! An Architectural Eclectic:!! A Survey of the Career of James Renwick, Jr. .......................................................................................................................................................... 9! CHAPTER 2! “For the Dignity of Our Ancient and Glorious Catholic Name”:!! Renwick and Archbishop Hughes!at St. Patrick’s Cathedral ....................................................................................................................................................... -
Lester Bowie
LESTER BOWIE: AN EXPERIENCE OF US BLACK CULTURE by Eric Myers _____________________________________________________________ Lester Bowie's From The Root To The Source Qantas International Jazz Festival, Capitol Theatre Sydney Morning Herald, January 17, 1981 ______________________________________________________________ ast night Sydney had a rare opportunity to hear the authentic classical music which reflects the experience of African-American culture in the L United States. The music was not so much ‘jazz’ - an inadequate term which Lester Bowie and his colleagues decidedly reject - but a sensitive exploration of many forms of black music which defy literal categorisation. Other than himself on trumpet and flugelhorn, Lester Bowie's group included Hamiet Bluiett (baritone saxophone), Amina Claudine Myers (piano), Reggie Workman (bass) and Phillip Wilson (drums). This quintet also included the gospel singers Martha Bass and David Peaston, with Johnny Barker on keyboards. Gospel singer Martha Bass… PHOTO COURTESY EASTSIDE RADIO 1 Gospel singer David Peaston: his magnificent singing, and that of Martha Bass, saturated with spiritual feeling, tended to dominate the evening… To sum up the concert, it was the magnificent gospel singing of Mr Easton and Miss Bass, saturated with spiritual feeling, which tended to dominate the evening and draw attention to the fact that, in black communities in the United States, the Church has long been the focal point for artistic and intellectual activity. The instrumental playing of the quintet showed many diverse influences, but the jazz idioms they represented were reasonably clear. I found some of the unstructured and freely improvised passages, more difficult to relate to, than the chord-based pieces. But I admit that, in this area, my consciousness may need raising. -
Addio Lester Bowie
10SPE01A1011 ZALLCALL 12 23:18:27 11/09/99 l’Unità GLI SPETTACOLI 19 Mercoledì 10 novembre 1999 creativa nera d’avanguardia. perare pezzi relativamente fa- ANNIVERSARI In seguito, sempre collabo- mosi del jazz classico, come rando saltuariamente con l’eccellente rivisitazione di Un’enciclopedia Addio Lester Bowie l’Art Ensemble of Chicago Siesta For The Fiesta di Jimmy che periodicamente si ricosti- Lanceford, e al tempo stesso in cd rom tuiva, Bowie costituì altri di attingere dal repertorio Stroncato dal cancro il grande trombettista jazz gruppi guidati da lui, come il pop contemporaneo, come su Vittorio De Sica 10SPE01AF05 «From The Root to the Sour- Black And White di Michael jazz, può altresì considerarsi lui, amavano far «parlare» la 1.0 ce», una sorta di gruppo di Jackson. ■ Un’enciclopediainteramentede- ALDO GIANOLIO fra i più originali trombettisti tromba, musicisti come Coo- gospel/jazz/rock fusion, e la Oltre al suo lavoro come dicataallasuamemoriaealsuola- del jazz in assoluto. Aveva tie Williams e Bubber Miley. 8.50 «Brass Fantasy», con la quale leader e con l’Art Ensemble voro.A25annidallasuascompar- È morto la sera dell’8 novem- messo a punto, nella sua ma- L’irriverente e parodistico sti- aveva appena terminato, of Chicago Bowie ha anche sailgrandeVittorioDeSicaviene bre Lester Bowie, uno dei più turità, un modo di suonare le che ne è derivato è ben rap- quest’autunno, una tournée avuto importanti collabora- ricordatocosìdalcomunediSora importanti jazzisti d’avan- personalissimo, che impiega- presentato da due dei migliori -
International Conference of Indigenous Archives, Libraries, and Museums
PRESENTER REVIEW PROGRAM – NOT FOR DISTRIBUTION/PROVIDED FOR EDITING PURPOSES ONLY International Conference of Indigenous Archives, Libraries, and Museums November 30-December 2, 2020 Washington, DC TABLE OF CONTENTS ABOUT THE COLOR CODES About the ATALM 2020 Artist and Artwork To help you more easily locate the sessions that relate to your interests, sessions are color coded by primary Schedule at a Glance focus area and than a secondary topic. The secondary topics sorrespond with the 11 Professional Helpful Information Development Certificates offered. Primary Focus Areas: Conference Volunteers Archives About ATALM Libraries Museums Message from Walter Echo-Hawk Secondary Topics/Professional Development Supporters Certificates: IMLS Workshops, Page 2 Archives Management Summits, Page 2 Artist Engagement Tours and Workshops, Page 3 Collections Care Conference, Day 1, Page 8 Community Engagment Conference, Day 2, Page 27 Collaborative Projects Digitization Exhibitors Exhibit Design Native Art Market Historic Preservation Guardians of Culture and Lifeways Honorees Language Revitalization Presenter Biographies, Page 46 Oral History Roster of Attendees Preventive Conservation Property Map PAGE | 1 ASSOCIATION OF TRIBAL ARCHIVES, LIBRARIES, AND MUSEUMS International Conference of Indigenous Archives, Libraries, and Museums November 30-December 2, 2020 Washington, DC 8:00 a.m.-5:00 p.m. – Registration and Volunteer Desk Open, Grand Ballroom Foyer Monday, November 30 – Institute of Museum and Library Services Meetings These sessions are by invitation. There is no charge to attend. Congressional A 1 Institute of Museum and Library Services Native Libraries American/Native Hawaiian Museum Services Awardee Meeting Monday, November 30, 9:00 a.m.-5:00 p.m. Full day meeting for all current IMLS Native American/Native Hawaiian Museum Service awardees. -
Thank You for the Opportunity to Testify Before Your Subcommittee Today. on Behalf of the Entire Smithsonian Institution, We
Statement of Dr. David J. Skorton, Secretary of the Smithsonian Institution On the Fiscal Year 2017 Request Subcommittee on Interior, Environment and Related Agencies Committee on Appropriations, U.S. House of Representatives March 23, 2016 Thank you for the opportunity to testify before your subcommittee today. On behalf of the entire Smithsonian Institution, we appreciate the continued generous support of the Congress and your confidence in us to understand, preserve and tell the story of America. Your investment in the Smithsonian is an investment in advancing the civic, educational, scientific, and artistic life of our nation. This unique public-private partnership has worked well since the Smithsonian was founded in 1846. From care and display of the Star-Spangled Banner to research on the Zika virus, we take our obligation to the American people seriously and leverage federal dollars with private support to greatly expand and enhance our reach and capabilities. As a public trust, the Smithsonian addresses some of the world’s most complex issues, preserves many of our nation’s greatest treasures, educates and enlightens millions, conducts ground-breaking research, and uses new technologies to broaden access to information for the public, and for policy makers. In keeping with our mission, “the increase and diffusion of knowledge,” the Smithsonian is a world leader in research and discovery, addressing today’s relevant issues and helping the American people understand our role in the world through science. We are also leaders in understanding the human condition and adding meaning to life through the arts and humanities. In July, I was privileged to begin my tenure as the 13th Secretary of the Smithsonian. -
Kalfatovic Et Al Flickr Paper Author Proofs
Journal : Small 10502 Dispatch : 3-9-2009 Pages : 11 Article No. : 9089 h LE h TYPESET MS Code : h44CP h DISK Arch Sci DOI 10.1007/s10502-009-9089-y 1 ORIGINAL PAPER 2 Smithsonian Team Flickr: a library, archives, 3 and museums collaboration in web 2.0 space 4 Martin R. Kalfatovic Effie Kapsalis Katherine P. Spiess 5 Anne Van Camp Michael Edson Author Proof 6 7 Ó US Government 2009 8 Abstract The Flickr Commons was created as a forum for institutions to share their rich 9 photographic collections with the emerging Web 2.0 audiencePROOF of Flickr; the Smithsonian 10 Institution was the fourth member of the Commons. The Smithsonian effort was a direct 11 collaborative effort of the libraries, archives, museums, and information technology staff that 12 generated new pathways for collaboration between these units. As the world’s largest 13 museum complex, these Smithsonian units serve as a microcosm for collaboration in the 14 information age. The Flickr Commons project provided insights into how the knowledge, 15 skills, and abilities of libraries, archives, and museums (LAM) can converge in the Web 2.0 16 environment to provide collection access to new, and in some cases unknown, audiences. 17 Simultaneously, by putting ‘‘LAM’’ content into an environment that allows for direct 18 interaction by these audiences, the knowledge of the content for holding institutions is 19 enriched. By exposing Smithsonian content within the Flickr environment, the Institution is 20 learning what content is desired by the Web 2.0 world, how to bring crowd-sourcing into 21 professionally curated collections, and howECTED to bring diverse institutional skills together in a 22 collaborative project. -
The JAZZ Connections
The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. OWIE was born in 1941, brought up in Little Rock, Arkansas, and bt Louis, Missouri, and began playing at the age of five. At sixteen he led a youth group in St. Louis and used to practice his trumpet by an open window in the hope that Louis Armstrong might pass by and discover him. After military service he worked with r&b bands and also with his wife, singer Fontella Bass. He played on r&b sessions for Chess Records and also helped to form BAG (Black Artists Group) and the Great Black Music Orchestra in St Louis. In 1996 he moved to Chicago, got involved with AACM, Association for the Advancement of Creative Music, and joined the band of saxophonist Roscoe Mitchell. In the later 1960s he and Mitchell were founder-members of the Art Ensemble Of Chicago, one of the key groups of the 1970s and '80s. In 1969 Bowie recorded with Archie Shepp, Sunny Murray, Jimmy Lyons and Cecil Taylor, among others. He has also done intermittent solo projects and recordings over the years He composed, conducted and at the 1970 Frankfurt jazz festival. In 1974 he toured Senegal, performing with African drummers and in 1979 played a New York concert with his 59-piece Sho Nuff Orchestra.