Fletcher Benton
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California High-Speed Rail San Francisco to San Jose Project
Section 3.12 Socioeconomics and Communities California High Speed Rail Authority 3.12 Socioeconomics and Communities 3.12.1 Introduction This section describes the regulatory setting and the Overview of Socioeconomic and affected environment for socioeconomics and Community Impacts communities; and the potential construction and operation impacts on communities, residents, ▪ Project construction would temporarily businesses, community facilities, and the local disrupt communities along the alignment, with the greatest effects associated with economy. The analysis addresses impacts of the San constructing the Brisbane Light Maintenance Francisco to San Jose Project Section (Project Facility, expanding the Millbrae Station, and Section, or project) on community cohesion, children’s the passing track and viaduct construction health and safety, the impacts of displacement and (under Alternative B). Project construction relocation, and economic impacts. The socioeconomic could permanently affect social relationships data used in the analysis are derived from various and perceptions of quality of life by sources, including the U.S. Census Bureau, California displacing residents, businesses, and Department of Finance, and the various county and community and public facilities. city agencies. ▪ No disproportionate impacts on children’s The San Francisco to San Jose Project Section health and safety would occur due to project Community Impact Assessment (San Francisco to San construction or operation. Jose Community Impact Assessment) (California -
Understanding the Value of Arts & Culture | the AHRC Cultural Value
Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska 2 Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska THE AHRC CULTURAL VALUE PROJECT CONTENTS Foreword 3 4. The engaged citizen: civic agency 58 & civic engagement Executive summary 6 Preconditions for political engagement 59 Civic space and civic engagement: three case studies 61 Part 1 Introduction Creative challenge: cultural industries, digging 63 and climate change 1. Rethinking the terms of the cultural 12 Culture, conflict and post-conflict: 66 value debate a double-edged sword? The Cultural Value Project 12 Culture and art: a brief intellectual history 14 5. Communities, Regeneration and Space 71 Cultural policy and the many lives of cultural value 16 Place, identity and public art 71 Beyond dichotomies: the view from 19 Urban regeneration 74 Cultural Value Project awards Creative places, creative quarters 77 Prioritising experience and methodological diversity 21 Community arts 81 Coda: arts, culture and rural communities 83 2. Cross-cutting themes 25 Modes of cultural engagement 25 6. Economy: impact, innovation and ecology 86 Arts and culture in an unequal society 29 The economic benefits of what? 87 Digital transformations 34 Ways of counting 89 Wellbeing and capabilities 37 Agglomeration and attractiveness 91 The innovation economy 92 Part 2 Components of Cultural Value Ecologies of culture 95 3. The reflective individual 42 7. Health, ageing and wellbeing 100 Cultural engagement and the self 43 Therapeutic, clinical and environmental 101 Case study: arts, culture and the criminal 47 interventions justice system Community-based arts and health 104 Cultural engagement and the other 49 Longer-term health benefits and subjective 106 Case study: professional and informal carers 51 wellbeing Culture and international influence 54 Ageing and dementia 108 Two cultures? 110 8. -
Kathy Aoki Associate Professor of Studio Art Chair, Department of Art and Art History Santa Clara University, CA [email protected]
Kathy Aoki Associate Professor of Studio Art Chair, Department of Art and Art History Santa Clara University, CA [email protected] Education MFA ‘94, Printmaking. Washington University, School of Art, St. Louis, USA Recent Awards and Honors 2015 Prix-de-Print, juror Stephen Goddard, Art in Print, Nov-Dec 2015 issue. 2014 Turner Solo-Exhibition Award, juror Anne Collins Goodyear, Turner Print Museum, Chico, CA. 2013 Artist Residency, Frans Masereel Centrum, Kasterlee, Belgium Artist Residency, Fundaçion Valparaiso, Mojácar, Spain Palo Alto Art Center, Commission to create art installation with community involvement. (2012-2013) 2011-12 San Jose Museum of Art, Commission to make “Political Paper Dolls,” an interactive site-specific installation for the group exhibition “Renegade Humor.” 2008 Silicon Valley Arts Council Artist Grant. 2-d category. 2007 Artist’s Residency, Cité Internationale des Arts, Paris, France Strategic Planning Grant for pop-up book, Center for Cultural Innovation, CA. 2006 Djerassi Artist Residency, Woodside, CA 2004 Market Street Kiosk Poster Series, Public Art Award, SF Arts Commission Juror’s Award First Place, Paula Kirkeby juror, Pacific Prints 2004, Palo Alto, CA 2003 Artist Residency, Headlands Center for the Arts, Sausalito, CA 2002 Trillium Fund, artist grant to work at Trillium Fine Art Press, Brisbane, CA 2001 Artist Residency. MacDowell Colony, Peterborough, NH Selected Permanent Collections: 2010 New York Metropolitan Museum of Art 2009 de Saisset Museum, Santa Clara University, Santa Clara, CA. 2002 Harvard University Art Museums, Yale University Library 2000 Spencer Art Museum, University of Kansas 2001 Mills College Special Collections (Oakland, CA) and New York Public Library 1997, ‘99 Fine Arts Museums of San Francisco, Achenbach Collection 1998 San Francisco Museum of Modern Art, Special Artist Book Collection 1995 Graphic Chemical and Ink, print purchase award, Villa Park, IL 1994 1998 Olin Rare Books, Washington University in St. -
Fine Arts Policies and Procedures 2017
FINE ARTS POLICIES AND PROCEDURES Executive Summary 1. Introduction 1.1. Mission and Vision Statements 1.1.1. Fine Arts Program Mission 1.1.2. Vision 1.2. Adherence to Ethical Standards 1.3. The Fine Arts Program 1.3.1. Fine Arts Program Within GSA 1.3.2. Responsibilities of the Fine Arts Program 1.3.3. Regional Fine Arts Officers 2. The Collection 2.1. Scope of the Fine Arts Collection 2.2. Description of the Fine Arts Collection 2.3 Asserting Title on New Deal Works 2.4. Accessioning Artworks Into the Fine Arts Collection 2.4.1. Collection Criteria 2.4.2. Art in Architecture Program 2.4.3. Donation of Artwork From Non-Government Sources 2.4.4. Artwork Transferred From Other Federal Agencies 2.4.5. Artwork Accepted Through Building Acquisition 2.4.6. Accessioning Procedure 2.5. Deaccessioning Artworks 2.5.1. Deaccessioning Criteria 2.5.2. Deaccessioning Procedure 3. Use of Artworks 3.1. Public Display 3.1.1. Permanent Installation in GSA-Owned Buildings 3.1.2. Temporary Display in GSA-Owned Buildings 3.1.3. Installation in Leased Properties 3.2. Access 3.2.1. Physical Access 3.2.2. Collection Information 3.3. Loans 3.3.1. Outgoing Loans 3.3.2. Incoming Loans 3.3.3. Loan Procedure 3.3.4. Loans to Tenant Agencies 3.3.5. Insurance 3.4. Relocation of Artworks 3.4.1. Relocation Eligibility 3.4.2. Requesting Relocation 3.4.3. New Location 3.4.4. Funding 1 of 87 3.4.5. -
MURALS Call to Artists Downtown Winter Garden Public Art Mural Pilot Project
Up To $7000 Up To $3000 Up To $8000 MURALS Call To Artists Downtown Winter Garden Public Art Mural Pilot Project The city of Winter Garden is initiating a pilot public mural program in the historic downtown district to build community pride, build a stronger community identity and activate some key streets by bringing pedestrian activity to streets such as Main, Boyd, Joiner and Tremaine Streets. Historically, murals were used to advertise and draw interest to a street or store. Downtown Winter Garden has had some murals over the years, but currently does not have any murals remaining. The City has asked the Winter Garden Art Association to assist in the call for artists and selection process. The city invites qualified artists to submit proposals for up to three murals to be placed on/or painted on the walls at three locations in the Downtown District. The City has allocated up to $7,000 for Site #1 and $3,000 for Site #2 to be paid to each mural artist. The fee to be paid for Site #3 is to be determined based on the # of sections chosen by the artist, not to exceed $8000. Each mural shall be interactive and encourage creative thought and activity. If the applicant wishes to create a mural of higher value, the applicant must make a case to justify it and demonstrate the ability to secure a portion of the additional funds. The installed mural will become the property of the city of Winter Garden. This initiative will be called #wheregoodthingsgrow and/or #acharmingcitywithajuicypast. -
Fletcher Benton
Fletcher Benton Born 1931 Jackson, Ohio. Currently lives and maintains a studio in San Francisco, CA. Education 1956 BFA, Miami University, Oxford, Ohio Awards and Honors 1979 Award for Distinguished Service to the Arts, American Academy of Arts and Letters, New York 1980 President's Scholar Award, California State University, San Jose 1982 Award of Honor for Outstanding Achievement in Sculpture, San Francisco Arts Commission 1993 Honorary Doctor of Fine Arts, Miami University, Oxford, Ohio 1994 Ohioana Career Award, Ohioana Library Association, Columbus Honorary Doctor of Fine Arts, University of Rio Grande, Rio Grande, Ohio 2008 Lifetime Achievement in Contemporary Sculpture, International Sculpture Center 2012 Distinguished Arts Alumni Award, Miami University, Oxford, Ohio Teaching 1959 California College of Arts and Crafts, Oakland 1966-67 San Francisco Art Institute 1967-86 California State University, San Jose Selected Solo Exhibitions 1961 California Place of the Legion of Honor, San Francisco 1965 San Francisco Museum of Art 1967 Sonoma State College, Rohnert Park, California San Francisco Art Institute 1968 Humboldt State College, Arcata, California 1969 Milwaukee Art Center, Wisconsin 1970 San Francisco Museum of Art California State University, Ohico Berkeley Arts Center, Berkeley, California Reed College, Portland, Oregon Estudio Actual, Caracas, Venezuela 1971 Stanford University Museum of Art, California 1972 La Jolla Museum of Art, California 1973 Phoenix Art Museum, Arizona University of California, Davis AUSTIN ART PROJECTS -
JONATHAN MUNDEN 20503 W 200Th St, Spring Hill, KS 66083 (816) 517-2051 [email protected] @MUNDEN1
JONATHAN MUNDEN 20503 W 200th St, Spring Hill, KS 66083 (816) 517-2051 [email protected] www.MundensArt.com @MUNDEN1 Objective Artist with nearly ten years of related work experience, as well as a portfolio of varied exhibitions and murals that can be found locally and nationwide. Munden has risen to become a leading name in the local KC art community and has recently begun to expand his horizons to out-of-state mural festivals. He has a passion for creating and sharing his art, and flourishes seeing the effect his art has on the surrounding communities. Munden got his start in landscape and spacescape painting through performance art at festivals and art fairs. That experience lead him to create cityscape skyline pieces, as well as some graffiti style works. For the past few years, Munden's focus has remained on large portrait realism and the study of facial forms, expressions, and textures. Relevant Professional Experience Artist (Freelance) • Design, develop, and deliver custom, commissioned art pieces to clients according to their specifications. This includes creating digital or hand-drawn sketches of the proposed work, drawing up a contract, establishing a timeline, and executing the art piece as agreed upon to the client’s satisfaction. • Design and create art pieces to fit into theme-specific exhibitions to be shown in prominent galleries throughout the Crossroads Art District. Exhibitions have previously consisted of themes such as the Mad Hatter, High Fashion Portraits, Expression Portraits, Halloween, and KC Skylines. • Collaborate with other artists with regards to collective murals and art pieces. Examples include creating a custom, collaborative, outdoor art-piece for a client on the Plaza, as well as coordinating the division and allocation of a wall for the Spray See Mo Mural Festival last summer after it had been double-booked. -
VAL BRITTON CURRICULUM VITAE Born 1977 in Livingston, NJ
VAL BRITTON CURRICULUM VITAE Born 1977 in Livingston, NJ Lives and works in San Francisco, CA EDUCATION 2006 M.F.A. California College of the Arts, San Francisco, CA 1999 B.F.A. Rhode Island School of Design, Providence, RI French Coursework, Brown University, Providence, RI Study Abroad, Edinburgh College of Art / Edinburgh Printmakers Workshop, Scotland, UK SOLO AND TWO-PERSON EXHIBITIONS 2018 Hired: Wage Gap Report, Minnesota Street Project, San Francisco, CA 2016 Navigator, Patti and Rusty Rueff Galleries, Purdue University, West Lafayette, IN Transmissions, Gallery Wendi Norris, San Francisco, CA 2014 Val Britton: Passage, Gallery Wendi Norris, San Francisco, CA 2013 Cosmology, Foley Gallery, New York, NY Terra Incognita, CES Contemporary, Laguna Beach, CA Intimate Immensity, San Jose Institute of Contemporary Art, San Jose, CA 2012 The Continental Interior, San Francisco Arts Commission Gallery, San Francisco, CA Kala Art Institute: Val Britton, Addison Street Window Gallery, Berkeley, California, CA Infinite Loop: Art + Sound by Val Britton and John Colpitts, Secret Project Robot, Brooklyn, NY 2010 Index to Selected Stars: Recology Artist in Residence Program, Recology, San Francisco, CA 2009 The Echo Fields: Val Britton + Michael Meyers, Johansson Projects, Oakland, CA 2007 Near and Far: New Work by Val Britton, 301 Bocana Gallery, San Francisco, CA SELECT GROUP EXHIBITIONS 2018 Art Dubai, Dubai, United Arab Emirates 2017 Facebook AIR 5-Year Anniversary Show, The Lab, San Francisco, CA Seeking Civilization: Art and Cartography, -
Ethnic Communities of Santa Clara Valley 1848-1920
Smith-Layton Archive Ethnic Communities of Santa Clara Valley Charlene Duval, Executive Secretary [email protected] Leilani Marshall, Archivist 1848-1920 [email protected] Phone: 408-808-2064 by Ralph Pearce Sponsored by Linda L. Lester Your donations help us purchase historic photos. Thank you! © copyright 2018 Sourisseau Academy http://www.sourisseauacademy.org/ 1 Images on file at the Smith-Layton Archive, Sourisseau Academy for State and Local History February 2018 [18] The French. Thousands of French immigrants arrived in California during the Gold Rush, and many eventually settled in Santa Clara Valley. Names like Sainsevain, Lefranc, Masson and Mirassou are now synonymous with wine. Louis Pellier introduced the prune to the Valley, which became the nation’s leading producer of prunes. San Jose streets bear the names of Antoine Delmas and Edward and John Auzerais. The photograph on the left shows early French immigrant Pedro Sainsevain and his sons Carlos and Paul Sainsevain along with Carlos’ wife Lydia Higuera. Don Pedro reservoir is named for Pedro Sainsevain. The de Saisset family is pictured on the right. Pedro de Saisset was an early French resident and served as the honorary Vice-Consul for the French government. The De Saisset Museum memorializes Pedro’s son, artist Ernest de Saisset, shown in the photo waving his hat. The Alcantara Building/Metropole Hotel on South Market Street, built by the de Saisset heirs, is a San Jose Landmark. 2 Images on file at the Smith-Layton Archive, Sourisseau Academy for State and Local History February 2018 [19] Sourisseau Family. Felix Sourisseau was also an early French settler in San Jose. -
Marianne Boesky Gallery Frank Stella
MARIANNE BOESKY GALLERY NEW YORK | ASPEN FRANK STELLA BIOGRAPHY 1936 Born in Malden, MA Lives and works in New York, NY EDUCATION 1950 – 1954 Phillips Academy (studied painting under Patrick Morgan), Andover, MA 1954 – 1958 Princeton University (studied History and Art History under Stephen Greene and William Seitz), Princeton, NJ SELECTED SOLO AND TWO-PERSON EXHIBITIONS 2021 Brussels, Belgium, Charles Riva Collection, Frank Stella & Josh Sperling, curated by Matt Black September 8 – November 20, 2021 [two-person exhibition] 2020 Ridgefield, CT, Aldrich Contemporary Art Museum, Frank Stella’s Stars, A Survey, September 21, 2020 – September 6, 2021 Tampa, FL, Tampa Museum of Art, Frank Stella: What You See, April 2 – September 27, 2020 Tampa, FL, Tampa Museum of Art, Frank Stella: Illustrations After El Lissitzky’s Had Gadya, April 2 – September 27, 2020 Stockholm, Sweeden, Wetterling Gallery, Frank Stella, March 19 – August 22, 2020 2019 Los Angeles, CA, Los Angeles County Museum of Art, Frank Stella: Selection from the Permanent Collection, May 5 – September 15, 2019 New York, NY, Marianne Boesky Gallery, Frank Stella: Recent Work, April 25 – June 22, 2019 Eindhoven, The Netherlands, Van Abbemuseum, Tracking Frank Stella: Registering viewing profiles with eye-tracking, February 9 – April 7, 2019 2018 Tuttlingen, Germany, Galerie der Stadt Tuttlingen, FRANK STELLA – Abstract Narration, October 6 – November 25, 2018 Los Angeles, CA, Sprüth Magers, Frank Stella: Recent Work, September 14 – October 26, 2018 Princeton, NJ, Princeton University -
Art Museums and the Public
ART MUSEUMS AND THE PUBLIC Prepared for the International Art Museums Division Smithsonian Institution October 2001 Smithsonian Institution Office of Policy & Analysis Washington, D.C. 20560-0405 Introduction This is one of a series of papers prepared by the Smithsonian's Office of Policy and Analysis to brief members of the Smithsonian Council in advance of their November, 2001 meeting on Smithsonian art museums. Preparation for this paper included interviews with art museum staff, some from inside the Smithsonian and some from outside the Smithsonian. The Activities of Art Museums The official definition of a museum, according to the grant guidelines for the Institute of Museum and Library Services, is: "an organized and permanent nonprofit institution, essentially educational or aesthetic in purpose, with professional staff, which owns and utilizes tangible objects, cares for them, and exhibits them to the public on some regular schedule." The International Council of Museums (ICOM) defines a museum as: "a nonprofit making, permanent institution in the service of society and of its development, and open to the public, which acquires, conserves, researches, communicates and exhibits, for purposes of study education and enjoyment, material evidence of humans and their environment." The American Association of Museums (AAM), however, has altered its official definition to insist only on the use of objects, not on their ownership. To be a museum, in its definition, is to meet the following requirements: • be a legally organized not-for-profit -
JASPER JOHNS 1930 Born in Augusta, Georgia Currently Lives
JASPER JOHNS 1930 Born in Augusta, Georgia Currently lives and works in Connecticut and Saint Martin Education 1947-48 Attends University of South Carolina 1949 Parsons School of Design, New York Selected Solo Exhibitions 2009 Focus: Jasper Johns, The Museum of Modern Art, New York 2008 Jasper Johns: Black and White Prints, Bobbie Greenfield Gallery, Santa Monica, California Jasper Johns: The Prints, The Madison Museum of Contemporary Art, Madison, Wisconsin Jasper Johns: Drawings 1997 – 2007, Matthew Marks Gallery, New York Jasper Johns: Gray, Metropolitan Museum of Art, New York 2007 Jasper Johns: From Plate to Print, Yale University Art Gallery, New Haven Jasper Johns: Gray, Art Institute of Chicago; Metropolitan Museum of Art, New York Jasper Johns-An Allegory of Painting, 1955-1965, National Gallery of Art, Washington, DC; Kunstmuseum Basel, Switzerland States and Variations: Prints by Jasper Johns, National Gallery of Art, Washington, D.C. 2006 Jasper Johns: From Plate to Print, Yale University Art Gallery Jasper Johns: Usuyuki, Craig F. Starr Associates, New York 2005 Jasper Johns: Catenary, Matthew Marks Gallery, New York Jasper Johns: Prints, Amarillo Museum of Art, Amarillo, Texas 2004 Jasper Johns: Prints From The Low Road Studio, Leo Castelli Gallery, New York 2003 Jasper Johns: Drawings, The Menil Collection, Houston, Texas Jasper Johns: Numbers, Cleveland Museum of Art, Cleveland; Los Angeles County Museum of Art Past Things and Present: Jasper Johns since 1983, Walker Art Center Minneapolis; Greenville County Museum of