Keeping Balboa Park Magnificent in Its Second Century
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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. -
Balboa Park Explorer Pass Program Resumes Sales Before Holiday Weekend More Participating Museums Set to Reopen for Easter Weekend
FOR IMMEDIATE RELEASE Balboa Park Cultural Partnership Contact: Michael Warburton [email protected] Mobile (619) 850-4677 Website: Explorer.balboapark.org Balboa Park Explorer Pass Program Resumes Sales Before Holiday Weekend More Participating Museums Set to Reopen for Easter Weekend San Diego, CA – March 31 – The Balboa Park Cultural Partnership (BPCP) announced that today the parkwide Balboa Park Explorer Pass program has resumed the sale of day and annual passes, in advance of more museums reopening this Easter weekend and beyond. “The Explorer Pass is the easiest way to visit multiple museums in Balboa Park, and is a great value when compared to purchasing admission separately,” said Kristen Mihalko, Director of Operations for BPCP. “With more museums reopening this Friday, we felt it was a great time to restart the program and provide the pass for visitors to the Park.” Starting this Friday, April 2nd, the nonprofit museums available to visit with the Explorer Pass include: • Centro Cultural de la Raza, 3 days/week, open Friday, Saturday, and Sunday only • Japanese Friendship Garden, 7 days/week • San Diego Air and Space Museum, 7 days/week • San Diego Automotive Museum, 6 days/week, closed Monday • San Diego Model Railroad Museum, 3 days/week, open Friday, Saturday, and Sunday only • San Diego Museum of Art, 6 days/week, closed Wednesdays • San Diego Natural History Museum (The Nat), 5 days/week, closed Wednesday and Thursday The Fleet Science Center will rejoin the line up on April 9th; the Museum of Photographic Arts and the San Diego History Center will reopen on April 16th, and the Museum of Us will reopen on April 21st. -
Casa Del Prado in Balboa Park
Chapter 19 HISTORY OF THE CASA DEL PRADO IN BALBOA PARK Of buildings remaining from the 1915 Panama-California Exposition, exhibit buildings north of El Prado in the agricultural section survived for many years. They were eventually absorbed by the San Diego Zoo. Buildings south of El Prado were gone by 1933, except for the New Mexico and Kansas Buildings. These survive today as the Balboa Park Club and the House of Italy. This left intact the Spanish-Colonial complex along El Prado, the main east-west avenue that separated north from south sections The Sacramento Valley Building, at the head of the Plaza de Panama in the approximate center of El Prado, was demolished in 1923 to make way for the Fine Arts Gallery. The Southern California Counties Building burned down in 1925. The San Joaquin Valley and the Kern-Tulare Counties Building, on the promenade south of the Plaza de Panama, were torn down in 1933. When the Science and Education and Home Economy buildings were razed in 1962, the only 1915 Exposition buildings on El Prado were the California Building and its annexes, the House of Charm, the House of Hospitality, the Botanical Building, the Electric Building, and the Food and Beverage Building. This paper will describe the ups and downs of the 1915 Varied Industries and Food Products Building (1935 Food and Beverage Building), today the Casa del Prado. When first conceived the Varied Industries and Food Products Building was called the Agriculture and Horticulture Building. The name was changed to conform to exhibits inside the building. -
Balboa Park Facilities
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Inspired by Mexico: Architect Bertram Goodhue Introduces Spanish Colonial Revival Into Balboa Park
Inspired by Mexico: Architect Bertram Goodhue Introduces Spanish Colonial Revival into Balboa Park By Iris H.W. Engstrand G. Aubrey Davidson’s laudatory address to an excited crowd attending the opening of the Panama-California Exposition on January 1, 1915, gave no inkling that the Spanish Colonial architectural legacy that is so familiar to San Diegans today was ever in doubt. The buildings of this exposition have not been thrown up with the careless unconcern that characterizes a transient pleasure resort. They are part of the surroundings, with the aspect of permanence and far-seeing design...Here is pictured this happy combination of splendid temples, the story of the friars, the thrilling tale of the pioneers, the orderly conquest of commerce, coupled with the hopes of an El Dorado where life 1 can expand in this fragrant land of opportunity. G Aubrey Davidson, ca. 1915. ©SDHC #UT: 9112.1. As early as 1909, Davidson, then president of the Chamber of Commerce, had suggested that San Diego hold an exposition in 1915 to celebrate the opening of the Panama Canal. When City Park was selected as the site in 1910, it seemed appropriate to rename the park for Spanish explorer Vasco Nuñez de Balboa, who had discovered the Pacific Ocean and claimed the Iris H. W. Engstrand, professor of history at the University of San Diego, is the author of books and articles on local history including San Diego: California’s Cornerstone; Reflections: A History of the San Diego Gas and Electric Company 1881-1991; Harley Knox; San Diego’s Mayor for the People and “The Origins of Balboa Park: A Prelude to the 1915 Exposition,” Journal of San Diego History, Summer 2010. -
The Making of the Panama-California Exposition, 1909-1915 by Richard W
The Journal of San Diego History SAN DIEGO HISTORICAL SOCIETY QUARTERLY Winter 1990, Volume 36, Number 1 Thomas L. Scharf, Editor The Making of the Panama-California Exposition, 1909-1915 by Richard W. Amero Researcher and Writer on the history of Balboa Park Images from this article On July 9, 1901, G. Aubrey Davidson, founder of the Southern Trust and Commerce Bank and Commerce Bank and president of the San Diego Chamber of Commerce, said San Diego should stage an exposition in 1915 to celebrate the completion of the Panama Canal. He told his fellow Chamber of Commerce members that San Diego would be the first American port of call north of the Panama Canal on the Pacific Coast. An exposition would call attention to the city and bolster an economy still shaky from the Wall Street panic of 1907. The Chamber of Commerce authorized Davidson to appoint a committee to look into his idea.1 Because the idea began with him, Davidson is called "the father of the exposition."2 On September 3, 1909, a special Chamber of Commerce committee formed the Panama- California Exposition Company and sent articles of incorporation to the Secretary of State in Sacramento.3 In 1910 San Diego had a population of 39,578, San Diego County 61,665, Los Angeles 319,198 and San Francisco 416,912. San Diego's meager population, the smallest of any city ever to attempt holding an international exposition, testifies to the city's extraordinary pluck and vitality.4 The Board of Directors of the Panama-California Exposition Company, on September 10, 1909, elected Ulysses S. -
The Greening of Balboa Park: a Holistic, Sustainable and Replicable Model
The Greening of Balboa Park: A Holistic, Sustainable and Replicable Model Julieann Summerford, Heschong Mahone Group, Inc. Risa Baron, San Diego Gas & Electric Company Anna Stark, U.S. Environmental Protection Agency Rory Ruppert, Balboa Park Cultural Partnership David McGrew, Reuben H. Fleet Science Center ABSTRACT Developed for the 1915 Panama Exposition, Balboa Park now houses more than two dozen major museums, performing arts organizations, gardens, and the San Diego Zoo. Located on over 1200 acres of land with over a million square feet of property, Balboa Park is one of the nation’s largest urban cultural centers, attracting more than 6.5 million visitors annually from around the world. Through recent collaborative efforts, Balboa Park is poised to become a national model for cultural institutions and urban parks to achieve environmental sustainability. In 2008 the Balboa Park Cultural Partnership established a Park-wide sustainability program that includes 26 cultural institutions, the City of San Diego, San Diego Gas & Electric, and many other community stakeholders. Designed to be a replicable model, the Partnership’s goals are the creation and alignment of sustainable business practices; the identification of, and communication with, key internal and external stakeholders; and the education of visitors, employees, stakeholders, and the public. All sustainability initiatives and results are benchmarked, measured and quantified—a vital component for measuring its carbon footprint and aligning with the state’s plan for energy efficiency. The Balboa Park Cultural Partnership (BPCP) has become the first network of cultural institutions in the country to benchmark the energy performance of its buildings using the Environmental Protection Agency’s (EPA) ENERGY STAR® Portfolio Manager. -
NEA-Annual-Report-1992.Pdf
N A N A L E ENT S NATIONAL ENDOWMENT FOR~THE ARTS 1992, ANNUAL REPORT NATIONAL ENDOWMENT FOR!y’THE ARTS The Federal agency that supports the Dear Mr. President: visual, literary and pe~orming arts to I have the honor to submit to you the Annual Report benefit all A mericans of the National Endowment for the Arts for the fiscal year ended September 30, 1992. Respectfully, Arts in Education Challenge &Advancement Dance Aria M. Steele Design Arts Acting Senior Deputy Chairman Expansion Arts Folk Arts International Literature The President Local Arts Agencies The White House Media Arts Washington, D.C. Museum Music April 1993 Opera-Musical Theater Presenting & Commissioning State & Regional Theater Visual Arts The Nancy Hanks Center 1100 Pennsylvania Ave. NW Washington. DC 20506 202/682-5400 6 The Arts Endowment in Brief The National Council on the Arts PROGRAMS 14 Dance 32 Design Arts 44 Expansion Arts 68 Folk Arts 82 Literature 96 Media Arts II2. Museum I46 Music I94 Opera-Musical Theater ZlO Presenting & Commissioning Theater zSZ Visual Arts ~en~ PUBLIC PARTNERSHIP z96 Arts in Education 308 Local Arts Agencies State & Regional 3z4 Underserved Communities Set-Aside POLICY, PLANNING, RESEARCH & BUDGET 338 International 346 Arts Administration Fallows 348 Research 35o Special Constituencies OVERVIEW PANELS AND FINANCIAL SUMMARIES 354 1992 Overview Panels 360 Financial Summary 36I Histos~f Authorizations and 366~redi~ At the "Parabolic Bench" outside a South Bronx school, a child discovers aspects of sound -- for instance, that it can be stopped with the wave of a hand. Sonic architects Bill & Mary Buchen designed this "Sound Playground" with help from the Design Arts Program in the form of one of the 4,141 grants that the Arts Endowment awarded in FY 1992. -
History of the Museum
HISTORY OF THE MUSEUM The Timken Museum of Art owes its existence to the combined efforts and generosity of two families: the prominent Timken family from Canton, Ohio, and Anne and Amy Putnam who arrived in San Diego with their family in the early 1900s. HENRY H. TIMKEN Henry H. Timken built a home in San Diego in 1887. It still stands today at the corner of First and Laurel. Timken exemplified the 19th-century American entrepreneur. He was an immigrant who built a great fortune based on hard work and inventiveness. Timken was born on a farm near Bremen, Germany, in 1831. He was only seven years old when his family left Germany for America and settled on a farm in Benton County, Missouri. As a teenager, he became an apprentice to a carriage and wagon maker in St. Louis. By the time he was 24, he was operating his own carriage shop. He later joined his father- in-law in a carriage building business in Belleville, Illinois. His industrial career was interrupted by the Gold Rush and the Civil War. He searched for gold in Colorado and enlisted in the Army (he was mustered out by the time he was serving as a Captain in the 13th Union Regiment). Returning to St. Louis, Timken established his own carriage factory. In 1877, he converted the factory to make the "Timken Buggy Spring" – a device that made a carriage ride smoother. Timken’s real legacy to industrial America was an invention that helped revolutionize transportation. His invention was a tapered roller bearing. -
The Soul of San Diego: Keeping Balboa Park Magnificent in Its
The Soul of San Diego Keeping Balboa Park Magnificent In its Second Century January, 2008 The Soul of San Diego Keeping Balboa Park Magnificent In its Second Century This report was produced by the Center for City Park Excellence of the Trust for Public Land. Supporting documentation was provided by the Keston Institute for Public Finance and Infrastructure Policy at the University of Southern California, and by the Morey Group. The project was funded by the Legler Benbough Foundation, the Parker Foundation and the San Diego Foundation. Table of Contents Introduction............................................................................. page 1 Background.............................................................................. page 1 Summary of Studies................................................................ page 6 Questions Raised ................................................................... page 11 Conclusion.............................................................................. page 17 Appendix 1 Morey Report on Balboa Park Usage Information Appendix 2 Examples of Capital and Maintenance Needs Appendix 3 Keston Report on Management and Funding Options Introduction Covering 1,200 acres, containing an amazing 85 cultural, conservation and recreation organizations within its boundaries, and attracting upwards of 10 million visitors a year, San Diego’s Balboa Park ranks as one of the most significant urban parks in America. Balboa Park is in many ways the physical and psychological soul of the city and even -
The Southwest on Display at the Panama- California Exposition, 1915
The Journal of San Diego History SAN DIEGO HISTORICAL SOCIETY QUARTERLY Fall 1990, Volume 36, Number 4 Richard W. Crawford, Editor The Southwest on Display at the Panama- California Exposition, 1915 By Richard W. Amero Images from the Article After five years of unrelenting effort, San Diego celebrated the official opening of the Panama- California Exposition in Balboa Park on January 1, 1915. At midnight, December 31, President Woodrow Wilson, in Washington, D.C., pressed a Western Union telegraph key. The signal turned on every light on the grounds and touched off a display of fireworks. The gates to the Exposition swung open. A crush of from 31,836 to 42,486 people on the grounds cheered, waved banners, threw confetti, sang "I Love You California," and snake-danced their way to the Isthmus, or fun street.1 Among the guests who took part in the official but sparsely attended ceremonies, beginning at 11:30 the following morning, were Secretary of the Treasury William G. McAdoo, Commander of the U.S. Pacific fleet Rear Admiral T.B. Howard, Director-General of the Pan-American Union John Barrett, and Spanish delegate Count del Valle de Salazar.2 In his speech to the guests, wearied from the festivities of the night before, Gilbert Aubrey Davidson, president of the Panama-California Exposition Company, declared the Exposition's purpose was to build an empire extending from the back country of the Pacific slope to the west shores of the Missouri River.3 At one point Davidson said: Here is pictured in this happy combination of splendid temples, the story of the friars, the thrilling tale of the pioneers, the orderly conquest of commerce, coupled with the hopes of an El Dorado where life can expand in this fragrant land of opportunity. -
Museum of Contemporary Art San Diego Annual Report FY13
INSTALLATION VIEW OF BEHOLD, AMERICA! ART OF THE UNITED STATES FROM THREE SAN DIEGO MUSEUMS. PHOTO BY PABLO MASON. < MCASD > LETTER FROM THE DIRECTOR AND CEO LETTER FROM THE DAVID C. COPLEY DIRECTOR AND CEO 4 < MCASD > LETTER FROM THE DIRECTOR AND CEO LETTER FROM THE DIRECTOR AND CEO < MCASD > The Museum of Contemporary Art San Diego closer to the artistic process in meaningful requires constant calibration. As in the past, we contemporary art, artists, and the creative (MCASD) has long been a visionary center for ways. Curatorial and education departments were served well by our commitment to prudent process. We thank our Members, generous art of our day, and during the fiscal year ending fostered this in innovative ways—from financial planning and discipline. Due to careful Board of Trustees, and the diverse group of June 30, 2013, we focused our creative ener- creating videos of exhibition installations in management including some difficult decisions, individual and institutional funders who make it gies on offering ways to see the world anew. progress, to offering artist talks and lectures, MCASD remains organizationally vibrant and all possible. More than 150,000 visitors were treated to a to taking groups to visit artists in their fiscally sound, boasting a strong balance sheet panorama of 14 exceptional exhibitions in our studios. Quarterly Family ArtLAB and ongoing and a steady endowment fund. We look forward to seeing you soon and dual locations. thoughtLAB programming offered students promise that you will always see something and families the opportunity to discover Supportive institutional partners continue fresh, intriguing, and delightful at MCASD! And Behold, America! Art of the United States “insider” knowledge about the exhibitions.