DOCSLIB.ORG

ANNUAL REPORT 2005 1 2 Annual Report 2005 Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ANNUAL REPORT 2005 www.mam.org 1 2 Annual Report 2005 Contents Board of Trustees . 4 Committees of the Board of Trustees . 4 President and Chairman’s Report . 6 Director’s Report . 9 Curatorial Report . 11 Exhibitions, Traveling Exhibitions . 14 Loans . 14 Acquisitions . 16 Publications . 35 Attendance . 36 Membership . 37 Education and Public Programs . 38 Year in Review . 39 Development . 43 Donors . 44 Support Groups . 51 Support Group Officers . 55 Staff . 58 Financial Report . 61 Financial Statements . 63 OPPOSITE: Ludwig Meidner, Self-Portrait (detail), 1912. See listing p. 16. PREVIOUS PAGE: Milwaukee Art Museum, Quadracci Pavilion designed by Santiago Calatrava as seen looking east down Wisconsin Avenue. www.mam.org 3 Board of Trustees As of August 30, 2005 BOARD OF TRUSTEES COMMITTEES OF Earlier European Arts Committee Jean Friedlander AND COMMITTEES THE BOARD OF TRUSTEES Jim Quirk Milton Gutglass George T. Jacobi MILWAUKEE ART MUSEUM EXECUTIVE COMMITTEE Chair David Ritz Sheldon B. Lubar Sheldon B. Lubar Martha R. Bolles Helen Weber Chairman Chair Vice Chair and Secretary Barry Wind Andrew A. Ziegler Christopher S. Abele Barbara B. Buzard EDUCATION COMMITTEE President Donald W. Baumgartner Joanne Charlton Lori Bechthold Margaret S. Chester Christopher S. Abele Donald W. Baumgartner Frederic G. Friedman Stephen Einhorn Chair Vice President, Past President Terry A. Hueneke George A. Evans, Jr. Kim Abler Mary Ann LaBahn Eckhart Grohmann Frederic G. Friedman John Augenstein Marianne Lubar Frederick F. Hansen Assistant Secretary and James Barany P. M ichael Mahoney Avis M. Heller Legal Counsel José Chavez Betty Ewens Quadracci Arthur J. Laskin Terrence Coffman Mary Ann LaBahn James H. Schloemer Helen Peter Love Miriam Davidson Vice President, Exhibitions Allen M. Taylor Geoffrey Maclay Marlene Doerr W. Kent Velde Frank Murn Daniel Donder P. M ichael Mahoney Andrew A. Ziegler Lillian M. Schultz Edward J. Hanrahan Vice President, Investment William M. Treul Eugene Humphrey ACQUISITIONS AND Allen M. Taylor Judy Jorgensen COLLECTIONS COMMITTEE Modern and Vice President Sheri Klein Contemporary Committee Betty Ewens Quadracci Marianne Lubar Peggy Larson Secretary Chair Nicole Teweles Janet Matthews Chair George A. Evans, Jr. Steve McCormick W. Kent Velde Phillip Naylor Treasurer Vice Chair Donna Baumgartner Marilyn Bradley José A. Olivieri Karen Johnson Boyd Ellen Checota Michael Price MEMBERS AT LARGE Marilyn Bradley Karen Drummond Betty Ewens Quadracci Christopher S. Abele Andrea B. Bryant Sue Frautschi Andrew E. Randall Lori Bechthold Margaret Chester Jim Hatch Sally Schuler Gerry Broderick Stephen Einhorn Jane Kaiser Alfonzo Thurman Michael J. Cudahy Susan M. Jennings Jeff Kasch Curt S. Culver Arthur J. Laskin Tony Krausen EXHIBITIONS COMMITTEE Danny L. Cunningham Wayne R. Lueders Marianne Lubar Mary Ann LaBahn Dr. Marvin L. Fishman J. Thomas Maher III David Meissner Chair Judy Gordon Anthony J. Petullo Joanne Murphy Dorothy M. Stadler Edward J. Hanrahan Richard R. Pieper Dorothy Palay Vice Chair Terry A. Hueneke Sandra Robinson Barbara Recht Allen L. Samson Jeffrey Joerres Vicki Samson Christopher S. Abele Reva Shovers Judy Jorgensen Suzanne L. Selig Karen Johnson Boyd Frederick Vogel III Raymond R. Krueger Reva Shovers Dale R. Faught Robert A. Wagner Gail A. Lione Dorothy M. Stadler Jean Friedlander Hope Melamed Winter José A. Olivieri Eric Vogel Carmen Haberman Jill G. Pelisek Frederick Vogel IV George T. Jacobi ACQUISITIONS AND Anthony J. Petullo Hope Melamed Winter Judy Jorgensen COLLECTIONS SUBCOMMITTEES Andrew E. Randall Jeffrey Winter Jane L. Kaiser William L. Randall Decorative Arts Committee Raymond R. Krueger Roy Reiman Constance Godfrey Photography Committee Donna Meyer Joseph A. Rice Anthony J. Petullo Marcia Rimai Chair Kevin Miyazaki Chair Betty Ewens Quadracci Sandra Robinson Trish Alverson Dorothy Nelle Sanders James H. Schloemer Barbara Buzard Dick Blau Justin N. Segel Justin N. Segel Mary Terese Duffy Barbara Ciurej Suzanne L. Selig Suzanne L. Selig Barbara Elsner Larry D’Attilio Charlotte Zucker Dorothy M. Stadler Barbara Fuldner William Haberman Stacy G. Terris Henry E. Fuldner Carol Lewensohn ANNUAL CAMPAIGN Lynde B. Uihlein Dudley Godfrey, Jr. Lindsay Lochman COMMITTEE Cardi Smith Nicole Teweles Ellen Glaisner AUXILIARY SPOKESPERSONS Eric Vogel Anne Vogel Co-Chair Judith Croak Frederick Vogel III Frederick Vogel IV President, Collectors’ Corner Robert A. Wagner Suzanne L. Selig Prints and Drawings Committee Co-Chair Sally Schuler J. Thomas Maher III Chair, Docents Donna Baumgartner Chair Jean Friedlander Rosheen Styczinski Kent Anderson Judy Gordon President, Garden Club Roger L. Boerner Jill G. Pelisek Lois Ehlert James H. Schloemer Laurence Eiseman, Jr. Dorothy M. Stadler Marianne Epstein Stacy G. Terris Julie Evans Nicole Teweles 4 Milwaukee Art Museum PLANNED GIVING COMMITTEE PUBLIC AFFAIRS COMMITTEE Jill G. Pelisek LAYTON ART COLLECTION Andrea B. Bryant Raymond R. Krueger Helen Peters BOARD OF TRUSTEES Co-Chair Chair Gabriele Flagg Pfeiffer Henry E. Fuldner Joan M. Pick President Susan Jennings Christopher S. Abele Richard R. Pieper Co-Chair H. Carl Mueller Suzanne Pieper Constance Godfrey Betty Ewens Quadracci Betty Ewens Quadracci Frederick Vogel III Donn Dresselhuys Lynde B. Uihlein Vice Presidents Dale R. Faught Merlin Rostad Frederic G. Friedman Allen L. Samson Frederick Vogel III MARKETING COMMITTEE William Haberman Douglas Seaman Treasurer Judy Jorgensen Anthony J. Petullo Floyd A. Segel Raymond Kehm Chair Mary Ladish Selander Constance Godfrey Allan H. Selig Secretary Jill G. Pelisek Craig Adelman Suzanne L. Selig Andrea B. Bryant David Gordon L. William Teweles HUMAN RESOURCES AND Dale R. Faught Curator of the Collection Nicole Teweles REMUNERATION COMMITTEE Carmen Haberman Barbara Tooman George A. Evans, Jr. Terry A. Hueneke Edward J. Hanrahan Mrs. Erwin Uihlein Thomas B. Fitzgerald Chair Terry A. Hueneke Anne Vogel Dudley J. Godfrey, Jr. John Melamed Frederick Vogel III Kate Huston Jeffrey Joerres H. Carl Mueller Elmer L. Winter David V. Uihlein, Jr. Sheldon B. Lubar Dorothy M. Stadler P. M ichael Mahoney Hope Melamed Winter Polly Van Dyke Anthony J. Petullo William Van Dyke MILWAUKEE ART MUSEUM PRESIDENTS AND Frederick Vogel IV COUNCIL INVESTMENT COMMITTEE CHAIRMAN SINCE 1968 Robert A. Wagner Dr. Alfred Bader Roger L. Boerner P. M ichael Mahoney Jay Baker 1968–1971 Chair Patty Baker Mark G. Doll Joan Barnett Arnold D. K. Mason* Richard J. Glaisner Donald Baumgartner 1971–1973 Wayne R. Lueders Donna Baumgartner Robert V. Krikorian* Allen M. Taylor Polly Beal 1973–1977 W. Kent Velde Roger L. Boerner Karen Johnson Boyd Sheldon B. Lubar FINANCE COMMITTEE Marilyn Bradley 1977–1980 Orren J. Bradley W. Kent Velde Lloyd W. Herrold Chair Margaret Chester The Honorable Richard D. 1980–1983 Donald W. Baumgartner Cudahy David T. Kahler Richard J. Glaisner James D. Ericson 1983–1986 Mary Ann LaBahn George A. Evans, Jr. Sheldon B. Lubar Robert Feitler Robert Feitler P. M ichael Mahoney Jean Friedlander 1986–1989 Marcia Rimai Lloyd A. Gerlach Susan M. Jennings Allen M. Taylor Constance Godfrey 1989–1992 Andrew A. Ziegler Dudley J. Godfrey, Jr. Dr. Christopher Graf Allen L. Samson AUDIT COMMITTEE Christoph H. Guenther 1992–1995 Lloyd W. Herrold Danny L. Cunningham P. M ichael Mahoney Robert D. Hevey Chair 1995–1998 George T. Jacobi Keith Burns Richard G. Jacobus Frank D. Pelisek* Sheldon B. Lubar Susan M. Jennings 1998–2001 Andrew E. Randall David T. Kahler Stacy G. Terris George Kaiser Donald W. Baumgartner W. Kent Velde Jane Kaiser 2001–2004 Joe Kindig III Sheldon B. Lubar NOMINATIONS AND Senator Herbert H. Kohl 2004–2005; Chairman, 2005– GOVERNANCE COMMITTEE Ruth DeYoung Kohler Andrew A. Ziegler Virginia Krikorian Andrew A. Ziegler Chair Arthur J. Laskin 2005– Jeffrey Joerres Phoebe R. Lewis * Deceased Marianne Lubar Eileen Liebman Sheldon B. Lubar Marianne Lubar Suzanne L. Selig Sheldon B. Lubar Allen M. Taylor P. M ichael Mahoney Sally Manegold William M. Manly Paul Meissner John L. Murray Gil Palay www.mam.org 5 President and Chairman’s Report You will see that this report is signed by both of us. The demands on the Museum’s leadership have grown with the expansion, and we have instituted a dual leadership structure that works well for the Museum and for us. The title “Chairman” has been brought back into use. At the Annual Meeting in May 2005, Sheldon Lubar moved from being President to Chairman. In that capacity, he chairs the board meetings. Andrew Ziegler became President. While both Chairman and President are active on the Finance and Nominations and Governance Committees, the President is taking a lead role in the Annual Campaign. Proper governance is an increasing concern for all organizations, not-for-profit as well as for-profit. The Nominations Committee, now expanded into a Nominations and Governance Committee, reviews the roles of all Museum committees and has, in collaboration with the committees, created new commission statements for them. An Audit Committee separate from the Finance Committee has also been created. The Finance Committee is chaired by Danny Cunningham, Senior Partner of Deloitte and Touche. The Audit Committee has the opportunity of meeting with the auditors without management being present. The Finance Committee meets monthly to review performance against the budget. There is full transparency of accounts with the whole Sheldon B. Lubar board receiving detailed schedules covering income and expenditure, balance sheet, and movement of funds between restricted
Recommended publications
  • Want to Have Some Fun with Tech and Pol Cart

    Want to Have Some Fun with Tech and Pol Cart

    Want To Have Some Fun With Technology and Political Cartoons? Dr. Susan A. Lancaster Florida Educational Technology Conference FETC Political and Editorial Cartoons In U.S. History http://dewey.chs.chico.k12.ca.us/edpolcart.html • Political cartoons are for the most part composed of two elements: caricature, which parodies the individual, and allusion, which creates the situation or context into which the individual is placed. • Caricature as a Western discipline goes back to Leonardo da Vinci's artistic explorations of "the ideal type of deformity"-- the grotesque-- which he used to better understand the concept of ideal beauty 2 • Develop Cognitive • Historical and Thinking and Higher Government Events Levels of Evaluation, • Group Work Analysis and Synthesis • Individual Work • Create Student • Current Events Drawings and Interpretations • Sports Events • Express Personal • Editorial Issues Opinions • Foreign Language and • Real World Issues Foreign Events • Visual Literacy and • Authentic Learning Interpretation • Critical Observation and Interpretation • Warm-up Activities • Writing Prompts 3 • Perspective A good editorial cartoonist can produce smiles at the nation's breakfast tables and, at the same time, screams around the White House. That's the point of cartooning: to tickle those who agree with you, torture those who don't, and maybe sway the remainder. 4 http://www.newseum.org/horsey/ Why include Political Cartoons in your curriculum? My goal was to somehow get the students to think in a more advanced way about current events and to make connections to both past and present Tammy Sulsona http://nieonline.com/detroit/cftc.cfm?cftcfeature=tammy 5 Cartoon Analysis Level 1 Visuals Words (not all cartoons include words) List the objects or people you see in the cartoon.
  • Bulletin Describes the Operations of the Artmobile, Presents Some

    Bulletin Describes the Operations of the Artmobile, Presents Some

    DOCUMENT RESUME' ED 027 356 UD 007 709 Artmobile Exhibit # I: A Manual on, Operations and Instructions. Los Angeles City Schools, Calif. Div. of Secondary Education. Report No- LACS -ESEA-T -A-127-67 Pub Date 30 Jun 67 . Note-60p. EDRS Price MF-$0.50 HC-$3.10 Descriptors-Art Activities, *Art Education, Artists, *Art Materials, Educational Objectives, Instructional Materials, Learning Activities, *Mobile Educational services, *Secondary Schools Identifiers-Californik Los Angeles . An Artmobile exhibit was developed for Los Angeles secondary schools underan ESEA specially funded program. The exhibit involves two trailers and packaged instructional materials for a display of the work of 33 local artists. An instructional bulletin describes the operations of the Artmobile, presents some relevant art concepts, outlines several art education objectives, and offers some suggested learning activities for art classrooms. The document includes information about the 33 artists 'and their work (NH) r SPECIALLY FUNDED PROGRAMS" FOR CLASSROOM TRIAL ONLY ESEA NO. T - -61., SUMMER, 1967 ....... : . ,.. ARTMOBILE Exhibit #1 ii . .:: .... ... A AAANIJAL A*. :?.....,.... On Oporations ..::::::...,.. .(44,E.... .... .. :......,...:.::, AndInstructions ,.-....:E.:::::.....,. : " U.3. UtVAKIMUll Ut MAW!, CUULAIIUM Ca WELIMIL OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION MHITMNORPOLMt LoSANGELES CITY SCHOOL DISTRICTS Divi9ion of Secondary Education Beverly Boulevard Center Specially-PundedPrograms DATE: June 30, 1967 ............-______...............CLASSROOM TRIAL APPROVAL PROJECT: FINE ARTS --ART (ARTmOBILE) ARTMOBILE EXHIBIT # I TITLE OF PUBLICATION: A Manual on Operations and Instruction The material isaccepted and approvedfor classroom trial. c../ onsultant in Charge , Project Coordinator .../ .
  • The Stockholm Philharmonic Orchestra

    The Stockholm Philharmonic Orchestra

    HansSchmidt-lsserstedt and the StockholmPhilharmonic Orchestra (1957) TheStockholm Philharmonic Orchestra - ALL RECORDINGSMARKED WITH ARE STEREO BIS-CD-421A AAD Totalplayingtime: 71'05 van BEETHOVEN,Ludwig (1770-1827) 23'33 tr SymphonyNo.9 in D minor,Op.125 ("Choral'/, Fourth Movemenl Gutenbuts) 2'.43 l Bars1-91. Conductor.Paavo Berglund Liveconcert at the StockholmConcert Hall 25thMarch 19BB Fadiorecording on tape:Radio Stockholm 1',44 2. Bars92' 163. Conductor:Antal Dor6t Liveconcerl at the StockholmConcert Hall 15thSeptember 1976 Privaterecording on tape.SFO B 276lll 1',56 3 Bars164 '236. Soloist:Sigurd Bjorling, bass Conduclor.Antal Dordti '16th Liveconcert at theStockholm Concert Hall December 1967 Privaterecording on tape.SFO 362 Recordingengineer. Borje Cronstrand 2',27 4 Bars237 '33O' Soloists.Aase Nordmo'Lovberg, soprano, Harriet Selin' mezzo-soprano BagnarUlfung, tenor, Sigurd Biorling' bass Muiit<alisxaSallskapet (chorus master: Johannes Norrby) Conductor.Hans Schmidt-lsserstedt Liveconcert at the StockholmConcert Hall, 19th May 1960 Privaterecording on tape SFO87 Recordingengineer' Borje Cronstrand Bars331 -431 1IAA Soloist:Gosta Bdckelin. tenor MusikaliskaSdllskapet (chorus-master: Johannes Norrbv) Conductor:Paul Kletzki Liveconcert at the StockholmConcerl Hall, ist Octoberi95B Radiorecording on tape:RR Ma 58/849 -597 Bars431 2'24 MusikaliskaSallskapet (chorus-master: Johannes Norroy,l Conductor:Ferenc Fricsay Llverecording at the StockholmConcert Hall,271h February 1957 Radiorecording on tape:RR Ma 571199 Bars595-646 3',05
  • BROWNIE the Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet

    BROWNIE the Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet

    BROWNIE The Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet Dan Morgenstern Grammy Award for Best Album Notes 1990 Disc 1 1. DELILAH 8:04 Clifford Brown-Max RoaCh Quintet: (V. Young) Clifford Brown (tp), Harold Land (ts), Richie 2. DARN THAT DREAM 4:02 Powell (p), George Morrow (b), Max RoaCh (De Lange - V. Heusen) (ds) 3. PARISIAN THOROUGHFARE 7:16 (B. Powell) 4. JORDU 7:43 (D. Jordan) 5. SWEET CLIFFORD 6:40 (C. Brown) 6. SWEET CLIFFORD (CLIFFORD’S FANTASY)* 1:45 1~3: Los Angeles, August 2, 1954 (C. Brown) 7. I DON’T STAND A GHOST OF A CHANCE* 3:03 4~8: Los Angeles, August 3, 1954 (Crosby - Washington - Young) 8. I DON’ T STAND A GHOST OF A CHANC E 7:19 9~12: Los Angeles, August 5, 1954 (Crosby - Washington - Young) 9. STOMPIN’ AT TH E SAVOY 6:24 (Goodman - Sampson - Razaf - Webb) 10. I GET A KICK OUT OF YOU 7:36 (C. Porter) 11. I GET A KICK OUT OF YOU* 8:29 * Previously released alternate take (C. Porter) 12. I’ LL STRING ALONG WITH YOU 4:10 (Warren - Dubin) Disc 2 1. JOY SPRING* 6:44 (C. Brown) Clifford Brown-Max RoaCh Quintet: 2. JOY SPRING 6:49 (C. Brown) Clifford Brown (tp), Harold Land (ts), Richie 3. MILDAMA* 3:33 (M. Roach) Powell (p), George Morrow (b), Max RoaCh (ds) 4. MILDAMA* 3:22 (M. Roach) Los Angeles, August 6, 1954 5. MILDAMA* 3:55 (M. Roach) 6.
  • Example Case Study: Milwaukee Art Museum

    Example Case Study: Milwaukee Art Museum

    Example Case Study: Milwaukee Art Museum ARCH 631: Structural Systems Prof. Anne Nichols 2004 1 Contents Overview (Introduction) 1 The Milwaukee Art Museum (Background) 1 The Architect (Background) 2 The Quadracci Pavilion (Body) 4 Design Concept 4 Building Layout 4 Structural Features 8 Building Components and System 9 Burke Brise-Soleil 13 Pedestrian Bridge 14 Loading Summary 15 Gravity Loads 16 Lateral Load Resistance 20 Foundation and Soil 22 Summary Bibliography (References) i Overview On May 4, 2001, a much-anticipated addition to the Milwaukee Art Museum first opened its doors to the public. The $125-million-dollar project, designed by architect Santiago Calatrava, became an icon for the museum and the city of Milwaukee, Wisconsin even before its completion. This report presents a case study of the project. Background information regarding the architectural context for the addition will be provided, as well as a synopsis of the architect’s mastery of structural design. A number of unique elements of the building will be discussed in detail. In addition, the building’s complex structural design will be reviewed through component and system evaluation, diagrams, and simplified computer-based structural analysis. The Milwaukee Art Museum The Milwaukee Art Museum (MAM) traces its beginnings to two institutions, the Layton Art Gallery, established in 1888, and the Milwaukee Art Institute, which was established in 1918. In 1957 the groups joined together, forming the private, nonprofit Milwaukee Art Center, now known as the Milwaukee Art Museum. At this time, the Center moved to its present location on the Milwaukee waterfront Finnish architect Eero Saarinen, known for his St.
  • Moments in Time: Lithographs from the HWS Art Collection

    Moments in Time: Lithographs from the HWS Art Collection

    IN TIME LITHOGRAPHS FROM THE HWS ART COLLECTION PATRICIA MATHEWS KATHRYN VAUGHN ESSAYS BY: SARA GREENLEAF TIMOTHY STARR ‘08 DIANA HAYDOCK ‘09 ANNA WAGER ‘09 BARRY SAMAHA ‘10 EMILY SAROKIN ‘10 GRAPHIC DESIGN BY: ANNE WAKEMAN ‘09 PHOTOGRAPHY BY: LAUREN LONG HOBART & WILLIAM SMITH COLLEGES 2009 MOMENTS IN TIME: LITHOGRAPHS FROM THE HWS ART COLLECTION HIS EXHIBITION IS THE FIRST IN A SERIES INTENDED TO HIGHLIGHT THE HOBART AND WILLIAM SMITH COLLEGES ART COLLECTION. THE ART COLLECTION OF HOBART TAND WILLIAM SMITH COLLEGES IS FOUNDED ON THE BELIEF THAT THE STUDY AND APPRECIATION OF ORIGINAL WORKS OF ART IS AN INDISPENSABLE PART OF A LIBERAL ARTS EDUCATION. IN LIGHT OF THIS EDUCATIONAL MISSION, WE OFFERED AN INTERNSHIP FOR ONE-HALF CREDIT TO STUDENTS OF HIGH STANDING TO RESEARCH AND WRITE THE CATALOGUE ENTRIES, UNDER OUR SUPERVISION, FOR EACH OBJECT IN THE EXHIBITION. THIS GAVE STUDENTS THE OPPORTUNITY TO LEARN MUSEUM PRACTICE AS WELL AS TO ADD A PUBLICATION FOR THEIR RÉSUMÉ. FOR THIS FIRST EXHIBITION, WE HAVE CHOSEN TO HIGHLIGHT SOME OF THE MORE IMPORTANT ARTISTS IN OUR LARGE COLLECTION OF LITHOGRAPHS AS WELL AS TO HIGHLIGHT A PRINT MEDIUM THAT PLAYED AN INFLUENTIAL ROLE IN THE DEVELOPMENT AND DISSEMINATION OF MODERN ART. OUR PRINT COLLECTION IS THE RICHEST AREA OF THE HWS COLLECTION, AND THIS EXHIBITION GIVES US THE OPPORTUNITY TO HIGHLIGHT SOME OF OUR MAJOR CONTRIBUTORS. ROBERT NORTH HAS BEEN ESPECIALLY GENER- OUS. IN THIS SMALL EXHIBITION ALONE, HE HAS DONATED, AMONG OTHERS, WORKS OF THE WELL-KNOWN ARTISTS ROMARE BEARDEN, GEORGE BELLOWS OF WHICH WE HAVE TWELVE, AND THOMAS HART BENTON – THE GREAT REGIONALIST ARTIST AND TEACHER OF JACKSON POLLOCK.
  • Ald. Michael Murphy Chair, Milwaukee Arts Board

    Ald. Michael Murphy Chair, Milwaukee Arts Board

    Department of City Development 809 North Broadway, Milwaukee, WI 53202 (414) 286-5794 Fax (414) 286-5467 Tom Barrett, Mayor Ald. Michael Murphy, Chair www.milwaukee.gov/MAB Contact: Ald. Michael Murphy Chair, Milwaukee Arts Board (414) 286-2074 For Immediate Release City of Milwaukee Arts Board awards $238,000 to 35 arts organizations Summer arts programs for youth, free performances of Shakespeare’s Much Ado About Nothing, and a series of cross-neighborhood dinners in connection with the classic American play Our Town are among 35 projects awarded funding recently by the City of Milwaukee Arts Board. At its May meeting the MAB considered the recommendations of an eight-member citizen review panel and voted to award $238,000 in grants ranging from $3,500 to $7,000. MAB grants require a dollar-for-dollar cash match from other sources, and the combined budgets of the 35 selected projects this year is more than $3.48 million. There were a total of 41 eligible requests from Milwaukee nonprofit arts organizations to fund art, music, dance, arts education and other projects. “I’m always impressed by the quality work our local arts community puts forth,” said Ald. Michael Murphy, Milwaukee Arts Board Chair. “We’re pleased to be able to support their efforts.” This year marks the 27th annual grant awards. Since 1991, the Milwaukee Arts Board has awarded more than $4.95 million to 127 different organizations. Grantees will be honored by Mayor Tom Barrett, Ald. Murphy and others at a 4:30 p.m. reception June 12 at the Marcus Center for the Performing Arts followed by an awards program and celebration at 5 p.m.
  • Taylor Hearn of the Texas Rangers Is Commanding Respect on and Off the Field

    Taylor Hearn of the Texas Rangers Is Commanding Respect on and Off the Field

    I Volume XXXI, Number XXI July 15-28, 2021 The hoax of widespread voter fraud - See Page 3 Healthcare costs hammer minorities Visit us online at www.northdallasgazette.com - See Page 4 Taylor Hearn of the Texas Texas Dems flee the state over Rangers is commanding voting bills respect on and off the field - See Page 5 By: Jackie Hardy Biden changes NDG Contributing Writer Trump rules Since 2019, native Texan and on visas pitcher, Taylor Hearn has been wearing number 52 for the Texas - See Page 6 Rangers after advancing from the Frisco RoughRiders minor league Carrollton to team in 2018. He’s grateful to be able to play for expand DART a team that is in his home state be- rail station cause it allows his beloved parents the opportunity to attend his games - See Page 7 as he shared with North Dallas Ga- zette via a Zoom interview. “My parents have not seen me Louisiana’s play in a longtime; they’re so use Taylor Hearn takes the mound for the Texas Rangers during recent action. His current oldest tradition to seeing me play on a computer assignment is only a short drive from his native Royse City, close enough for his parents screen. It was pretty cool,” declares to attend his games. (Photo: Kelly Gavin / Texas Rangers) of Juneteenth Hearn on getting the opportunity to Athletic Conference and his 71 He credits his father, Robby and play for the Rangers. strikeouts ranked 10th overall. his mother, Debra for always sup- - See Page 8 Prior to being traded, Hearn Hearn was drafted by the Pitts- porting him and being a constant played for Altoona Curve, a minor burgh Pirates (22nd round), Cincin- encourager throughout his life.
  • What Do You Do with 314 Pots? by Joan Lincoln

    What Do You Do with 314 Pots? by Joan Lincoln

    Teapot, 7 inches in height, slab-built Celadon-glazed teapot, 111/4 inches Glazed porcelain teapot, 9 inches porcelain with black terra sigillata, in height, wheel-thrown and carved in height, with handmade handle, purchased for $2600, by Edward Eberle. porcelain, $105, by Molly Cowgill. $50, by Ruth Scharf. What Do You Do with 314 Pots? by Joan Lincoln never intended to collect contempo­ opinions, current trends, inflated cost few people realized the potential value /, rary American ceramics. My first pur­ or overwhelming size. If a work cannot of a Toshiko Takaezu container; a chase, a small, red clay, matt-green- speak for itself in the rich company of shop/gallery/fair cannot afford to stay glazed bowl by Gertrud and Otto fine craft, no amount of pretentious in business on speculation. Friends Natzler, caught my eye at the New York jargon-hype will make it valid or hon­ also gave me ceramic objects, knowing City American Crafts Gallery. I could est. Obfuscation covers inadequacy. I had been mucking around in clay not leave without it. Now, my collec­ Rule three requires that the object forever (kindergarten through grad tion ranges from Laura Andreson to do well that which it was designed to school). Sometimes these gifts were Marguerite Wildenhain, from low-fire do. The mind likes a justification for quite remarkable (a 23-inch Rook- earthenware to high-fire porcelain, from the eye’s delight; e.g., my Molly Cowgill wood lamp base, probably by Shiraya- functional to purely decorative. I can celadon-glazed carved porcelain teapot madani). I also traded/bought from now read most pots easily for technique pours well, holds the heat and adds fellow M.F.A.
  • UWM Libraries Digital Collections

    UWM Libraries Digital Collections

    OCTOBER/NOVEMBER 1996 COMPLIMENTARY VOLUME 1 1, ISSUE 1 CASTS OF CONTENTS CHARACTER ;Sfe5 m wm ::ft|f liiiiiiii! isiSiiiaiia ^m W 5S** m till ®m ililii*****"" . .•li.'-ftiiiill '"* •'• : "*"****> €15116 "^""^^feiSS?**! *£& Robert Cottingham, Art (detail), 1992. MAM, Landfall Press Archive, Gift of Jack Lemon. An Exhibition Featuring the Work of Former Artists-in-Residence in the FEHTU RES John Michael Kohler Arts Center's Arts/Industry Program at Kohler Co. Reflections on the Milwaukee Art Museum 12 September 29,1996 - January 5,1997 Photographs by Francis Ford 14 A Tale of Two Cities: Milwaukee vs. Milwaukee 16 TRE' ARENZ • LAWRENCE ARGENT • NANCY DWYER It Could Have Been a Parking Lot 17 PETER FLANARY • LESLIE FRY • MICHAEL GARR Beyond Bovines 18 MARTHA GLOWACKI • RONALD GONZALEZ INDIRA FREITAS JOHNSON • KEN LITTLE A Fine Line 19 EVA MELAS • CINDI MORRISON • JOEL OTTERSON Reflections on the Haggerty Museum of Art 20 CAROLYN OTTMERS • ALBERT PFARR • PAUL SEBBEN Fixing The Leaks 21 BUSTER SIMPSON • JANET WILLIAMS • ANDY YODER Essay/Steven Foster/Studies 22 OPENING CELEBRATION DEPARTMENTS Friday, October 4,1996 • 5:30-8:30 p.m. Refreshments • Music by The Mosleys Plexus/Reflexus 4 Free Admission Grants/Opportunities 6 Post Facto 24 Concurrent Exhibitions Calendar/Out There 28 Anna Torma: Notes and Visions Madison/Chicago 33 Kate Moran: Nine Dolls Full of Color Who Understand Touch through October 27 Rudy Rotter: Mahogany to Mink November 3, 1996 - February 2, 1997 ON THE COVER Opening and Exhibition Preview Front: David Schweitzer, Director, 1986. Photograph by Francis Ford. with Rudy Rotter and Guest Curator Debra Brehmer Back: Les Petite Bon-Bon, 1971.
  • Road Notez Abandon Kansas W/Seabird, Clemency ($8 Adv

    Road Notez Abandon Kansas W/Seabird, Clemency ($8 Adv

    --------------- Calendar • On the Road --------------- Rob Zombie and Korn will head out on the 2Cellos Oct. 21 Park West Chicago road together once again, this time for the Aaron Carter Oct. 5 Canopy Club Urbana, IL Night Of The Living Dreads tour, starting in Road Notez Abandon Kansas w/Seabird, Clemency ($8 adv. $10 d.o.s.) Oct. 18 HeBrews Fort Wayne Leo November. These artists have joined forces The Academy of St. Martin in the Fields Chamber Ensemble ($35) Nov. 3 Sursa Performance Hall Muncie several times over the years, and the shows CHRIS HUPE Adrian Legg ($17.50) Oct. 7 The Ark Ann Arbor are always regarded as some of the best of Amos Lee w/Kat Edmonson Nov. 8 Chicago Theatre Chicago the year in metal. Only 17 dates have been announced so far, with November 22 in Grand Amos Lee w/Kat Edmonson Nov. 10 Royal Oak Music Theatre Royal Oak, MI Andy McKee ($15-$18) Nov. 15 Taft Theatre Cincinnati Rapids the only regional show. Korn’s newest album, The Paradigm Shift, drops October Andy McKee ($25) Nov. 16 The Ark Ann Arbor 8. Anthony Gomes Nov. 2 C2G Music Hall Fort Wayne While we’re on the subject of big metal tours, Megadeth have confirmed the Super Col- Anthony Jeselnik Oct. 3 Egyptian Room Indianapolis Anthony Jeselnik Oct. 4 Capitol Theater Columbus, OH lider tour, beginning in late November. While Megadeth always put on a great show by Anthony Jeselnik Oct. 5 Ohio Theatre Cleveland themselves, add Fear Factory and Nonpoint to the bill and you’ve got a great package.
  • Annual Report 2013-2014

    Annual Report 2013-2014

    The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I.