January-February 1995 CAA News

Total Page:16

File Type:pdf, Size:1020Kb

January-February 1995 CAA News '" "",.; "";.., " ;:l "'H ,.c (\J ~ ~;.., H ;:l "'r:: ~ ,..,.. OJ ,.ce ~ 5 0' N OJ e;:l -~ must be raised from private sources. We the NEH grant (for art historians) or the have been actively soliciting support for NEA grant (for artists). For multi-year r:: Support .~ funds from foundations and from support, pledge forms are available by "iii'" corporations to run the program now, calling the CAA development office. .~u CAA's but we are counting on you, our At the upcoming annual confer­ ence, there will be several opportunities '" members, to help us meet this challenge ~'" to build an endowment to ensure to make contributions to the Fellowship ~ Fellowship Program. Watch for board members and .. support for future generations of art ~ historians and artists. session chairs, who will be actively <li bll Endowment Your gift will help support CANs soliciting contributions. Contributions (\J efforts to create a new generation of will be accepted in the registration area - artists and art historians, Please support and in the publications booth. Contribu­ U'" <li . theCAA Capital Campaign by sending tions of $50 or more will be noted in .,<: your chec~ today, and by indicating CAA News, and all contributions will be ....- whether it should go toward matching acknowledged in the July / August issue. '"<li -<li -'" 5 CAA Endowment z;: January/February 1995 $1,200,000 e need your support now. College Art Association The Capital Campaign of 275 Seventh Avenue the College Art Association New York, New York 10001 W was created to establish a permanent $1,000,000 endowment for the support, continua­ tion, and expansion of the Professional Board of Directors Development Fellowship Program, $800,000 Judith K. Brodsky, President which was inititated in 1993 with Leslie King-Hammond, Vice-President funding from the Nathan'Cummings John R. Clarke, Secretary Foundation. CAA was subsequently John W. Hyland, Jr., Treasurer 'awarded Challenge Grants from both DBalance to be raised Barbara Hoffman, Esq., Counsel $600,000 • the National Endowment for the Arts DFunds raised to date Susan Ball, Executive Director (NEA) and National Endowment for the Diane Burko Jock Reynolds Humanities (NEH), the Henry Luce Bradford R. Collins Rita Robillard Foundation, and the Getty Grant $400,000 Jonathan Fineberg Moira Roth Program. Five fellowships were Susan L. Huntington Emily J. Sana awarded in 1993 and eight in 1994; nine $559,000 Michi Hami Larry Silver Ie awarded in 1995. Lowery Stokes Sims $200,000 Irving Lavin [he total goal of the campaign, Margo Machida Jaune Quick-To-See Nancy Macko Smith induding all matching funds, is Patricia Mainardi Jud ith E. Stern c $1,122,000. As of November 30,1994, Victor Margolin Nancy]. Troy funds raised for the campaign stood at $0 Clarence Morgan Carlos Villa $559,000. The balance to be raised is Keith Moxey Deborah Willis $563,000, and of this amount $422,000 doctrine of fair use are not lost as 12:15-2:15 P.M., and atthe Satellite Space Registration Reminders (fjJontents Electronic publishers work to protect their rights. Annual Thursday, 5:15-7:45 P.M. On-site registration fees for the confer­ A copy of the report is available from Curated by University of Texas at ence are $90 for members, $60 for Volume 2(), Number J the U.s. Patent and Trademark Office, San Antonio's Jim Broderick, Frances student members, and $125 for non­ JOI///Gly/February 1995 Bulletin Box 4, Washington, DC 20231; 703/305- Conference Colpitt, Ken Little, Constance Lowe, members. 9300. You can also respond to CEl via Dennis Olsen, and Stephen Reynolds, For your convenience, registration Leila Kinney at [email protected]. the exhibition includes work by M.F.A. will be open from 11 :00 A.M. to 9:00 P.M. Support CM's Fellowship Board Arts, Humanities, and Culture on the Update students from the following schools: on Wednesday and Thursday, January 1 Endowment National Injonnation Infrastructure is a East Texas State University, Sam 25 and 26; Friday and Saturday, 8:00 government document that the govern­ Houston State University, Southern A.M.-3:30 P.M. We urge you to take 2 Electronic Bulletin Board ment is calling for public comment on. It Methodist University, Stephen F. Austin advantage of these extended hours to is available via Gopher (UTF.DOC.GOV), the State University, Texas Christian pick up your registration materials early. Badges, tickets, and other registra­ 3 Annual Conference Update World-Wide Web (HTTP://ITF.DOC.GOv),as University, Texas Tech University, Texas well as in paper copy (703/487-4650). Women's University, University of tion materials are not available outside he CAA office is on-line and can The ways in which the arts and the Houston, University of North Texas, of posted hours. A registration badge, 4 CAANews be reached at [email protected]. humanities are voicing their concerns University of Texas at Austin, University single time-slot admission, or exhibit Two-more CAA committees, the about the government's plans for Grants Awarded of Texas at San Antonio, and West Texas ticket is required for admission to T applying technologjes to the cultural toCAA to State University. exhibits. Committee on Intellectual Property and Legal Update 5 the Committee on Professional Practices, sector will be the subject of the CEl Support 1995 The Art Gallery's hours are Mon­ Payment for single time-slot session at the CAA annual meeting in day-Friday, 10:00 A.M.-4:00 P.M; Sunday, admission tickets must be made in cash. Notice of Members I Annual have joined the Committee on Electronic Annual Conference Business Meeting Information in establishing their own San Antonio (Thursday 5:30-7:00 P.M.). CAA gratefully acknowledges receipt of 2:00-4:00 P.M. The Satellite Space is open No check or credit card payments will be accepted. Price is $15 per time slot cal~or Nominotions to the Board, committee listservs. As a result of a The session, which is titled"Arts and the following conference-related grants: Friday-Sunday, noon-6:00 P.M. ($10 for students with identification). 7 199 -99 grant from the Getty Art History Humanities on the Information Super­ The Rockefeller Foundation has Information Program, CAA board highway: The Future Is Now," is awarded a $35,000 grant in support of 8 From the Executive Director members have received training in the moderated by Susan Siegfried. The four the mentor/protege(e) travel grant Program Additions use of on-line communications and are speakers promise a lively and informa­ program inaugurated at the 1993 annual and Corrections American Sign Language tive session. On WedneSday, 5:00-7:00 American Sign Language interpreting CAA Elects New Board Members, signing up for their own conference conference. For the 1995 conference, we The CAA Intellectual Property Rights 9 1995-99 through ArtsWire, an on-line commer­ P.M., CEI is co-sponsoring an open house are pleased to announce that the Committee session "Legal Implications will be provided for the placement cial service that links arts organizations at the University of Texas with UTSA, program will be providing travel of the National Information Infrastruc­ orientation and the convocation. around the country. showing a variety of ways in which support for seventeen mentors and ture for the Art Historian, Artist, Solo Exhibitions by Artist Membe~'s 10 Here are some ways that you can computers are being used in the eighteen protege(e)s. University Press, and Library" has been obtain arts information on-line. To find teaching of art history. The Samuel H. Kress Foundation moved from Thursday, 5:30-7:00 P.M., to Audio Taping 15 People in the News out about joining ArtsWire, contact Beth The CAA Intellectual Property . has once again provided funding for Saturday, 12:30-2:00 P.M. A number of sessions and panels will be Kanter at KANTER®nvi:N.COM, or investi­ Rights Committee session "Legal foreign scholars presenting papers. The The CAA Committee on Cultural recorded on audio tape and will be Implications of the National Information 17 Grants, Awards, & Honors gate CAAH, an internationallistserv for $7,500 grant is providing travel support Diversity session "Toward a Culturally available for sale both on-site and by art and architectural historians moder­ Infrastructure for the Art Historian, for eleven scholars. Diverse Curriculum" (chair: Michi Hami, mail after the conference. During the ated by Marilyn Aronberg Lavin. It is Artist, University Press, and Library" The U.S.-Mexico Fund for Culture City University of New York), scheduled conference, a list of recorded sessions 18 Conferences & Symposia open to both scholars and students. Send will be held Saturday, 12:30-2:00 P.M. and its sponsors-Bancomer Cultural for Thursday, 5:30-7:00 P.M., has been will be available at the Audio Archives inquiries to MALAVIN@PUCC. PRINCETON. Mark these events on your calendar, and Foundation, Rockefeller Foundation, retitled. It is now called "Toward a International, Inc., sales counter on the we will see you there. 19 Opportunities EOU. Include your area(s) of special and Mexico's National Fund for Culture Culturally Inclusive Art Community third floor at the Marriott Rivercenter, interest and research, and your academic and the Arts-have awarded a $15,000 and Art History" and will be co-chaired where tapes can also be purchased. Miscellany affiliation. For addresses of additional grant in support of the session "Contem­ by Moira Roth, Mills College. 22 Information Wanted listservs on art topics, contact Diane porary Mexican Art Criticism" (chair: Kovacs, who edited the art subdirectory Carlos-BIas Galindo). The grant will Classified Ads for the Directory of Scholarly Electronic cover all registration and travel expenses Meet the Editors 23 Datebook Conferences at [email protected].
Recommended publications
  • Download NARM Member List
    Huntsville, The Huntsville Museum of Art, 256-535-4350 Los Angeles, Chinese American Museum, 213-485-8567 North American Reciprocal Mobile, Alabama Contemporary Art Center Los Angeles, Craft Contemporary, 323-937-4230 Museum (NARM) Mobile, Mobile Museum of Art, 251-208-5200 Los Angeles, GRAMMY Museum, 213-765-6800 Association® Members Montgomery, Montgomery Museum of Fine Arts, 334-240-4333 Los Angeles, Holocaust Museum LA, 323-651-3704 Spring 2021 Northport, Kentuck Museum, 205-758-1257 Los Angeles, Japanese American National Museum*, 213-625-0414 Talladega, Jemison Carnegie Heritage Hall Museum and Arts Center, 256-761-1364 Los Angeles, LA Plaza de Cultura y Artes, 888-488-8083 Alaska Los Angeles, Los Angeles Contemporary Exhibitions, 323-957-1777 This list is updated quarterly in mid-December, mid-March, mid-June and Haines, Sheldon Museum and Cultural Center, 907-766-2366 Los Angeles, Museum of Contemporary Art (MOCA), Los Angeles, 213-621-1794 mid-September even though updates to the roster of NARM member Kodiak, The Kodiak History Museum, 907-486-5920 Los Angeles, Skirball Cultural Center*, 310-440-4500 organizations occur more frequently. For the most current information Palmer, Palmer Museum of History and Art, 907-746-7668 Los Gatos, New Museum Los Gatos (NUMU), 408-354-2646 search the NARM map on our website at narmassociation.org Valdez, Valdez Museum & Historical Archive, 907-835-2764 McClellan, Aerospace Museum of California, 916-564-3437 Arizona Modesto, Great Valley Museum, 209-575-6196 Members from one of the North American
    [Show full text]
  • Curator of Native American Art DEPARTMENT: Curatorial SUPERVISOR: Chief Curator DIRECT REPORTS: None LAST REVISION DATE: August 2020
    POSITION DESCRIPTION POSITION TITLE: Curator of Native American Art DEPARTMENT: Curatorial SUPERVISOR: Chief Curator DIRECT REPORTS: none LAST REVISION DATE: August 2020 The Montclair Art Museum is conducting a search to fill a three-year position of Curator of Native American Art. Funded by the Luce Foundation, the position offers an exciting opportunity for the Curator to work with the Museum’s renowned collection of Native art of North America. Overview The Montclair Art Museum (MAM) is currently accepting applications for a three- year, grant funded position of Curator of Native American Art. The Museum’s goal is to engage in further fundraising to establish this position as permanent. The selected hire will have a unique opportunity to make a meaningful impact on the presentation of MAM’s renowned collection of Native art of North America in its dedicated Rand Gallery and throughout the Museum more broadly. The Curator will work to achieve key goals of engaging current, innovative ideas around the representation of Indigenous communities and art museum collections and exhibitions, via collaborative approaches. Throughout the three- year period, the Curator will have access to an eight member Advisory Board of leading Native and non-Native scholars and artists, as well as MAM’s Chief Curator, all of whom will offer ideas and perspectives for consideration in developing the Museum’s Native American programs. The Curator will oversee the presentation of the Fall 2021 incoming traveling exhibition, Color Riot!, from the Heard Museum, featuring Navajo textiles from c. 1860 to 2018. Additional projects will include curating a site-specific artistic intervention opening in early 2022, and will culminate in September 2023 with a new installation of the Museum’s Native American collections in the Rand Gallery.
    [Show full text]
  • MAM Annual Report July 1, 2010 – June 30, 2011 Contents
    2011 MAM ANNUAL REPORT JULy 1, 2010 – June 30, 2011 CONTENTS Mission, Vision and Values, and Diversity Statements 3 From the President 4 From the Director 5 Board of Trustees 7 Statement of Finances 8 MAM at a Glance 9 Exhibitions 11 Snapshots from Special Events 12 Gifts and Purchases 13 Gifts to the Education Handling Collection 17 Contributions Individual Support 18 Corporate, Foundation, and Government Support 21 Matching Gifts 22 Honor and Memorial Gifts 23 Heritage Society 24 Gifts in Kind 24 Volunteers 25 Staff 28 All Museum programs are made possible, in part, by the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts, and by funds from the National Endowment for the Arts, the Vance Wall Foundation, the Geraldine R. Dodge Foundation, and Museum Members. 2 MISSION STATEMENT The Montclair Art Museum (MAM), along with its Yard School of Art, engages a diverse community through its distinctive collection of American and Native American art, exhibitions, and educational programs that link art to contemporary life in a global context. VISION AND vaLUES STATEMENT As the Montclair Art Museum approaches its Centennial in 2014, we seek to elevate our profile as a nationally recognized leader of mid-sized, regional art museums. Valuing diversity, innovation, and the importance of art to society, we will invigorate our curatorial presentations, expand our educational mission, promote greater connections to our community, engage in fruitful partnerships that reach deep into our region and beyond, embrace new media and technologies, pursue responsible facilities management and environmental impact, and secure our financial stability.
    [Show full text]
  • The Curatorial Intensive Teachers & Advisors Fall 2010
    INDEP INDEPENDENT CURATORS INTERNATIONAL THE CURATORIAL INTENSIVE TEACHERS & ADVISORS FALL 2010 ICI Key Personnel: Tracy Candido is the Program Administrator for The Curatorial Intensive at ICI. She is a cultural producer who organizes social practice projects and public programs in New York City and Brooklyn. Recent endeavors include Community Cooking Club, hosted by the Bruce High Quality Foundation University, which combines the concept of the potluck with the environment of the critical classroom, Sweet Tooth of the Tiger, a two-year experiment in baking with, eating, and selling sugar, and the Bake Sale Residency, a mico-granting project for artists. Tracy holds a Master's Degree from New York University in Visual Culture Theory. Kate Fowle is ICI’s Executive Director. She most recently worked as the International Curator at the Ullens Center for Contemporary Art in Beijing. Prior to her time in Beijing, Fowle spent six years in San Francisco at the California College of the Arts, where she was the director of the MA Program in Curatorial Practice, which she founded in 2002 with Ralph Rugoff. This was the first graduate course of its kind on the West coast. During her tenure as program director Fowle built extensive international networks, bringing over 100 artists, curators and writers from places as diverse as Chiang Mai, Paris, São Paulo, Johannesburg, Copenhagen, Beijing, Vilnius, Frankfurt, Tokyo, London, and Mexico City, to share their knowledge and expertise through lectures, round-table discussions, symposia and an annual journal. Chelsea Haines is the Public Programs Manager at ICI. In addition to her position with the organization, she has worked on a range of independent projects and publications, most recently publishing a revised version of her thesis, A New State of the Arts: Developing the Biennial Model as Ethical Arts Practice, for the upcoming fall issue of Museum Management and Curatorship.
    [Show full text]
  • On Fellow Ous Ulletin
    on fellow ous L g ulletinH e Volume No. A Newsletter of the Friends of the Longfellow House and the National Park Service June New Study ExaminesThe Song of HiawathaB as Controversial Bestseller atthew Gartner’s recent work on noted in his journal: “Some of the MH.W. Longfellow’s most popular newspapers are fierce and furious about poem asserts that The Song of Hiawatha was Hiawatha,” and a few weeks later, he both a bestseller and a subject of contro- wrote, “There is the greatest pother versy as soon as it was published, and about Hiawatha. It is violently assailed, quickly became a cultural phenomenon. and warmly defended.” The historian Gartner, who is writing a book called The William Prescott, a friend of Longfel- Poet Longfellow: A Cultural Interpretation, will low’s, wrote the poet from New York of present his findings and analysis this July “the hubbub that Hiawatha has kicked up at the Society for the History of Author- in the literary community.” ship, Reading, and Publishing. At the heart of the controversy lay When Hiawatha was first published in Longfellow’s decision to use a poetic it sold rapidly. With an initial print- meter called “trochaic dimeter.” The ing of five thousand volumes, four thou- George H. Thomas illustration, The Song of Hiawatha, London, nineteenth century was an age of great sand were already sold as of its November nationwide by , making it not only sensitivity to the art of prosody, or poetic publication date. By mid-December Longfellow’s best-selling poem ever, but, meter, and Longfellow surely knew Hiawa- eleven thousand volumes were in print.
    [Show full text]
  • 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.
    [Show full text]
  • This Page Intentionally Left Blank JAN MATULKA: the UNKNOWN MODERNIST EXHIBITION (Jan Matulka: the Modernist)
    This page intentionally left blank JAN MATULKA: THE UNKNOWN MODERNIST EXHIBITION (Jan Matulka: The Modernist) By Rachael L. Holstege THESIS PROJECT Presented to the Arts Administration Faculty at the University of Michigan-Flint in partial fulfillment of the requirements for the Master of Arts Administration August 6, 2020 2 Jan Matulka: The Unknown Modernist (Jan Matulka: The Modernist) Exhibition A Thesis Presented to the Faculty of the Masters of Arts Administration In Partial Fulfillment of the Requirements For the Degree of Master of Arts Administration From the Rackham School of Graduate Studies at the University of Michigan-Flint Rachael Holstege August 6, 2020 ____ _____________________________ Linda Johnson, PhD Thesis Committee Chair Lecturer II—DePartment of Art and Art History University of Michigan-Flint _________________________________ Nicole Broughton Thesis Committee Member Program Director-MA Arts Administration Lecturer IV—Theatre Management University of Michigan-Flint _________________________________ Benjamin Gaydos Thesis Committee Member Chair and Associate Professor of Design—DePartment of Art and Art History University of Michigan-Flint ACKNOWLEDGEMENTS I am incredibly grateful to the Flint Institute of Arts (FIA) for allowing me the time, space, and resources to execute this exhibition and accompanying online catalog. I’d like to especially thank FIA Curator of Collections and Exhibitions Tracee Glab for going above-and-beyond the duties of a boss to help me accomplish this entire endeavor. Thank you, Tom McCormick of the Estate of Jan Matulka, for your kindness, generosity, and most of all the loans for this exhibition. Thank you, Dr. Linda Johnson, for your continued advice and for stepping in when needed.
    [Show full text]
  • You Are Viewing an Archived Copy from the New Jersey State Library for THREE CENTU IES PEOPLE/ PURPOSE / PROGRESS
    You are Viewing an Archived Copy from the New Jersey State Library FOR THREE CENTU IES PEOPLE/ PURPOSE / PROGRESS Design/layout: Howard Goldstein You are Viewing an Archived Copy from the New Jersey State Library THE NEW JERSE~ TERCENTENARY 1664-1964 REPORT OF THE NEW JERSEY TERCENTENA'RY COMM,ISSION Trenton 1966 You are Viewing an Archived Copy from the New Jersey State Library You are Viewing an Archived Copy from the New Jersey State Library STATE OF NEW .JERSEY TERCENTENARY COMMISSION D~ 1664-1964 / For Three CenturieJ People PmpoJe ProgreJs Richard J. Hughes Governor STATE HOUSE, TRENTON EXPORT 2-2131, EXTENSION 300 December 1, 1966 His Excellency Covernor Richard J. Hughes and the Honorable Members of the Senate and General Assembly of the State of New Jersey: I have the honor to transmit to you herewith the Report of the State of New Jersey Tercentenary Commission. This report describee the activities of the Commission from its establishment on June 24, 1958 to the completion of its work on December 31, 1964. It was the task of the Commission to organize a program of events that Would appropriately commemorate the three hundredth anniversary of the founding of New Jersey in 1664. I believe this report will show that the Commission effectively met its responsibility, and that the ~ercentenary obs~rvance instilled in the people of our state a renewfd spirit of pride in the New Jersey heritage. It is particularly gratifying to the Commission that the idea of the Tercentenary caught the imagination of so large a proportior. of New Jersey's citizens, inspiring many thousands of persons, young and old, to volunteer their efforts.
    [Show full text]
  • 2019 MONTCLAIR ART MUSEUM ANNUAL REPORT 1 Table of Contents Our Mission
    annual report JULY 1, 2018-JUNE 30, 2019 MONTCLAIR ART MUSEUM ANNUAL REPORT 1 table of contents our mission Mission and Vision, Values, and Diversity Statements 3 The Montclair Art Museum, together with its Vance Wall Art Education Center, President and Director’s Letter 4-5 engages our diverse community through distinctive exhibitions, educational programs, and collections of American and Native American art. Our mission is Board of Trustees 6 to inspire and engage people of all ages in their experience with art, including MAM by the Numbers 7 the rich inter-cultural and global connections throughout American history, and Awards and Accomplishments 8-9 the continuing relevance of art to contemporary life. Exhibitions 10-15 Special Events 16-19 Press 20 Around the Globe 21 Purchases and Gifts 22-24 Statement of Finances 25 Contributions vision, values, and diversity Individual Gifts 26-28 Institutional Giving 29 After 100 years of service, MAM is recognized as the leading American art The Constable Society 30 museum and community art school in Northern New Jersey. As an organization, we value: artistic inspiration, diversity of voices, individual and group creativity, Bequests 30 and the importance of all arts to a civil, inclusive, and forward-thinking society. Matching Gifts 30 We respect and welcome individual differences and strive to maintain an Tribute Gifts 30 environment that fosters productivity, creativity, and individual satisfaction Gifts in Kind 31 by celebrating the diversity of race, gender, nationality, age, religion, sexual Staff 32-33 orientation, and physical abilities. During our second century, we will invigorate our collections and curatorial presentations; expand our educational services Vance Wall Art Education Center and audience; support artists, their work and connections; pursue productive Instructors and Educators 34 institutional partnerships; and embrace new media and technology.
    [Show full text]
  • Annual Report 2012
    BOARD OF TRUSTEES 4 LETTER FROM THE CHAIR 6 A YEAR AT THE MUSEUM 8 Collecting 10 Exhibiting 20 Teaching and Learning 30 Connecting and Collaborating 38 Building 44 Conserving 50 Supporting 54 Staffing and Volunteering 62 CALENDAR OF EXHIBITIONS AND EVENTS 68 FINANCIAL StATEMENTS 72 COMMIttEES OF THE BOARD OF TRUSTEES 78 SUPPORT GROUPS 80 VOLUNTEERS 83 MUSEUM StAFF 86 A REPORT LIKE THIS IS, IN ESSENCE, A SNAPSHOT. Like a snapshot it captures a moment in time, one that tells a compelling story that is rich in detail and resonates with meaning about the subject it represents. With this analogy in mind, we hope that as you read this account of our operations during fiscal year 2012 you will not only appreciate all that has been accomplished at the Philadelphia Museum of Art, but also see how this work has served to fulfill the mission of this institution through the continued development and care of our collection, the presentation of a broad range of exhibitions and programs, and the strengthening of our relationship to the com- munity through education and outreach. In this regard, continuity is vitally important. In other words, what the Museum was founded to do in 1876 is as essential today as it was then. Fostering the understanding and appreciation of the work of great artists and nurturing the spirit of creativity in all of us are enduring values without which we, individually and collectively, would be greatly diminished. If continuity—the responsibility for sustaining the things that we value most—is impor- tant, then so, too, is a commitment to change.
    [Show full text]
  • SELLING ART in the AGE of RETAIL EXPANSION and CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS and the AMERICAN ART MARKET of the 1930S and 1940S
    SELLING ART IN THE AGE OF RETAIL EXPANSION AND CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS AND THE AMERICAN ART MARKET OF THE 1930s AND 1940s by TIFFANY ELENA WASHINGTON Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation advisor: Anne Helmreich Department of Art History CASE WESTERN RESERVE UNIVERSITY JANUARY, 2013 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of __________Tiffany Elena Washington_________ candidate for the __Doctor of Philosophy___ degree*. (signed) _______Anne L. Helmreich________ (chair of the committee) ______Catherine B. Scallen__________ ________ Jane Glaubinger__________ ____ _ _ Renee Sentilles___________ (date) 2 April, 2012 *We also certify that written approval has been obtained for any proprietary material contained herein. 2 For Julian, my amazing Matisse, and Livia, a lucky future artist’s muse. 3 Table of Contents List of figures 5 Acknowledgments 8 Abstract 11 Introduction 13 Chapter 1 46 Chapter 2 72 Chapter 3 93 Chapter 4 127 Chapter 5 155 Conclusion 202 Appendix A 205 Figures 207 Selected Bibliography 241 4 List of Figures Figure 1. Reeves Lewenthal, undated photograph. Collection of Lana Reeves. 207 Figure 2. Thomas Hart Benton, Hollywood (1937-1938). Tempera and oil on canvas mounted on panel. The Nelson Atkins Museum of Art, Kansas City. 208 Figure 3. Edward T. Laning, T.R. in Panama (1939). Oil on fiberboard. Smithsonian American Art Museum. 209 Figure 4. Plan and image of Associated American Artists Gallery, 711 5th Avenue, New York City. George Nelson, The Architectural Forum. Philadelphia: Time, Inc, 1939, 349. 210 Figure 5. Thomas Hart Benton, Departure of the Joads (1939).
    [Show full text]
  • For Immediate Release
    FOR IMMEDIATE RELEASE “Politics of Snow II” Paintings by Diane Burko Bernstein Gallery, Princeton University Exhibition dates: April 4 – May 19, 2011 Politics of Snow II will be held in conjunction with a panel discussion featuring Michael Oppenheimer, the Albert G. Milbank Professor of Geosciences and International Affairs Department of Geosciences and the Woodrow Wilson School of Public and International Affairs. The panel discussion will take place on April 21, 2011 at 4:30 p.m. in Bowl 016, Robertson Hall, Woodrow Wilson School of Public and International Affairs, Princeton University, Princeton, NJ. A public reception will follow the panel discussion at 6 p.m. in the Bernstein Gallery adjacent to Bowl 016. Contact: Kate Somers Ph: 609.497.2441 Politics of Snow II is a series of sweeping views of majestic glaciers and mountains by Philadelphia artist, Diane Burko, who has spent most of her long and productive career creating landscapes in the tradition of the Hudson River School. But in this series, the paintings are not landscapes meant to transport viewers into a contemplative reverie on the sublime qualities of nature. If they are meant to do so, it is only temporary, because Burko’s mission is to wake us out of that reverie and force us to bear witness to man’s imprint on our natural world as it manifests itself in global warming. Using archival photographs of glaciers as starting points, Burko pairs these images in diptychs and triptychs, and other multiple configurations, with contemporary views of the same landscape 10, 50 or 100 years later.
    [Show full text]