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Annual Women in Leadership Issue Annual Women in Leadership
BusinessSOUTHSIDE ExchangeA DAILY JOURNAL PUBLICATION SPRING 2020 Rosie Chambers Marla Clark BLUE COLLAR JOBSCheryl OUTLOOK Dobbs Kelsey Kasting ANNUAL WOMEN IN LEADERSHIP ISSUE ANNUAL WOMEN IN LEADERSHIP ISSUE PERMIT NO. 220 NO. PERMIT GREENFIELD, IN GREENFIELD, STANDARD PRESORTED DJ-35033581 The Indianapolis News (Indianapolis, Indiana) · 3 Feb 1995, Fri · Page 2 Downloaded on Feb 13, 2020 BusinessSOUTHSIDE Exchange SPRING 2020 I VOLUME 18 I NUMBER 1 HOOSIER WOMEN FIRSTS COPYRIGHT © DAILY JOURNAL, 2020 ALL RighTS RESERVED. People on the Move SUBSCRIPTIONS 4 22 SOUTHSidE BUSINESS EXCHANGE IS PUBLISHED QUARTERLY by THE DAILY JOURNAL. ThE MAGAZINE IS MAILED AT NO CHARGE TO BUSINESSES THROUghOUT GREATER JOHNSON COUNTY. 8 Corporate Chatter TO SUBSCRIBE, SEND YOUR NAME Clipped By: AND addRESS TO: DAILY JOURNAL, P.O. BOX 699, FRANKLIN, IN 46131 12 Women in Leadership AIM_EMMAeIL:d biiZ@aD_AIILYnJOURNAL.NETdiana Thu, EDFITOReb: A1M3Y MA, 2Y 736-2726020 [email protected] 22 Hoosier Women Firsts ADVERTISING: ChRIS COSNER 736-2750 [email protected] GRAPHIC DESIGN: ANNA pERLICH Southside Snapshot [email protected] 26 Copyright © 2020POSTM NewASTsEpR aSepNDe addrs.RcESSo mCHA.NG AESl lTO: R ights Reserved. DAILY JOURNAL, P.O. BOX 699, FRANKLIN, IN 46131 27 Leadership Johnson County workshops SOUTHSidE BUSINESS EXCHANGE IS PUBLISHED QUARTERLY AND diRECT MAILED ON THE fiNAL 28 Ribbon Cuttings DAY OF FEBRUARY (SpRING), MAY (SUMMER), ON THE COVER AUGUST (FALL) AND NOVEMBER (WINTER). Top row, from left: Rosie Cham- DEADLINES FOR EdiTORIAL CONTENT ARE THE fiRST OF THE MONTH IN whiCH THE MAGAZINE IS MAILED. bers, Marla Clark, bottom row: Cheryl Dobbs, Kelsey Kasting PHOTOS BY MARK FREELAND Southside Business Exchange | SPRING 2020 3 n Franklin College offices are located at has named Andrew 5255 E. -
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� --1·1 r� · --·t· r-1 � -r� --·rl �l_, r�·r p· ,("' __, .:..../ --rl 0 F 521 148 VOL 16 N01 - - - - INDIANA HISTORICAL SOCIETY BOARD OF TRUSTEES SARAH Evru'\'S BARKER, indianapolis MICH.\ELA. SIKK.\IAN, Indianapolis, Second Vice Chair �� \RY A.J-..:-...: BRADLEY, Indianapolis £0\\.\.RI) E. BREEN, �[arion, First Vice Chair 01.\.\!,E j. C\RT�tEL, Brownstown P•TRICL\ D. CeRRA!<, Indianapolis EOCAR G1 EXN 0.-\\15, Indianapolis DA.." l:. I �1. E�'T. Indianapolis RIC! lARD F'ELDMA-'-.;,Indianapolis RICHARD E. FoRD, Wabash R. RAY HAWKINS. Carmel TI!O\!A-<.; G. HOR\CK, Indianapolis MARTIN L<\KE, 1'1arion L\RRY S. L\NDIS, Indianapolis P01.1 'Jo�TI LEi'\NON,Indianapolis jAMES H. MADISON, Bloomington M \RY jA...'\'E �IEEJ.�ER. Carmel AMlRF\\ '"'· NiCKLE, South Bend GJ::.ORGJ::. F. RAPP,Indianapolis BO'<'IIE A. REILLY, Indianapolis E\'AIIt'\FII. RIIOOI:.II.AME.L,Indianapolis, Secretary LA:-.J M. Rou.�\!'-10, Fon \-\'ayne, Chair jMIES SHOOK JR., Indianapolis P. R. SwEENEY, Vincennes, Treasurer R BERT B. TOOTHAKER, South Bend WILLIAM H. WIGGINS JR., Bloomington ADMINISTRATION SALVATORE G. CILELLAjR., President RA�IOND L. SIIOI:.MAKER, Executive Vice President ANMBELLF J.JACKSON, Comroller St!SAN P. BROWN, enior Director, Human Resources STEPIIl:-.. L. Cox, Vice President, Collections, Conserv-ation, and Public Programs TIIO\IAS A. �lAsoN, Vice President, n-JS Press Ll:'\DA L. PRArr, Vice President, Development and Membership BRE:"DA MYER.<;, Vice President, Marketing and Public Relation� DARA BROOKS, Director, Membership \ROLYI\ S. SMITH, Membership Coordinator TRACES OF INDIANA AND MIDWESTERN HISTORY RAY E. BOOMHOWER, Managing Editor GEORGF R. -
Milch Galleries
THE MILCH GALLERIES YORK THE MILCH GALLERIES IMPORTANT WORKS IN PAINTINGS AND SCULPTURE BY LEADING AMERICAN ARTISTS 108 WEST 57TH STREET NEW YORK CITY Edition limited to One Thousand copies This copy is No 1 his Booklet is the second of a series we have published which deal only with a selected few of the many prominent American artists whose work is always on view in our Galleries. MILCH BUILDING I08 WEST 57TH STREET FOREWORD This little booklet, similar in character to the one we pub lished last year, deals with another group of painters and sculp tors, the excellence of whose work has placed them m the front rank of contemporary American art. They represent differen tendencies, every one of them accentuating some particular point of view and trying to find a personal expression for personal emotions. Emile Zola's definition of art as "nature seen through a temperament" may not be a complete and final answer to the age-old question "What is art?»-still it is one of the best definitions so far advanced. After all, the enchantment of art is, to a large extent, synonymous with the magnetism and charm of personality, and those who adorn their homes with paintings, etchings and sculptures of quality do more than beautify heir dwelling places. They surround themselves with manifestation of creative minds, with clarified and visualized emotions that tend to lift human life to a higher plane. _ Development of love for the beautiful enriches the resources of happiness of the individual. And the welfare of nations is built on no stronger foundation than on the happiness of its individual members. -
Robert Indiana
ROBERT INDIANA Born in New Castle, Indiana in 1928 and died in 2018 Robert Indiana adopted the name of his home state after serving in the US military. The artist received his BFA from the School of the Art Institute of Chicago in 1954 and following the advice of his friend Ellsworth Kelly, he relocated to New York, setting up a studio in the Coenties Slip neighborhood of Lower Manhattan and joined the pop art movement. The work of the American Pop artist Robert Indiana is rooted in the visual idiom of twentieth-century American life with the same degree of importance and influence as Andy Warhol and Roy Lichtenstein. As a self-proclaimed “American painter of signs” Indiana gained international renown in the early 1960’s, he drew inspiration from the American road and shop signs, billboards, and commercial logos and combined it with a sophisticated formal and conceptual approach that turned a familiar vocabulary into something entirely new, his artworks often consists of bold, simple, iconic images, especially numbers and short words like “EAT”, “HOPE”, and “LOVE” what Indiana called “sculptural poems”. The iconic work “LOVE”, served as a print image for the Museum of Modern Art ‘s Christmas card in 1964 and sooner later the design became popular as US postage stamp. “LOVE” has also appeared in prints, paintings, sculptures, banners, rings, tapestries. Full of erotic, religious, autobiographical, and political undertones — it was co-opted as an emblem of 1960s idealism (the hippie free love movement). Its original rendering in sculpture was made in 1970 and is displayed in Indiana at the Indianapolis Museum of Art. -
Robert Indiana
• Robert Indiana was a major figure in Pop Art, that most American art form, developing his distinctive “hard-edged” style that he has worked in for over 50 Robert years. One of his images alone, the LOVE icon, will Indiana ensure his renown forever. AMERICAN ARTIST • He wasn’t born “Robert Indiana,” but he was born in 1928 - Indiana, and changed his last name from “Clark” when he was in his teens (to make it more interesting). He had a crazy childhood, his family continually on the move. He claimed to have lived in 21 houses before he graduated high school. His parents divorced when he was 10, and he spent many years bouncing between their households. Finally in the last few years of high school, he took the reins and moved to Indianapolis to attend an arts-based high school. He did very well there, but then took three years out of his art study to serve in the US Air Force. • One interesting feature of his early life was that in several different places he lived or was stationed, he started or ran a newspaper. Writing and words were always very important to him. • After his military service, he attended several different art schools, including the famous Art Institute of Chicago, and also spent some time in Europe. • He ultimately moved to New York City because that was the center of the American art world in the mid-1950s. Things were rough for a while, as he worked in an art supply store to make ends meet, but he made friends with the abstract Robert Indiana‘s studio at the New York City piers (with cat!) and some of his early sculptures, called herms. -
A SHARED HERITAGE African American Culture Flourished Through His Painting to Inspire the Received Early Instruction from Promi in the Mid- to Late-1920S
. A SHARED HERITAGE African American culture flourished through his painting to inspire the received early instruction from promi in the mid- to late-1920s. Countee Cullen artistic talents of Indianapolis's black nent members of the Hoosier Group, published his first volume of poems, community. John We sley Hardrick primarily William Forsyth (1854-.-1935) Color(19 25); the \#a ry Blues (1926) by (1891-1968), fo r a brochure accom and Otto Stark (1859-1926). Hardrick, Langston Hughes appeared on popular panying an exhibition of his paintings, Scott, and Wo odruff were among a reading lists; satirist George S. Schuyler wrote that his goal was "to stimulate growing number of aspiring black artists wrote fo r The American Mercury; and an interest among the colored citizens who were participating in the devel Claude McKay's novel Home to Ha rlem of Indianapolis to encourage art; to in opment of American art on a regional (1928) became a best-seller. These spire, if possible, some young talented and national basis during the early RAINY NIGHT, ETAPLES. 1912. WILLIAM E. SCOT T. INDIANAPOLIS MUSEUM OF ART, GIFT OF A GROUP OF AFRICAN AMERICAN CITIZENS OF INDIANAPOLIS. African Americans were among the boy or girl to realize that 'Life without 1900s. They also seized a "chance fo r many who contributed to a literary and labor is a crime, and labor without art group expression and self determina artistic movement known as the Harlem is brutality."' tion" by turning to black subject mat Renaissance. Through art, leader and Hardrick and his contemporaries ter in their work. -
Maryland Historical Trust
NPS Form 10-900 OMB No. 10024-0018 (Oct. 1990) United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking “x” in the appropriate box or by entering the information requested. If any item does not apply to the property being documented, enter “N/A” for “not applicable.” For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property historic name Recorder of Deeds Building other names 2. Location street & number 515 D Street NW not for publication city or town Washington, DC vicinity state DC code DC County code 001 zip code 20001 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this nomination request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property meets does not meet the National Register criteria. I recommend that this property be considered significant nationally statewide locally. ( See continuation sheet for additional comments). -
2010–2011 Our Mission
ANNUAL REPORT 2010–2011 OUR MISSION The Indianapolis Museum of Art serves the creative interests of its communities by fostering exploration of art, design, and the natural environment. The IMA promotes these interests through the collection, presentation, interpretation, and conservation of its artistic, historic, and environmental assets. FROM THE CHAIRMAN 02 FROM THE MELVIN & BREN SIMON DIRECTOR AND CEO 04 THE YEAR IN REVIEW 08 EXHIBITIONS 18 AUDIENCE ENGAGEMENT 22 PUBLIC PROGRAMS 24 ART ACQUISITIONS 30 LOANS FROM THE COLLECTION 44 DONORS 46 IMA BOARD OF GOVERNORS 56 AFFILIATE GROUP LEADERSHIP 58 IMA STAFF 59 FINANCIAL REPORT 66 Note: This report is for fiscal year July 2010 through June 2011. COVER Thornton Dial, American, b. 1928, Don’t Matter How Raggly the Flag, It Still Got to Tie Us Together (detail), 2003, mattress coils, chicken wire, clothing, can lids, found metal, plastic twine, wire, Splash Zone compound, enamel, spray paint, on canvas on wood, 71 x 114 x 8 in. James E. Roberts Fund, Deaccession Sculpture Fund, Xenia and Irwin Miller Fund, Alice and Kirk McKinney Fund, Anonymous IV Art Fund, Henry F. and Katherine DeBoest Memorial Fund, Martha Delzell Memorial Fund, Mary V. Black Art Endowment Fund, Elizabeth S. Lawton Fine Art Fund, Emma Harter Sweetser Fund, General Endowed Art Fund, Delavan Smith Fund, General Memorial Art Fund, Deaccessioned Contemporary Art Fund, General Art Fund, Frank Curtis Springer & Irving Moxley Springer Purchase Fund, and the Mrs. Pierre F. Goodrich Endowed Art Fund 2008.182 BACK COVER Miller House and Garden LEFT The Wood Pavilion at the IMA 4 | FROM THE CHAIRMAN FROM THE CHAIRMAN | 5 RESEARCH LEADERSHIP From the In addition to opening the new state-of-the-art Conservation Science Laboratory this past March, the IMA has fulfilled the challenge grant from the Andrew W. -
American Legends: from Calder to O'keeffe
AMERICAN LEGENDS: FROM CALDER TO O’KEEFFE TEACHER GUIDE WHITNEY December 2013–October 2014 ABOUT THIS TEACHER GUIDE How can these materials be used? These materials provide a framework for preparing you and your students for a visit to the exhibition and offer suggestions for follow up classroom reflection and lessons. The discussions and activities introduce some of the exhibition’s key themes and concepts. p. 4 About the Exhibition pp. 5-10 Pre- & Post-visit Activities pp. 11-27 Images & Information pp. 28-29 Bibliography & Links Which grade levels are these materials intended for? These lessons and activities have been written for Elementary, Middle, or High School students. We encourage you to adapt and build upon them in order to meet your teaching objectives and students’ needs. Learning standards The projects and activities in these curriculum materials address national and state learning standards for the arts, English language arts, social studies, and technology. The Partnership for Twenty-first Century Learning Skills http://www.p21.org/ Common Core State Standards http://www.corestandards.org/ Links to National Learning Standards http://www.mcrel.org/compendium/browse.asp Comprehensive guide to National Learning Standards by content area http://www.education-world.com/standards/national/index.shtml New York State P-12 Common Core Learning Standards http://www.engageny.org/resource/new-york-state-p-12-common-core-learning-standards New York City Department of Education’s Blueprint for Teaching and Learning in the Arts http://schools.nyc.gov/offices/teachlearn/arts/blueprint.html Feedback Please let us know what you think of these materials. -
Art Hand-Book, Sculpture, Architecture, Painting
:. •'t-o^ * ^^' v^^ ^ ^^^^\ ^^.m <. .*^ .. X 0° 0^ \D^ *'ir.s^ A < V ^^; .HO^ 4 o *^,'^:^'*.^*'^ "<v*-^-%o-' 'V^^''\/^ V*^^'%^ V\^ o '^^ o'/vT^^^ll^"" vy:. -rb^ ^oVv^'' '^J^M^^r^^ ^^jl.^0'rSi' ^oK °<<. ^""^^ • Sculpture » Architecture * Painting Official H^NDBOOKo/ARCHITECTVRE and SCULPTURE and ART CATALOGUE TO THE Pan-American Exposition With Maps and Illustrations by -permission of C. D. Arnold, Official Photographer BUFFALO, NEW YORK, U. S. A., MAT FIRST TO NOVEMBER FIRST, M. CM. & I. Published by DAVID GRAY, Buffalo, N. Y. Entered according to Act of Congress in the year 1901, by David Gray, in the Office of the Librarian of Congress, at Washington, D. C. • • • • • e • • •• V. • » » « » . f>t • •_••» »'t»» » » » * • • . CONGRESS, Two Copiea Received JUN. 17 1901 Copyright entry EXPOSITION, 1901. CLASS ^XXc N». PAN-AMERICAN Buffalo, N. Y. , U. S. A COPY 3, Office of Director-General. March 30, 1901. To whom it may concern: — Mr. David Gray of this City has "been granted hy the Exposition a concession to publish the Art Catalogue of the Exposition^ which will he a hook in reality a memorial of the ideals of the Exposition in Archi- tecture, Sculpture and Pine Arts. WILLIAM I. BUCHANAN, Director-General The articles, pictures and catalogue descriptions in the Pan-American Art Hand Book are copyrighted, and publication thereof without permission is forbidden. \ r..k^ ^'««- -^ -"^^ ^^ This Art Hand Book was made by the publishing and printing house of ISAAC H,. BLANCHARD CO,, in the city of New Torky at 268 and 270 Canal Street, * 200 feet, iij9 inches east of Broadway. -
A Reflection and Recognition of the African American Family (Revised)
DOCUMENT RESUME ED 280 925 UD 025 430 TITLE Black History Month: A Reflection and Recognition of the African American Family (Revised). INSTITUTION New York State Education Dept., Albany. Div. of Civil Rights and Intercultural Relations. PUB DATE Jan 86 NOTE 59p.; For previous edition, see ED 255 592. AVAILABLE FROMNew York State Education Dept., Division of Civil Rights and Intercultural Relations, Room 471 EBA-Washington Ave., Albany, NY 12234 (free). PUB TYPE Guides - Classroom Use - Guides (For Teachers) (052) -- Reference Materials - Bibliographies (131) EDRS PnICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Black Achievement; *Black History; *Black Influences; Elementary Secondary Education; Instructional Materials; Learning Activities ABSTRACT Instructional materials for nse during Black History Month in elementary and secondary schools are compiled in this booklet. Background information, instructional activities, and resources for classroom use are included for all disciplines. The materials are designed to reflect the relationship between past and present events in African and African American history. Following a foreword, instructor's guide, and chronology of notable African Americans, the booklet is divided into seven sections containing materials o, respectively: General Achievements, Business, Religion, Politics, Music, Math/Science, and Education. Each section consists of four components: (1) an overview (for use as handouts or in-class reading for students; (2) a statement of objectives (to be used by teachers as goals for each unit of instruction); (3) a list of "Facts You Should Know' which provide a chronological perspective of the achievements of African Americans; and (4) instructional activities which may be assigned to students across subject areas. -
TRANSFORMATIVE VISIONS: Works by Haitian Artists from the Permanent Collection
TRANSFORMATIVE VISIONS: Works by Haitian Artists from the Permanent Collection TRANSFORMATIVE VISIONS: Works by Haitian Artists from the Permanent Collection Kate Ramsey and Louis Herns Marcelin Mario Benjamin b. 1964, Port-au-Prince, Haiti Untitled, ca. 1996 mixed media on masonite 60 x 48 1/4 x 3 7/8 in. (152.4 x 122.6 x 9.8 cm) Gift of Dr. and Mrs. Carl Eisdorfer, 2002.57.48 Published on the occasion of the exhibition Transformative Visions: Works by Haitian Artists from the Permanent Collection, November 8, 2014 – January 18, 2015. Organized by Louis Herns Marcelin, Ph.D. and Kate Ramsey, Ph.D. TRANSFORMATIVE VISIONS reproduced in any form, by any means, electronic or mechanical, including photocopying, or by any storage or retrieval system, without the written permission of the Lowe Art Museum, University of Miami, Coral Gables, Florida 33146. the materials presented herein. Any person or organization that may have been inadvertently overlooked vi FOREWORD or proved unreachable should contact the Lowe directly so that the necessary corrections can be made in Jill Deupi any future printings. viii ACKNOWLEDGMENTS Funding for the exhibition and catalogue was made possible through Beaux Art, and the membership of Kate Ramsey and Louis Herns Marcelin the Lowe Art Museum, with additional support from the Linnie E. Dalbeck Memorial Foundation Trust. xi NOTE ON THE SPELLING OF TERMS IN HAITIAN KREYÒL 1 TRANSFORMATIVE VISIONS: AN INTRODUCTION Additional programmatic support was provided through HSBC, the University of Miami’s Center for the Humanities, the College of Arts and Sciences’ Strategic Initiatives Fund, Caribbean Literary and Cultural Kate Ramsey Studies in the Department of English, the Department of Modern Languages and Literatures Joseph Carter Memorial Fund, the Department of Anthropology, the Department of Art and Art History, the 23 CONVERSATION WITH PASCALE MONNIN Department of History, the Program in Africana Studies, and the Program in American Studies.