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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. -
1. Carbon Copy: 6/25 – 6/29 1973
The online Adobe Acrobat version of this file does not show sample pages from Coleman’s primary publishing relationships. The complete print version of A. D. Coleman: A Bibliography of His Writings on Photography, Art, and Related Subjects from 1968 to 1995 can be ordered from: Marketing, Center for Creative Photography, The University of Arizona, Tucson, AZ 85721-0103, or phone 520-621-7968. Books presented in chronological order 1. Carbon Copy: 6/25 – 6/29 1973. New York: ADCO interviews” with those five notable figures, serves also as Enterprises, 1973. [Paperback: edition of 50, out of print, “a modest model of critical inquiry.”This booklet, printed unpaginated, 50 pages. 17 monochrome (brown). Coleman’s on the occasion of that opening lecture, was made available first artist’s book. A body-scan suite of Haloid Xerox self- by the PRC to the audiences for the subsequent lectures in portrait images, interspersed with journal/collage pages. the series.] Produced at Visual Studies Workshop Press under an 5. Light Readings: A Photography Critic’s Writings, artist’s residency/bookworks grant from the New York l968–1978. New York: Oxford University Press, 1979. State Council on the Arts.] [Hardback and paperback: Galaxy Books paperback, 2. Confirmation. Staten Island: ADCO Enterprises, 1975. 1982; second edition (Albuquerque: University of New [Paperback: first edition of 300, out of print; second edition Mexico Press, 1998); xviii + 284 pages; index. 34 b&w. of 1000, 1982; unpaginated, 48 pages. 12 b&w. Coleman’s The first book-length collection of Coleman’s essays, this second artist’s book. -
Hallelujah for Prague : an American Orbis Picta Gerald O'grady
Hallelujah for Prague : An American Orbis Picta Gerald O'Grady "And your own life, while it's happening to you never has any atmosphere until it's a memory." Andy Warhol(a), America (New York: Harper & Row, 1985), p. 8 . It was in November, 1968 that Miles Glaser telephoned me at The Media Center having another person's organs providing their central functions, and how they which I had established at 3512 Mount Vernon Street in Houston under the integrated these different physical parts into a psychic unity. Although he and his patronage of John and Dominique de Menil, and asked if I would be interested in colleagues always acted with the greatest discretion, mentioning no names and screening a film about which he briefly described the conditions of production. I met simply sketching outsituational details, itwasthrough them that I learned, anecdotally, him and Jan Nemec for the first time a few hours later, and Oratorio for Prague was about a few of the somewhat bizarre circumstances which surrounded those efforts screened on November 15, together with Nemec's Report on the Party and the on the operating table which were making international headlines. It involved how Guests, a political parable about a group of people who, for reasons ranging from ordinary people would act when survival was at stake . opportunism to sheer terror, are members of a party they have no desire to join in . Those eligible for heart transplants would move into motels surrounding the Nemec, with Glaser acting as producer, had made a documentary about the hospital, such as Tides II across North Main Street . -
Everyday People
Works in the Exhibition GERTRUDE DUBY BLOM (continued) EMIL CADOO (1926–2002) HENRI CARTIER-BRESSON (continued) SCOTT MICHAEL COBURN (b. 1950) WALKER EVANS (continued) DANNY LYON (continued) GORDON PARKS (1912–2006) 12. San Andres Visits Santiago, 1972 24. from the series Harlem , 1966 40. Nanking, 1949 [1973] 56. from the series Mardi Gras , 1972 70. Untitled [Studio Portraits], 83. The Line, Ferguson Unit, Texas, 97. Alexander Calder , 1952 Everyday People Unless otherwise noted, all works listed are [1982] 9 7/8 x 13 1/4 inches 14 x 9 7/16 inches 101/2 x 13 1/2 inches 1935 or 1936 1967–69 [1979] 20 x 29 7/8 inches gelatin silver prints owned by The Menil 91/16 x 91/16 inches 193/4 x 15 7/8 inches 8 3/4 x 12 15/16 inches 20th-Century Photography from The Menil Collection Collection. In cases where the photograph 25. from the series Harlem , 1966 41. Shanghai , 1949 [1973] 57. from the series Mardi Gras , 1972 Gift of Kenneth G. Futter was printed later than the date it was taken, 13. Official, Santiago , 1974 [1982] 10 1/2 x 13 3/4 inches 9 1/2 x 141/16 inches 101/2 x 131/2 inches 71. Sharecropper’s Family, Hale County, OGDEN ROBERTSON (1935–2004) the date of its printing appears in brackets. 91/16 x 91/16 inches Alabama , 1936 [1950s] 84. Stella, Las Vegas, Nevada, 1971 Dimensions describe image size. 26. from the series Harlem, 1966 42. Bali , 1949 [1975?] 58. from the series M ardi Gras, 1972 7 5/8 x 9 1/2 inches 91/16 x 13 7/16 inches 98. -
Finding Aid for the Friends of Photography Archive, 1964-2005 AG 186
Center for Creative Photography The University of Arizona 1030 N. Olive Rd. P.O. Box 210103 Tucson, AZ 85721 Phone: 520-621-6273 Fax: 520-621-9444 Email: [email protected] URL: http://creativephotography.org Finding aid for the Friends of Photography archive, 1964-2005 AG 186 Finding aid updated by Tai Huesgen, 2019 AG 186: Friends of Photography archive - page 2 Friends of Photography archive, 1964-2005 AG 186 Creator Friends of Photography Quantity/ Extent 125 linear feet Language of Materials Predominantly English Historical Note The Friends of Photography was formed in 1967 in Carmel, California of eleven members, including Ansel Adams, Beaumont & Nancy Newhall, Brett Weston, and other figures involved in 20th century photography. After Ansel Adams’s death in 1984, the Friends began searching for gallery space in San Francisco, first moving into office space and eventually opening the Ansel Adams Center in the Yerba Buena cultural district in 1989. In 2001 the Friends moved into a new facility on Mission Street in San Francisco but, facing financial difficulties, decided to close within the year. The Friends’ final exhibitions ended on September 30, 2001 and the group closed its doors to the public in October, 2001. Scope and Content Note The Friends of Photography records measure approximately 125 linear feet and date from 1964 to 2005, although the bulk of the material falls between 1985 and 2001 when the organization was based in San Francisco, California. Files from earlier years when the organization was located in Carmel, California were most likely lost during the group’s gradual move to San Francisco in the years following Ansel Adams death in 1984.