1185 CLEVELAND PUBLIC LIBRARY Minutes of the Regular Board
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National Endowment for the Arts Annual Report 1989
National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216 -
The Great Depression the Great Depression of the Thirties Began in the United States with "Black Tuesday." on That Day, October 29, 1929, the Stock Market Crashed
WPA Prints - An Essay The WPA Prints constitute one of the many collections in the Kelvin Smith Library's Special Collections Research Center. This area of the library was specifically designed to provide a protective and controlled environment for rare books, manuscripts, and special collections, which, because of their rarity, value, fragility, ephemeral nature, or because they are part of a distinctive subject or author collection, require special care and handling. Among the Center's holdings, besides rare books, early imprints, and manuscripts, there are separate collections such as the E.J. Bohn papers and the Karal Ann Marling Collection, as well as reference books and bibliographies relating to them. Ernest J. Bohn was an important pioneer — locally, nationally, and internationally — in the field of public housing. In fact, he was directly responsible for the Ohio Public Housing Act, the very first in the nation. When Case art history professor Karal Marling donated her papers to the library, she wished that they join those of Mr. Bohn, who had assisted her research and allowed her free access to the WPA prints and to his entire collection. Mr. Bohn's papers contain records of his participation, as director of the Metropolitan Housing Authority, in the original federal New Deal art programs. On the library website are the Prints from the WPA, beautifully digitized and arranged alphabetically by artist. Additionally, there are two digital exhibits: African American Artists in the WPA Collection and Women Artists in the WPA Collection. Both of these focus on the work of particular artists and provide interesting biographical information on them. -
Cleveland Art School Exhibit Notes Copy
The Cleveland School Watercolor and Clay December 1, 2012 - March 10, 2013 The Cleveland School: Watercolor and Clay Exhibition Essay by William Robinson Northeast Ohio has produced a remarkable tradition of achievement in watercolor painting and ceramics. The artists who created this tradition are often identified as members of the Cleveland School, but that is only a convenient way of referring to a diverse array of painters and craftsmen who were active in a region that stretches out for hundreds of miles until it begins to collide with the cultural orbit of Toledo, Columbus, and Youngstown. The origins of this “school” are sometimes traced to the formation of the Cleveland Art Club in 1876, but artistic activity in the region predates that notable event. Notable artists were resident in Cleveland by at least the 1840s, supplying the growing shipping and industrial center with portraits, city views, and paintings to decorate domestic interiors. As the largest city in the region, Cleveland functioned like a magnet, drawing artists from surrounding communities to its art schools, museums, galleries, and thriving commercial art industries. Guy Cowan moved to Cleveland from East Liverpool, a noted center of pottery production, located on Ohio River, just across the Pennsylvania border. Charles Burchfield came from Salem and Viktor Schreckengost from Sebring, both for the purpose of studying at the Cleveland School of Art. To be sure, the flow of talent and ideas moved in multiple directions. Leading painters in Cleveland, such as Henry Keller and Auguste Biehle, established artists’ colonies in rural areas to west and south. William Sommer, although employed as a commercial lithographer in Cleveland, established a studio-home in the Brandywine Valley that drew other modernists to the country. -
DIRECTOR's REPORT November 21, 2019 Strategic Plan Our Mission
DIRECTOR’S REPORT November 21, 2019 Strategic Plan Our Mission: We are “The People’s University,” the center of learning for a diverse and inclusive community. Our Strategic Priorities: 1. Form communities of learning 2. Fight community deficits 3. Ready for the future: CPL 150 4. Cultivate a global perspective 5. Innovate for efficient and sustainable operations PUBLIC SERVICES Programs and Services Business, Economics and Labor The Fall business series of classes, Running Your Small Business, continued on Saturdays through October. The classes included Promotional Items for Your Small Business, Google: Reach Customers Online, USPTO: Trademarks 101 for Your Small Business, and concluded with Photography for Your Website and Social Media. All classes were well-attended with engaged groups of patrons. Business, Economics and Labor Senior Subject Librarian Sandy Witmer emailed reminders to the business list throughout the month. Business, Economics, and Labor Librarian Susan Mullee taught GED students about real estate terminology via Ready to Learn Reader & Language Arts Learner Workbook on October 7th. Joseph Parnell, in conjunction with the CPL FIT/Harvest for Hunger Committee is continuing the creation, development, and execution of a series of participatory programs for CPL staff to engage in for 2020. These programs will touch on the five tenants of the CPL FIT mission statement which are Financial Wellness, Community Awareness, Career Wellness, Physical Fitness, and Mental Health Wellness. Business Subject Department Librarian Zachary Hay continued work on the digitization of the Cleveland Institute of Art Cinematheque film calendars. He has begun the editing process of the digital files, including image cropping and rotating, and running an OCR function (optical character recognition) to help make the documents searchable. -
William Zorach American, B
William Zorach American, b. Lithuania, 1887- 1966 401 Interior and Exterior Audio oil on canvas, 1919 Collection of John and Susan Horseman Born in Lithuania, William Zorach immigrated to the United States with his family at the age of three, finally settling in Cleveland, Ohio, in 1896. Zorach studied with legendary Cleveland artist and teacher Henry Keller before meeting and becoming friends with artist William Sommer through his apprenticeship at the Otis Lithograph Company, where Sommer worked as a commercial illustrator. Sommer served as a mentor to the much younger Zorach, encouraging him to travel abroad to widen his artistic horizon. Zorach heeded his advice, traveling to Paris in 1910. Yasuo Kuniyoshi American, b. Japan, 1893- 1953 Morning oil on canvas, 1920 Collection of John and Susan Horseman Lured by romantic ideas of America as a land of opportunity and prosperity, Yasuo Kuniyoshi left Japan and immigrated to the United States in 1906, at the age of thirteen. Soon after he arrived in California, Kuniyoshi enrolled at the Los Angeles School of Art and Design, and then, in 1910, he moved to New York, a city poised to become the center of an increasingly international art world. Kuniyoshi was invited to take part in the 1917 Society of Independent Artists exhibition, an artist- organized rebuttal to the annual juried exhibition of the conservative National Academy of Design. By 1920, the year he completed this painting, Kuniyoshi was living in a small hut-like dwelling in Ogunquit, Maine. There, Kuniyoshi created works, like this, that fused traditional and modern ideas. Working in a style uniquely his own, Kuniyoshi created this interpretation of the American landscape. -
Introduction: Relationality 1 American Decadence and the Creation of a Queer Modernist Aesthetic
Notes Introduction: Relationality 1. All subsequent references to “Episode of Hands” are from CP 173. All first refer- ences to poems give the year(s) of writing and revision, followed by the year(s) of publication, separated by a slash. Dates are as given in Marc Simon’s 1986 edition of The Complete Poems of Hart Crane. 2. In Transatlantic Avant- Gardes: Little Magazines and Localist Modernism, Eric B. White has explored the successes and failures of this striving for synthesis in his discussion of the relationship between the Young Americans and the expatriate avant- garde as it appeared in the pages of little magazines such as Secession and S4N. See, in particular, 140– 54. 3. The best guide to Crane’s appearances in various little magazines is The Oxford Critical and Cultural History of Modernist Magazines. Volume II, North America 1894– 1960, which discusses many of the publications I mention during the book. A number of these magazines have been digitized by the Modernist Journals Project, directed by Robert Scholes and Sean Latham, and they can be consulted online: http://modjourn.org/index.html 4. Although he does not name it as such, Edward J. Brunner provides a genetic reading of the “Voyages” sequence (and a more detailed one of the develop- ment of The Bridge) in Splendid Failure: Hart Crane and the Making of “The Bridge” ( 35– 55). Brunner makes no reference to Crane’s sexuality, and refers instead to an ungendered lover. 5. Giles makes extensive use of dictionaries to develop his argument that the guiding principle behind The Bridge is the pun. -
Support from Ohio Humanities Will Enable the Springfield Museum Of
Springfield Museum of Art Authentic Narratives: Ohio Regionalists, 1915-1950 Major Grant Application Narrative 1. What do you plan to do? Support from Ohio Humanities will enable the Springfield Museum of Art to deliver outstanding scholarship that makes humanities themes in the early 20th century works of art in the exhibition, “Authentic Narratives: Ohio Regionalists, 1915-1950,” relevant to the general public by: 1) Presenting three public programs with project scholar Michael Hall that will use art historical analysis to inform a general adult audience of the significance of the Ohio artists and works of art in the exhibition; 2) Partnering with Springfield’s Westcott House and Center for Architecture and Design to host a Pechu Kucha program at the Museum. Pechu Kucha is a presentation of fast-paced, individually curated slide-shows using 20 images in 6 minutes. Presentations typically have a common theme, ours would focus on architecture, and the planned and unplanned design of the Midwest landscape; 3) Creating compelling exhibit interpretation (labels, interpretive text, gallery guide, etc.) that compare and contrast shared themes from the early 20th to the early 21st centuries (i.e. land use, pollution, community) for both a general adult audience and K-12 and college students; 4) Working collaboratively with our local Convention and Visitors Bureau to promote this exhibition and related programs through the CVB's regional Tourism Coalition, state-wide tourism network and their coordination of the LED billboard on Interstate 70 that reaches over 60,000 views per day. 5) Engaging project evaluators Drs. Tom Taylor and Molly Wood to assess the quality of the public programming and interpretive materials. -
Paralleling Revolutionary Events in Politics and Science, Artists Began to Challenge Traditional Concepts of Beauty, Representation, Even the Nature of Art Itself
© COPYRIGHT 2010 Massillon Museum 121 Lincoln Way East Massillon, Ohio 44646 Christine Fowler Shearer, M.A. Executive Director COVER IMAGE: LIBRARY OF CONGRESS NUMBER: William Sommer (Cleveland/Akron) 2010905889 Blue Dairy Cart Oil on board | 16.5" x 23.5" | 1917–18 ISBN NUMBER: COLLECTION OF JOHN AND SUSAN HORSEMAN 978-0-97555-559-0 COURTESY OF KENY GALLERIES, COLUMBUS, OHIO 2010 Massillon Museum Board of Directors Jeff McMahan, Chairman Judy Paquelet, Vice Chairman Kristin Hackenbracht, Treasurer Maude Slagle, Secretary EXHIBITION CURATED BY: Christine Fowler Shearer, M.A. Kathy Centrone Mel Herncane CATALOG EDITED BY: Rick Kettler Hugh J. Brown Carey McDougall Ann Caywood Brown Douglas Palmer Elizabeth Pruitt CATALOG DESIGNED BY: David W. Schultz Margy Vogt Keith Warstler PRINTED BY: Bates Printing, Inc. STAFF SUPPORT: Jill Malusky Alexandra Nicholis Scot Phillips Emily Vigil Christine Fowler Shearer, M.A. Executive Director, Massillon Museum William H. Robinson, Ph.D. Curator of Modern European Art Cleveland Museum of Art Massillon Museum Massillon, Ohio May 15, 2010—September 12, 2010 Riffe Gallery Columbus, Ohio November 3, 2010—January 9, 2011 Southern Ohio Museum and Cultural Center Portsmouth, Ohio March 5, 2011—May 29, 2011 Museum of Wisconsin Art West Bend, Wisconsin July 20, 2011—October 2, 2011 Lenders to the Exhibition Akron Art Museum Frederick Biehle and Erika Hinrichs Brauer Museum of Art, Valparaiso University Daniel Bush Cleveland Artists Foundation Cleveland Museum of Art Clifford Law Offices, Chicago Columbus Museum of Art Michael and Elisabeth Travis Dreyfuss WITH THE SUPPORT OF: Lisa Biehle Files and Bruce Edward Files Susan and Gary Garrabrant Charles S. -
CLEVELAND: a Cultural Center
CLEVELAND: A Cultural Center WOLFS Gallery Cleveland, Ohio July 12, 2018 - August 31, 2018 Curated by Henry Adams With essays by: Henry Adams Marianne Berardi Grafton Nunes 13010 LARCHMERE BLVD CLEVELAND, OH 44120 (216) 721 6945 [email protected] WWW.WOLFSGALLERY.COM 1 LENDERS TO THE EXHIBITION INTRODUCTION Anonymous private collections Collection of the late Dr. Robert Benyo Marianne Berardi and Henry Adams Gary and Rosalyn Bombei Robert Burns Daniel Bush Cleveland Institute of Art Thomas W. Darling Charles Debordeau Todd Gardiner William Sommer (1867-1949) Plowing, c. 1920 Judy Gerson Mike and Amy Hewett Cleveland: A Cultural Center is by no pages, an unusually great number of fne means a comprehensive survey of everything artists focked to Cleveland about a century Thomas Horner or everybody that has made (and continues ago. Cleveland artists were among the frst to make) Cleveland culture great. It is a look Americans to experiment with modernism as The John and Susan Horseman Collection of American Art through my particular lens in an effort to tell well as embrace the abundant talent within Richard and Michelle Jeschelnig part of an important story, one in which I’ve its sizable community of women artists. had the good fortune to be involved. Rod Keen and Denise Horstman The history of the Cleveland art has been More than forty years have passed since and continues to be inextricably linked in Joe and Elaine Kisvardai I became acquainted with the art of the every way to the Cleveland Institute of Art, Michael Lux Cleveland School. It took some years to a training ground for so many stellar talents realize how lucky I was to be knee deep in and a social habitat where contemporary Steve O’Donnell jaw-dropping artwork. -
NEA-Annual-Report-1978.Pdf
National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment íor the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1978. Respectfully, Livingston L. Biddle, Jr. Chairman The President The White House Washington, D.C. September 1979 Contents Chairman’s Statement 2 The Agency and Its Functions 5 The Year in Review 7 Members, National Council on the Arts 16 Advisory Panel Members and Consultants 17 Grants by Programs 40 Architecture, Planning, and Design 40 Challenge Grants 56 Dance 69 Education 81 Expansion Arts 85 Federal-State Partnership 115 Folk Arts 125 Literature 134 Media Arts : Film/Radio/Television 151 ~useums 166 Music 193 Special Projects 216 Theater 228 Visual Arts 239 Financial Summary 268 History of Authorizations and Appropriations 269 2 Chairman’s Statement Unity... ~ t my nomination hearing, I spoke discussion was frank and, as it usually is Quality... in the arts world, passionate. At times it Aecess A nership" of a "lastingon behalf and ofdeveloping the arts part- be- might have appeared that the simultane tween the federal government and ously occurring negotiations at Camp the state and local governments. David were easier. But agreement finally I have watched very closely over many emerged on a steering committee or task years and with great delight the steady force to put together over the next six growth and maturation of the state agen months a program that would bring us all cies since I first had the opportunity to into better harmony and would assign draít the language that established the responsible roles for all concerned. -
~0/De 8J~::L'ak: 1.910-1.960
Work sample #5 FLINT, MICHIGAN ~ 0/de 8J~::l'ak: 1.910-1.960 people, and the commonplace moments of were well known and exhibited widely dur everyday life. ing their lifetimes. However, more than a True to this idea of "local knowledge" few slipped into obscurity after the Second are artists who were part of what can be ''''orld War as the American Scene was a spread of localities." This declaration ex termed the "Great Lakes Scene." These eclipsed by the rise of abstract expression presses the aesthetic of the American Scene, artists worked within a SOO-mile arc of the ism. Only recently have many of these which prevailed in art, music, and literature Straits of Mackinac, the narrow waterway artists gained the recognition they deserve. notably between the two World Wars. The between Michigan's upper and lower penin The city of Flint lies almost at the geo American Scene artists sought to align their sulas where Lakes Michigan, Huron, and graphic center of the Upper Midwest, mak production with democratic principles, Superior converge. They were active from ing it a fitting location from IVhich to calling tor art to reflect the conditions from circa 1910 to 1960. The Great Lakes Scene consider artworks devoted to tbe region's which it sprang and toward which it was included artists working in and around Buf local culture. Indeed, the Flint Institute of directed. American Scene painting fol falo, Cincinnati, Duluth, and points in be Arts is a leading repository of Great Lakes lowed the principle of"local color." Similar tween. -
Pressiqn Ist Techniques
E4■ ARTS MIXED MEDIUMS THE COLUMBUS DISPATCH I SUNDAY, NOVEMBER 28, 2010 I BREAKING NEWS: D.ISPATCH.COM HEARTLAND ♦ A�IBNING • . Modernismleft distinctiv e' mark Melissa Starker FOR THE COLUMBUS DISPATCH on Midwestern painters of early 20th century By he immigrationboom of - the late 19th century brought more thanhud- . dled masses to the Mid Twest. An influxof new cultures helped spread the groundbreaking ideas fuelingmoderrust thought and practice in Europe. "Against the Grain: Modernism in the Midwest" at the Riffe Gallery · offersa survey of works that show the movement's influenceon art- . ists fromOhio, Illinois, Indiana, Michigan, Minnesota, Missouri - and Wisconsin from1900 to 1950. of-Treesand Ravine BackyardAlley Scene Chicago DifferentialComplex · Curated by Chri�tine Fowler (1932) by Robert Roberti Shearer, the exhibit includes works Detail (1910) that represent many of the com (1917) by CharlesBurchfield QYManierre -Dawson mon threads of modernism, from cubist composition to expressiqn ist techniques. Simultaneously, they highlight the crucial part that individualism 'playedin themove ment's quest to findnew ways of seeing and portraying the world. � grouping of landscapes sug gests an empathetic, appreciative connection to the land among these artists. In Treesand Ravine, Charles Burchfield lines up the trees like sentries, standing tall and orderly in the faceof the elements. A.gorgeous jumble of patterns and rock formationsis foundin Paul B. Travis' Grand Canyon. Carl Holtz reduces the female form to a simple collection of cubist shapesand girlie color in PinkLady. In contrast, Lucius Kutchin'sGirl in Green builds on a solitarys_ubject and her composi tional isolation thrmi.gh body positioning, murky colors, a cloudy cast over her gaze and an approach to physical space that seems to leave her adrift.