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Charles Grafly Papers
Charles Grafly Papers Collection Summary Title: Charles Grafly Papers Call Number: MS 90-02 Size: 55.0 linear feet Acquisition: Donated by Dorothy Grafly Drummond Processed by: MD, 1990; JEF, 5-19-1998; MN, 1-30-2015 Note: Related collections: MS 93-04, Dorothy Grafly Papers; MS 93-05, Leopold Sekeles Papers Restrictions: None Literary Rights Literary rights were not granted to Wichita State University. When permission is granted to examine manuscripts, it is not an authorization to publish them. Manuscripts cannot be used for publication without regard for common law literary rights, copyright laws and the laws of libel. It is the responsibility of the researcher and his/her publisher to obtain permission to publish. Scholars and students who eventually plan to have their work published are urged to make inquiry regarding overall restrictions on publication before initial research. Content Note Charles Grafly was an American sculptor whose works include monumental memorials and portrait busts. Dating from the late 19th and early 20th centuries, his correspondence relating to personal, business and other matters is collected here as well as newspaper clippings about his works, sketches and class notes, scrapbooks, photographs of his works, research materials and glass plate negatives. All file folder titles reflect the original titles of the file folders in the collection. For a detained description of the contents of each file folder, refer to the original detailed and incomplete finding aid in Box 76. Biography Born and raised in Philadelphia, Charles Grafly (1862-1929) studied under painters Thomas Eakins and Thomas Anshutz at the Pennsylvania Academy of Fine Arts between 1884-88. -
The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
Curriculum Vitae
38 Walker Street New York, NY 10013 tel: 212-564-8480 www.georgeadamsgallery.com LUIS CRUZ AZACETA BORN: Havana, Cuba, 1942. Emigrated to the US 1960; US Citizenship 1967. LIVES: New Orleans, LA. EDUCATION: School of Visual Arts, New York, 1969. GRANTS AND AWARDS: Joan Mitchell Foundation Grant, 2009. Penny McCall Foundation Award, 1991-92. Mid-Atlantic Grant for special projects, 1989. Guggenheim Memorial Foundation Grant, New York, 1985. New York Foundation for the Arts, 1985. Mira! Canadian Club Hispanic Award, 1984. Creative Artistic Public Service (CAPS), New York, 1981-82. National Endowment for the Arts, Washington, D.C., 1980-81, 1985, 1991-92. Cintas Foundation, Institute of International Education, New York, 1972-72, 1975-76. SOLO EXHIBITIONS: “Personal Velocity in the Age of Covid,” Lyle O. Rietzel, Santo Dominigo, DR, 2020-21. “Personal Velocity: 40 Years of Painting,” George Adams Gallery, New York, NY, 2020. “Between the Lines,” Arthur Roger Gallery, New Orleans, LA, 2019. “Luis Cruz Azaceta, 1984-1989,” George Adams Gallery, New York, NY, 2018. “Luis Cruz Azaceta: A Question of Color,” Lyle O. Reitzel, Santo Domingo, DR, 2018. “On The Brink,” Arthur Roger Gallery, New Orleans, LA, 2017. “Luis Cruz Azaceta Swimming to Havana,” Lyle O. Reitzel, New York, NY, 2016-17. “Luis Cruz Azaceta: Dictators, Terrorism, War and Exiles,” American Museum of the Cuban Diaspora, Miami, FL, 2016. “Luis Cruz Azaceta: War & Other Disasters,” Abroms-Engel Institute for Visual Arts, University of Alabama, Birmingham, AL, 2016. “State of Fear,” Pan American Art Projects, Miami, FL, 2015.* “PaintingOutLoud,” Arthur Roger Gallery, New Orleans, LA, 2014.* “Dictators, Terrorism, Wars & Exile,” Aljira: A Center for Contemporary Art, Newark, NJ, 2014.* “Louisiana Mon Amour,” Acadiana Center for the Arts, Lafayette, LA, 2013.* “Falling Sky,” Lyle O. -
Annual Report 2016
Collecting Exhibiting Learning Connecting Building Supporting Volunteering & Publishing & Interpreting & Collaborating & Conserving & Staffing 2016 Annual Report 4 21 10 2 Message from the Chair 3 Message from the Director and the President 4 Collecting 10 Exhibiting & Publishing 14 Learning & Interpreting 18 Connecting & Collaborating 22 Building & Conserving 26 Supporting 30 Volunteering & Staffing 34 Financial Statements 18 22 36 The Year in Numbers Cover: Kettle (detail), 1978, by Philip Guston (Bequest of Daniel W. Dietrich II, 2016-3-17) © The Estate of Philip Guston, courtesy McKee Gallery, New York; this spread, clockwise from top left: Untitled, c. 1957, by Norman Lewis (Purchased with funds contributed by the Committee for Prints, Drawings, and Photographs, 2016-36-1); Keith and Kathy Sachs, 1988–91, by Howard Hodgkin (Promised gift of Keith L. and Katherine Sachs) © Howard Hodgkin; Colorscape (detail), 2016, designed by Kéré Architecture (Commissioned by the Philadelphia Museum of Art for The Architecture of Francis Kéré: Building for Community); rendering © Gehry Partners, LLP; Inside Out Photography by the Philadelphia Museum of Art Photography Studio A Message A Message from the from the Chair Director and the President The past year represented the continuing strength of the Museum’s leadership, The work that we undertook during the past year is unfolding with dramatic results. trustees, staff, volunteers, city officials, and our many valued partners. Together, we Tremendous energy has gone into preparations for the next phase of our facilities have worked towards the realization of our long-term vision for this institution and a master plan to renew, improve, and expand our main building, and we continue reimagining of what it can be for tomorrow’s visitors. -
Annual Report 2018
2018 Annual Report 4 A Message from the Chair 5 A Message from the Director & President 6 Remembering Keith L. Sachs 10 Collecting 16 Exhibiting & Conserving 22 Learning & Interpreting 26 Connecting & Collaborating 30 Building 34 Supporting 38 Volunteering & Staffing 42 Report of the Chief Financial Officer Front cover: The Philadelphia Assembled exhibition joined art and civic engagement. Initiated by artist Jeanne van Heeswijk and shaped by hundreds of collaborators, it told a story of radical community building and active resistance; this spread, clockwise from top left: 6 Keith L. Sachs (photograph by Elizabeth Leitzell); Blocks, Strips, Strings, and Half Squares, 2005, by Mary Lee Bendolph (Purchased with the Phoebe W. Haas fund for Costume and Textiles, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017-229-23); Delphi Art Club students at Traction Company; Rubens Peale’s From Nature in the Garden (1856) was among the works displayed at the 2018 Philadelphia Antiques and Art Show; the North Vaulted Walkway will open in spring 2019 (architectural rendering by Gehry Partners, LLP and KXL); back cover: Schleissheim (detail), 1881, by J. Frank Currier (Purchased with funds contributed by Dr. Salvatore 10 22 M. Valenti, 2017-151-1) 30 34 A Message from the Chair A Message from the As I observe the progress of our Core Project, I am keenly aware of the enormity of the undertaking and its importance to the Museum’s future. Director & President It will be transformative. It will not only expand our exhibition space, but also enhance our opportunities for community outreach. -
Abstract and Figurative: Highlights of Bay Area Painting January 8 – February 28, 2009 John Berggruen Gallery Is Pleased to Pr
Abstract and Figurative: Highlights of Bay Area Painting January 8 – February 28, 2009 John Berggruen Gallery is pleased to present Abstract and Figurative: Highlights of Bay Area Painting, a survey of historical works celebrating the iconic art of the Bay Area Figurative movement. The exhibition will occupy two floors of gallery space and will include work by artists Elmer Bischoff, Theophilus Brown, Richard Diebenkorn, Manuel Neri, Nathan Oliveira, David Park, Wayne Thiebaud, James Weeks, and Paul Wonner. Abstract and Figurative is accompanied by an illustrated catalogue with an introduction by art historian and Director of the Palm Springs Art Museum and former Associate Director and Chief Curator of the Fine Arts Museums of San Francisco, Steven A. Nash. Many of the works included in Abstract and Figurative are on loan from museums and private collections and have rarely been exhibited to the public. John Berggruen Gallery is proud to have this opportunity to bring these paintings together in commemoration of the creative accomplishments of such distinguished artists. Please join us for our opening reception on Thursday, January 8, 2009 between 5:30 and 7:30 pm. Nash writes, “There is no more fabled chapter in the history of California Art than the audacious stand made by Bay Area Figurative painters against Abstract Expressionism in the 1950s.” This regionalized movement away from the canon of the New York School (as championed by artists Jackson Pollock and Willem de Kooning, and critic Clement Greenberg, among others) finds its roots in 1949, when a young painter by the name of David Park “gathered up all his abstract- expressionist canvases and, in an act that has gone down in local legend, drove to the Berkeley city dump and destroyed them.”1 Disillusioned with the strict non-representational tenets of a movement that promoted the Greenbergian notion of “purity” in art towards a perpetually evolving abstraction, Park submitted Kids on Bikes (1950), a small figurative painting, to a 1951 competitive exhibition and won. -
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TEMPERANCE, ABOLITION, OH MY!: JAMES GOODWYN CLONNEY’S PROBLEMS WITH PAINTING THE FOURTH OF JULY Erika Schneider Framingham State College n 1839, James Goodwyn Clonney (1812–1867) began work on a large-scale, multi-figure composition, Militia Training (originally Ititled Fourth of July ), destined to be the most ambitious piece of his career [ Figure 1 ]. British-born and recently naturalized as an American citizen, Clonney wanted the American art world to consider him a major artist, and he chose a subject replete with American tradition and patriotism. Examining the numer- ous preparatory sketches for the painting reveals that Clonney changed key figures from Caucasian to African American—both to make the work more typically American and to exploit the popular humor of the stereotypes. However, critics found fault with the subject’s overall lack of decorum, tellingly with the drunken behavior and not with the African American stereotypes. The Fourth of July had increasingly become a problematic holi- day for many influential political forces such as temperance and abolitionist groups. Perhaps reflecting some of these pressures, when the image was engraved in 1843, the title changed to Militia Training , the title it is known by today. This essay will pennsylvania history: a journal of mid-atlantic studies, vol. 77, no. 3, 2010. Copyright © 2010 The Pennsylvania Historical Association This content downloaded from 128.118.152.206 on Thu, 21 Jan 2016 14:57:03 UTC All use subject to JSTOR Terms and Conditions PAH77.3_02Schneider.indd 303 6/29/10 11:00:40 AM pennsylvania history demonstrate how Clonney reflected his time period, attempted to pander to the public, yet failed to achieve critical success. -
CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=
Arch, :'>f^- *."r7| M'i'^ •'^^ .'it'/^''^.:^*" ^' ;'.'>•'- c^. CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1969 University of Illinois at Urbana-Champaign jS'i----».--:r'f--= 'ik':J^^^^ Contemporary American Painting and Sculpture 1969 Contemporary American Painting and Sculpture DAVID DODD5 HENRY President of the University JACK W. PELTASON Chancellor of the University of Illinois, Urbano-Champaign ALLEN S. WELLER Dean of the College of Fine and Applied Arts Director of Krannert Art Museum JURY OF SELECTION Allen S. Weller, Chairman Frank E. Gunter James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Christlson, Associate Director Lois S. Frazee, Registrar Marie M. Cenkner, Graduate Assistant Kenneth C. Garber, Graduate Assistant Deborah A. Jones, Graduate Assistant Suzanne S. Stromberg, Graduate Assistant James O. Sowers, Preparator James L. Ducey, Assistant Preparator Mary B. DeLong, Secretary Tamasine L. Wiley, Secretary Catalogue and cover design: Raymond Perlman © 1969 by tha Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 Cloth: 252 00000 5 Paper: 252 00001 3 Acknowledgments h.r\ ^. f -r^Xo The College of Fine and Applied Arts and Esther-Robles Gallery, Los Angeles, Royal Marks Gallery, New York, New York California the Krannert Art Museum are grateful to Marlborough-Gerson Gallery, Inc., New those who have lent paintings and sculp- Fairweother Hardin Gallery, Chicago, York, New York ture to this exhibition and acknowledge Illinois Dr. Thomas A. Mathews, Washington, the of the artists, Richard Gallery, Illinois cooperation following Feigen Chicago, D.C. collectors, museums, and galleries: Richard Feigen Gallery, New York, Midtown Galleries, New York, New York New York ACA Golleries, New York, New York Mr. -
Summer 2013 in “John Singer Sargent Watercolors,” Brooklyn Museum, NY
museumVIEWS A quarterly newsletter for small and mid-sized art museums John Singer Sargent, Simplon Pass: Reading, c.1911. Opaque and translucent watercolor and wax resist with graphite underdrawing. Summer 2013 In “John Singer Sargent Watercolors,” Brooklyn Museum, NY 1 museumVIEWS Features Summer 2013 Page 3 • Biennale • From the AAM Page 4 • Notes about an Artist: Left: Reference photo for Norman Rockwell’s Breakfast Table Politcal Arguement Above: Norman Rockwell, Breakfast Table Politcal Arguement, Ellsworth Kelly (detail) 1948. Illustration for The Saturday Evening Post. Both in “Norman Rockwell: Behind the Camera,” McNay Art Museum, TX • Building an Emergency Plan Page 5 • African-American Art Hits the Nation’s Museums • Numbers Game: Some Museum Statistics • Research Results in Surprise Findings Page 6 • Baruch and Rubin Pair up for Conference Pages 7 • Tips for Travel Off the Beaten Track Page 8-11 • newsbriefs Pages 12 • Textiles Take Center Stage in Denver Pages 13-19 • summerVIEWS Ridley Howard, Blues and Pink (detail), 2012. Oil on linen. In “Ridley Howard,” Museum of Fine Arts, Boston, MA Jeffrey Gibson, Much Stronger Than You Know, 2013. Acrylic and oil paint on deer hide stretched over wood panel. In “Jeffrey Gibson: Said the Pigeon museumVIEWS to the Squirrel,” National Academy Museum, NY Editor: Lila Sherman Publisher: Museum Views, Ltd. 2 Peter Cooper Road, New York, NY 10010 Phone: 212.677.3415 FAX: 212.533.5227 Email: [email protected] On the web: www.museumviews.org MuseumVIEWS is supported by grants from the Horace W. Goldsmith Foundation and Bloomberg. MuseumVIEWS is published 4 times a year: Winter (Jan. -
A Lasting Impression
1 A Lasting Impression An Introduction to Pennsylvania Impressionism James A. Michener Art Museum’s Traveling Trunk James A. Michener Art Museum • 138 South Pine Street • Doylestown, PA 18901 MichenerArtMuseum.org • 215-340-9800 2 A Lasting Impression James A. Michener Art Museum’s Traveling Trunk Table of Contents Lessons Lesson 1: First Impressions pages 3-4 Lesson 2: Improvisational Theater pages 5-6 Lesson 3: Journals and Boxes page 7 Lesson 4: Contemporary Connections pages 8-9 Lesson 5: The Arts and Media pages 10 Lesson 6: Painting Impressions page 11 Lesson 7: Michener Museum Impressions pages 12-13 Lesson 8: Women in the Arts pages 14-15 Lesson 9: Impressionism and the Environment page 16 Lesson 10: Your Last Impression page 17 Appendix 1: Vocabulary pages 18-24 Appendix 2: Standards pages 25-40 Appendix 3: Biographies and Visuals pages 41-102 Appendix 4: Bibliography pages 103-104 James A. Michener Art Museum • 138 South Pine Street • Doylestown, PA 18901 MichenerArtMuseum.org • 215-340-9800 3 A Lasting Impression James A. Michener Art Museum’s Traveling Trunk Lesson 1: First Impressions Social Studies, Studio Art, Language Arts, Art History Connections Objectives: Students will be introduced to the themes and materials in the James A. Michener Art Museum Culture Kit, A Lasting Impression. Students will demonstrate an understanding of the vocabulary presented in the Lasting Impressions Culture Kit Students will become familiar with the distinctive style in Pennsylvania Impressionist paintings, through the works of Lathrop, Redfield, and Sotter Students will use original documentation to learn about the history of Pennsylvania Impressionism Students will understand the importance of Bucks County heritage as it relates to Pennsylvania, American, and French Impressionism Lesson Ideas Explore the Culture Kit Display the contents of the Culture Kit in your classroom or school library. -
2000.541Ekxbtha
Memo to the Planning Commission DIRECTOR’S REPORT: AUGUST 31, 2017 Date: August 21, 2017 Case No.: 2000.541EKXBCTHA Project Address: 350 BUSH STREET Zoning: C-3-O (Downtown-Office) 250-S Height and Bulk District Block/Lot: 0269/028 Project Sponsor: Daniel Frattin Reuben, Junius & Rose One Bush Street, Suite 600 San Francisco, CA 94104 Staff Contact: Christy Alexander – (415) 575-8724 [email protected] Recommendation: Informational Only BACKGROUND10 On November 1, 2001, the Planning Commission approved Case No. 2000.541EKXBCTHA for a newly constructed 19-story office building addition to the existing Mining Exchange Building at 350 Bush Street which is located between Montgomery Street and Kearny Street downtown. The project includes 20,400 sf of retail space in two galleria levels and 344,540 sf of office space. Pursuant to Planning Code Section 429, the Project required a public art component valued at an amount equal to one percent of the hard construction costs for the Project as determined by the Director of the Department of Building Inspection. The Project Sponsor has commissioned two artists to provide on-site public art to satisfy this requirement. CURRENT PROPOSAL The artists selected for the public art installations at 350 Bush Street are Zhan Wang and Christopher Brown. As discussed in his biography (attached), Mr. Wang is a Beijing-born sculptor who was a sculpture major at the China Central Academy of Fine Art. His work has appeared in museum exhibitions at the Shanghai Pujiang OCT Ten Year Public Art Project, Shanghai; Mori Art Museum, Tokyo; Shanghai Museum of Contemporary Art, Shanghai; Asian Art Museum, San Francisco; the Milwaukee Art Museum, Milwaukee; National Museum of China, Beijing; and the Ullens Center for Contemporary Art, Beijing. -
EJC Cover Page
Early Journal Content on JSTOR, Free to Anyone in the World This article is one of nearly 500,000 scholarly works digitized and made freely available to everyone in the world by JSTOR. Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid-seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non-commercial purposes. Read more about Early Journal Content at http://about.jstor.org/participate-jstor/individuals/early- journal-content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact [email protected]. Annual Exhibition, Pennsylvania Academy By REBECCA H. WHELEN [Fromthe Book News Monthly] A CERTAIN' spirit of progressive rather clever handling of tones of white ness and sturdy strength marked in a high key. A few light and brilliant the work shown this' year at the notes of color occurred in the wall paper, Pennsylvania Academy of the Fine Arts' dressing table and floor surrounding the Annual Exhibition of paintings and two seated women who formed the subject.