Elisabeth Condon
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Local Option Sales Tax Refunding Revenue Bonds, (Stadium Project), Series 2015
NOTICE OF SALE $64,765,000* Tampa Sports Authority Local Option Sales Tax Refunding Revenue Bonds, (Stadium Project), Series 2015 ELECTRONIC BIDS, via BiDCOMP/PARITY Competitive Bidding System (BiDCOMP/Parity) only, will be received by the Tampa Sports Authority (the "Issuer") for the purchase of all, but not less than all, of the Issuer’s $64,765,000* Local Option Sales Tax Payments Refunding Revenue Bonds (“Bonds”), until 10:45 a.m., local Tampa, Florida time, on Tuesday, December 16, 2014. The Bonds Authorization and Security The Bonds are being issued under and pursuant to the authority of and in full compliance with the Constitution and laws of the State of Florida, including particularly Chapter 96-520, Laws of Florida, Acts of 1996, as amended, Section 212.055(2), Florida Statutes, as amended and other applicable provisions of law (collectively, the "Act"), Resolution No. 05- 14-01 adopted by the Issuer on November 20, 2014, as amended and supplemented from time to time (the "Resolution") and the Second Amended and Restated Trust Indenture dated as of January 6, 2015 by and between the Issuer and U.S. Bank National Association, as trustee (the "Indenture"). The Bonds are subject to all the terms and conditions of the Indenture. The Bonds are being issued to refund all of the Tampa Sports Authority Local Option Sales Tax Refunding Revenue Bonds (Stadium Project), Series 2005, finance certain capital improvements to a community stadium and to pay certain costs and expenses relating to the issuance of the Bonds. The Bonds and the -
Before the FEDERAL COMMUNICATIONS COMMISSION Washington, D.C. 20554 Application of Comcast Corporation, General Electric Company
Before the FEDERAL COMMUNICATIONS COMMISSION Washington, D.C. 20554 Application of Comcast Corporation, ) General Electric Company and NBC ) Universal, Inc., for Consent to Assign ) MB Docket No. 10-56 Licenses or Transfer Control of ) Licenses ) COMMENTS AND MERGER CONDITIONS PROPOSED BY ALLIANCE FOR COMMUNICATIONS DEMOCRACY James N. Horwood Gloria Tristani Spiegel & McDiarmid LLP 1333 New Hampshire Avenue, N.W. Washington, D.C. 20036 (202) 879-4000 June 21, 2010 TABLE OF CONTENTS 1. PEG PROGRAMMING IS ESSENTIAL TO PRESERVING LOCALISM AND DIVERSITY ON BEHALF OF THE COMMUNITY, IS VALUED BY VIEWERS, AND MERITS PROTECTION IN COMMISSION ACTION ON THE COMCAST-NBCU TRANSACTION .2 II. COMCAST CONCEDES THE RELEVANCE OF AND NEED FOR IMPOSING PEG-RELATED CONDITIONS ON THE TRANSFER, BUT THE PEG COMMITMENTS COMCAST PROPOSES ARE INADEQUATE 5 A. PEG Merger Condition No.1: As a condition ofthe Comcast NBCU merger, Comcast should be required to make all PEG channels on all ofits cable systems universally available on the basic service tier, in the same format as local broadcast channels, unless the local government specifically agrees otherwise 8 B. PEG Merger Condition No.2: As a merger condition, the Commission should protect PEG channel positions .,.,.,.. ., 10 C. PEG Merger Condition No.3: As a merger condition, the Commission should prohibit discrimination against PEG channels, and ensure that PEG channels will have the same features and functionality, and the same signal quality, as that provided to local broadcast channels .,., ., ..,.,.,.,..,., ., ., .. .,11 D. PEG Merger Condition No.4: As a merger condition, the Commission should require that PEG-related conditions apply to public access, and that all PEG programming is easily accessed on menus and easily and non-discriminatorily accessible on all Comcast platforms ., 12 CONCLUSION 13 EXHIBIT 1 Before the FEDERAL COMMUNICATIONS COMMISSION Washington, D.C. -
American Art & Pennsylvania Impressionists (1649) Lot 83
American Art & Pennsylvania Impressionists (1649) December 8, 2019 EDT Lot 83 Estimate: $50000 - $80000 (plus Buyer's Premium) Hans Hofmann (American/German, 1880-1966) Jeannette Carles (Mrs. Herbert Matter) Signed and dated 'hans hofmann/34' bottom center right; also inscribed with title and artist verso, oil on panel 54 1/2 x 40 1/2 in. (138.4 x 102.9cm) Provenance: Estate of Hans Hofmann (no. M-0160). André Emmerich Gallery, New York, New York. Acquired directly from the above in 1987. Collection of Mr. and Mrs. Jeffrey Glick, until 1995. André Emmerich Gallery, New York. Arij Gasiunasen Gallery, Palm Beach, Florida. Acquired directly from the above. Collection of Mr. Stephen E. Myers. Private Collection, New York, New York. EXHIBITED: "Hans Hofmann: Painter and Teacher," Addison Gallery of American Art, Andover, Massachusetts, January 2-February 22, 1948. "Hans Hofmann: The Pre-War Years in America," André Emmerich Gallery, New York, New York, January 9-February 7, 1987. "Hans Hofmann," Whitney Museum of American Art, New York, New York, June 20-September 16, 1990; and Center for the Fine Arts, Miami, Florida, November 23, 1990-January 20, 1991; and The Chrysler Museum, Norfolk, Virginia, February 17-April 14, 1991 (traveling exhibition, only shown in New York as Jeanette [sic] Carles (Mercedes Carles Matter)). LITERATURE: Hans Hofmann et al., Search for the Real, and Other Essays, Addison Gallery of American Art at Phillips Academy, Andover, Massachusetts, 1948, p. 82 (illustrated as installation view); and the M.I.T. Press for revised edition of March 15, 1967, p. 76 (also illustrated as installation view). -
[email protected] Theo Wujcik: Cantos
FOR IMMEDIATE RELEASE CONTACT: Lashonda Curry 727-896-266, ext. 236 813-447-1752 (c) [email protected] Theo Wujcik: Cantos Brings to Life Epic Literary Work A series by the late, prominent Ybor City artist features larger-than-life paintings inspired by Dante’s Inferno ST. PETERSBURG, Fla. (March 29, 2019) – One of Tampa Bay’s best-known artists, Theo Wujcik (1936-2014), spent a decade creating a series drawn from the dark and profound literary classic, Dante’s Inferno. Now, those extraordinary paintings are the theme for Theo Wujcik: Cantos, a special exhibition organized by the Museum of Fine Arts, St. Petersburg and inspired by two works in its collection. Gates of Hell (1987) and Canto II (1997) are centered around Inferno, the first part of the epic poem Divine Comedy by Italian poet Dante Alighieri (1265–1321). The painting Gates of Hell was acquired by the MFA in 2017, but has never been publicly shown at a museum in the Tampa Bay area until now. Other art institutions that own Wujcik’s work include the Art Institute of Chicago; Detroit Institute of Arts; Museum of Modern Art, NY; National Gallery of Art, Washington, D.C. and San Francisco Museum of Modern Art. The exhibition is on view April 13 through June 2, 2019. Addressing select cantos from the poem, the 10 paintings on view—many of them epically scaled— range from 1987–1997, and showcase Wujcik’s literal and symbolic interpretation of the captivating journey of Dante through Hell, guided by the ancient Roman poet Virgil. Many artists have been inspired by the moral drama of Dante’s Inferno, including English poet and painter William Blake (1757–1827) and French illustrator Gustave Doré (1832–1883). -
Irving Sandler
FROM THE ARCHIVES: HANS HOFMANN: THE PEDAGOGICAL MASTER By Irving Sandler May 30, 1973 Irving Sandler died on June 2, 2018 at the age of 92. A frequent contributor to A.i.A., Sandler was best known for chronicling the rise and the aftermath of Abstract Expressionism. One of his most significant articles for A.i.A., the impact of Hans Hofmann, who taught such artists as Helen Frankenthaler and Allan Kaprow, thereby influencing not only second- and third-generation Ab Ex painters but other developments in American art after 1945. Sandler highlights Hofmann’s interest in the deep traditions of European art, and his belief that the best abstract painting continues its manner of modeling the world. “It was in this cubic quality, this illusion of mass and space, that the man-centered humanist tradition—or what could be saved of it—was perpetuated,” Sandler wrote, summarizing a central tenet of Hofmann’s teachings. The full essay, from our May/June 1973 issue, is presented below. In June we re-published Sandler’s essay “The New Cool-Art,” on the rise of Minimalism. —Eds. As both a painter and a teacher Hans Hofmann played a germinal part in the development of advanced American art for more than thirty years. This article will deal only with his pedagogical role—a topic chosen with some trepidation, for to treat an artist as a teacher is often thought to demean his stature as an artist. The repute of Hofmann’s painting has suffered in the past because of this bias, but no longer, since he is now firmly and deservedly established as a pathfinding master of Abstract Expressionism. -
Alberto Giacometti, Herbert Matter, Matthew Monahan, Jonathan Silver
Alberto Giacometti, Herbert Matter, Matthew Monahan, Jonathan Silver Nicole Klagsbrun is pleased to present an exhibition featuring Alberto Giacometti (1901–66), Herbert Matter (1907–84), Jonathan Silver (1937–92), and Matthew Monahan (1972–), who together share a clear set of existential interests in the human figure, ambiguity, and visual play. On view are photographs from Matter’s early-1960s black-and-white series documenting Giacometti’s celebrated, exceedingly tall and thin statues. After 1945, Giacometti ceased producing small experimental figures and began to focus on over-lifesize works. The surfaces of these sculptures are fractured and rough, never smooth like a Rodin. By 1947, three main themes had emerged in Giacometti’s art: the walking man, the standing woman, and the bust or head—which are all present in these haunting images. Matter and Giacometti became fast friends after meeting in 1950, when Pierre Matisse commissioned Matter to document Giacometti’s work in exhibition at Matisse’s gallery in New York. In a letter to Matter from 1961, Giacometti wrote: I think about [the photographs] every day and now I am impatient to tell you how elated and happy I have been to see the whole series of marvelous photographs. I could not stop looking at them, picking them up one by one and starting all over again, remarking at the great joy they have given me. They are by far the most beautiful photographs that have been made of my things, and, most important, at the same time they have a reality in themselves; each one is a creation in itself, one more beautiful than the other.1 A designer and a photographer, Matter left his position at Knoll to concentrate on publishing a book of these photographs. -
Arthur B. Carles Papers
Arthur B. Carles papers MS.050 Finding Aid prepared by Hoang Tran The Pennsylvania Academy of the Fine Arts 118-128 North Broad Street Philadelphia, PA 19102 [email protected] 215-972-2066 Updated by Hoang Tran, January 2016 Arthur B. Carles papers (MS.050) Summary Information Repository The Pennsylvania Academy of the Fine Arts, Dorothy and Kenneth Woodcock Archives Creator Arthur B. Carles (1882-1952) Title Arthur B. Carles papers Date [bulk] Date [inclusive] 1900-1941 Extent 11 document boxes, 2 1/2 document boxes Location note Language Language of Materials note English Abstract Collection comprises of dated correspondence to and from Carles, miscellaneous correspondence, photographs, notes, and printed matter from his art career. Preferred Citation note [identification of item], Title of Collection, Collection ID#, The Pennsylvania Academy of the Fine Arts, Dorothy and Kenneth Woodcock Archives, Philadelphia, PA. Page 1 Arthur B. Carles papers (MS.050) Historical note Arthur B. Carles (1882-1952) was one of the leading exponents of modern painting to emerge from, and remain in, Philadelphia. In 1901, and from 1903-07, he studied at the Pennsylvania Academy. At the Academy, Carles won two Cresson Travel Scholarships that allowed him to travel to Europe in the summer of 1905, and again in June of 1906, when he commenced a three-year stay. The American painter Alfred Maurer introduced Carles to modern European art. It was also through Maurer that Carles met the collectors Gertrude and Leo Stein. While in Europe, Carles became close friends with the painter and photographer Edward Steichen. He was also profoundly influenced by the expressionist work of Henri Matisse. -
Carmen Herrera Interviewed by Julia P
CSRC ORAL HISTORIES SERIES NO. 18, OCTOBER 2020 CARMEN HERRERA INTERVIEWED BY JULIA P. HERZBERG ON DECEMBER 15, 2005, AND JANUARY 10, 2006 Carmen Herrera is a Cuban American painter who lives and works in New York City. In 2017 her work was surveyed in Carmen Herrera: Lines of Sight at the Whitney Museum of American Art; the exhibition traveled to the Wexner Center for the Arts in Columbus, Ohio, and Kunstsammlung Nordrhein-Westfalen in Düsseldorf, Germany. A selection of recent paintings was shown at New York City’s Lisson Gallery in May 2016. Other solo exhibitions have been at Museum Pfalzgalerie Kaiserslautern, Kaiserslautern, Germany (2010); Ikon Gallery, Birmingham, UK (2009); and Museo del Barrio, New York City (1998). Her work has also been included in a number of group shows. Julia P. Herzberg is an art historian, independent curator, and writer. As a Fulbright scholar in 2007–11 and 2012–13, she taught at Pontifical Catholic University and Diego Portales University in Santiago, Chile, and curated the exhibition Kaarina Kaikkonen: Two Projects—Traces and Dialogues at the Museum of History and Human Rights and the National Museum of Fine Arts in Santiago. Her most recent publications are “Carlos Alfonzo: Transformative Work from Cuba to Miami and the U.S.,” in Carlos Alfonzo: Witnessing Perpetuity (2020) and “A Conversation with María Elena González: A Trajectory of Sound,” in María Elena González: Tree Talk (2019). This interview was conducted as part of the A Ver: Revisioning Art History project. Preferred citation: Carmen Herrera, interview with Julia P. Herzberg, December 15, 2005, and January 6, 2006, New York, New York. -
Not for the Uncommitted: the Alliance of Figurative Artists, 1969–1975 By
Not for the Uncommitted: The Alliance of Figurative Artists, 1969–1975 By Emily D. Markert Submitted in partial fulfillment of the requirements for the degree Master of Arts in Curatorial Practice California College of the Arts April 22, 2021 Not for the Uncommitted: The Alliance of Figurative Artists, 1969–1975 Emily Markert California College of the Arts 2021 From 1969 through the early 1980s, hundreds of working artists gathered on Manhattan’s Lower East Side every Friday at meetings of the Alliance of Figurative Artists. The art historical canon overlooks figurative art from this period by focusing on a linear progression of modernism towards medium specificity. However, figurative painters persisted on the periphery of the New York art world. The size and scope of the Alliance and the interests of the artists involved expose the popular narrative of these generative decades in American art history to be a partial one promulgated by a few powerful art critics and curators. This exploration of the early years of the Alliance is divided into three parts: examining the group’s structure and the varied yet cohesive interests of eleven key artists; situating the Alliance within the contemporary New York arts landscape; and highlighting the contributions women artists made to the Alliance. Keywords: Post-war American art, figurative painting, realism, artist-run galleries, exhibitions history, feminist art history, second-wave feminism Acknowledgments and Dedication I would foremost like to thank the members of my thesis committee for their support and guidance. I am grateful to Jez Flores-García, my thesis advisor, for encouraging rigorous and thoughtful research and for always making time to discuss my ideas and questions. -
March 1978 CAA Newsletter
Volume 3, Number I March 1978 CAA awards 1978 annual meeting report Awards for excellence in art historical schol The high note and the low note of the 1978 arship and criticism and in the teaching of annual meeting were sounded back-to-back: studio arts and art history were presented at the high note on Friday evening, the Con the Convocation ceremonies of the 66th An vocation Address by Shennan E. Lee, a stun nual Meeting of the College Art Association, ning defense of the pursuit of excellence and held in the Grace Rainey Rogers Auditorium an attack upon anti-elitist demagoguery and of the Metropolitan Museum of Art on Friday the obliteration of the essential boundaries evening, January 27, 1978. between the realm of art and the realm of The Association's newest award (estab commerce by those with both the training and lished last year), for Distinguished Teaching the responsibility to know better. Too good to of Art History, was presented to Ellen John paraphrase, so we've culled some excerpts (see son, Professor Emeritus of Art and Honorary p. 3). Curator of Modem Art at Oberlin College. The low note was struck on Saturday morn For nearly forty years Professor Johnson's ing, on the Promenade of the New York courses in nineteenth- and twentieth-century Hilton Hotel (formerly the CAA Registration art have been one of the most popular offer Area). Unbeknownst to us, the space had ings at this prestigious undergraduate institu been contracted to the City-Wide Junior High tion. Her inspired teaching first opened the School Symphonic Orchestra, a group of eyes of numerous students, many of whom some eighty fledgling enthusiasts whose per went on to become leading historians, cura formance could be appreciated only by par tors, critics, and collectors of modern art. -
A Different Frame of Mind
The USF Contemporary Art Museum is accepting proposals from artists for an experimental project: A Different Frame of Mind As part of ongoing efforts to find new methods for sharing resources and creative capital with the community, USFCAM is inviting artists to create works specifically designed for used (but still fully functional) fine art frames. In addition to the recycled frames, USFCAM will offer selected artists studio space in public galleries to use while creating the new works. Artists may propose projects that incorporate at least one recycled frame, whether used as a traditional frame or as raw material for more expansive projects. There are 100 available frames ranging in sizes from 18”x14” up to 52”x72”. There are a limited number frames with the same dimensions available for artists that wish to propose a suite of works. The call for proposals is open to regional artists over 18 working in any media including painting, photography, drawing, sculpture, video/film, audio, digital/graphic art, performance-based, and social practice. Artists working together as collaborators or collectives are also welcome to apply. From March 20 to April 17, artists planning to submit a proposal are welcome to set an appointment to come to USFCAM to see the frames that are available. Please email the curator of the exhibition, Vincent Kral, at [email protected] to set up a meeting. From June 9 to June 17, the USFCAM West Gallery will be transformed into studio space available for the selected artists to work, with the public invited to witness the creation of these new works. -
Greater Tampa- Hillsborough Region
2018-19 GUIDE TO A project of the Arts Council of Hillsborough County GREATER TAMPA- HILLSBOROUGH REGION A Guide to Arts & Culture for the Greater Tampa-Hillsborough Region Culture Creates a Community 2018-2019 Our nonprofit arts and culture is a $433 million A project of the Arts Council of Hillsborough County industry and supports 14,962 fulltime jobs.* Table of Contents Arts Council Leadership ...................................................................................... 2 Letters from the Arts Council’s Executive Director and Board Chair ............. 3 About the Arts Council ........................................................................................ 4 2018-2019 Festival Schedule ............................................................................... 5 Selected Performing and Exhibition Schedules................................................ 6 Festival Spotlights ................................................................................................. 10 Museum & Theatre Spotlights ............................................................................. 14 Cultural Center Spotlights ................................................................................... 21 College & University Spotlights ........................................................................... 22 Hillsborough County Arts & Culture Map........................................................... 26 Nonprofit Arts & Cultural Organization Directory ............................................. 30 Libraries & Parks